The Fat Angel Sings

Coming May 6th, the limited edition half-speed master of “My Generation“, Originally released in 1965 “My Generation” was the debut album by The Who. The album peaked at no 5 in the UK charts and launched the band onto worldwide acclaim. The “My Generation” album, produced by Shel Talmy, was released as The Who’s debut long player in December 1965, a month after its immortal title track. The LP reached No.5 in an initial 11-week run in the UK charts, spending an aggregate five weeks in the Top 10. The set returned to the Top 20 in 1980. It’s been cited as an all-time great by Rolling Stone, Mojo, and NME and was chosen as “culturally significant” for the Library of Congress’ National Recording Registry, to be preserved and archived for all time.

The album contains songs such as “My Generation”, “The Kids are Alright” and “The Ox”, and has been mastered by long time Who engineer Jon Astley 

Packaged in original sleeve with obi strip and certificate of authenticity. 

Also on May 6th, the limited edition “A Quick One” half-speed master, featuring titles ‘Boris the Spider’ and ‘Don’t Look Away’. The follow up to “My Generation”, “A Quick One” was released in 1966, it contains the experimental music Suite (a nod to Rock Operas that were to follow) “A Quick One While He’s Away“, famous for being performed at the Rolling Stones Rock N Roll Circus. Mastered by long time Who engineer Jon Astley from the original tapes and packaged in original sleeve with obi strip and certificate of authenticity. 

The follow-up set “A Quick One” arrived a year later, this time produced by Kit Lambert was released in late 1966, a week after the single “Happy Jack,” which was not on the original UK release, although it was on the US edition. The album reached No.4 in 17 consecutive weeks on the UK bestsellers. It saw The Who broadening their scope into more experimental compositions, such as the nine-minute title track. It also included such enduring Who songs as “So Sad About Us” and John Entwistle‘s “Boris The Spider.”

Out on May 6th, the limited edition black vinyl versions

Songs created in the shadow of terror and loss, but that crackle and pop with defiance “Fear Fear” is a record made for agitating and dancing, for heart and soul, for here, now and tomorrow. It’s a record that explores juxtaposition; that of life and death, acceptance and isolation, environment and humanity, hope and despair, the real world and the digital world. That top to bottom rigour, the complete vision is what makes the second album from Working Men’s Club such a stunning and unique achievement.

Their critically acclaimed self-titled debut album, released in summer 2020, was the sound of singer and songwriter Syd Minsky-Sargeant processing a teenage life in Todmorden in the Upper Calder Valley. He was 16 when he wrote some of those songs, now 20, he had to get up and out of the Valley. “The first album was mostly a personal documentation lyrically, this is a blur between personal and a third-person perspective of what was going on. “Fear Fear” documents the last two years. Yes, there is bleakness – but there is also hope and empathy. “I like the contrast of it being happy, uplifting music and really dark lyrics. It’s not a minimal record, certainly compared to the first one. That’s because there’s been a lot more going on that needed to be said.”

Making the busy feel finessed and the dreadful feel magical – “Fear Fear” manages those feats, and then some. Or, as Syd Minksy-Sargeant puts it: “We just set out to make the best-sounding album we could.” 

“Skinty Fia,” the newest song from Fontaines D.C. is out now! The titular track is the latest single from their highly anticipated third studio album, “Skinty Fia“, out April 22nd. The track comes with a Hugh Mulhern-directed music video, which shows frontman Grian Chatten maneuvering his way through a bustling party crowd that slowly morphs into a surrealist dreamscape. 

The band will also be going back on tour across the UK & Ireland in November and December, in addition to their European and North American tour dates starting this Spring.

The album we’ve been waiting to share with you for pretty much a year. Sorry it’s not disco, we lied. It’s an album of terrible lows and even worse highs. We love yous all. Fontaines D.C. x

the new album, “Skinty Fia“, out 22nd April on Partisan Records:

Somewhere along a frayed thread of time, a King Gizzard and a Tropical Fuck Storm convened under the cloak of night for a slumber party of the satanic persuasion…Pumped full of booze and adrenaline, two of psych-rock’s most powerful joined forces for a 20-minute “Hatjam” chockfull of sax skronks, brick-heavy distortion, and punchy riffs. “Satanic Slumber Party” arrives just in time for your possessed pleasure

“Satanic Slumber Party Part 2 (Midnight In Sodom)” from Tropical Fuck Storm + King Gizzard & The Lizard Wizard. Track comes off the three part masterpiece ‘Satanic Slumber Party’.

Directed by Nina Renee (GOODY GOODY GUMDROPS), and Tropical Fuck Storm. Edited and SPX by Sam Mapplebeck, first AD Rebecca Hawkey, Second AD Helena Holmes. Special guest star Bob Kean as Uncle Marty.

Glenn Donaldson has always been prolific (Art Museums, Skygreen Leopards, Vacant Gardens, Blithe Sons, etc.) but he seems to have hit on a mother vein of inspiration recently with his nom de plume The Reds Pinks and Purples. While the USA waits for the “Summer at Land’s End” LP to make it to shops, Donaldson, not constrained by mortal production backlogs went and put out a download only single so fine that it’ll make you forget whatever you just heard. “The Slow Torture of an Hourly Wage” is a song that Morrissey would kill for to bring him out of irrelevance.

Featuring a maudlin harmonica melody that sort of reminds you of “Hand in Glove”, but since the 80’s are 40 years ago and old idols have fallen your mileage may vary.  The fact that Donaldson tosses great shit like this off for free has me questioning the internet economy.  Can someone make this an NFT of this so this guy can get paid?