The Fat Angel Sings

Traffic were an English rock band, formed in Birmingham, in April 1967 by Steve Winwood, Jim Capaldi, Chris Wood and Dave Mason. They began as a psychedelic rock group and diversified their sound through the use of instruments such as keyboards like the Mellotron and harpsichord, sitar, and various reed instruments, and by incorporating jazz and improvisational techniques in their music. Their first three singles were “Paper Sun”, “Hole in My Shoe”, and “Here We Go Round the Mulberry Bush”.

Traffic disbanded in 1969, during which time Winwood joined Blind Faith, then reunited in 1970 to release the critically acclaimed classic album “John Barleycorn Must Die”. The band’s line-up varied from this point until they disbanded again in 1974. A partial reunion, with Winwood and Capaldi, took place in 1994.

April 6th, 1973 Musikladen, Bremen, GER (supported by Spooky Tooth) 

Traffic were inducted into the Rock and Roll Hall of Fame in 2004.

Since forming in high school, Brisbane band The Goon Sax—the trio of Riley Jones, Louis Forster, and James Harrison, best friends who take turns writing, singing, and playing each instrument— have been celebrated for their unpretentious, kinetic homemade pop. 

Australian trio The Goon Sax have released a digital deluxe edition of last year’s “Mirror II”, which was their first album for Matador Records. It now comes with four unreleased tracks, including two album outtakes, a demo of “In the Stone,” and a cover of LEN’s “Steal My Sunshine.” The digital deluxe edition is out now .

As for “Steal My Sunshine,” they turn LEN’s 1999 Top-10 hit (and Go! soundtrack standout) into a noisy shoegaze anthem. The core of the song is still front and centre but they put lots of guitars all over it. The Goon Sax are currently on tour in the USA with Snail Mail

Hazan and Mingay caused a stir with 1973’s A Bigger Splash, a film about the painter David Hockney and his circle that uneasily blended fly-on-the-wall footage, restaged scenes based on real events, and fantasy sequences. This docu-fiction approach carries through to “Rude Boy”, the Clash movie notoriously disowned by the Clash. A real-life character named Ray Gange is the central figure, playing an unflattering version of himself as a beer-swilling Clash hanger-on who finds the band’s political lyrics annoying and proves to be an unreliable roadie on their tour. Rude Boy is a disjointed patchwork that obliquely gestures towards a negative verdict on punk’s political potency. An unconnected subplot involving Jamaican-British kids colliding with the judicial system hints that the tribulations of white youth are trifling in comparison; the film glumly ends with Margaret Thatcher waving from 10 Downing Street after a landslide Conservative victory in May 1979, as if to say all those righteous anthems and Rock Against Racism benefits achieved little. But despite its listless pace, the film holds your attention with electrifying concert footage, low-key “off-duty” scenes with the ever-luminous Strummer, and glimpses of the sheer crapness of the U.K. in the late ’70s, which resembles an Eastern Bloc country more than the touristic image of Great Britain.

For more than a year now, London’s Black Country, New Road has patiently teetered on the cusp of success. The seven-piece experimental rock outfit emerged from relative anonymity in 2019 with just two songs, and publications from the New York Times to the Guardian quickly embraced them. The Quietus even declared the group “the best band in the world.” 

With a visceral sound that melds post-rock, jazz, post-punk, and even klezmer into dynamic compositions, the band would soon sell out shows across the country, book international festivals, and land a record deal with independent stalwart Ninja Tune. Then the pandemic hit, delaying the release of their debut album “For the First Time” for a year. 

Despite a refreshingly opaque social media presence (the band only posts stock photos), the disruption hasn’t detracted from the hype — and might have even been a blessing in disguise. “For the First Time” arrived at the top of 2021 as a thrilling palate cleanser from the nostalgia and inertia that characterized much of the pandemic music experience. The record feels urgent and wild, a document of raw youth, generational disillusionment, and the hollow excesses of late capitalism that bristles with tension, intelligence, and a smirk.  

It’s also a fine middle finger to today’s short attention spans, with long tracks that grip you till the end. The nearly nine-minute “Sunglasses,” for example, shape-shifts from ruminative post-punk into an orchestral ballad before collapsing into cacophony and reassembling as a dance-punk invective. 

“I am so ignorant now, with all that I have learnt,” singer-guitarist Isaac Wood howls and pants into the bridge. “I’m more than adequate / Leave Kanye out of this / Leave your Sertraline in the cabinet / And burn what’s left of all the cards you kept.” We’ll bring the matches. 

Cerebral song writing and sheer catharsis both come naturally to South London seven-piece Black Country, New Road. Ever referential, lead singer Isaac Wood namechecks scene mates black midi on “Track X” and quotes Phoebe Bridgers’ “Motion Sickness” on their standout single “Athens, France” with trademark tremor in his voice as he intones, “Why don’t you sing with an english accent? Well, I guess it’s too late to change it now.” At the same time, songs like “Opus” jangle the nerves with ebbs and flows of energy that refuse to let up. Their aptly titled debut For the first time, with fewer tracks than band members, proves a rollercoaster of noise-rock and jazz. This powerhouse needs to be seen live to be believed.

The skyrocketing septet Black Country, New Road found their band name using a random Wikipedia page generator. With singles like 2019’s “Athens, France” and “Sunglasses,” and last year’s “Science Fair,” the U.K. up-and-comers are growing and changing before our eyes. On their debut album “For the first Time”, frontman Isaac Wood’s hypnotic speak-singing shifts subtly away from “speak” and towards “sing” so as to more effectively meld with the band’s mercurial instrumental outbursts. Their thunderous post-punk, spiked with discordant jazz and bookended by klezmer squalls, feels both explosively raw and carefully, ingeniously crafted. 

Slang, the Portland group that includes Janet Weiss (Sleater-Kinney, Quasi), Drew Grow (Modern Kin, Pastors’ Wives), Kathy Foster (The Thermals), and Anita Lee Elliot (Viva Voce), started in the mid-2010s, but between Janet getting in a car accident and the pandemic, they’ve been a little slow out of the gate. That’s about to change with the release of their debut album that also features appearances from Sam Coomes (Quasi), Stephen Malkmus, Mary Timony (Helium, Ex Hex, Wild Flag) and more. The songs released from it so far ooze grit and drama , and we can’t wait to hear the rest.

Slang’s debut “Cockroach in a Ghost Town” is a force of nature that came, seemingly, out of nowhere. Lyricist/singer/guitarist Drew Grow and drummer/singer Janet Weiss started the band over a decade ago in Portland, OR—both having spent more than half their lives dedicated to making and performing music.

 The video was shot and edited by Janet Weiss. The song is off their upcoming album Cockroach In A Ghost Town out May 27 via Kill Rock Stars. 

A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, “Growing Up“, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy.

“The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage-punk group just for fun. Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown, where they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie. A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members — each with her own style and energy. A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit.”

A handful of cuts have already been previewed at shows and enthusiastically approved by diehard followers in the pit at L.A.’s DIY punk institution The Smell and Head in the Cloud festival goers at The Rose Bowl alike.

The Linda Lindas are stoked to unleash “Growing Up“. The Linda Lindas first played together as members of a pickup new wave cover band of kids assembled by Kristin Kontrol (Dum Dum Girls) for Girlschool LA in 2018 and then formed their own garage punk group just for fun.

Sisters Mila de la Garza (drummer, now 11) and Lucia de la Garza (guitar, 14), cousin Eloise Wong (bass, 13), and family friend Bela Salazar (guitar, 17) developed their chops as regulars at all-ages matinees in Chinatown.

Here they played with original L.A. punks like The Dils, Phranc, and Alley Cats; went on to open for riot grrrl legends Bikini Kill and architect Alice Bag as well as DIY heavyweights Best Coast and Bleached; and were eventually featured in Amy Poehler’s movie Moxie.

When the pandemic put a pause on shows, The Linda Lindas went on to self-release a four-song EP, make their own videos and grow a following beyond Los Angeles.

But they never expected or could have even dreamed that their performance of “Racist, Sexist Boy” for the Los Angeles Public Library in May 2021 would take them from punk shows to TV shows. A month later, when the school year ended and summer began, The Linda Lindas got to work on their first full-length LP.

Having written a mountain of new material individually while sheltering in place and attending class virtually, the band was more than ready to enter the studio where Mila and Lucia’s dad (and Eloise’s uncle and Bela’s “uncle”) Carlos de la Garza oversaw recording and production.

The Grammy-winning producer’s work includes Paramore, Bad Religion, Best Coast, and Bleached.

Joyce Manor officially announce their 6th studio album, “40 oz. To Fresno”, slated for release on June 10th, 2022. They also share “Gotta Let It Go,” the first single available today on all streaming platforms. Pairing sentimental lyrics with an aggressive bridge, the track emphasizes the “punk” in pop-punk and is the perfect re-introduction to the band.

It’s been four years since a new Joyce Manor album, their longest gap yet, and in fact, the band almost considered taking a break from music, but instead they wrote “40 oz. to Fresno“, which was produced by Rob Schnapf (who also helmed 2016’s Cody) and which is shaping up to be a return to the lean, no-frills sound of Joyce Manor’s early days.

Their latest project “40 oz to Fresno” to life thanks to singer/guitarist Barry Johnson’s desire to keep writing during quarantine. Produced by Rob Schnapf (Elliott Smith, Tokyo Police Club, Joyce Manor’s ‘Cody’,) mixed by Tony Hoffer (Beck, Phoenix) with Tony Thaxton of Motion City Soundtrack on drums, a sense of liberation lies at the core of this project. It’s strangely fitting that the title was taken from an auto-corrected text message about Sublime. Those types of happy accidents are all over “40 oz. To Fresno” and are worth the subsequent sonic hangover.

Vocalist Barry Johnson summarizes, “This album makes me think of our early tours, drinking a 40 in the van on a night drive blasting Guided By Voices and smoking cigarettes the whole way to Fresno.”

Since forming in 2008, the pop-punk group has proved time and time again that they capture listeners’ attention through their catchy yet thought provoking lyrics, and high energy shows. Although they have an established sound that reflects the energetic and gritty nature of the band which fans have come to expect, they push the limits by experimenting throughout the recording process.

Sounds great.

due 6/10 via Epitaph

Armed with three singles, Chicago trio gears up for their first release for Matador Records. The 7’’ release of “Billy/History Lesson Part 2” showcases their penchant for scuzzy guitar hooks and rich vocal harmonies. It’s the kind of nineties retro we can’t get enough of these days.

Matador signees. Chicago natives. Teenagers. Nu-gaze trio Horsegirl are preparing for a big 2022. Norah Cheng, Penelope Lowenstein, and Gigi Reece are as cool as any Gen-Z has ever—or will ever—be, and they’re making the kind of rock music that people who don’t pay enough attention say is dead.

Is this what it felt like when Sonic Youth first entered the scene? With exceedingly lo-fi releases like ‘Billy’ and the eerie ‘Ballroom Dance Scene’, Horsegirl prove that your favourites of old are not the end of the line. This is a band following the pedigree of acts like The Breeders and Slint, and they’re making their SXSW debut in 2022, so watch out for a lot more hype on the near horizon.

Horsegirl’s first release for Matador Records, “Billy” b/w “History Lesson Part Two” (Minutemen). Having only formed in 2019, and with merely three singles released so far, Chicago trio Horsegirl have quickly captured the ears and attention of fans and critics worldwide, garnering early critical acclaim from notable institutions such as Pitchfork, NPR, Stereogum, Sirius XMU, NME and BBC Music. On new single “Billy”, Horsegirl push their singular brand of innovative guitar music a step further, expanding their already enveloping wall of sound with three-part harmonies, swelling, overdriven guitars and unexpected tempo changes. Produced by the band and legendary producer John Agnello (Dinosaur Jr., Sonic Youth, Kurt Vile), the electrifying new track not only marks a significant evolution for the young group, but further solidifies Horsegirl as the exciting new bastions of alternative music.

Scuzzed-out lo-fi rock with an emotional core and an experimental edge

From: Illinois, USA, On the surface, it appears Horsegirl are merely making winsome lo-fi Indie rock, but when you take a long, hard stare into the fuzz, you’ll find a band of plunging emotional depths, the kind of hypnotic, entrancing song writing which comes around very rarely. Add to that the occasional foray into lush shoegaze wig-outs and you’ve got a band ripe to be adored.

Chicago trio Dehd are gearin up to release new album “Blue Skies” in May and they’ve just dropped this new song and video. “When I get too overwhelmed and I feel like my heart’s gonna break from all the sadness in this world I go for a walk,” says the band’s Jason Balla of the song’s origins. “The familiar streets of home pull me back to earth.

The Chicago trio Dehd follow up 2020’s well-regarded “Flower of Devotion” with their most considered work to date. Emily Kempf, Eric McGrady and Jason Balla made it at the same studio as “Flower of Devotion”, but tripling their studio time allowed them to flesh out their songs with synthesizers, drum machines and other new sounds. Don’t worry, they haven’t abandoned their DIY roots: singles “Bad Love” and “Stars” still sound raw and visceral.

Official music video for Dehd’s new song “Stars,” off of their forthcoming album ‘Blue Skies.’