The weird world of Wombo is a kaleidoscopic journey of sharp turns and surprising visions, a melting pot of influences with a cheeky cheshire-cat grin that coalesce into a trippy but infinite universe of the band’s own, and a portal into their unique vantage point without limitation. Already committed to living outside the traditionally-heralded country sound of the music scene in their hometown of Louisville, Sydney Chadwick (vocals) and Cameron Lowe (guitar) had previously played in punk pop band the Debauchees, and with the addition of Joel Taylor (drums) in 2016 they found a winning combination of more straightforward indie rock combined with Chadwick’s pitched up, oscillating vocals and unpredictable shifts in melody that see the band moving forward at an impressive pace.
Fire Talk Records is extremely honoured to help usher this futuristic body of work into the world. It’s available to stream digitally now with physical of both the EP & the Blossomlooksdownuponus reissue landing July 9th. Don’t just take our word for it!
“Wombo have a similar undefinable nature… as long as you like it, why question it?” Alt Citizen
There is a special sweetness about Anne Freeman’s voice. If you haven’t gotten to experience yet, then “When I’m a Wreck” is a great place to start. At once sweet as a remembered moment and tinged with the ache that come with its non-existence, her delivery is an enamoring delight in each song she has put out to date. Yet “When I’m a Wreck” showcases this strength in new light, its chords dancing under her waves of “You” in the chorus, the guitars dousing her words in honey drops as violins bustle past nearby.
The centerpiece of Oxford, Mississippi-based singer/songwriter Anne Freeman’s debut album “Keep It Close” (June 25th, Muscle Beach Records), “When I’m a Wreck” melds the timeless twang of her native Mississippi Delta with Molly Rankin-esque (of Alvvays) vocals, clean indie-rock guitars and abundant strings that draw the emotion out of Freeman’s vulnerable lyrics. “You get me more than myself / You protect me from myself / You love me when I’m a wreck,” she croons in its choruses, radiating gratitude for the helping hand and crying shoulder offered even when she’s at her worst. The track blends rock, Americana and orchestral pop sounds, a lovely mixture that only heightens your connection to its affectionate emotional core.
“When I’m a Wreck” the new single by Anne Freeman from upcoming album, ‘Keep It Close’-– out June 25th on Muscle Beach Records
If asked to anyone about The Yardbirds, most rock fans would probably say something like this: They introduced the world to Eric Clapton, Jeff Beck and Jimmy Page. That is true, they did. Each of the three renowned guitarists first achieved international recognition while a member of the blues-rooted British Invasion band, which existed for a mere five years, 1963-68, but exerted an outsized impact on rock.
Eric Clapton replaced the band’s original and still basically unknown guitarist, Top Topham, shortly after the band’s birth, in October 1963. Frustrated with their musical direction, Clapton then bolted in March 1965, relinquishing his spot to Jeff Beck, who lasted until November 1966, at which time Jimmy Page, who’d first joined the group as its bassist in June 1966 (and, for a brief period that summer, doubled up with Beck on guitar), Page took over the lead guitar spot. Page stayed on until July 1968, when he went off to start a new band with some fellows named Plant, Jones and Bonham, but that’s another story.
The above tells a very abbreviated tale which would easily take up several more pages, and has filled several books. Other personnel changes took place along the way, with only lead vocalist Keith Relf, rhythm guitarist Chris Dreja and drummer Jim McCarty serving throughout the entire run. There were hit singles (“For Your Love,” “Heart Full of Soul,”“Shapes of Things”), equally superb not-so-hit singles (“Happenings Ten Years Time Ago,” “Little Games”) and a handful of very different but mostly poorly put together albums. They’re all worth considering, but there’s no denying that the Yardbirds’ recorded legacy was just as convoluted as their personnel timeline.
“Five Live Yardbirds”
Putting aside their U.K. and U.S. singles releases, the band’s album releases were relatively straightforward for a few years, if ill-reasoned. In December 1964, the line-up with Clapton on guitar (and Paul Samwell-Smith on bass) released Five Live Yardbirds, their debut LP, in the U.K., on Columbia Records. That album, not released in America at the time, was all about the blues and R&B: There are no original compositions on it, only covers written by the likes of Bo Diddley, Chuck Berry, the Isley Brothers, John Lee Hooker and Howlin’ Wolf. Recorded at the Marquee Club in London in March 1964, around the time that the Beatles were first breaking in the U.S., this is the stuff that made Clapton’s mouth water, and he shines on it.
Not that anyone noticed: The album did not get an American release, plus it failed to chart at home. The Yardbirds may have been one of the hottest blues-rock bands in Britain, but few knew. They wouldn’t even release another LP in their homeland until well into 1966 . By the time it took off though, Clapton had already vacated, pursuing his blues licks with John Mayall’s Bluesbreakers and then, in 1966, Cream, the band that would elevate his status so considerably that some fans took to painting the words “Clapton is God” on London walls.
“For Your Love”
Jeff Beck was already entrenched when the “For Your Love” LP was released on Epic Records in America, and in fact plays lead guitar on three of its tracks. Still, when American fans were offered “Having a Rave Up With the Yardbirds“, in November 1965, they had every reason to believe that Clapton was still, in some manner, a presence, as he occupied the entirety of side two of the album, recorded live in ’64. Consisting of four covers, the Clapton tracks offer a formidable farewell, but the future direction of the Yardbirds was much more easily discerned by playing side one, all of it featuring Beck. Although there is only one original tune, “Still I’m Sad,” credited to Samwell-Smith and McCarty, there are strong indications—particularly on the two Graham Gouldman compositions, “Evil Hearted You” and the top 10 single “Heart Full of Soul”—of the more experimental pop-oriented direction the band would take. Other tunes on “Rave Up”, notably Mike Hugg’s “You’re a Better Man Than I,” are some of the Yardbirds’ best, and again point away from the blues.
“Having A Rave Up With The Yardbirds”
By 1966, things had begun to stabilize—somewhat. With EricClapton long gone, the quintet of Relf, Beck, Dreja, Samwell-Smith and McCarty was anxious to start joining their contemporaries by recording their own material and dressing it up in the studio with a plethora of styles and sounds. That April, with Samwell-Smith and Simon Napier-Bell co-producing, the band entered a London studio to begin work on their first proper full-length album of all-original material: The entirety of it was credited to all five musicians.
The first two tracks they laid down, “Over Under Sideways Down” and “Jeff’s Boogie,” were released as a single in both England (on May 27th, 1966, where it reached #10) and America (#13, a couple of places lower than the extraordinary, non-LP track “Shapes of Things” a few months earlier).
The single revealed a new overtly psychedelic direction for the Yardbirds, with Jeff Beck’s Eastern-inspired guitar line displayed prominently, falling into a repeating pattern throughout most of the track, then exploding into a fiery barrage toward the end. Relf’s lead vocal, punctuated by the others’ restated “Hey!” chant, is one of his strongest, the lyrics falling more or less into the then-popular protest category (“When I was young people spoke of immorality/All the things they said were wrong are what I want to be”), a hypnotic tag line (“Over under sideways down, backwards forwards square and round”) breaking up the verses. “Jeff’s Boogie,” meanwhile, is just that, but on overdrive, a precursor to the kind of pyrotechnical madness Jimi Hendrix and others would be proffering shortly.
The two sides of the single were included on the finished album; the rest presented something of a guided tour of the Yardbirds’ growing versatility. The opening track, “Lost Woman,” kicks off with Samwell-Smith and McCarty swinging the intro madly, like a crazed troupe of bebop hepcats, before Beck and his wah-wah begin their total domination of the remainder (his solo is off the charts). The album’s first half also includes “I Can’t Make Your Way,” soul-infused, swaying folk-rocker with stacked vocals; the sing-songy, folkish “Farewell”; and “Hot House of Omagarashid,” little more than an endless volley of “Ya-ya-ya-ya-ya-ya”s chanted African-style while Beck and the others unleash all of the sound effects they discover in the studio. The second half of the set features the fuzz-drenched “He’s Always There”; the airy, proto-prog “Turn Into Earth”; the garage-y “What Do You Want”; and the album-closing “Ever Since the World Began,” at first echoey and mysterious, then switching gears, without notice, toward a modified rockabilly rhythm that Relf rides straight into the song’s abrupt halt.
“Over Under Sideways Down“
You’d think that, having issued different albums in America and the U.K. to that point, Columbia and Epic Records would coordinate and release the same album in each country. But in the crazy, mixed-up world of the Yardbirds’ recording history, that would make too much sense. The U.K. release, not uncommon to the era, featured two tracks not included on the U.S. version: “The Nazz Are Blue” (sung by Beck) and “Rack My Mind,” both tossed onto the first side of the vinyl LP. The U.K. and U.S. editions also featured different mixes.
But not only did the track listings and mixes differ in each country; the albums were given different titles on each side of the Atlantic. And there’s even some confusion over that.
In America the LP, the group’s third in all, was unambiguously titled after the hit single, “Over Under Sideways Down“. The LP jacket featured a portrait of the five band members in various over-under-sideways-down positions, over a plain white background. In the UK, however, the new album was officially titled Yardbirds, with the band’s name emblazoned across the bottom; the rest of the cover, drawn by Dreja, is a pen-and-ink depiction of the album’s sound engineer Roger Cameron. With the words “Roger the Engineer” positioned subtly toward the bottom of the cover, many U.K. fans simply assumed that the album’s title was “Roger the Engineer“.
“Roger the Engineer”
And so it came to pass—as the years chugged on, the album was routinely accepted as Roger the Engineer, and by the time it was re-released in England in 1983 (with two more tracks tacked on, “Psycho Daisies” and “Happenings Ten Years Time Ago”), that’s what it was now called.
“Little Games”
There would be one more Yardbirds album in America—1967’s “Little Games“, recorded as a quartet with JimmyPage as the sole guitarist—as well as a briskly selling Greatest Hits collection that gave the band its highest position on the Billboard LP chart, #27. A cheapo cash-in collection, Sonny Boy Williamson and the Yardbirds, recorded in 1963, also found its way to the market in both countries (on labels they were not signed to).
But in the band’s homeland, there was nothing else to speak of: Neither the “Little Games” single nor same-titled album would see a release, and when the band called it quits, few noticed, until, that is, Jimmy Page unveiled his next chapter.
Check out this 1996 BBC Documentary. Many good interviews and Live performances.
What you mostly read about the Yardbirds was this angle about how they served as a preparatory school, of sorts, for three guitar gods: Eric Clapton, whose Yardbirds tenure went from 1963 into the early spring of 1965, Enter Jeff Beck, who was more of a renegade, a drifter, a hired gun who frequently was not for sale, save when he wanted to follow his own idiosyncratic career path. Page, who came on board and played bass for a while with Beck in the band, would of course later launch Led Zeppelin, and there was even a brief period where Beck and Page co-teamed on lead guitar for the Yardbirds until Beck dropped out in 1966 and Page saw the band through to their end in 1968. The angle suggested, of course, that the Yardbirds weren’t the end-all-be-all, but rather something skilled players passed through, on their way to that eventual end-all-be-all.
The rest of the band could bring it, too: Jim McCarty was a fine blues-rock drummer, Paul Samwell-Smith had a melodic touch on the bass, and rhythm guitarist Chris Dreja freed-up space for the band’s various guitar titans to do what they did.
Despite never having met IRL, the Montreal, QC– and Marquette, MI-based quartets Gulfer and Charmer have joined together for a split release via Topshelf, Royal Mountain, and No Sleep Records. Currently separated by a closed border and the pandemic, the two veteran emo groups have long held mutual admiration for one another, with Charmer first taking notice of Gulfer back in 2015 upon the release of their split with Buffalo’s Del Paxton. After both bands released acclaimed albums in 2020, the two became friends over DMs and soon decided to do a release together.
Told from the perspective of someone who isn’t sure who or what they can rely on, Gulfer’s “Look” explores the meaning of interpersonal trust in the context of our ongoing social and political turmoil. But this narrative doesn’t arrive at specific conclusions on these subjects, mirrored by the song’s abstract and impressionist elements of layered acoustic guitar and textural harmonica. There is nevertheless a compositional certainty about the song, featuring signature Gulfer punches and nimble, noodly guitars that seem to effortlessly glide between the raucous downbeats and unpredictable transitions, proving the band’s proclivity for marrying catchy punkish licks with virtuosic excitement.
Charmer’s “Diamond (Sprinkler)” is similarly contemplative, best summarized as a song about a certain kind of existential dread: being stuck in a loop observing everyday life change rapidly while you and your mindset are at a standstill. Though the lyrical concept is anything but uplifting, the rest of the song presents in a high-octane, energetic manner, featuring a triumphant yet almost subdued guitar solo that beckons a special summer. As with Gulfer’s side, “Diamond (Sprinkler)” is an exciting follow-up for a band hitting their stride as we inch ever closer to the return of live music.
“Look”: Joseph Therriault – vocals, guitar, harmonica Vincent Ford – guitar and vocals David Mitchell – bass and vocals Julien Daoust – drums
Drums and bass recorded by JP Larouche “Diamond (Sprinkler)” : David Daignault – vocals/Guitar Neil Berg – guitar Zack Alworden – bass/vocals Nick Erickson – drums
Cameron Crowe, in association with Universal Music, has done the (near-) impossible. On July 9th, the writer-director will revisit the soundtrack to his 2000 instant classic “Almost Famous” in greatly expanded, near-complete form, including five – yes, five! – Led Zeppelin songs plus tracks by other typically difficult-to-license artists including Simon and Garfunkel, The Who, Fleetwood Mac, Steely Dan, Neil Young, Joni Mitchell, David Bowie, and Stevie Wonder. That’s not to mention new Rock and Roll Hall of Fame inductee Todd Rundgren, The Beach Boys, Cat Stevens, Deep Purple, The Raspberries, and of course, Elton John who has reteamed with the original cast of the film to cut a new Almost Famous version of “Tiny Dancer.” The 20th Anniversary Editions will arrive in the following formats:
Additionally, the original film will arrive four days later on July 13th in Blu-ray and 4K Ultra HD formats. Crowe was quoted late yesterday in Rolling Stone magazine (where else?): “We are extremely proud to revisit Almost Famous with a very special bounty of goodness. For the first time, we’ve created a deluxe soundtrack that features nearly every song heard in the film, along with Nancy Wilson’s wonderfully evocative score. We’re also thrilled to present both [theatrical and extended] versions of the film, along with a collection of rare new bonus features, on these beautiful new 4K and Blu-ray releases as part of [the] Paramount Presents [series]. Long live physical media!” Amen to that.
The expansion of the Almost Famous soundtrack set has been ongoing since 2011. Anyone who’s seen the film remembers how beautifully Crowe integrated classic rock and pop sounds into the affecting, semi-autobiographical coming of age story of budding rock journalist William Miller (Patrick Fugit). Simon and Garfunkel’s “America” takes him on a journey that doesn’t even require him to leave his bedroom; Todd Rundgren’s “It Wouldn’t Have Made Any Difference” underscores a scene in which William meets influential, real-life critic Lester Bangs (memorably brought to life by Philip Seymour Hoffman). Even the end credits kept the audience spellbound, thanks to The Beach Boys’ haunting “Feel Flows.” The most iconic (and yes, that word is tremendously overused but remains appropriate here) moment in the film is a tour bus sing-along set to Elton John’s “Tiny Dancer.” That was one of many goosebump-inducing moments in the movie.
The 5CD and 6LP editions of the expanded soundtrack feature 47 songs from the movie as sung by artists from Alvin and the Chipmunks to Yes, including tracks by fictional in-movie band Stillwater, plus film dialogue, score cues, Stillwater demos, and more. (Stillwater’s six songs are also available as a standalone vinyl EP.) A 2CD, 35-song cutdown version will also be released as well as two vinyl versions of the original, 17-song soundtrack as first issued in 2000.
The biggest edition is the 5CD/7LP/1-7″ single Super Deluxe set. This box has the full contents of the 5CD and 6 LP versions comprising the core 47 songs (including the special mix of The Who’s “Sparks” and “Amazing Journey” and a previously unreleased live version of Neil Young’s “Cortez the Killer”) and the aforementioned film dialogue, seven Stillwater demos performed by Nancy Wilson and Peter Frampton, three backstage jams from the Stillwater members, and 21 score cues from Wilson (14 of which weren’t included in the final cut of the film and haven’t been heard anywhere). The seventh LP is the Stillwater EP. Limited to 1,500 units, this “everything but the kitchen sink” edition is housed in a poly-wrapped lift-top box. Swag includes a 7-inch single of Stillwater’s “Fever Dog” plus a 40-page book designed after William Miller’s school notebook, faux Stillwater ticket stubs, the complete William Miller cover story for Rolling Stone, Stillwater tour posters, prop replica backstage passes and business cards, and photo prints of three cast members.
By any standard, this looks to be the ultimate celebration of a film that itself is a clear-eyed celebration of the rock era and the power of music. Look for these releases on July 9th from UMe. They can all be pre-ordered now from uDiscoverMusic, and we will add Amazon links for the general-retail items once they’re active. You’ll find the track listing for the Super Deluxe box set below.
Various Artists, Almost Famous – Original Motion Picture Soundtrack: Super Deluxe Edition (UMe, 2021) (uDiscoverMusic.com)
5CD (47 songs plus film dialogue, Stillwater demos, jams, and score cues);
2CD (35 songs);
6LP Red, Yellow, and Orange Vinyl (180-gram, 47 songs plus film dialogue, limited to 6,000 units);
6LP Black Vinyl (180-gram, 47 songs plus film dialogue);
Original 2LP Soundtrack (1973-style jacket, 180-gram, 17 songs);
Original 2LP Soundtrack (Original film artwork jacket, 180-gram, 17 songs);
Stillwater vinyl EP (180-gram, 6 songs); and
5CD/7LP/1-7″ single Super Deluxe Box Set (103 tracks including 47 songs, film dialogue, Stillwater demos, jams, and score cues; limited to 1,500 units).
Teenage Joans come from Adelaide, Australia Juice-Box Punk-Pop with Cahli & Tahlia have had a very exciting past few months indeed. From taking out triple j Unearthed’s Unearthed High comp in 2020 to sharing stages with the likes of Ruby Fields, The Hard Aches, Clowns, Towns and Bec Stevens and taking out the “South Australian Best Live Act” in the 2019 National Live Music Awards, their list of accolades continues to grow with each and every move. Fast forward to 2021 and they’re kicking the year off with a bang thanks to two co-headline shows with TOWNS in Melbourne and Brisbane as well as slots booked for Summer Sounds and TEENAGE KICKS festivals, and now they’re going one step further with the release of a rip-roaring new anthem and video.
Titled ‘Something About Being Sixteen’, the new single from Teenage Joans is a gripping, anthemic and emotional slice of classic rock, all about the emotional turmoil of holding on to a person that shouldn’t be held on to. With catchy riffs, soaring hooks and infectious melodies, the duo let it rip from start to finish to make a song that is equally emotional and relatable as it is cathartic and fun to listen to. Released alongside a fittingly epically fun video ‘Something About Being Sixteen’ is all the proof you need to realise Teenage Joans are superstars in waiting.
The band said of their new single, “‘Something About Being Sixteen’ is undoubtedly Teenage Joans‘ great take on the classic coming of age rock tune, generally closing our live sets with audiences singing along every time without fail.”
With a focus on making music that is real, important and unapologetic, it’s no wonder that Teenage Joans are being tipped as a serious one to watch this year.
Sophomore T-TOPS full-length “Staring at a Static Screen” is as gritty and soaked with urban detritus as it gets. The trio’s new album is a dirty symphony of car wrecks, grimy alleys, beat-to-shit jeans, and bottomless reservoirs of snarling rust-belt antipathy translated into musical form. These tracks give voice to every screaming impulse hidden deep inside, and with each spin the blood boils hotter.
Hailing from America’s former steel town Pittsburgh, Pennsylvania, T-TOPS are the embodiment of noisy, uncompromising punk-infused rock. True to street style, the band’s name is derived from the removable panel car roof popularised in America in the 1970s, the period when disaffected punk was beginning to coalesce in the musical underground.
T-TOPS’ sound draws heavily from such straight-shooting acts as Unsane and Motorhead as well as East Coast hardcore. Founded by guitarist and singer Patrick Waters, these veterans come with a decade-plus of hard-hitting shows delivered with grim determination. Their crunching riffs are twice underscored by the pounding rhythm section of Mike Koch on drums and bass-player Matt Schor.
“Staring at a Static Screen” is a bashing, beautiful, unyielding concrete slab that, like its creators, simply does not give in. Adherents of Cancer Bats, and The Melvins may latch onto different chunks of the album, which ranges from the face-ripping energy of ‘Burn the River’ to the stunningly contemplative Fleetwood Mac cover ‘What Makes You Think You’re the One’. T-TOPS are back and their mission statement is simply to kick ass as hard as humanly possible.
Like everything we’ve heard so far from Ella Williams’ latest album as Squirrel Flower, Planet (i) (June 25th, Polyvinyl), “Flames and Flat Tires” finds the rock singer/songwriter turning her insides out, addressing universal threats with sage wisdom and fearless vulnerability.
While previous singles “Hurt A Fly” and “Ill Go Running” dealt with “gaslighting, narcissistic soft-boy type shit” and “the darker side of being an artist,” respectively, “Flames and Flat Tires” cuts closest to the core of Planet (i), reckoning with a world in ruin on figurative and literal levels alike. Over darkly evocative guitars, Williams uses a banged-up car as a symbol for herself (“Busted engine or busted lung”), falling apart on its way to the finish line. The world around that road is broken, too, beset by “drought” and “firestorms”—”Trying to recall how the rain felt on my skin / And scream to anyone who’ll listen!” she repeats as the song crescendos, clinging to a time before climate catastrophe loomed at the edges of all our everyday disasters.
Speaking of the track Ella says: “I wrote Flames on my second day of quarantine in Bristol, England ahead of recording. It was late August, hot; I was staying in a place that opened onto a party street, and every night I stayed up listening to the sounds of the revellers and the birds squawking and screaming until 6am, then all day watched people hanging laundry in their backyards through my kitchen window.”
The video was directed by Lua Borges, who elaborates: “This video is encased by the imagery of broken parts and abandonment. Objects that have become useless. Physical matter that looks so small inside our world. It gives life to an internal feeling of self-doubt and uncertainty, which the song approaches so intently. But ‘Flames and Flat Tires’ is also about fighting to overcome that, and staying present fully.”
Planet (i) is a world entirely of Williams’ making. The title came first to her as a joke: it’s her made-up name for the new planet people will inevitably settle and destroy after leaving Earth, as well as the universe imagined within her music.
The record is a love letter to disaster in every form imaginable – these songs fully embrace a planet in ruin. Buoyed by her steadfast vision and propelled by her burning comet of a voice, Planet (i) is at once a refuge, an act of self-healing, and a musical reflection of Squirrel Flower’s inner and outer worlds.
“Flames and Flat Tires” is taken from Squirrel Flower’s sophomore album, Planet (i), out June 25th,
“I just love Bjork and I love RVG. I was running on a treadmill which I don’t do very often and I was listening to Army of Me over and over again to make me feel stronger than I am. Then I thought why not try and cover this song with another artist that makes me feel stronger than I am and I did! Was a good musical punch in the face to wake me up from a year of living a very small quiet life. RVG are one of my favourite bands in the whole world and it was just a real blessing to spend some time with them making music” –Julia Jacklin
“We adore Julia’s music and were thrilled when she asked us to do a precious Björk song with her. I think we all wanted to challenge ourselves a bit and do things we haven’t done before in a studio, while at the same time just having fun and letting ourselves be as intuitive as possible.” –Romy Vager, RVG
“Oh, Inverted World” is turning 20!!! This June is the 20th Anniversary of the release of Oh, Inverted World and we’re celebrating by releasing a remastered version of the album on all formats! On June 11th you’ll be able to hear the newly mastered songs but today you can go to our web store and pre-order at Sub Pop Records the 20th Anniversarywill be out in this inverted world. Watch the video above for “Know Your Onion” now in HD and remastered audio!
Signature “Loser Edition” first run limited pressing of the album on light blue with white marble vinyl. Remastered by Bob Ludwig, the new front cover features an ‘inverted’ colour scheme on a die-cut jacket and includes a booklet filled with vintage photos, handwritten lyrics, liner notes, and more. Ten copies in this limited run include a “Golden Ticket” item, a 7”x7” classic photo of the band signed by James Mercer.
Many, many moons ago, a 2004 independent directed by a sit-com lead introduced the world to The Shins in a sort of cinematic meet-cute. In reality though, the “indie band” from Albuquerque, New Mexico released their debut album Oh, Inverted Worldthree years earlier. Now, twenty years later, the group is celebrating their breakthrough album with a remastered version on fancy blue-swirled vinyl. If you’re not into that, you can also get it on black vinyl, CD, or cassette.
“This record gave me the life that I never really dreamed I would have,” said vocalist James Mercer. “It opened me up to the whole world and gave me validation. It’s also something that stands as a bit of a pinnacle for our band. You release that first record and it’s so well embraced, but you’re always trying to get that magic back, I think. We’ve done well, certainly, but the fervour that happened around Oh, Inverted World we never quite reached again. It’s a special moment when you’re a new band and you’ve got what was apparently kind of a new sound. This record symbolized a very special moment in my life, a watershed moment for sure.”
If the swirly blue vinyl wasn’t enticing enough, there will be 20 copies of anniversary edition that hold a “golden ticket,” a.k.a 7″x7″ classic photo of the band signed by Mercer. Ten editions of blue swirly vinyl will have a ticket, as well as ten of the black vinyl.
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The Fat Angel Sings 