The Fat Angel Sings

Canadian indie rockers Echo Beach will return with their new album Salted on June 11th, which is described as an album that, “throws shade on societal norms and the unequal world in which we find ourselves”, and “keeps people dancing through their troubles and compels listeners to seek their truth.

They recently shard the vibrant and high energy single “Freakshow” a song that has sharp angular riffs and a 80s art rock vocal delivery that suites it strangely well. The song is described by the band as follows: rollercoaster of an evening out partying. A commentary on how people turn into rampaging creatures of the night, and how sometimes all you want to do it go home.

released May 14th, 2021
Written, recorded and produced by Echo Beach.

Mac – vocals
Russ – bass
Mark – drums
Emilio – guitar

Back in 1996, Chris Swanson, Ben Swanson, Eric Weddle, Jonathan Cargill founded the Bloomington, Indiana-based label Secretly Canadian. Indie music fans know the label well, of course, as it has been home to many era-defining artists, like The War On Drugs, Whitney, Jason Molina, and plenty of others. Now that the label has been around for 25 years, they are celebrating in a number of ways. In a backyard in Bloomington, Record label Secretly Canadian’s physical and spiritual home, Jason Molina once jammed part of a broken guitar into a maple tree. Rather than break the tree or shatter the neck, the maple absorbed this shrapnel, frets and all, patiently forming an unexpected and unlikely totem for Secretly Canadian’s own story.

That story is the story of a label with an otherworldly mind and midwestern heart: Avante-garde and Americana, high art and high plains, patient growth b/w wild leaps of faith. Unexpected partners and unlikely pairings, all. SC25 celebrates Secretly Canadian’s story through a campaign articulating the label’s senses of purpose, place, and imagination. At the center of SC25 is a campaign to raise $250,000 for New Hope For Families, an organization that provides housing and other services to families experiencing homelessness in Bloomington and Monroe County,

IN. A donation on this scale will provide enough money to serve 20 to 40 families. The goal is not just to give back, but to find measurable meaning in what is ultimately an abstract, if impressive, milestone. What does it mean to celebrate one’s work when that work is in many ways an act of service? What good is it if it isn’t generous, ambitious, artful and useful? SC25 will feature reissues of a sprawling set of the label’s classics, as well as an exciting new singles collection. Limited merchandise, creative partnerships, and other surprises will arrive along the way. And, crucially, SC25 will connect Secretly Canadian’s past and present to its future, linking what’s known and loved to what’s newly imagined — for us, our artists, and our home.

The first set of SC25 Editions, a collection of 12 classic titles reissued as limited-edition LPs with exclusive colour variants and essays from artists. The first run includes various albums The War On Drugs’ Wagonwheel Blues and Whitney’s Light Upon the Lake, to be released June 4th.

In addition to the reissues is SC25 Singles, a series of 25 rare, unreleased and new songs from various artists both on and off the Secretly Canadian roster. The first two singles, Stella Donnelly’s cover of Jen Lekman’s “If I Could Cry (it would feel like this)” and Porridge Radio’s reimagining of “Wet Road” by Scout Niblett, is out now future songs being released digitally over the course of the year.

Releases June 4th, 2021

Rock and Roll Hall of Fame inductees Chicago became the first non-classical group to perform six nights in a row at Carnegie Hall 50 years ago. Between April 5th-10th, 1971, the band played eight shows at the celebrated venue (including two matinees) and recorded every show. In October of that year, performance highlights were featured on the band’s first-ever live album, the four-record set, Chicago at Carnegie Hall.

For their 50th anniversary of Chicago’s historic concerts, the band will release all eight Carnegie Hall shows in their entirety for the first time in a new 16-CD deluxe boxed set. “Chicago at Carnegie Hall Complete” will be available on July 16th, 2021, exclusively at Rhino web page.

Chicago founding member and trumpeter Lee Loughnane and engineer Tim Jessup spent nearly a year meticulously going through more than 40 concert tapes at Loughnane’s new studio in Arizona to remaster each concert. Their hard work paid off with eight fantastic-sounding shows.

Chicago at Carnegie Hall Complete is presented in a white folio that’s embossed with the group’s trademark logo. The set beautifully commemorates the event through memorabilia that includes replicas of the three posters that accompanied the original vinyl release and images of the original concert program, tickets, and other memorabilia from the historic run. The collection also comes with a 28-page booklet illustrated with photos from the concerts, plus new liner notes with contributions by Loughnane; archivist Jeff Magid, writer/producer David Wild and comedy icon/Chicago fanatic Jimmy Pardo.

When Chicago arrived in New York City in April 1971 to play eight shows at Carnegie Hall, the band was at the peak of its early experimental period and riding high on the success of the group’s third consecutive platinum album, Chicago III. For these historic shows, the band played a cross-section of classic rock hits from their first three studio albums, including “Beginnings,” “Questions 67 and 68,” “Does Anybody Really Know What Time It Is?” and “25 or 6 to 4.” The set also includes the previously unheard first songs from the first show, “Someday” (August 29th, 1968).”

The performances showcase memorable contributions from every band member, including Terry Kath’s stellar guitar work, heartfelt vocals by Kath, Robert Lamm, and Peter Cetera, the vibrant horn work by Loughnane, James Pankow, and Walt Parazaider, as well as the jazz-influenced drumming of Danny Seraphine.

In the winter of 1976, The Who were on hiatus, and Pete Townshend had time open to produce his pal Ronnie Lane’s new album. Lane’s LPs and live gigs with his band Slim Chance were fun, but didn’t support him financially, especially contrasted with his hit-making days with Small Faces and Faces. In fact, seeking a decent payday, Lane had just agreed to participate in a Small Faces reunion project for Atlantic Records. He tried to get along with his old bandmates for a couple weeks, but bailed out after a heated argument with singer Steve Marriott during rehearsals. Lane was already showing the early symptoms of multiple sclerosis (tremors, slurred speech), which others sometimes interpreted as a sign he was drunk.

Lane found himself owing Atlantic an album anyway. He didn’t tell Townshend, or very many others, about his medical diagnosis. The imagined project quickly became a full Townshend/Lane collaboration. Producer Glyn Johns, engineer Jon Astley (Townshend’s brother-in-law) and an all-star cast of players convened in London’s Olympic Studios for sessions in late 1976 and spring 1977. Eric Clapton played guitar and dobro, John “Rabbit” Bundrick added keyboards, King Crimson saxophonist Mel Collins and original Rolling Stones pianist Ian Stewart helped out. The Who’s John Entwistle sang and did instrumental arrangements, and Henry Spinetti played drums (except when an uncredited Charlie Watts did). Townshend’s liner notes eventually read, “Ron and Pete play various acoustic & electric guitars, mandolins & bass guitars, banjos, ukuleles & very involved mind games.”

As to the songs, Lane’s wife Kate helped write “Catmelody” with Ronnie, and joined him to co-compose “Annie” with their buddy Clapton as well. Townshend and Lane contributed their own individual songs, and co-wrote the title track for the LP, eventually known as “Rough Mix”, the professional term for a preliminary, incomplete version of an audio recording. The album contained one cover, “Till the Rivers All Run Dry,” which had recently been a #1 American country music hit by Don Williams. Its inclusion was a tip of the hat to Townshend and Lane’s spiritual guru Meher Baba, who was a country and western fan (he’d died in 1969 but his teachings continued to exert a strong influence on his followers nonetheless). The liner note says “this song is dedicated to the Old Man.”

The album begins with Townshend’s lively “My Baby Gives It Away,” another of his dryly humorous, ambiguous tales of sexual relations: “When you’re alone in some city hotel/You can get company by ringing a bell/You might go pick up a girl on the street/But my baby gives it up totally free.” It’s a rocking little number with several tasty guitar overdubs and the unmistakable drumming of Watts. As a performance, it sounds like the fraternal twin of “Squeeze Box” from The Who “By Numbers” of 1975

Lane’s “Nowhere to Run” weaves in banjo, acoustic guitars, a prominent bass line, Bundrick’s organ and nice harmonica fills from Medicine Head’s Peter Hope Evans. Lane’s rough-voiced vocal is intimate and casually charming.

The rocking instrumental “Rough Mix” follows, with Clapton’s electric guitar driving it, some truly outstanding drumming from Spinetti, and Bundrick showing why he was the “go-to” organ player for so much of the Island Records roster during this period.

“Annie” features members of Slim Chance: Graham Lyle (12-string acoustic guitar), Benny Gallagher (accordion) and Charlie Hart (violin). David Marquee is on double bass, and Clapton’s on lead acoustic. Like other Lane compositions, it carries its spiritual feel in the observation of the natural world, and “the long view”: “Old oaks stand tall, Annie/Seen the world grow small, Annie/But when they fall, Annie/Where will they be?” It’s an example of how Lane can make a simple melody really shine.

“Annie” finds a match with the following cut, Townshend’s “Keep Me Turning.” The lyrics are sad and sardonic: “River’s getting higher/No wood for the fire/They saw the messiah/But I guess I missed him again/That brings my score to a hundred and ten.” Bundrick plays piano and organ and Spinetti’s drumming is again spot-on (he might almost be mistaken for Kenney Jones, who was to join The Who after Keith Moon’s death in 1978). Listen for Townshend’s beautifully simple acoustic guitar solo in the middle, and how the multiple guitars interact in the last section.

“Catmelody” is a ’50s-style rocker with Stewart’s barrelhouse piano, Collins’ overdubbed sax section and concluding solo, the uncredited Watts in charge, and Lane’s super-enthusiastic vocal and minimalist electric guitar solo.

During the recording of Rough Mix, Lane’s multiple sclerosis was diagnosed but still not revealed generally. In one instance, Lane had an emotional issue related to his MS that caused an argument between him and an unknowing Townshend. Nonetheless Lane toured, wrote and recorded (with Eric Clapton among others) and in 1979 released another album “See Me” which features several songs written by Lane and Clapton. Around this time Lane travelled the highways and byways of England and lived a ‘passing show’ modern nomadic life in full Gypsy traveller costume and accommodation.

Side two of the LP starts with Townshend’s understated vocal for “Misunderstood,” with Evans’ harmonica, Diggle’s percussion and Townshend’s acoustic guitar backing more of his oddball lyrics: “Just want to be misunderstood/Want to be feared in my neighbourhood/Just want to be a moody man/Say things that nobody can understand/I want to be obscure and oblique/Inscrutable and vague.” In overall sound, there’s nothing quite like it in the immense Townshend solo catalogue.

Lane’s “April Fool” is generally regarded as his standout track on “Rough Mix”. (He was born on April 1st…) Clapton plays a lovely dobro (why didn’t he play the instrument more in his career?), Marquee is on string bass again, and Lane’s singing is especially poignant, recalling his classic Faces number “Stone.”

Townshend’s father-in-law Edwin Astley contributes the orchestral score for “Street In the City,” a tender hearted ballad telling a story tinged with both cynicism and nostalgia. It’s a spectacular classical hybrid, with only one acoustic guitar added, and looks forward to Townshend’s theatrical projects like Iron Man in the ’80s. Once again, Townshend paints himself into the urban picture as an observer: “I see the world go by as I lean against my wall/I watch as Fleet Street makes new heroes rise and fall/The news is written in the eyes of us all/One is a sinner, one is a saint/But most of us worry about showing up late.”

“Heart to Hang on To” was written solely by Townshend, but the verses are sung by Lane, with Townshend taking the chorus. It’s a tender tune, one of Townshend’s best, and the arrangement, with Bundrick on Fender Rhodes piano, Spinetti on drums, and a brass section arrangement from Entwistle, is dramatic. In the middle section, the ghost of “Who Are You” arrives with a stinging Townshend electric guitar solo, and the ending also recalls that Who track.

Released on September 16th, 1977, Rough Mix was barely promoted by MCA Records and only made it to #45 on the album chart. Despite some FM airplay, it was sadly neglected at the time. Those who discovered it later don’t hesitate to call it an “overlooked gem” or “minor masterpiece.” Townshend, of course, is still active and as prolific as ever. Ronnie Lane died June 4th, 1997, from his debilitating disease. There have been many tributes to him over the years, including the archival boxed set Just For a Moment: Music 1973-1997, which gives due notice to “Rough Mix”. He was one of rock’s true originals.

It is true that making plans for shows and festivals in 2021 is a bit of a gamble. But Le Guess Who? believes that it’s important to have something to look forward to. In the spirit of cautious optimism, we are proud to announce the second round of confirmations for November 11-14 in Utrecht, The Netherlands.

Le Guess Who?’s goal to bring people together hasn’t changed, and neither has our global focus: we continue to work hard to keep as many voices in the room as possible. Together we need to experience new music and artistry, and find new inspirations. We truly can’t wait to have you with us again.

Now a hallmark of the festival, Le Guess Who? has again invited five guest curators to present their own programs of inspiring and like-minded artists.

Multi-instrumentalist, vocalist, songwriter, visual artist and record label owner John Dwyer will perform as part of OSEES and will also present the live premiere of Bent Arcana, the group Dwyer formed last year and draws inspiration from prog- and krautrock, jazz and avant-garde improvisation. For his curated program, Dwyer invites legendary German krautrock group faUSt, performing their iconic album ‘Faust IV’ (1973); Arrington de Dionyso’s avant-blues/garage-rock outfit Old Time Relijun; vocalist, keyboard and tambourine player–and OSEES collaborator–Brigid Dawson & Sunwatchers; the cosmic musical universe of Earth Girl Helen Brown; and Gustaf, Brooklyn’s most ‘reliable fun band’.

Colombia-born/Berlin-based producer and sound artist Lucrecia Dalt will present her collaboration with Aaron Dilloway (Wolf Eyes); their new album ‘Lucy & Aaron’ will be released in July. Dalt also curates performances by Argentinian sound sculptor Beatriz Ferreyra; Barcelona’s “progressive Gregorian” vocal duo Tarta Relena; German futuristic noise musician, curator, and radio host Felix Kubin; and Columbian singer-songwriter Julián Mayorga, known for his free-spirited and hyper-active compositions. 

Japanese percussionist and minimalist/ambient composer Midori Takada will perform at the festival as part of Ton-Klami, her free jazz improvisational trio with pianist Masahiko Satoh and saxophonist Kang Tae Hwan. Takada also invites The Hague’s Ensemble Klang to present the live premiere of their audiovisual project, Thrift Hybrids.

Clarinetist, saxophonist and “panoramic sound quilter” Matana Roberts will curate performances by free jazz and sonic poetry collective Irreversible Entanglements (featuring LGW18 curator Moor Mother); Justin Broadrick’s dark, gloomy and glittery Jesu; French composer, double bass player and vocalist Joëlle Léandre; and Australian composer and multi-instrumentalist Oren Ambarchi, who has been meaningfully manipulating the guitar and its sounds for over thirty years.

At LGW 2021, lauded singer-songwriter Phil Elverum will be joined by guitarist Jay Blackinton to perform the Microphones in 2020 album in its entirety. Elverum also curates performances from figureheads of the flourishing Nairobi underground metal scene, Duma; folk and jazz cellist and former Nirvana collaborator Lori Goldston; and Estonian contemporary folk musician Mari Kalkun.

More artists from the curated programs will be announced at a later date.

 Gary Louris of The Jayhawks and Golden Smog. New Gary Louris album, “Jump For Joy“, is out on June 4th.

Gary Louris’ first solo album in over decade is a decidedly low-key affair, one that’s decidedly  disengaged from the roots rock sound he helped establish with the band the Jayhawks during the birth of what became engrained within the modern Americana sound. Although it comes on the heels of the band’s most recent LP, XOXO, released just last year, Jump for Joy finds Louris leaning more towards the music he makes with his “other” outfit, Golden Smog, a band whose membership also includes members of Soul Asylum,Wilco, the Replacements, and Big Star.

Some may find it surprising that Louris leans so heavily here on his pop pedigree, an approach that makes songs such as “Almost Home,” “New Normal,” and “Mr. Updike” sound almost giddy compared to his usual fare. Granted, it’s not entirely alien from the Jayhawk’s more jubilant offerings, and indeed, the upbeat optimism of “Follow” and the reflective acoustic strum, stride and shimmering harmonies of “Too Late the Key” would likely find a nice fit within the Jayhawks’ signature sound. Still, to his credit, Louris doesn’t seem as if he’s bound to any particular pastiche. 

That makes sense considering the fact in addition to his various day jobs, Louris has also shared his talents with a varied list of collaborators, among them, Tedeschi Trucks Band, The Chicks, The Black Crowes, Uncle Tupelo, Joe Henry, Counting Crows, John Hiatt, Lucinda Williams, Roger McGuinn, Nickel Creek and The Wallflowers. Given that résumé, there’s no reason why he would be reticent to make the kind of music that strikes his fancy at any given point in time. The fact that he recorded Jump for Joy entirely on his own suggests he was happy to let his muse take him where it might, without any need to conform to any particular parameters. 

As a result, it’s best to listen to Jump for Joy without any preconceived notions. Louris is nothing if not a master of melody and nuance, and his articulate arrangements make this album an utterly engaging experience from start to finish. The music is melodic and unfettered, and that’s cause enough to consider the fact that Jump for Joy actually lives up to its title.

Composed, performed, arranged and produced by Gary Louris

Almost Home is the second single from the new Gary Louris solo album, Jump For Joy, out June 4th on Sham/Thirty Tigers. Written, performed, recorded and produced entirely by Louris himself.

Marie Ulven, who releases music as Girl in Red shared her highly anticipated debut album “if i could made it all go quiet” last month. it’s a ground-breaking debut . Today, she furthers the intensity at the centre of her album with the new video for single “Body and Mind.” The track is one of the album’s highlights that demonstrates Ulven’s curiosity and struggle with the unknown of the human mind and our harrowing mortality. “I’ve been in the deep end since I realized / There is a difference between body and mind,” the song opens. “I’ve been at my lowest for the longest time / Knowing my existence is not one of a kind.”

The track’s video directed by Thea Hvistendahl is a creepy companion for the candid pop song, giving off strong Wicker Man vibes. Ulven commented about working with Hvistendahl, saying, “she’s absolutely crazy and really funny.

Making this video and giving ‘Body And Mind’ a new dimension with these visuals is really dope. It feels like it’s been awhile since I’ve seen some witch shit so it was about time!”

my debut album “if i could make it go quiet” is out now

It’s been a month and a half since Chvrches surprised us with a new single, but the Scottish trio have followed that up in a big way with details on their fourth album—entitled “Screen Violence“, available August 27th through Glassnote Records—along with another new song featuring Robert Smith who, between his decade-old Crystal Castles feature and last year’s Gorillaz spot, is no stranger to knocking guest verses out of the park. 

The video for the collaboration, called “How Not to Drown,” which taps into the re-emerging cyberpunk fad of the ’90s with a visual palette that distinctly recalls The Matrix. Smith’s face appearing on a giant screen for his verses feels pretty familiar at the tail end of a year full of Zoom calls.

Official Video for CHVRCHES “How Not To Drown” featuring Robert Smith.