Patti Smith has just surprise-released a new seven-song EP, “Live at Electric Lady“, as part of the legendary studio and Spotify’s ongoing series. It’s Patti’s first newly-recorded music released since 2012’s “Banga”, and it was recorded live-in-studio this past April with her long time band members Lenny Kaye, Tony Shanahan, and J.D. Daugherty, plus her son Jackson Smith.
Patti recorded her classic debut album Horses at Electric Lady back in 1975, and this EP includes a fiery version of “Birdland” from that album. It also includes a mostly-piano-and-vocal cover of Stevie Wonder’s “Blame It On the Sun” from 1972’s Talking Book, which was also recorded at Electric Lady, and a bare-bones acoustic cover of Bob Dylan‘s 1964 classic “One Too Many Mornings.” (She also wished Bob a happy 80th birthday before playing the song.) The EP also includes versions of two other ’70s classics (“Ghost Dance” and “Broken Flag”) plus two more recent songs (“April Fool” and “Peaceable Kingdom”), and it reminds you that Patti and her band are still commanding performers. The ’70s songs sound just as stunning and hypnotic as the original studio versions
Patti said, “We are very proud to be part of Spotify’s Live at Electric Lady series, our favourite recording studio. It was a unique challenge and offered us an exciting and innovative platform. We are grateful to Spotify for their generous support and willingness to present a live performance with all its possibilities of risk and revelation.”
And Electric Lady’s GM/Partner Lee Foster added, “Prior to recording, I had been discussing cover song options to present to Patti with Tony Shanahan, Patti’s MD and long time bassist/pianist. We’d yet to mention to Patti that we’d hoped to record a cover during the session, so she was unaware at the time. Days went by and Tony and I couldn’t find the right song together. Then, as we’d just begun to agonize over it, he called me excitedly and asked “is ‘Blame It On the Sun’ from Talking Book [Stevie Wonder’s 1972 album recorded at Electric Lady]?” I looked quickly to confirm and told him yes. For no reason at all that morning Patti had texted him to say that the song was stuck in her head and that she wanted the band to learn it.
Earlier this year, Annie Blackman made her Father/Daughter Records debut with a trio of songs that were pretty and swirling and immersive. Today, she’s back with another new single, “Glitch,” that’s much more pithy and direct. It’s one of those songs where the words start tumbling out and don’t stop and Blackman has a lot of funny and cutting observations about the world and our place in it, inspired by a documentary about simulation theory. The opening lines will give you a taste of what to expect: “Tell the doctor I don’t smoke but that’s not exactly true/ I like to light the camel ones, but just because I think the camel’s cute.” There’s also a swelling chorus but the song really sparks when it feels like Blackman is speaking straight at you.
The New Jersey singer-songwriter Annie Blackman has released their new single “Glitch”.
The track, which can be heard below, is part of the singer’s single series with Father/Daughter Records. Blackman said this about the new tune: “I wrote this song the morning after watching a documentary about simulation theory. Despite it sending me into a bit of an existential tailspin, I thought there was something so funny about the whole thing. The idea of my banal little life as a video game being played by an alien at once puts everything and absolutely nothing into perspective. I wanted to sing about that in a sort of tongue-in-cheek way.”
We are really excited to announce that “Sleepover”, the second album by Mildred Maude, will be released on vinyl, CD, tape and all digital platforms on October 22nd. It was produced by the band with Tom Joyce and Seamus Constance, recorded at Sawmills Studio in Cornwall and has been mastered by Simon Scott.
The vinyl has a locked groove and comes in three versions: standard translucent red, a Rough Trade exclusive translucent green and a white and green splatter, only available from Bandcamp.
Way back in the pre-lockdown days of 2019, Mildred Maude were the most exciting live band we had seen in a long time when we put them on at The Social. Three seemingly disparate characters from Cornwall – Matt Ashdown (guitar), Lee Wade (bass) and Louie Newlands (drums) – they were named after one of their grandmas and played an improvised noise that always seemed to be teetering on the edge of chaos, but also something incredibly beautiful at the same time, like a cross between Sonic Youth and Slowdive. It was utterly thrilling.
The new album bears the influence of Stereolab, Can, Butthole Surfers, Yo La Tengo and Sun Ra, among others, with three of its four tracks being over 10 minutes in length. ‘Trevena’ is the loping opener (“It was just a warm up, really,” says Louie, “but it turned out good so we kept it”); ‘Elliott’s Floor’ initially turned into My Bloody Valentine’s ‘OnlyShallow’ by mistake and on the vinyl version it never ends, thanks to a locked groove; ‘Glen Plays Moses’ is just epic in every way, crossing a Red Sea of sound, with half of Matt’s guitar parts played with a screwdriver.
Innerstrings’ incredible video for the edit premiered yesterday
The odd one out is ‘Chemo Brain’ – just under three minutes of Fugazi-esque frenzy, named after a side-effect of Lee’s cancer treatment that makes him have sudden mental blocks, and explains his constructive, repetitive basslines that underpin the band. The album artwork is also inspired by his treatment – it’s a molecular model of cyclophosphamide, one of the drugs Lee was given, that Matt made after looking through old scientific journals.
Their DIY approach has been the only way for them to get anywhere in Cornwall, where they say they feel more in tune with Aphex Twin, Luke Vibert and the Rephlex Records crowd from the 1990s than any current scene. They do, however, unintentionally have something in common with the medieval Miracle Plays that would take place in a plen an gwari (Cornish for ‘playing place’). “They were notoriously noisy to attract people to them,” explains Matt, “but were also events that brought communities together, and we like our live shows to have a sense of togetherness.”
Matt says he is also inspired by historic places of worship. “There are some great places in Cornwall such as St Just Church and the open air Gwennap Pit in Redruth where John Wesley preached in the 18th century and where John Peel once interviewed Aphex Twin. It’s these beautiful spaces that I try to imagine we’re in when we’re playing live – so it’s fitting that we’re releasing this new album on Sonic Cathedral.”
“We formed after Lee (Wade, bass) was booed offstage at a John Peel Day gig, almost died from cancer, and spent remission finding new musicians in shipping containers,” explains guitarist Matt Ashdown of Mildred Maude’s somewhat unusual origins. “We found ourselves gelling over needing outlets for unconstrained musical expression, almost like a support group in a way.”
Naming themselves after drummer Louie Newlands’ grandmother – Josephine Mildred Maude Gulliver – they set about offering something radically new to the Cornish music scene. “We all wanted to have fun and not take ourselves too seriously,” says Lee. “We found we shared a kind of DIY ethic in that we knew our music didn’t quite fit in and we just had to put ourselves forwards for things – that’s how after just three gigs we had already played with The Fall and Lorelle Meets The Obsolete.”
Their debut album, 2017’s cult classic CPA I-III, was an extension of their live shows, which are all one never-ending song called ‘Cosmic Pink Alignment’. On the new album, “Sleepover”, the songs have proper titles. “We thought continuing to name album tracks as parts of CPA would lose the simplicity of the concept,” explains Matt. “Our shows always consist of motifs and ideas that have come out of previous gigs or recordings, so even though we perhaps won’t directly be playing the songs, parts of them will emerge during our live shows, which is quite an organic approach to touring an album like this.”
Sleepover also differs from its predecessor through its use of space and, at times, its overwhelming beauty.
“It’s always our approach to offset noise with beauty,” claims Matt. “When I was at art college I read Nietzsche’s The Birth of Tragedy from the Spirit of Music, and I always seem to think back to that balance of Dionysian and Apollonian elements when we make music. Maybe for this album the balance swings towards beauty because we had a little more time to be still, and moments of chaotic ecstasy kind of just naturally unravelled with the dynamics of bass and drums.”
“The space stemmed from the fact we were conscious we were making an album,” adds Louie. “We were perhaps a little more relaxed and comfortable with what we were doing and we seemed to start some of the tracks gently, which set the dynamic. The surrounding environment at Sawmills Studio helped with this, too.”
An edited excerpt of ‘Glen Plays Moses’, the second single from Mildred Maude’s new album ‘Sleepover’, which is released on October 22nd.
The magical Mega Bog returns with another fantastical off-world transmission, the most sophisticated, exploratory, and accessible statement yet from surrealist songwriter and avant-pop prospector Erin Birgy. Featuring JamesKrivchenia (Big Thief), who co-produced, and Zach Burba (iji) among its cast of vibrant players, “Life, and Another” bristles with painterly technicolour surface textures while plumbing fathomless depths of feeling.
Cohabiting with “Life, and Another”s co-producer, engineer, and percussionist James Krivchenia (Big Thief) in a small cabin near the Rio Grande off of NM State Route 68, Birgy found herself often alone, suspended between their separate touring schedules. In these silent time passages, Birgy experienced a complete loss of self amid the expanse. Frequently thinking about death in the middle of nowhere opened a familiar black hole of troubling projections, and any desire to find freedom or remain positive continued to fold back into self-destructive thought and fear.
“Life, and Another”, the forthcoming album from Erin Birgy’s shapeshifting group Mega Bog, is so dense with information that it could conceivably come with its own volume of CliffsNotes… It’s a firehose of cryptic metaphors, veiled allusions, and seemingly disconnected thoughts sprayed against a bright, skeletal frame of jagged jazz-prog. At every turn lies a surfeit of detail that is thrilling and bewildering in equal measure.
“Maybe You Died,” though, is different. Where songs like “Weight of the Earth, on Paper” and “Crumb Back” are wiry and spry, this one is subdued: a sullen, minor-key slow burn led by the synths and guitars reminiscent of ’80s Springsteen in his elegiac mode. Birgy begins with a narrative setup whose economy could rival that of the world’s most famous six-word story: “Smell of wintergreen/Chewing gum/In a Coach leather bag/You gave me/Mom found/Curb sale/What an amazing/Two dollars,” she murmurs, covering four of the five senses in her first three lines alone.
Dark as everything may actually be, Birgy always manages to stay with trouble and conjure the extraordinary resulting music.
Recorded over several sessions in various studios Life bleeds with instrumental contributions from longtime and new collaborators, including Aaron Otheim, Zach Burba of iji, Will Segerstrom, Matt Bachmann, Andrew Dorset of Lake, James Krivchenia of Big Thief, Meg Duffy of Hand Habits, Jade Tcimpidis, Alex Liebman, and co-engineers Geoff Treager and Phil Hartunian. Listeners know by now they can trust Mega Bog to continuously lead them into deeper and wilder, spiritual pop territories. Skittering piano glissandos, haunting psychic background voices, and tequila-inspired improvisations creep and crawl over the dark-night-of-the-soul rock and roll dreamscape, before vanishing to make way for invocations of quiet clarity and living-breathing instrumental passages.
8/10. Wonderfully eclectic and strangely uplifting… a dense, fantastical odyssey… a grooving flight of fancy into humid rhythms, unhinged cabaret vocals, furious guitar, and free-jazz skronk. – Uncut
4 stars. As Life, and Another finishes, the lingering feeling is that it exists beyond definable time and space. Audaciously, it all coheres. The vision is precise and the execution meticulous. – MOJO
Chamber-popper Erin Birgy unveils her gem of a new album with a synth-pop ballad that wafts through with all the poignancy and loveliness of Prefab Sprout. – The Guardian
For fans of Laurie Anderson, Kate Bush, Kevin Ayers, Bridget St John, David Bowie, Cate Le Bon, Aldous Harding, Big Thief and Nico.
It’s always been a mystery why The Joy Formidable never got bigger than they are. The band’s big guitar dreamgrunge has always struck the right balance between anthemic melody and ethereal noise, and they’ve become a festival favourite to boot. Maybe they were just a decade or so too late to catch the wave of alt.rock’s initial popularity, blasting out after casual fans had turned their attention to other forms, and alt.rock radio had sunk into the era of downtuned hair metal like Creed and Nickelback. Regardless of whether or not The Joy Formidable enjoyed the success that was rightfully theirs, the Welsh combo hasn’t slowed down, releasing its fifth LP “Into the Blue“.
Anyone’s who’s followed the band over the past thirteen years knows what to expect here: guitars that crunch, wail and shimmer, a steady rhythm section ready to pound or swing as required, and axewoman Ritzy Bryan’s forthright coo. Bryan and partner Rhydian Dafydd have refined their approach over the years, but never shifted gears – and that’s a good thing, as there are few bands that do what they do so well. With such stylistic consistency, then, on The Joy Formidable records it all comes down to songs – and that’s another area in which they never fail.
“Into the Blue” is jampacked with excellent tunes, from the anthemic rocker “Chimes” and the whimsical crunge “Gotta Feed My Dog” to the spacy pop song “Back to Nothing” and the psychedelic roar “Sevier.” The acoustic-to-electric epic “Left Too Soon” ends the album with exactly the kind of heady rock drama in which the band expertly specializes.
In the pole position, the title track serves as a summing up, both of what to expect from the record and what The Joy Formidable has honed itself into over the years. The band’s dedication to its craft and vision makes Into the Blue possibly its strongest albums yet.
‘Into The Blue’ – Album Available now. Out August 20th
Kramies is an American songwriter, creator of dreamy folklore, crossing the boundaries between eerie sceneries and fairytale-laden myths.
“Days Of,” the first single off Kramies’ new self-titled EP, is the alluring and emotional center-piece from this beautiful new constellation of songs. The track officially releases today, August 20th, at Bandcamp and all streaming sites.
Produced by Patrick Carney of the Black Keys, the powerful “Days Of” also features Carney on drums and guitar, as well as Jason Lytle of Grandaddy on synths and other sounds.
The union of talent between these beloved artists, as well as Kramies’ individual distinctive style and vocals, results in an example of finely honed craft. With lyrics reflecting on mortality and nostalgia set to flourishes of sonic creativity, “Days Of” paves the way for what is to be Kramies’ most highly anticipated EP yet.
Produced by Patrick Carney of the Black Keys, “Days Of” also features Carney on drums and guitar as well as JasonLytle of Grandaddy on synths.
Released August 19th, 2021 Song & Lyrics by Kramies
Produced by: Patrick Carney & Marc Whitmore
Kramies: Vocals, Guitars Patrick Carney: Drums, Guitar Jason Lytle: Synths & Sounds
Sun Atoms is the debut solo project from Portland, Oregon’sJsun Atoms (The Upsidedown, Daydream Machine). His 8-song album, “Let There Be Light“, will shine on October 1st via Little Cloud Records in the US and The Acid Test Recordings in Europe.
The LP was produced by The Dandy Warhols’ guitar pedal maestro Peter Holmström and mixed by London’s legendary Stephen Street (Blur, The Smiths, The Cranberries).
JSun Atoms spent the pandemic year in the studio with long time collaborator, Holmström, crafting the songs and sending files back and forth from London, Brooklyn, Austin, and Sacramento. The vision comes from the sun being at what is thought of as the centre of our solar system, but the sun, like other stars, is a ball of gas. At the centre of the ‘Sun,’ musical atoms under intense pressure from gravity undergo a process.
This album is the resulting amalgamation that combines psychedelic, darkwave, and post-modern pop, with some first-rate guest performances including the leader of Brooklyn’sThe Vandelles, Jasno Swarez, producer Peter Holmström (Pete International Airport, The Dandy Warhols), Gregg Williams (Sheryl Crow, Blitzen Trapper), St. Louis beat boss drummer Bob Mild, and Sacramento punks Pets, to name a few.
The genres bend and blend from song to song through such luminary influences as Love and Rockets, Moon Duo, The Cure, Nick Cave, Spiritualized, and Leonard Cohen.
Album opener “The Cat’s Eye” is a kaleidoscopic collaboration with The Black Angels’ Alex Maas on captivatiing vocals and haunting Mellotron. The single also features The Vandelles’ Jasno Swarez adding an innovative third vocal line and guitar, and Sheryl Crow drummer Gregg Williams’ percussive flurries on hand drums and congas.
The storytelling video is from Rome, Italy’s award-winning filmmaker Susanna Della Sala. It unfurls like a graphic novel, following a young woman filled with curiousity about how the world works… or maybe about how the inner mind operates… Is her search one that is an outward journey or a voyage within the hidden psyche?
Jsun reveals some details about how the collaboration with The Black Angels’ Alex Maas came about, stating: “Alex and I first met when our bands were supporting Black Rebel Motorcycle Club in 2007. Alex and Christian invited my band to Austin to play the debut Levitation Festival, as it used to be held the weekend prior to SXSW.”
“Alex and I hit it off and we played music at the Angels’ practice space after all the after parties, Alex allowed me to sleep in his giant closet space in his room each spring as we returned to play the following Levitation Festival, and the next three years of SXSW. It was a huge closet and it was dark during the day, which was perfect for recovering from all that Austin had to offer, especially playing the after parties with friends like The Warlocks and Spindrift that were also staying at the Black Angels house during those times.”
“We have continued to play many shows together. Alex and I have shared early versions of songs with each other over the years. When Alex sent me some mixes of his critically acclaimed solo album Luca, I reciprocated with some early Sun Atoms mixes and he replied that he loved “The Cat’s Eye” and had some ideas for it.”
“We were taking a break from mixing because Gorillaz were using Stephen Street’s studio in London and when we came back to mix, Alex had sent this beautiful vocal chorus which worked well with Pete’s “Here Come The Warm Jets” guitar freak out. Alex said that the song was begging for the Mellotron flute lead which definitely took the song to a new level.”
Cameos from: The Black Angels’ Alex Maas, The Vandelles’ Jasno Swarez
From the Sun Atoms LP, “Let There Be Light” Full album available from Little Cloud Records (USA) and The Acid Test Recordings (Europe).
Eric Clapton‘s fourth solo album “No Reason To Cry” was released on 27 August 1976. It stands as a record on which he continued to demonstrate his renewed motivation.
“I spend my time listening to people and being heavily influenced by them,” he told Sounds magazine as the album emerged. “Then it comes time to record and I go down to the studio, try something new and it comes out as me again.
That was exactly the way his legions of fans wanted it. The new album, which followed Eric’s triumphant, US chart-topping “461 Ocean Boulevard” set of 1974 and the following year’s “There’s One In Every Crowd“, was a celebration of both his refuelled creativity and some great musical relationships.
No Reason To Crywas recorded in March 1976 at The Band’s Shangri-La studios, and featured the revered Canadian-American group’s close involvement. Eric Clapton had already played in several history-making groups, but there was one he couldn’t quite break into: the Band. The guitarist even went so far as to visit the Band in Woodstock when he was playing with Cream in the late ’60s.” He inducted the Band into the Rock & Roll Hall Of Fame. “I really sort of went there to ask if I could join the Band, only I didn’t have the guts to say it, I didn’t have the nerve. I just sort of sat there and watched these guys work.”
“No Reason to Cry” was a step away from the blues sound Clapton built his reputation on, but he was unbothered by what fans might think. And he was happy to have the Band along for the ride.
“I’d never really liked country music,” he said. “I always thought it was over-sentimental. This is when I was into being very aggressive and playing just straight blues. Country music was just sloppy. … But the Band bridged the gap. TheByrds got there quite early. But the Band gave it a bite that country music just didn’t seem to have before.”
But the Band’s incumbent guitarist, Robbie Robertson, could sense what Clapton was up to. “I remember Robbie saying, ‘We don’t jam … we just write and work,'”. But he got all five members of the group to help out on his fourth solo album, 1976’s “No Reason to Cry”.
Clapton lets his collaborators run free: A Rick Danko and Richard Manuelsong, “Beautiful Thing,” opens the LP; another Danko co-write, this one with Clapton, shows up in “All Our Past Times.” “He was such a kind, lovely guy, and I admired him musically,” Robbie said of Clapton years later. “I thought he was so gifted.”
And where the Band was so was “Dylan dropped by and was just hanging out, living in a tent at the bottom of the garden. He would sneak into the studio to see what was going on.” Dylan offered a song, “Sign Language,” which he sings with Clapton; he also had “Seven Days,” which Clapton turned down but was eventually picked up by Ronnie Wood for his 1979 solo album, “Gimme Some Neck”.
“No Reason to Cry“, as producer Rob Fabroni remembered it, was very much a collective effort, with Clapton loosening the reins to try whatever those around him suggested.
All five members played on the record: Rick Danko and Richard Manuel wrote its relaxed opener, ‘Beautiful Thing,’ and Danko co-wrote the stirring ‘All Our Past Times’ with Clapton himself and added a fine vocal part. Then who should show up but Bob Dylan, not only to sing a duet with “Slowhand” but to donate a new, unrecorded composition of his as the vehicle, ‘Sign Language.’
Some of Eric’s British pals also featured strongly, with guitars by Ronnie Wood and keyboards by Georgie Fame. Other contributors included trusted confidants such as Yvonne Elliman, Billy Preston and Marcy Levy, later of course to find huge chart success of her own as one half of Shakespear’s Sister. Levy and Dick Sims wrote the album’s penultimate number, ‘Hungry.’ It’s an album with an admirably live “band” feel to it, no pun intended, and features some exceptional playing by Clapton, never better than on a brilliantly brooding version of Otis Rush’s ‘Double Trouble.’
No Reason… climbed to No. 8 in the UK, also reaching the top ten in Denmark and Holland and No. 15 in a sturdy 21-week stay on the American chart. Clapton was little concerned with hit singles at the time, but did achieve a No. 24 hit from the album with his own composition ‘Hello Old Friend.’
Commenting on the album’s rootsy feel in that Sounds interview, Clapton observed of his audience: “I don’t really think they want a heavy metal album. At least I hope they don’t cause they’re not gonna get it anymore. I’m past that kind of thing. I don’t think it lasts.”
At the very beginning of their career, the North London Fairport Convention were often mistaken for an American band. This was largely due to their penchant for cover versions of songs by US singer-songwriters, primarily Bob Dylan. A good reason for a 2018 compilation is that it marks the 50th Anniversary since the original 12-track ‘Basement Tapes’ acetate of Dylan arrived in London. It was from this white label that Fairport Convention got “Million Dollar Bash” and Fairport splinter group, Fotheringay, took “Too Much of Nothing”. Manfred Mann scored a hit with “The Mighty Quinn”, Julie Driscoll & Brian Auger, “This Wheel’s On Fire” and, lest we forget, The Tremelos “I Shall Be Released”.
This new compilation of vintage covers of Bob Dylan’s work by Fairport Convention and their friends, “A Tree With Roots — Fairport Convention And The Songs Of Bob Dylan“, will be released on Island on 3rd August. It comes just ahead of the 2018 edition of the band’s celebrated Cropredy Festival, which takes place this year from 9th-11th August with Fairport themselves in the traditional headlining slot.
In their early days, before they developed their own song writing, Fairport were much given to covering the work of Dylan, one of their prime influences. 2018 marks the 50th anniversary of the arrival of the American bard’s Basement Tapesacetate in London, from which the nascent English folk group took ‘Million Dollar Bash.’ It also offered up ‘Too Much Of Nothing’ to the Fairport splinter group Fotheringay.
Dylan was also responsible for Fairport’s one UK hit single, ‘Si Tu Dois Partir,’ their version of his ‘If You Gotta Go, Go Now’,’ written in 1964. It prompted an appearance by the band on Top Of The Popsand featured on their third album Unhalfbricking, spending two weeks at No. 21 on the UK singles chart.
That version is on A Tree With Roots along with such Dylan copyrights as ‘Lay Down Your Weary Tune,’ ‘I’ll Keep It With Mine’ and the more widely-celebrated ‘All Along The Watchtower’ and ‘Knockin’ On Heaven’s Door.’ Tracks by Fotheringay and Fairport’s former lead singer Sandy Denny are also included.
Everyone is getting pretty excited about the forthcoming Turnstile album which arrives August 27th via Roadrunner Records. Turnstile graciously shared their last single from the previously released album “Fly Again” The track opens with a wistful piano that leads into their signature chugging guitars and frontman Brendan Yates’ spacey screams. Much like the other singles from that album, such as “Alien Love Call” and “Blackout”,”
“Fly Again” displays yet another facet of Turnstile’s genre-bending philosophy. Turnstile didn’t have grand aspirations when childhood friends Brendan Yates (frontman) and Brady Ebert (lead guitarist) formed the band in Burtonsville,Md., in 2010, with Fang, bassist Franz Lyons and guitarist Pat McCrory soon joining the fold. The group dominated Baltimore’s hardcore scene in the early 2010s and issued debut album Nonstop Feeling on Reaper Records in 2015, then jumped to Roadrunner for Time & Space, all the while refining its groove-laden brand of metalcore. Now the band’s crossover potential rests on that expansive sound: Glow On combines mosh-ready riffs and Yates’ caustic vocal jabs with disparate elements including piano lines (“Don’t Play”), cowbell (“Blackout”) and Mustard-esque beats (“Holiday”).
Can a hardcore punk band impact the U.S. mainstream in 2021? Turnstile may soon provide an answer: Ahead of its third album, “Glow On” , the Baltimore quintet has been steadily gaining buzz beyond the hard-rock community, thanks in part to enviable live bookings, new collaborations with Blood Orange mastermind Dev Hynes and recent social media shoutouts from Blink 182’s Tom DeLonge and Paramore’s Hayley Williams. (“This band has always been so cool and the new music smacksssssss me,” Williams said.)
The major cosigns coincide with an album that is both more ambitious and accessible than Turnstile’s 2018 Roadrunner debut, Time & Space, “We’ve never been this happy with how everything has turned out,” says drummer Daniel Fang. “I feel like a teenager putting out my first demo.”
Elektra Music Group senior vp Chris Brown adds that there’s a palpable excitement around the band within WarnerMusic Group. “People are coming out of the woodwork just talking about the record, wanting to see this band win.”
The Fat Angel Sings 