The Fat Angel Sings

With “A Southern Gothic“, Adia Victoria continues her journey through the conflicts of the American South and the troubling resonance of its past. Sonically, the album is full of frequent juxtaposition. It is equal parts historical montage and modern prophesy, dark and light, love and loathing. 

When they asked what I wanted the first single to be off “A Southern Gothic” I knew “Magnolia Blues” was how I wanted this record introduced to y’all. It is high praise of black southern abundance, black like prayer meeting at the river, black like white fans on brown skin in church, black like my grand-mama’s watermelon patch, black like our hands patting atop our thighs and alway’s on beat, black like their eyes always watching god.it is a reclaiming of the magnolia tree from the hands of white supremacy. It is an ode to every black southern woman who remembers her girlhood spent in the shade of her magnolia tree. High praise to my brother Joshua Asante for shepherding my vision of our folk from my mind and into reality.

The 14 tracks are the musical embodiment of the relationship that so many people, especially Black women, have with the South. During the writing process, Adia listened to Alan Lomax’s old field recordings and the sounds became the heartbeat of her new music, upon which she and creative partner Mason Hickman later layered other parts. And in many ways, the story of working with Hickman to write and produce A Southern Gothic is as critical to the project as the stories Victoria tells across the album. “I would say that the philosophy behind this record is, ‘Necessity is the mother of invention,’” Victoria says. “It’s also, ‘When you don’t have excess, when that’s all stripped away, what you gon’ do with that?’ What art can you make from walking through your mother’s garden?”

Adia’s upcoming album “A Southern Gothic” available 17th September:

Instantly recognizable with her raw, varied vocal talents and tangible charisma, Marianne Faithfull has been a long-time friend of the Montreux Jazz Festival, appearing there five times over a nearly 15-year period: 1995, 1999, 2002, 2005 and 2009. The first live album of Faithfull in over 10 years, Marianne Faithfull: “The Montreux Years” opens with an enchanting rendition of Van Morrison’s “Madame George“, recorded live at Auditorium Stravinski on July 10th, 1995, where Faithfull’s powerful range and unfaltering dynamism was instantly apparent.

Enjoy Marianne Faithfull’s enchanting rendition of Van Morrison’s “Madame George” recorded live at Auditorium Stravinski on 10th July 1995 where her powerful range and unfaltering dynamism is instantly apparent. ‘Marianne Faithfull: The Montreux Years’ a live album featuring captivating performances from her multiple appearances at the Montreux Jazz Festival Released on CD Double LP and Digital formats on August 27th.

The singer’s fans can immerse themselves in these unique recordings, which include several songs from her celebrated album Broken English, such as an electrifying, guitar-heavy performance of the title track, the soaring Guilt and John Lennon’s rousing anthem Working Class Hero. Meanwhile, the haunting sensitivity of Strange Weather, recorded live at Casino Barrière on July 6th, 2005, captures the bottomless depths of Faithfull’s brutal and ragged beauty.”

Enjoy Marianne’s beautiful homage to Nico during her performance at the Festival in July 2002. The full version of Song For Nico is available to stream now as part of her upcoming live album “Marianne Faithfull: The Montreux Years”, out August 27th.

The Montreux Jazz Festival takes place for two weeks every summer in Switzerland, drawing 250,000 music lovers to the shores of Lake Geneva. Since 1967, the Festival has celebrated all genres of music and generated countless legendary performances. Artists who have graced the stage of Montreux include Aretha Franklin, David Bowie, Prince, Bob Dylan, Lauryn Hill, Kendrick Lamar, Leonard Cohen, Marvin Gaye, Miles Davis, Nina Simone and many more.

“One Way Out” is a collection of music written by Melissa Etheridge in the late 1980s and early 1990s that never made the cut. Until now. Etheridge stumbled upon these decades old songs/demos years ago while gathering materials for a box set. As she went through the songs, it brought her back to the start of her career and how they just weren’t right for that particular time or album.

Some of the tracks were written before she had even come out and never felt comfortable releasing them. In 2013, the singer found herself back at Henson Studios in Los Angeles with her original band (Fritz Lewak, John Shanks, Kevin McCormick) and would give these songs a new life.

Shortly after she finished the records, she would part ways with her label and the box set was shelved. Melissa would begin working on new material and once again, those songs were set aside. That is, until 2020 when the time was finally right.”

This release celebrates the rich creative period surrounding Dylan’s albums Shot Of Love, Infidels, and Empire Burlesque with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more. Vault #49 is pressed on gold, violet, orange and purple discs at Third Man Pressing facility in Detroit, the set includes a 16-page booklet of liner notes and track notations, as well as individual LP sleeves all housed together in an impressive slipcase. The songs on the Third Man Vault will be the ONLY vinyl release of those 42 songs. 

“The latest chapter in the highly acclaimed Bob Dylan Bootleg Series revisits an often-forgotten, rich vein in Dylan’s vast and complex catalogue, shining fresh light on the provocative new musical directions Dylan was taking as a songwriter and a recording artist from 1980 through 1985. In the early 1980s, while the music industry was grappling with the arrival of new trends and technology, from MTV to compact discs to digital recording, Bob Dylan was writing and recording new songs for a new decade, creating an essential new chapter in his studio catalogue. Springtime In New York (1980-1985) celebrates the rich creative period surrounding Dylan’s albums Shot Of Love, Infidels and Empire Burlesque with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more. The deluxe 5CD edition of the album presents 57 rare Bob Dylan recordings, 54 of them previously unreleased in any format.”

Third Man Records, in conjunction with Sony/Legacy Recordings, is humbled to release a limited edition 4LP vinyl collection of Bob Dylan – “Springtime In New York: The Bootleg Series Vol. 16 (1980-1985)” as their 49th Vault package. Pressed on gold, violet, orange and purple discs at the state-of-the-art Third Man Pressing facility in Detroit, the set includes a 16-page booklet of liner notes and track notations, as well as individual LP sleeves all housed together in an impressive slipcase.

Bob Dylan – Springtime In New York: The Bootleg Series Vol. 16 (1980-1985) is also available in a deluxe 5xCD boxset as well as 2xCD and 2xLP 12” vinyl highlight packages. The songs on the Third Man Vault will be the ONLY vinyl release of those 42 songs. There is NO material overlap between the 2xLP version from Sony/Legacy and the 4xLP release from Third Man.

LP One of Bob Dylan – Springtime In New York: The Bootleg Series Vol. 16 (1980-1985) was recorded in 1980 and 1981 and finds Dylan rehearsing a variety of his own catalogue compositions (“Señor (Tales of Yankee Power)”), rearranging some traditional folk tunes (“Jesus Met the Woman at the Well,” “Mary of the Wild Moor”) and revving up a selection of surprising covers (“Mystery Train” featuring Ringo Starr, “Fever,” “Abraham, Martin and John”) with a group of musicians including Frank Fred Tackett (guitar), David Mansfield (mandolin), Willie Smith (keyboards), Tim Drummond (bass), Jim Keltner (drums) and background vocals by Clydie King, Carolyn Dennis, Gwen Evans, and Regina McCrary.

LP Two and Three of Bob Dylan – Springtime In New York (1980-1985) is devoted to outtakes and alternate takes of recordings, produced by Chuck Plotkin for “Shot of Love”, as well as material Bob Dylan wrote for “Infidels”, performed by the all-star band assembled for the album, produced by Bob Dylan and Mark Knopfler, which featured Knopfler (guitar), Mick Taylor (guitar), Alan Clark (keyboards), Robbie Shakespeare (bass) and Sly Dunbar (drums).

LP Four of the album includes live tracks (“Enough Is Enough” from Slane Castle, Ireland, and “License to Kill” from Late Night with David Letterman, March 22nd, 1984) alongside alternate takes and outtakes from the “Empire Burlesque” sessions, produced by Bob Dylan, including the premiere of the new song “Straight A’s in Love.”

According to the Producer’s Note in the album: “The alternate takes selected for this set are different than the ones released on previous volumes of The Bootleg Series. They are included here to illustrate the musical journey Bob Dylan undertook during these years.” 

In his liner notes for Bob Dylan – Springtime In New York, Damien Love writes, “And that’s the real story of this gloriously untrammelled collection. The songs. The songs stripped free of trappings, tampering, passing tastes, and judgements. The songs broken down to the sound of people really doing this, right now, acting on instinct. The songs rough and rowdy, bruised and tender, joking and crying, nagging and striving and yearning. The songs were always there, and here they are still, keeping pace with us.”

“Buffalo Daughter are a three-member group consisting of Sugar Yoshinaga, Yumiko Ohno and MoOoG Yamamoto, often augmented by a drummer and other guests. Their sound is heavily influenced by German progressive rock and techno pop, but also includes bits of dub, club, shoe gaze and post-rock influences. Given their mix and match style, and that they emerged in the mid-90s, they are often considered as part of the Shibuya-kei movement.

This versatile group has collaborated with a wide range of artists including the French ambient pop group Air, former member of techno-pop pioneers The Plastics, idol Ami Suzuki, veteran Mari Natsuki, Takako Minaka, Cornelius, Naoko Yamano of Shonen Knife and Cibo Matto. Sugar also sometimes plays in the side project band Metalchicks, and has toured the States and Europe with them. While keeping themselves busy with the tour life, Buffalo Daughter also find it interesting to collaborate with the visual artist such as graphic artists and painters. The band has the history of having close relationships with the artists and that gave them some opportunities to perform at the gallery and museum in the past.”

First single “ET” (Densha) from upcoming album “We Are The Times”.

“Lindsey Buckingham’s self-titled album is his first solo release since 2011’s Seeds We Sow and follows his departure from Fleetwood Mac. As with the seven studio and three live albums he has released as a solo artist beginning with 1981’s Law and Order, the new project showcases Buckingham’s instinct for melody and his singular fingerpicking guitar style, reaffirming his status as one of the most inventive and electrifying musicians of his generation.

It was written, produced and recorded by Buckingham at his home studio in Los Angeles. “I wanted to make a pop album, but I also wanted to make stops along the way with songs that resemble art more than pop,” he says. “As you age, hopefully you keep getting a little more grounded in the craft of what you’re doing. For me, getting older has probably helped to reinforce the innocence and the idealism that hopefully was always there.”

“Everything on the record is me, for better or worse,” Buckingham said. “Many of the songs on this album are about the work and discipline it takes in maintaining a long-term relationship. Some of them are more about the discipline and some of them are more about the perks. ‘Scream’ is about the perks. It felt very celebratory and it was also very, very simple and short. To the point. It didn’t evolve into some huge thing. It made its case and got the hell out.”

“Scream” follows the singles “I Don’t Mind” and “On the Wrong Side.” Lindsey Buckingham arrives on September 17th via Reprise.

The single opens with instrumentation that builds as Buckingham’s voice enters in a cathartic rush. “I love you when you scream,” he sings on the chorus.

“Scream” is the third track from Lindsey Buckingham’s forthcoming self-titled solo record due out September 17th on Reprise Records.

On her new song “Radio Silence,” available now everywhere , Hemby showcases her acute metaphorical lyricism as she details the deafening sting of a fading friendship.

Co-written by Hemby with Rosi Golan (Dear John, Vampire Diaries, Grey’s Anatomy) and grammy-winning songwriter Daniel Tashian (Kacey Musgraves’ ‘Golden Hour’), “Radio Silence” is a slow-burning ballad from Hemby’s ‘Pins and Needles’ album out October 8th via Fantasy Records.

“This song is basically about being ghosted by a friend, only not because of a fallout, but because your friend doesn’t want to drag you into their struggles, so they shut down,” says Hemby. “I was the friend, and Rosi Golan was the one reaching out. She and I wrote this song with our friend Daniel Tashian.”

“Radio Silence” is from Natalie Hemby’s new album ‘Pins and Needles’ available everywhere October 8th.

About a year ago I was driving around the desert bouncing between southern Arizona, Joshua tree, slab city and Sedona visiting friends and exploring some far out areas I had never been. while I was out west I began receiving the first mixes of “Transmigration Blues” and started selecting which songs the album would consist of from the material that had been recorded a few months prior. It was a beautiful way to bring the songs back into my life. I was in motion and activated, I was in a place where I could experience the songs coalesce with the environment and moments in a non-centered way. Which is some attempt to try and say I was able to allow myself to hear them as apart of what was happening rather than as the only thing that was happening. Metaphorically speaking i suppose if one can’t see the forest through the trees then maybe go to the desert. anyways….eventually I was left with a handful of songs that weren’t included on the album, some were used as singles and some haven’t been released until today. I’m very pleased to see all these songs now under the same roof in this new deluxe version of “transmigration blues.” it feels like, in some small way, a home coming of sorts.

When I started The Dead Tongues I was just beginning to turn my focus toward acoustic instruments after many years of playing through big amps and lots of effects pedals. I felt excited in the absence of electricity and drawn to the minimalism that was required, and honestly I still am. Yet I find myself spending more and more time once again with the electric guitar, which feels equally familiar as it does foreign at times. In the recording of “Pawnshop Dollar Bills” it’s all there, rediscovery and unknown territory, just an energetic push toward something that feels alive.

“Pawnshop Dollar Bills” the newest single from The Dead Tongues, out now on Psychic Hotline.

Déjá Vu (Radio Edit) · The Dead Tongues, released through Psychic Hotline

The first single from the new album “IV”. Written by Joel Van Horne. Joel Van Horne – vocals, guitars, synthesizers, loops, piano, bass, percussion // Ben Wysocki – drums, percussion // Julie Davis – vocals // Kramer Kelling – vocals // Hunter Burnette – vocals // Sydney Clapp – vocals

Meet my new album.  It’s called “IV”.  The official release date will be October 15th, 2021. The first single “Everything In Between” I am absolutely thrilled to announce the release of my fourth LP this fall! So much time and love was put in to this record by so many. It’s my most collaborative album so far, with a large cast of Colorado musicians that gave their many talents to these songs. Official release date is on the way, and I’ll be releasing a few singles leading up to that date, with one coming real soon. I am damn proud of what we made and simply can’t wait to share it with you.

Snowy Range Records Released on: 2021-08-20