The Fat Angel Sings

Guitar, two drummers, and… no bass player? Bring it on says Colorado-based The Velveteers.

It’s little surprise that Black Keys frontman and Easy Eye studio/label owner Dan Auerbach gravitated to the hard-wired trio. After all, the Keys began their career with just drums and guitar, which, while it didn’t last, provided their initial brush with fame. While The Velveteer’s murky, occasionally abrasive attack is a far cry from most of Auerbach’s other projects like soul diva Yola, deep bluesman Robert Finley and the retro pop of Shannon & the Clams, the heartfelt intensity in these dozen tunes clicked with him.

It has been a long road for singer/guitarist Demi Demitro and drummer/multi-instrumentalist Baby Pottersmith. Formed in 2014 when only in their mid-teens, it took six years hammering away at an approach and songs until they felt comfortable enough to lay them down for posterity in a recording studio. Along the way the twosome expanded to a trio adding second drummer/multi-instrumentalist Jonny Fig to fill out the sound. A surprise call from Auerbach who wanted to record them after seeing some live clips and videos was the payback for that long gestation period.

While a few acoustic interludes peppers this generally harder-edged debut, in particular on the early single “Brightest Light” that kicks off acoustic and gradually grows into a darker and louder close, the majority of selections find The Velveteers’ plowing territory somewhere between the more pop-oriented strains of The Pixies, Sonic Youth and Siouxsie & the Banshees.

Bring thumping glam in the snotty “Choking” where Demitro spits out Two-faced, head case/Blowing my mind/You cut your tongue off with a razor/At the scene of the crime with the baby-doll venom of The Divinyls’ Christina Amphlett, a bit of blues in the riff rocking “Charmer and the Snake” (You think you’re the charmer/you’re really the snake), the punk attack of “Beauty Queens” and some serious metal licks in the opening “Dark Horse” for a diverse,  potent and consistently engaging set.

The years of woodshedding resulted in a swagger and confidence, aided by Auerbach’s sure production hand, that explodes out of the speakers. The vibe is tough and raw, made meatier with synth bass (OK, so there is some bass), subtle keyboards and even, yikes!, strings (but only on closing ballad “Limboland”).

As singer and primary guitarist Demitro is naturally the focal point. Her alternately powerful and passionate vocals exude personality, and the songs with acoustic and electric approaches are varied enough to never fall into predictability. It all coalesces into one of the more impressive, duskier (Am I living in a nightmare daydream? she asks in the mid-tempo title track) guitar-driven albums of the year.

From the new album ‘Nightmare Daydream,’ available October 8th:  

Frightened Rabbit are releasing “The Work”, a book of lyrics and illustrations by the late Scott Hutchison, lyricist, vocalist and songwriter of Frightened Rabbit.

The limited hardback edition presents the band’s complete lyrics (including B-sides and rarities) with handwritten excerpts by Scott, alongside his illustrations, many of which have never been seen before.

The book is meant both as a celebration of and tribute to Scott’s unbridled creativity. It aims to fulfil l his wishes by being the book that he wanted to create and had spoken of creating before his death.

“Seeing this book come to life has been something of a bittersweet experience. Reading the lyrics without music really brings home the stark reality of what Scott was going through and at the same time highlights the talent of someone who I consider to be one of the best songwriters in the world. This would’ve been a different release had Scott been involved but we all felt it was important that his lyrics be celebrated and given the spotlight they deserve. As Scott has said, these words were always meant to be accompanied by music, but the impact of digesting them without is no less great. Pick up this book of words, hold it, share it and immerse yourself in the world Scott created by opening not only his heart but his whole soul to the world.” Grant Hutchison

Steely Dan has set the “Absolutely Normal Tour ’21,” which begins, on October 5th. The U.S. tour will hit 15 cities over 28 concerts before wrapping on November 20th. In addition, Steely Dan’s “Northeast Corridor: Steely Dan Live!” and a live version of Donald Fagen’s acclaimed 1982 solo album “The Nightfly” will both be released through UMe on September 24th. (Both albums will also be available on 180g vinyl on October. 1st.)  Donald Fagen has simultaneously released these two new live albums — one under the nearly 50-year-old banner of Steely Dan; one billed as a solo album — that revive some of the most pungently written and exquisitely arranged and played music of the 20th century. “Northeast Corridor: Steely Dan Live!” is the first official live album of material from that band … sans the late Walter Becker, of course, who died in 2017, but performed by Fagen with a crackerjack ensemble that makes it sound as fresh as it ever has. “The Nightfly Live,” alternativly, uses that same big band to revive the full track list from Fagen’s 1982 solo debut, which ranks alongside “Aja” and other Steely Dan classics in the minds of most fans.

The first live Steely Dan album in more than 25 years, “Northeast Corridor: Steely Dan Live!” was recorded across tour dates at New York City’s Beacon Theatre, The Met Philadelphia, and more, and showcases selections from the band’s extraordinary catalogue. Fagen’s “The Nightfly Live” was performed live by the Steely Dan Band. 

Concertgoers can expect a set from Steely Dan’s extraordinary five-decade plus catalogue as well as The Nightfly.

Fagen: Back in the fall of 2019, we were at the end of the tour and had 16 more shows, and the band was sounding so good. We’d been out for a couple months, and I thought it should be documented. In a way, I wanted to show off the band. The band we have now has been together like four times longer than the original Steely Dan band, so we really jibe on stage. So I asked the front-of-house mixer if he could make a professional recording off the board, and he said, “I gotta run a few pieces of equipment, but I could do that.” And so he recorded the last 16 shows, a couple of which were “Nightfly” album shows. I loved the way it was recorded: There was a lot of separation, and there wasn’t all this reverb you hear on a lot of live albums. It’s clean. And so I picked the best Steely Dan performances from a couple shows, and most of the “Nightfly” were from one night at the Beacon Theater, but there were a few other better performances I picked for a couple of the other tunes. And, yeah, I thought it came out really good.

Vocalist, Rhodes, Melodica: Donald Fagen

Drums: Keith Carlock Bass: Freddie Washington, Guitar, Rhythm Arranger: Jon Herington Guitar: Connor Kennedy , Piano, Keyboards: Jim Beard , Trumpet, Flugelhorn, Percussion, Horn Arranger: Michael Leonhart , Trombone: Jim Pugh , Tenor Saxophone, Alto Saxophone: Walt Weiskopf, Baritone Saxophone, Bass Clarinet: Roger Rosenberg , Vocals, Percussion: Carolyn Leonhart , Vocals, Percussion: Catherine Russell , Vocals, Percussion: La Tanya R. Hall , Vocals, Percussion: Jamie Leonhart

The new songs from Vancouver trio Curves scratch a lot of itches. “Crybaby,” the opening track of their lo-fi project “Women’s Fitness Centre“, is one of the funniest, grubbiest songs I’ve heard in a while, evoking crazed eyes and violent giggles, and the tune itself is pretty damn good, too. Their disheveled vocals are bratty to the core, heightening the humour of their lyrics, which find the narrator berating themselves as a “loser,” “substance abuser,” “bonafide crybaby” and, perhaps the sharpest dagger, a 2012 Mitt Romney voter. They also mimic the cries of an actual baby with a snotty snarl, a fitting inclusion to a song full of bluesy punk crud. Then comes the happy-go-lucky guitar pop of “Models,” which is sonically cleaner, but also packs some smirk-worthy lyrics. “No, you’re not a famous model / But you’re full of things that I wanna bottle,” they sing with charm. Curves sound more moody and aloof on “Skinny Bitch,” a song about the burning fear of loneliness, and they show their soft, sentimental side on “Malt Liquor,” an ode to clumsy, young love. They even hold the unique honour of releasing the best Galaxie 500-esque tear-jerker about a forklift (“Never Leave a Forklift Running If You Aren’t Certified”). The pretty melodies, garbled background voice, backwards guitar loops and chorus vocals that start to trip over themselves create this wonderful, ’90s lo-fi sound, simultaneously triggering feelings of warm safety and heartbreaking regret.

While virtually all the songs on Women’s Fitness Centre are a scrappy good time and prime candidates for a sticky dive bar, especially if you’re feeling washed up and just wanna drown your sorrows with friends around, you’d be selling yourself short if you didn’t also use these for a good cry in your bedroom or some menacing laughter during your morning commute to the city.

Jet Simon – Guitar/Vocals
Sarah Richards – Bass/Vocals
Luis Gonzalez – Drums/Backing Vocals

Released August 10th, 2021

Following a string of boisterous post-punk and dance EPs, Stranded (aka Atlanta-based artist and producer David Mansfield) is back with his first full-length, “Midnight Sun“. The album also marks the relaunch of Double Phantom Records, Mansfield’s underground label, which has released music from Atlanta bands like Algiers, Balkans and Carnivores. “Celine’s Dilemma“, was his first EP as Stranded, that arrived in 2018, which was followed by a pair of EPs in 2020, “Long Dusk” and “Post Meridian”. The trio of EPs traverse house, disco and post-punk, emitting both joy and agitation as their dissonant instrumental layers snake in and out of one another. 

“Midnight Sun” is a bit of a departure from these dense electronic collages, opting instead for a guitar-based sound, which results in Stranded’s most straightforward release yet. But Stranded hasn’t abandoned his left-field quirks or broad influences—his rhythm-driven post-punk still folds in dance-inflected beats, bubbling synth tones and cold vocals. Perhaps the biggest change is that Mansfield occasionally swaps a brightly coloured sonic palette for a darker, more grim one. Midnight Sun is slightly ominous, particularly the bluesy gothic-rock number “The Last Word,” the electro-meets-Bauhaus opener “A Testimony” and the harsh stonking of “Crossed Lines.” However, the interlocking guitar mazes of “Hesitation” add some ribbons of colour, as do the affecting chorus of “Wayward Haunted’’ and the cascading twinkles of “Fallen.”

With Mansfield at the helm of all the vocals and instrumentals, Midnight Sun is another thought-provoking, danceable addition to Stranded’s diverse back catalogue.

David Mansfield– Production, Performance, and Writing

From the upcoming album, “Midnight Sun”, out 24th September 2021

I was introduced to the band Fehlt in 2020 with the release of their debut single “Closure.” Their sinister hues, knotty riffs and throbbing rhythms resonated pretty quickly—their music struck me as pensive, but also heartfelt. Now returning with a debut EP titled “Figure Two”, this Leeds art-rock band takes another crack at sombre, monochrome tones and guitar labyrinths, and they execute convincingly. Singer/songwriter Ewan Barr’s sparing lyrics are difficult to decipher due to his muffled vocals, but the band’s moods still come across. Their songs are largely austere, but occasionally playful—the pummelling guitars and downcast vocals of “Withdrawal” represent the former, while the twisty riffs of “Shared Pleasantries” help puncture that darker tension. The most propulsive of the bunch is “Kopfkino,” a German word that roughly translates to “head cinema,” and it might be their best track yet. Barrelling around tight corners with might, it captures a certain type of escapism that flickers between torment and relief. They expel pent-up energy, but at the same time, their bleak sounds express anguish, which replenishes that tank, circulating it endlessly like a fountain. In a surprise to no one, they’re fans of Joy Division, and they close the EP with a cover of “No Love Lost.” It’s much more dense and atmospheric than the original, but their nimble krautrock-meets-post-punk chops are more than up to the task. If their next project is as stimulating as the cold, cinematic sounds of Figure Two, consider me very excited for the future releases.

Order the new EP ‘Figure Two’ featuring previous single ‘Light Porcelain’, and available on both clear & black vinyl. Limited to 50 each:

“No Love Lost” · Fehlt released on Clue Records 2021-09-03

A few years ago, I fell in love with Our Girl, a band fronted by The Big Moon’s Soph Nathan. I’m still struck by their compassionate song writing and majestic guitar work. Shortly after getting into them, I learned that their bassist Josh Tyler also plays lead guitar in a band called Breathe Panel, Split between London and Brighton, Breathe Panel come together to create a sound that is the sum of their four parts. Playing together half unplugged in a living room and swapping drums for cushions is where they would often hit their natural rhythm, capturing a shared feeling in songs in a quick and simple way.

With no agenda other than enjoying making music together, the resulting album Lets It In is ultimately positive in outlook. Themes include falling in love, moments in places, light, breathing, walking, urban living and finding beauty in a sometimes heavy environment. Living together in a shared house in East London, frontman Nick Green and lead guitarist Josh Tyler would start writing songs together as an escape from the restlessness of the city. “A sort of meditation from the mess”, says Nick.

With the arrival of the lockdown, their immediate surroundings became even more vivid and influential as spring turned to summer last year. “I’ve been reading about Psychogeography and the weird link between where you are and how you feel and how sometimes those two things can align to make you feel like you’re in a sweet spot just for a split second or an afternoon,” explains Josh.  Their second and latest LP “Lets It In”, their songs feel carefully constructed—their vocal inflections peak at all the right moments and their guitar interplay is clever, but never overbearing. They’re cognizant of sonic space and the range of emotional tones brought to life by their sounds, and despite their attention to detail, their music still has a looseness to it. Nick Green’s good-natured coos are a welcome through line in their songs,

Those fleeting moments are preserved on the album in beautiful detail. “Tomatoes” was born out of the simple joy of growing plants on Nick’s windowsill. “My Preferred Memory Was The Opposite” emerged from a lyrical writing block that was overcome in a dream and finished the next day. However nowhere is the essence of the album found more precisely than on the album’s title track which documents a relationship blossoming at the first signs of the summer.

Alongside bassist Alex Turner and drummer Benjamin Reeves, the band set out to capture the core of the songs in an immediate and unaffected recording. They met their match in Bristol with producer Ali Chant (Katy J Pearson, Aldous Harding, PJ Harvey) where they recorded eleven songs over five days, live to tape. “Ali is brilliant in that sense as he was always about the group performance rather than getting too mechanical with the detail”, says Josh. They focused on the feeling rather than hitting every note perfectly, allowed space and clean tones. Even a short cough is left woven between vocal lines in “Sometimes Brighter”. “It was cool to just lay our cards out and make everything as pure as possible” adds Nick.

The result is a second album that sounds real and present in the moment, evoking the moments in time in which it was made. 

Releases September 17th, 2021

It’s been bittersweet time watching Tropical Fuck Storm grow out of their blues-guitar roots into a sound that could maybe best be described as a tin hat nebula, progressing while at the same time leaving behind a part of the band on their recordings which proves so vital to their raucous live set. As if to apologize for the continued experimentation on Deep States, Gareth Liddiard almost immediately followed that record up with news of a new collaboration with a pair of avant-garde jazz figureheads who, ironically, seem to keep Liddiard’s out-there ideas in check. “Will to Power” is a hell of a way to kick off the campaign for the trio’s new record, blending a moody guitar familiarly descendent from The Drones with steady piano and percussion that ultimately warps into a TFS-sanctioned whirlwind of guitar and vocals equally out of whack. Can’t wait to hear this song stretched to 15 minutes if and when they tour.

Hello – I love this shit. It’s as monstrously ravishing as it is clumsy in its elegance.

Words run into each other with little regard for one another’s injuries. There are sounds who come out of nothingness to wallop and brutalize their fellow sounds.

This Springtime record is so full of strange wanderings that are broken and piled up on themselves that the heads have no idea where their tails are.

The live recording of Will Oldham’s West Palm Beach is treated with love and respect and would certainly be met with open arms by its author. “Jeanie In A Bottle” and “The Viaduct Love Suicide” are magnificent songs originally penned by Gareth Liddiard’s Irish uncle, Ian Duhig. The latter piece is a true story of a woman in the UK who had an abusive husband and a disabled child. She jumped off a bridge with her son in her arms. The press were saying she was fucked for doing such a thing, so Ian wrote the poem showing she was not. “The Island” is a noisy improvisation that’s wicked and wild with a slinky Hammond organ sneaking its way through the clatter. Irish composer Herbert Hughes wrote the tragic and haunting She Moved Through The Fair which exists in a number of versions and has been recorded by several artists (this one is best). “The Killing Of The Village Idiot is about the Australian Special Forces who went around slaughtering civilians in Afghanistan and recently got investigated and busted for it.

The single most important component in collaborative art is the chemistry between the collaborators. Jim White has long been one of my favourite drummers: He reminds me of no one. His ability to keep perfect time while deviating from convention and tossing tambourines and broken cymbals on his kit is as marvelous to watch as it is to listen to. Gareth Liddiard’s guitar playing feels out of control, but he knows exactly what he’s doing. He throws nuanced accents like darts among the filthy din of distortion. And the ferocity his voice reaches is tremendous. Maestro Chris Abrahams’ playing is in a class by itself, ranging from the charm of Erik Satie to the nastiness of a truck-mounted excavator. These three gentlemen work, play and improvise together in an emotionally volatile universe. You could call it “jazz”, but that word is way too jazzy for what Springtime creates. There is no pompous audacity. No terrible flagrancy. Their music is heartfelt. It’s important.

Springtime is Gareth Liddiard, Jim White and Chris Abrahams

“Will To Power” by Springtime off their self-titled album ‘Springtime’ out on TFS Records & Joyful Noise Recordings.