The Fat Angel Sings

Pop royalty the Pet Shop Boys have done an epic 12 minute HI-NRG remix of Paul Weller’s recent album track “Cosmic Fringes”, a thumping fuzzing disco banger featuring the dulcet tones of Neil Tennant as well as Paul’s original brilliant vocals. The Pet Shop Boy ‘Triad Remix’ is a thumping fuzzing disco banger featuring the dulcet tones of Neil Tennant as well as Weller’s original vocals. 

Also featured on the limited edition vinyl is a remix by Primal Scream’s guitarist-in-chief Andrew Innes. Giving Paul’s vocals a distorted sound, this sensory assault is layered with thumping chimes and a searing 4/4 doof for the dancefloor. And if that’s not enough, there’s another new “Cosmic Fringes” remix by Primal Scream’s guitarist. Giving Weller’s vocals a distorted sound, the ‘Marching Off To Bedlam’ remix by Innes and Jagz Kooner is a sensory assault is layered with thumping chimes and a searing 4/4 beat for the dancefloor.

With both the Pet Shop Boys and Andrew Innes were handpicked by Weller to rework these tracks from “Cosmic Fringes”, for these exciting remixes, which are out now and are available on vinyl and digital only.

The original version of “Cosmic Fringes” features on Weller recently released chart topping album “Fat Pop” Volume 1 . The album was released to unanimous acclaim in May, with Uncut’s review moved to suggest that the album provides “Proof that music can act as a lifeline even in the most turbulent times.”

The success of Fat Pop (Volume 1) extended Weller’s span of solo chart-toppers to 26 years, and in all of his recording incarnations to 39.
“To have people like an album and want to buy it is never taken for granted by me,” Weller told OfficialCharts.com, “so to have it go to No.1 makes it even more special.” To emphasize the fact that his audience strongly favours the physical format rather than streaming or downloading, 91% of the album’s first-week sales were physical.

This sixth solo success draws Weller level with such artists as Pink Floyd, Blur, Phil Collins, and The Killers. But his full total of No.1 albums in the UK across all of his work is eight, also including The Jam’s The Gift in 1982 and the Style Council’s Our Favourite Shop in 1985.

His first solo No.1 was with 1995’s Stanley Road, followed by the 2002 set Illumination. Weller returned to the summit in 2008 with 22 Dreams and with 2012’s Sonik Kicks. Last year’s “On Sunset” achieved the same feat.

A Polydor Records recording; Solid Bond Productions Ltd., under exclusive licence to Universal Music Operations Limited Released on: 2021-07-23

Storied singer-songwriter Jackson Browne has released his latest album, “Downhill From Everywhere“, via Inside Recordings. In support of the new record, Browne will hit the road for a joint summer tour with James Taylor and a September run of “Evening With” shows.

The release of Downhill From Everywhere was preceded by album single “My Cleveland Heart” which Browne performed last month on the Jimmy Kimmel Live TV Show.

The songwriting on the album presents a heightened sense of urgency from the aging icon during an age when social, political, and environmental issues are reaching an inflection point. The songs feel like direct rallying cries to various pressing causes, like the shimmering “Love Is Love” and the stomping “Until Justice Is Real”.

“I see the writing on the wall,” Browne explains in a statement. “I know there’s only so much time left in my life. But I now have an amazing, beautiful grandson, and I feel more acutely than ever the responsibility to leave him a world that’s inhabitable.”

While the issues Browne tackles on the album are often sweeping and existential, he writes on a far more intimate scale, consistently zeroing in on the human experience at the heart of it all. “There’s a deep current of inclusion running through this record,” Browne explains. “I think that idea of inclusion, of opening yourself up to people who are different than you, that’s the fundamental basis for any kind of understanding in this world.”

Downhill From Everywhere was recorded with a core band that included guitarists Greg Leisz (Eric Clapton, Bill Frisell, Bob Weir) and Val McCallum (Lucinda Williams, Sheryl Crow), bassist Bob Glaub (Linda Ronstadt, CSNY, John Fogerty), keyboardist Jeff Young (Sting, Shawn Colvin), drummer Mauricio Lewak (Sugarland, Melissa Etheridge), and longtime vocalists Chavonne Stewart and Alethea Mills, the record is a collaborative work driven by group chemistry and an openness to new sounds and ideas.

Browne will be busy on the road for the rest of the year in support of the new album. On July 29th, he’ll kick off an extensive tour with James Taylor that will keep him busy through the month of August. In September, Browne will shift gears for a run of “Evening With” performances before linking back up with Taylor for another leg of shows in October.

The surprise June EP from Baltimore, Maryland’s Angel Du$t includes two new singles, “Love Is the Greatest” (feat. Los Angeles producer/musician Shlohmo) and “All the Way Dumb,” as well as three tracks from the band’s 2020 EP LIL HOUSE, “Turn Off The Guitar,” “Lil House” and “Never Ending Game,” and remixes of that last track by Panda Bear and Lunice. Angel Du$t vocalist/guitarist Justice Tripp describes the band’s new EP, produced by Rob Schnapf (Kurt Vile, Elliott Smith), as “pimp and chill at the same time,” which is hard to argue with: Though the band is frequently associated with hardcore punk, “Bigger House’s” new songs are hooky pop-rock strummers first and foremost, punctuated with just enough synth accents, horns and spiky electric riffs to keep you on your toes as a listener. The full-length follow-up to 2019’s Pretty Buff looms larger by the minute. 

Angel Du$t have surprised released a brand new EP, Lil House. The three-track EP was produced by Rob Schnapf (Kurt Vile, Elliot Smith) and marks the first taste of new music from Angel Du$t since their critically-acclaimed 2019 album, Pretty Buff. “Lil House” continues to showcase the band’s growth, highlighted by “Never Ending Game,” which elevated their breezy, determined sound as they imbue their laid-back acoustics with sharpness.

Angel Du$t – Love Is The Greatest Bigger House (EP) – out now

The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music’s Tiny Desk (home) concerts, bringing you performances from across the country and the world. It’s the same spirit — stripped-down sets, an intimate setting — just a different space. Bob Boilen July 15th, 2021 Lucy Dacus sits at a very special desk for this Tiny Desk (home) concert. And though she’s played the NPR Tiny Desk twice — first in 2016 and a few years later with Julien Baker and Phoebe Bridgers as boygenius — the desk at Maggie L. Walker Governor’s School likely holds deeper memories. Much of her third album, “Home Video”, is centered on her school years in Richmond, Va., and the friendships formed and shattered there. During those high school years, she met her musical mate, guitarist Jacob Blizard (seated on the right side of the screen), and the audio engineer capturing all these songs, Collin Pastore.

Lucy Dacus opens with “Brando,” a song about young adulthood, and for Lucy, understanding how others perceive her. “You called me cerebral,” she sings, “I didn’t know what that meant.” She and her band play “VBS,” which Lucy explains “means vacation bible school, for all you heathen folks.” It’s Lucy, as a young Christian, thinking about her faith. Then, four acoustic guitars gather for “Going Going Gone,” as Ricardo Lagomasino moves from the drum kit and Dominic Angelella puts down his bass. Sarah Goldstone helms the keyboards. For the final tune, the band vanishes as Lucy plays the most troubling song from “Home Video“, “Thumbs,” a song where Lucy fantasizes about murdering a friend’s estranged father. It’s a tune I often find too disturbing to listen to. But it’s also an example of why artists create — to deal with profound issues. When successful (and “Thumbs” certainly is), these types of songs can move writers and listeners to think hard and understand.

Set List: “Brando” “VBS” “Going Going Gone” “Thumbs”

Musicians: Lucy Dacus: guitar, vocals Jacob Blizard: guitar Dominic Angelella: bass Ricardo Lagomasino: drums Sarah Goldstone: keys, vocals

Every now and then, when you look around, you’ll see these moments: friends at a cafe table, or in a park, or just walking down the street. It’ll arise from a lull in a conversation, or even be prompted by something they say, but they’ll look at each other and realize just how lucky they are. Maybe they’ll just acknowledge it with a knowing look, or a wink, a ruffle of the other’s hair or a side hug. But they know right then just how very precious our love is, whether platonic or romantic. We won’t take this for granted, not for a long time, their eyes say.

Samia’s 2020 debut album, The Baby, was a testament to her impressive vocal might, irresistible tunefulness and vulnerable lyricism, both clever and illuminating in equal measure. Drawing widespread acclaim from Pitchfork, Stereogum, NPR, NME, The Sunday Times, and others, the LP more than delivered following the promise of early singles like 2018’s “Django” and 2019’s “Ode to Artifice.” 

Samia spent much of 2020 in self-reflection, and she also made various life changes that left her feeling more earnest and centered. During this time, she wrote a handful of songs that make up “Scout” EP.

While The Baby leaned more on self-deprecating humour, Scout was born out of a need to “honour feeling secure in what [she] had to say.” The EP is packed with reverence for life’s ups and downs, but more than anything, it’s an ode to loved ones. The compassionate glow of this EP partially stems from her new Nashville surroundings, as well as her recent experiences “feeling genuinely loved, making new friends, and holding onto old friendships.” It’s reminiscent of that reassuring exhale in the mirror after an imperfect yet fulfilling day. As Samia puts it, Scout is “The Baby’s slightly older sister letting her know that everything is gonna be alright.”

The EP title is a nickname of Samia’s, and it’s a fitting nod to the record’s benevolence. “My partner calls me Scout,” she explains. “It’s just a word that implies bravery to me. I always picture a little girl with a sash and badges basking in her autonomy selling Samoas.” Whether you’re a girl scout trying to gain confidence or an adult who needs reminders of our inability to make everyone happy or the untold power of being there for someone, this EP is an unashamed loving nudge.

This past year has taught us this lesson in the most cruel ways, and now we cling to what’s left with all our might. Samia’s new EP captures this feeling—overwhelming in its beauty and sadness—with the same clarity and fervour that made her debut record “The Baby” so stirring. Scout isn’t a pandemic piece, per se, but it’s the type of art that comes out of a year pondering one’s life, which is just what Samia did. The songs focus on the act of cherishing, but deserve to be cherished in their own right.

Released July 23rd, 2021

March 2020 when an escalating global pandemic ushered an abrupt end to Mannequin Pussy’s high-profile tour with Best Coast. It was a blow for the Philadelphian punk trio, made up of frontwoman Dabice, drummer Kaleen Reading and bassist Colins “Bear” Regisford who, a decade and three albums into their career, have seemingly been permanently on the cusp of greatness. It’s a good thing, then, they’ve been primed to adapt.

Mannequin Pussy formed in Connecticut in 2010, initially as a duo between childhood friends Dabice and guitarist Athanasios Paul, who left the band earlier this year. “It’s a lot of work to do this,” Dabice says of his departure, “and it’s especially a lot of work to do this when you don’t have the instant gratification of playing shows and having [music] be the forefront of your life.” Together, the pair released a storm of ramshackle EPs with sinewy titles like Meatslave and Bonerjamz! before eventually relocating to Philadelphia. 

Following 2019’s sentimental powerhouse “Patience”, Mannequin Pussy returned with their new EP Perfect in May. Toeing a similar line between punk and anthemic rock, Perfect edges the band closer to stadium-rock territory while sacrificing none of the lyrical and emotional potency they’ve delivered in the past. If anything, Perfect finds the band doubling down on the intensity, the passion and the ambition they’ve demonstrated previously, further cementing them as a titanic voice in modern rock.

“Control” by Mannequin Pussy from the ‘Perfect’ EP, out now!

At a certain time and a certain place within the history of indie music, Philadelphia’s Thank You Thank You (aka songwriter Tyler Bussey) would have been catapulted to relative stardom off the strength of his debut EP “Next to Nothing“. Sensitive and tender folk instrumentals are expanded by dynamic instrumentation that includes synths, violins and often experimental spoken-word samples, which pair gorgeously with Bussey’s smooth voice and introspective lyricism. Single and standout track “KP” wields a thoughtfulness reminiscent of artists like Band of Horses or Granddaddy, brimming with an anxious optimism that makes the track feel alive. Next to Nothing finds an ambitious songwriter showcasing a tremendous talent for crafting vibrant and expansive, yet subdued songs. 

Released on: 2020-11-13 Composer : Tyler Bussey