The Fat Angel Sings

Shoegaze lovers rejoice in the new sounds coming from Blushing’s new album “Possessions” on Kanine Records. Featuring Miki Berenyi, the front person of 90’s shoegaze, indie pop greats Lush and her new band Piroshka on the main single ‘Blame’ you instantly feel that you are transplanted back into 1990. Focused on charismatic vocals with dreamy guitar hooks and swirling bass lines the ‘Blame’ is a strong introduction to an album filled with Dream Pop greats. 

Fans of Lush, Cocteau Twins, My Bloody Valentine, Ride, Slowdive won’t be able to resist this album.

Texas shoegaze group Blushing share new single

The LP was mastered by Ride’s own Mark Gardener, with the singer stepping in to mix just one song: ‘The Fires’. Completed during a blizzard, ‘The Fires’ seems driven by longing, freed by escapism, with the effortlessly soft vocals expressing a uniquely evocative side to the band. The new single “The Fires” Mix & mastered by Mark Gardener (RIDE), Clash Magazine says “Blushing meld together dreamy guitar effects, recalling everyone from early Slowdive to lost 90s Stateside outfit Velocity Girl – with a nod to Ride too, naturally.”

Michelle Soto explains…“We knew Mark could bring a special element to ‘The Fires’. However, just as the mixing and mastering process was wrapping up in February 2021 we lost all power and water for over a week due to a freak blizzard that devastated much of Texas. It caused a most unexpected delay in our ability to communicate back and forth with Mark about the track, who expressed concern for the band’s well being as news of the storm reached all the way to the UK.”

“Eventually the snow melted, lights and internet returned and what we received in the final mix was a punchy, glimmering track, a perfect balance to the dark, brooding tone of the song.” 

The group’s new album ‘Possessions’ is out on February 18th, and it was produced by Ringo Deathstarr’s Elliott Frazier. The LP was mastered by Ride’s own Mark Gardener, with the singer stepping in to mix just one song: ‘The Fires’.

Released February 18th, 2022

Blushing under exclusive licensing to Kanine Records

With their latest album, “Fortune Favors The Bold“, Russell County, Virginia-based 49 Winchester is ready and roaring to break onto the national scene with its unique brand of tear-in-your-beer alt-country, sticky barroom floor rock-n-roll, and high-octane Appalachian folk.

“Fortune Favors The Bold” is not only a record that showcases the current state of 49 Winchester, it’s a melodic stake in the ground of how this group is constantly evolving and taking shape, sonically and lyrically. But, it’s also about looking into the rear view mirror with a genuine appreciation for where you came from and what you’re made of. Those salt-of-the-earth traits in your blood and character that define what it actually takes to climb that damn mountain of dreams. At its essence, “Fortune Favors The Bold” is about going against all odds to bring your art into fruition and into the world – come hell or high water.

Isaac Gibson – Vocals, Acoustic Guitar, Electric Guitar, Cowbell
Bus Shelton – Electric Guitar, Baritone Guitar
Chase Chafin – Bass Guitar
Noah Patrick – Steel Guitar
Don Eanes – Piano, Hammond B3, Keys
Dillon Cridlin – Drums, Percussion

Featuring Stewart Myers – Backing Vocals, Percussion

Releases May 13th, 2022

Brighton quartet Fur release their stunning debut album on exclusive Translucent Orange vinyl (limited copies only). What Fur have specialised in is their ability to mix the old and the new, to take a particularly nostalgic strain of lovelorn guitar music but make it sound fresh again. Whether it’s playing a Gibson SG, enlisting the skills of Mike Rowe (Oasis and Mick Jagger’s key’s player amongst other accolades), or falling down the White Rabbit hole of The Velvet Underground via The Strokes in a flurry of influential digestion, Fur, are unquestionably a contemporary act, writing contemporary songs, for tomorrow’s music explorers; an infinite balancing act between present relevancy, and the traditional rock n roll of which they themselves, look up to.

The record is produced by Theo Verney and mixed by Grammy winning engineer Caesar Edmunds (Queens of the Stone Age, Foals, St. Vincent).

‘When You Walk Away Pt II’ is taken from FUR’s debut album – ‘When You Walk Away’ out now on 777MUSIC.

With the release of their debut album ‘Backhand Deals’ just around the corner, the Buzzard boys are gearing up for a big run of shows. Being the good samaritans that they are, they’ve ensured there’s a show for everyone; get tickets for their mega rock show, or, if you prefer a more laid-back pace of life, pop down to one of their stripped back in store performances.

Buzzard Buzzard Buzzard began as a bedroom studio project for Tom Rees in late 2016, though since then he has employed the help of brother Eddie Rees, Ethan Hurst and Zac White. With an insatiably wild live show citing the ghosts of rock and rolls past, Buzzard Buzzard Buzzard offer a fresh look on the classic rock model, and it comes dressed in denim.

the debut album “Backhand Deals” Released 25/02/22

Concocting a potent sonic assault that recalls the foreboding darkness of Black Sabbath, Savages’ monochrome post-punk and the dirty breathlessness of Bleach-era Nirvana, the Manchester quartet Witch Fever create a confrontational racket that takes no prisoners.

The band’s name is inspired by the hysteria which accompanied the witch trials in Salem, Massachusetts, and Europe, which the band have long considered were a means to belittle, suppress and diminish women. “there’s a big emphasis on female empowerment and female anger,” says bassist Alex of the message raging behind the band’s music. “it’s about celebrating yourself and self-expression. not being stifled and held back.” “Reincarnate”, which was recorded at Orgone studios in Woburn, with producer Jaime Gomez Arellano, explores those incendiary topics. Lead single “Reincarnate” is an anthem of post-breakup independence, set to Sabbath-esque graveyard doom. In the resurrect is a visceral squall about celebrating identity and being a “bad ass bitch”. abject tackles sexism the band have encountered during live shows, while “Bully Boy” is a steel toe-capped boot to abuse of male power, which considers the concept of god within a patriarchal system.

“Growing up i went to a church and it was orthodox, shitty and a bit of a weird place,” explains Amy. “when i was 16, I left and then my family left after me. Some of my lyrics are about that, it’s about coming away from a trauma and knowing that you’re powerful despite that.” “she takes biblical sayings and turns them on their heads,” says Alex of her bandmate’s lyrical approach.” it’s playing around with power constructs in society, religion and life and flipping it on its head.”

It’s hard to believe Dan Carey’s new Wunder-kids on the block only got together before the first lockdown, so adept is the formation of their early songs. After rapidly developing a loyal fanbase (including steadfast chums Wet Leg) with debut single “Burglar” last year, London three-piece Honeyglaze have graced many a one-to-watch list and anticipation for a full album is fierce.

Enter then their self-titled debut, ‘a self-described “opposite to a concept album” that sonically encapsulates the who, what, where and how of their individual circumstances coming together as one.’

The trio could not have chosen a more evocative name in Honeyglaze, so synonymous is the sugary substance with sweetness and beauty. Tender but always assured, this is a band that present honest and assorted storytelling, delivered with the kind of dynamism that draws you close and doesn’t let go. Believe us when we say, we’re hanging onto every note with this one.

We’re excited to announce Honeyglaze as part of Rough Trade On The Rise, our dedicated curation putting a spotlight on the emerging music we are the most excited for you to hear, to follow and become a fan of. Read on to discover more about the band in their own words and be sure to order yourself a copy of their debut album Honeyglaze released 29th April on Speedy Wundeground Records.

For fans of: Belle and Sebastian, Phoebe Bridgers, Big Thief, Life Without Buildings, Tortoise.

Glaswegian six-piece Walt Disco have not only snagged the best band name in recent memory, but have the kind of swagger and flamboyance to live up to all the theatrics their moniker might manifest.

Walt Disco‘s band is their instrument with which to examine and explore music, be it through sound, theme or genre. And so we greet debut album “Unlearning“, a melding of minds and emotions and a brilliantly unique brew of captivating songs that not only make you dance, but make you listen.

Picture avant-garde art rock fused with glam rock, then add in a helping of Talking Heads and sprinkle on some David Bowie for good measure, and you might be somewhere in the neighborhood of the riveting band that is Walt Disco. The Glaswegian six-piece’s presence on the British Music Embassy stage was unrivaled, even as guitarist Lewis Carmichael video-called in from his grandad’s dining room. Lead singer James Potter chewed up the scenery, and partway through one song, the whole group stopped to run in place a la Stop Making Sense.

The band’s looks were also some of the best of the entire festival, with one member wearing a yellow plaid blazer that would make Cher Horowitz jealous; another in a flowing Prince blouse; and drummer Jack Martin rocking a school blazer, leather pants and red lipstick. 

‘UNLEARNING’ – Out April 1ST

“Social Graces” is the debut album from Australian post-punk outfit Loose Fit. Made up of Kaylene Miller, Anna Langdon, Max Edgar and Richard Martin, Kaylene and Anna met in fashion school and instantly bonded through their love of experimental music. After toying with lo-fi bedroom re-cordings, the pair recruited Max Edgar on guitar and Richard Martin on bass and started making some actual noise. Kaylene is also behind the cult knotwear brand WAH-WAH Australia with items worn by Noel Fielding, Courtney Barnett and even Kim Gordon. The band’s rhythm-heavy sound contains echoes of UK post-punk titans such as PiL and A Certain Ratio mixed with the classic Bristol Post punk sound circa 79-81.

The band’s new single – also called ‘Social Graces’ – is a frantic 2’29” blast of nervy punk. The song was written in 2020 inspired by the nervous tension in the air after the initial months of covid-induced house arrest. People were finally allowed to meet in the federally sanctioned groups of 5, but found themselves too nervous to touch each other for fear of infection and felt awkward in communication. There was a sense of relearning how to be together.

It comes with a video, directed by Solomon Thomas, that riffs off the song’s themes of discomfort and social anxiety. Awkwardly miming in front of vintage painted stage backdrops, the band are transformed one-by-one into grotesquely-masked characters who try and fail to find the social “normal”.

following their debut EP and latest track ‘Exhale’, Australia’s Loose Fit detail their debut album “Social Graces” that’ll be out 29th April 2022 via Fatcat Records, as well as sharing the title track as a their next single. Building on the success of their self-titled EP, the album expands the Loose Fit sound-world to include a dub-influenced march through social media bleakness, ACR-style exercises in rhythm and tension, and an atmospheric coda featuring eerie trumpet from drummer Kaylene Milner. It also features a number of the band’s concise, propulsive bangers including the title track and previous single ‘Exhale“

Set for release late April, debut album “Social Graces” features 11 tracks of rhythmically-taut, anxiety-driven post-punk featuring the distinctive vocal chants of singer/sax player Anna Langdon.

The Moody Blues, who in July 1971 released their seventh album “Every Good Boy Deserves Favour”. Musicians reading this may recall their early music lessons that used the album’s title as an easy way to remember the musical notes that form the lines of the treble clef: EGBDF (Every Good Boy Deserves Favour).

Released over 50 years ago this week. Their July 1971 release “Every Good Boy Deserves Favour” , “The best-realized of their classic albums…for the last time with this line-up.” That is high praise indeed, seeing as Every Good Boy Deserves Favour was the Moodies’ seventh album in a string of commercially and critically popular progressiverock efforts including “Days of Future Passed”, “On the Threshold of a Dream” and “A Question of Balance”. Singer, lead guitarist Justin Hayward, singer, bass player John Lodge and drummer Graeme Edge take the occasion of the golden anniversary of Every Good Boy Deserves Favour to share here IN THE STUDIO insights into some of the Moody Blues’ best of those early years, including “The Story in Your Eyes”, “Our Guessing Game“ and “Emily’s Song” from this No#1 seller. 

Justin Hayward summarized the album: “It is a kind of a searching, seeking record. It was made at a time of tremendous success for us, and that brought on all of the feelings of guilt, inadequacy and self-doubt that accompany that kind of success. It’s a bittersweet record that pointed the direction of the next album which was the full stop.”

The band enjoyed great popularity that year following their previous year’s hit “Question“, US tours and performance at the Isle of Wight festival. “Every Good Boy Deserves Favour” climbed to the top of the UK album chart in August 1971, topping a number of big sellers from Simon and Garfunkel, Rolling Stones and Led Zeppelin.

Mike Pinder’s album closer “My Song”, featuring a complex, lengthy instrumental. This is one of the group’s highest musical achievements in my opinion, the music sounding like a classical tone poem at times. In the studio Pinder asked that his voice sound like being outside the world, looking down on it. Engineer Derek Varnals asked “As if you were on a spacewalk in your space suit?” Pinder replied “Exactly. Do it so you can hear me breathing, but make it sound really close and claustrophobic.” Assistant engineer Dave Baker came up with the idea of putting a large carton on Pinder’s head, into which Varnals carefully placed a small microphone, making sure it didn’t touch either the box or the singer. Varnals: “I then filtered the signal to make it sound like a transmission from space. We were trying to create something serious, but everyone was laughing hysterically—everyone except Mike, who was the only person who couldn’t see what we were seeing: a quite Monty Python–like image of someone standing perfectly still with a box covering his head. It eventually ended up sounding a bit like Darth Vader, but this was several years before Star Wars was made.”

Unlike the cover art of their other albums, this time the band had a firm idea of what they wanted. Usually they left it to Phil Travers to conceptualize the art. The artist talked about the typical process of coming up with the album art: “At the first meeting we would listen to the soundtrack together and discuss the themes and ideas behind the album. It was then left to me to produce a pencil rough which was then discussed further. Eventually a consensus would be reached and the painting would begin in earnest. Time always was of the essence, and many times I was working all day and all night to meet the printer’s deadline. But I have to say it was greatly fulfilling and I thoroughly enjoyed it.”