The Fat Angel Sings

Squid’s new album “Cowards” is about evil. Nine stories whose protagonists reckon with cults, charisma and apathy. Real and imagined characters wading into the dark ocean between right and wrong.
“Cowards” is Squid’s most courageous album: simultaneously growing in scope and returning to basics.
The band recorded “Cowards” at Church Studios in Crouch End with Mercury prize winning producers Marta Salogni and Grace Banks.
On additional production is longtime shifu and collaborator Dan Carey, who recorded the band’s first two albums. The Nine stories whose protagonists reckon with cults, charisma and apathy. Real and imagined characters wading into the dark ocean between right and wrong. 

The record was mixed in Seattle by John McEntire, before being compressed by the rich analogue chain of Heba Kadry’s mastering in Brooklyn, New York.
Squid have come a long way since forming in 2016 as an instrumental jazz band for a monthly night in Brighton.
Their debut album “Bright Green Field” (2021) arrived as the world was starting to open up after the pandemic and they broke into the top 5 in the UK chart. In 2023 they released their sophomore album, the brooding “O Monolith“, which took the band all over the world and broke new ground that hardly seemed possible years prior.

“In October 1987, four months after the release of their critically acclaimed “Sister” LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro in Chicago. The concert was introduced by Big Black’s Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title “Hold That Tiger” on writer/provocateur Byron Coley’s impishly Geffen-baiting label Goofin’ (years later the band would use this nom de guerre for their own imprint). “Hold That Tiger’s” sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn’t a stretch to suggest that the album is to the first handful of SY releases what “It’s Alive” is to the first three Ramones LPs — a feral and liberatory public snapshot of a band’s blossoming imperial phase. Indeed, “Hold That Tiger” is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock ’n’ roll’s most revered live albums.”

“Hold That Tiger’s” encore – four songs by the band’s beloved Ramones, which Thurston would later astutely compare to “the perfect pudding after a hearty meal” – serves as a reminder that, like any true punks, Sonic Youth never could resist a good, rousing anthem to send the kids home with their ears ringing, their hearts hot-wired.

This first-time reissue comes with gatefold jacket. Mastered by Bob Weston from the orginal tapes. Recorded by Aadam Jacobs. Audio repair/editing by Aaron Mullan. 

releases February 7th, 2025

“Open Wide” marks a giant leap forward for Irish four piece Inhaler. The album, recorded with producer Kid Harpoon is the sound of a band stepping out of their comfort zone. Including the lead single “Your House”, “Open Wide” is 13 songs that feels unique—a guitar-driven pop album unlike any other, solidifying their status as one of the most exciting young bands today.

Recorded at RAK Studios in London and produced by Grammy and Brit Award-winning Kid Harpoon, Inhaler’s new album “Open Wide” reinforces their status as the ultimate modern guitar band, a group for whom jubilant pop melodies, intricate grooves and rock ’n’ roll dynamism are kindred spirits rather than strangers.

Featuring 13 songs, it hones the sweeping, euphoric singalongs of their first two albums “It Won’t Always Be Like This” and “Cuts & Bruises”, into something more fully formed, a record you can lose yourself in and one where every track feels like it could be a big single. Sonically, it’s an album where the band’s love of T. Rex, early MGMT, Prince, Depeche Mode and more nestles alongside the indie and garage-rock influences of their teens, and is a majestic celebration of who Inhaler are and everything they’ve done to get to this point.

The upcoming Heartworms debut album looks like gloomy gothy fun and here’s a second single from it that underlines that. “Extraordinary Wings” is five minutes of sinister fun, has a hypnotic build-up and leaves you craving for more.

“Glutton For Punishment” is the highly anticipated debut album from formidable South London auteur Heartworms. Produced by longtime collaborator Dan Carey, “Glutton For Punishment” combines the propulsive, motorik tendencies of gothic stalwarts Depeche Mode, with the lyrical dexterity of PJ Harvey, and the off-kilter rhythms of LCD Soundsystem into a powerful sonic onslaught that is entirely Heartworms.

“With my EP, people kind of pigeonholed me into post-punk,” she says. “I was like, ‘Cool, I can do that, but I can also do way more’ – I can do post-punk, but I can also be poppy and catchy, and this album represents that. I think people might be surprised when they hear it… I’ve been chastised my whole life; made to feel as if I didn’t belong, punished for not fitting into a perfect image of how a growing woman should be.

When you’re told something enough times you start to believe it. I often find myself locked into an unhealthy cycle of craving harsh discipline, greedy for the familiarity it brings but terrified of the consequences — better the devil you know. But this album doesn’t just reflect my own experiences; it reflects those of the people in my life and the stories of others that I think need to be heard.”

the forthcoming album “Glutton for Punishment”,

“Universe Room” is the 18th Guided By Voices album in 10 years and packs a vast mix of energy levels and sounds into seventeen diverse tracks in less than forty minutes. The new record ventures into truly surprising territory, where barely any song segments and choruses are revisited and fidelity daringly shifts between lo-fi and hi-fi. “I wanted to create, hopefully, an experience, kind of a wild ride, where the listener would want to hear it multiple times in order to grasp all the sections and fields of sound to discover something new with each listen,” says Robert Pollard.

“I trimmed down the songs so that there wasn’t a lot of repetition, so you get a lot of sections that happen only once or twice. “Universe Room” embodies a realm of new horizons for Guided By Voices, who continue to redefine and expand as they blast off to unpredictable worlds.”

The 18th Guided By Voices album in 10 years is aptly titled “Universe Room”, packing a vast mix of energy levels and previously undiscovered constellations of sounds into 17 diverse tracks over a compact space of less than 40 minutes.

February 7TH Release Date

Italian Punk/Stoner/Psych/Fuzz Rockers FVZZ POPVLI are back with their fourth album “Melting Pop” and it’s even weirder than their previous albums combined. Taking a Garage Rock approach with nods to The Stooges, MC5, Black Sabbath, KYUSS and even The Melvins for this record alone. “Melting Pop” has a schizophrenic delivery with the rebellious vocals and raucous lyrics that contains a freakish 1970’s Punk Rock attitude with a killer modern day Noise Rock attitude.

There actually is a “POP” style melody appearing within the music though it’s being given a twisted and surreal makeover with layers of SONIC and PSYCHEDELIC distortion within the first few tracks of the album Temple Of Doom, Telephone and Salty Biscvits that allows the band to superbly deliver messages of FUCK YOU to the whole MAINSTREAM area of RAWK & ROLL. There is a sense of misguided Punk Rock fun throughout which allows FUZZ POPVLI to deliver a stripped back sound which has been part of their music since their excellent debut album. 

Sometimes the lyrics don’t make sense especially on “Salty Biscvits” but you can’t deny how addictive and engaging the whole song actually is especially with the upstart Garage Rock/Noise Rock delivery of the track that gets straight to the point of playing pissed off and highly energetic fast paced sludgy guitars. There’s a deep reliance of some AMPLIFIER REVERB on certain parts of the track.

“Melting Pop” has a twisted sense of humour throughout which comes mostly ito focus on the following tracks of “Erotik Evil Pimp”, “Kommando” and “Ovija“. The music is fast and loose with it’s kinetic Stoner Rock swagger becoming quite dominant without diluting the Garage Rock energy that makes this album so dementedly brilliant and outrageous at times. There’s a classic sound-byte added to “Kommando” which is just the icing on the cake for that track and makes it easily the standout track on the album.

The final two tracks of “Cop Sacher” and “The Knight” allows “Fuzz Popvli” the perfect opportunity to draw this album to a great finish with more sludgy and noise rock based grooves which leaves no stone unturned by delivering a first rate and off-beat record that is thrilling entertainment from start to finish.

As always, we decided to do our own thing. We’re just so over the same old tired riffs and worn-out stoner vibes, like a pair of Birkenstocks at an indie concert, and let’s not even start on those “super interesting” lyrics about how to smoke weed (seriously, tell us more!). So here we are at a crossroad: should we just follow the crowd and do what everyone else is doing, or should we put in the hard work to create something that actually makes us happy while we play it? Well, here’s “Melting Pop!” It’s not stoner, it’s not garage, it’s not punk, it’s not psych, it’s not even a traditional album. It’s melting, a blend of Fvzz Popvli saying “screw the labels” and just going with the flow, all natural, like grownups with no preservatives.”

Andy Fairweather Low is truly the “Invisible Bluesman“. His career has to an extent been defined by early pop successes, but every single one of his performances has always been shaped by his blues, gospel and soul influences. It is ironic that although he first burst onto the scene in Britain in 1967 with a U.K. Top 20 hit record of “Gin House Blues” inspired by Bessie Smith’s 1928 recording — the many hits he has enjoyed since then from his days fronting Amen Corner have gradually hidden his undeniable credentials as a great bluesman. However, this extraordinary talent hasn’t escaped the notice of some of the world’s finest artists who have drawn on his deep blue skills as a guitarist and singer.

Andy has largely missed the recognition he deserves in the blues world and that is probably because up until now, he has never released a blues album. The album features material recorded since he left Eric Clapton’s band. The tracks have been chosen to highlight Andy’s unique voice and his mastery of the blues guitar.”

With nearly 25 albums under his belt, prolific Texas native and Grammy-winning singer-songwriter Joe Ely returns with a timely collection of songs — both originals and others written by musical heroes, including Guy Clark, Townes Van Zandt and Woody Guthrie. “I’m really appreciative of everyone’s help in putting this album together,” shares Ely. “To me, “Love and Freedom” is a reminder of the times we’re living in right now, and I hope it resonates with whoever takes the time to listen.” Co-produced with frequent collaborator Lloyd Maines (Miranda Lambert, Kris Kristofferson), “Love and Freedom” unveils songs from Ely’s recording vault, spanning several decades of sessions at Spur Studios, his home studio outside Austin. Ely recorded these tracks during time off the road, resulting in poignant renditions of classics like the Ryan Bingham-featured take on Guthrie’s protest anthem “Deportee (Plane Wreck at Los Gatos)” and the heartfelt Clark cut “Magdalene”.

Over the course of his long and eclectic career — as a songwriter, performer, collaborator, and author — Ely has altered and expanded the meaning of Texas music, bringing its sounds and stories to audiences worldwide. “Love and Freedom” marks yet another milestone for Ely, celebrating the power of unity through song during divisive times.”

album ‘Love and Freedom’ out February 7th.

Esoteric Recordings is proud to announce the release of a new re-mastered limited edition boxed set of the classic debut album by VAN DER GRAAF GENERATOR, “The Aerosol Grey Machine“.

Van Der Graaf Generator were true pioneers of so-called Progressive rock, and their impressive career spanning five decades features many ground-breaking works. Always progressing stylistically in the true sense of the word, Van Der Graaf Generator’s music remains inspirational. Formed in Manchester University in 1967, VDGG initially featured Peter Hammill (vocals, guitar), Chris Judge Smith (drums, vocals) and Nick Pearne (organ). The band signed to Mercury Records in May 1968 after the submission of a two-track demo tape. Nick Pearne departed the fold and Hammill and Smith relocated to London recruiting keyboard player Hugh Banton.

By the Autumn of 1968 the band had signed a management contract with Tony Stratton-Smith and had recruited drummer Guy Evans and bassist Keith Ellis into the group. This line-up recorded the single ‘People You Were Going To’ & ‘Firebrand’ in 1968 and a session for BBC Radio One, before Chris Judge Smith departed. The ‘People You Were Going To’ single, issued in January 1969, was withdrawn just days after release due a contractual dispute with Mercury Records.

After several months of touring, including a support spot for the Jimi Hendrix Experience at the Royal Albert Hall, the band broke up after the theft of their equipment and on-going contractual difficulties. The Aerosol Grey Machine sessions began life as an intended solo album for Peter Hammill, featuring Banton, Evans and Ellis as session players. However, the album appeared in September 1969 in USA only credited to Van Der Graaf Generator as part of a contractual settlement which enabled the band to sign to Tony Stratton-Smith’s newly formed Charisma Records label later that year (for whom they would record a series of classic albums). A planned UK release by Mercury of “The Aerosol Grey Machine” (which featured a different and lavish gatefold sleeve design) was shelved after a handful of test pressings were made.

This deluxe set celebrates the 50th anniversary of the very first Van Der Graaf Generator release and features the re-mastered album, an additional CD of rare & previously unreleased tracks including two previously unreleased demos from 1967, the complete BBC Radio Top Gear session from 1968 (including the “lost” previously unreleased version of ‘Octopus’) & the single tracks ‘People You Were Going To’ and ‘Firebrand’, a facsimile 180 gram vinyl LP of “The Aerosol Grey Machine” (cut at Abbey Road Studios) housed in the impossibly rare unreleased British gatefold sleeve design, a 7-inch single of the very rare withdrawn release ‘People You Were Going To’ b/w ‘Firebrand’, a lavish book with many previously unseen photos and cuttings and an essay by Sid Smith featuring an exclusive interview with Peter Hammill and a replica 1968 poster designed by Peter Hammill.

• A RE-MASTERED SPECIAL 50th ANNIVERSARY DELUXE 2CD, 1 x LP AND 1 X 7-INCH SINGLE LIMITED EDITION BOXED SET OF THE CLASSIC 1969 DEBUT ALBUM BY VAN DER GRAAF GENERATOR… FEATURING:
• A CD OF RARE & PREVIOUSLY UNRELEASED TRACKS INCLUDING TWO PREVIOUSLY UNRELEASED DEMOS FROM 1967, THE BBC TOP GEAR SESSION FROM 1968 (INCLUDING THE “LOST” PREVIOUSLY UNRELEASED VERSION OF “OCTOPUS”) & THE SINGLE TRACKS ‘PEOPLE YOU WERE GOING TO’ & ‘FIREBRAND’
• A FACSIMILE 180 GRAM VINYL LP OF “THE AEROSOL GREY MACHINE” HOUSED IN THE WITHDRAWN UK GATEFOLD SLEEVE DESIGN (CUT AT ABBEY ROAD STUDIOS)
• A 7-INCH SINGLE OF THE VERY RARE WITHDRAWN RELEASE “PEOPLE YOU WERE GOING TO” b/w ‘FIREBRAND”
• A BOOK WITH MANY PREVIOUSLY UNSEEN PHOTOS AND CUTTINGS AND AN ESSAY BY SID SMITH FEATURING AN EXCLUSIVE INTERVIEW WITH PETER HAMMILL
• A 1968 POSTER DESIGNED BY PETER HAMMILL