Fontaines D.C. have shared the video for “Bug,” one of the many highlights from this year’s superb album release “Romance”. It was directed by Academy Award winner Andrea Arnold (American Honey, Fish Tank, Cow), stars Academy Award nominee Barry Keoghan (The Banshees of Inisherin, Saltburn), and is comprised of footage from the new film Bird, which also stars Fontaines D.C.’s Carlos O’Connell.
“Andrea Arnold was kind enough to cut up a sequence to our tune ‘Bug; featuring Barry Keoghan playing the character Bug in her new movie Bird,” says Carlos. “Bug’s a song that happened quickly and convinced everyone quicker. In my eyes, the character Bug, the tattoo ‘Bug’s Life,’ Andrea’s essential & romantic worlds, and the line ‘Changed my name to “Promise you, Yea”’; when put all together make convincing needless & conviction undeniable.
Big thanks to Andrea Arnold for letting us in so close to her visionary universe. She’ll be remembered how we remember Bacon or Goya.”
“Bug” video below, and Bird is out Friday, November 8th via MUBI.
Manchester greats Doves announced their sixth album, “Constellations For The Lonely“, today and shared its first single. Doves return with their first new music in over four years and announce a new album for release in early 2025, reclaiming territory all their own with the stormy euphoria of “Renegade”.
Jimi Goodwin, Andy and Jez Williams’ winding path to a sixth album reaches that milestone next year, after joining EMI North.
“Renegade” is a retrospective glimpse into Manchester’s future – a dystopian vision born from uncertain times. It’s entirely imaginary, yet somehow deeply familiar.
Doves return with their first new music in over four years and announce a new album for release in early 2025. Jimi Goodwin, Andy and Jez Williams’ winding path to a sixth album reaches that milestone with the 10-Track “Constellations For The Lonely”.
Doves forthcoming album “Constellations For The Lonely”:
Cincinnati indie rock vets Wussy will release their first album in six years in just a couple weeks. Here’s another early taste with “Inhaler” that has just the right amount of twang. Wussy are an American five-piece fronted by songwriters Chuck Cleaver and Lisa Walker & backed by Mark Messerly, Joe Klug & John Erhardt. Bridging the gap between The Band & Sonic Youth, Wussy continue in the tradition of bands with multiple writers & singers. Cleaver and Walker offer radically different perspectives that blend in seamless fashion – usually blanketed inside layers of noise
This is the third single from Wussy’s new album “CINCINNATI OHIO” – out November 15th, 2024 on Shake It Records.
Wussy are : Chuck Cleaver – guitar, vocals Lisa Walker – guitar, vocals Mark Messerly – bass Joe Klug – drums, percussion, synth, the band leans heavily into its penchant for cinematic Americana landscapes, drawing stylistic inspiration from influences such as Calexico, Mazzy Star, R.E.M., Sun Volt, and the Mekons (whose Jon Langford painted the album’s cover art). This Midwestern wall-of-sound method clearly works for Wussy,
Wussy are back with their first LP in six years. The aptly titled “Cincinnati Ohio” – out NOVEMBER 15th on Shake It Records
British collective Honesty hail from Leeds and were started by George Mitchell, who fronted post-punk band Eagulls in the 2010s and the early days of the pandemic. The rest of the four-member core of the group is rounded out Matt Peel, Josh Lewis and Imi Marston but also includes contributions from Kosi Tydes, Softlizard, Rarelyalways, Dry Cleaning‘s Florence Shaw, and Liam Bailey.
Now signed to Partisan Records (which was also Eagulls’ label), Honesty will release their debut album, “U R Here“, in February 2025.
While there is a post-punk undercurrent to their music, HONESTY draw from a much bigger well of influences, including a variety of electronic/dance (trip-hop, IDM, techno, dubstep) and shoegaze. New single “Tormentor”its woozy sub-bass and breathy vocals by Marston. It’s not all chill, though, as it rips into cinematic technicolour for the chorus.
from the EP “Where R U” out now on Partisan Records:
The Vanilla Fudge were a heavy psych influenced band which specialised in taking well known songs and totally rearranging them. known predominantly for their slow extended heavy rock arrangements of contemporary hit songs, such as their hit cover of the Supremes’ “You Keep Me Hangin’ On”. This version featured Stein’s psychedelic-baroque organ intro and Appice’s energetic drumming. The Fudge version begins with a single organ note that appears to be struggling to hold its pitch against unseen forces. Gradually, the note is joined by other notes as you begin to wonder whether it may be some musical code trying to tell you something – a bit like that sequence in Close Encounters . In what sounds like the noise of a drumstick splintering against a hi-hat jolts your senses, and suddenly you’re engulfed in a clattering musical cacophony that finally erupts into the classic “You Keep Me HanginOn” riff. Except that it’s played at a quarter of the speed and with a fearsome, heavyweight, pile-driving intensity.
The band’s original line–up was vocalist/organist Mark Stein, bassist/vocalist Tim Bogert, guitarist/vocalist Vince Martell, and drummer/vocalist Carmine Appice. They recorded five albums during the years 1967–69, before disbanding in 1970. The band has been cited as “one of the few American links between psychedelia and what soon became heavy metal and as a proto-prog band. Vanilla Fudge’s organ-heavy sound was a large influence on the British band Deep Purple.
We always felt this was one of the greatest cover versions of any Beatles song in history. The band opened up their debut album entitled “Vanilla Fudge”, shocking the world with this glorious version of The Beatles’ song “Ticket To Ride.”Vanilla Fudge would cover many Beatles songs throughout their career making the songs their own with intense original arrangements that rock fans loved.
Vanilla Fudge was managed by Phillip Basile, a reputed Lucchese crime family, who operated several popular clubs in New York. With a suitably surreal cover artwork, Vanilla Fudge’s debut album began a nine-month residency in the US chart in September 1967, peaking at No.6 despite the absence of a hit single. Their first three albums “Vanilla Fudge”, “The Beat Goes On”, and “Renaissance” were produced by Shadow Morton, whom the band met through The Rascals.
“The Sky Cried/When I Was a Boy,” was the opening track on the band’s third album entitled “Renaissance“. This music is just simply stunning. It rocks hard, is melodic, and is played with such brilliant musicianship.
If you’re a fan of the band Emerson Lake & Palmer, you should check out this song because this is exactly what Keith Emerson was listening to in 1968. This track is so stunning, The song was released on the Vanilla Fudge “Renaissance” album as a bonus track. It was initially released as a stand alone single.
“Renaissance”, was rushed out in June 1968, just five months after “The Beat Goes On“, helped to steady things with a bunch of band-written material that was cosmic but controlled, and a version of Donovan’s “Season Of The Witch” left over from the first album.
The song was written by Donovan, who released it on his 1966 album “Sunshine Superman“. The song has been covered by many artists including Al Kooper and Stephen Stills on the “Super Sessions” album. Dr. John also did a great version of the song However, our favourite will always be this killer version recorded by Vanilla Fudge.
Vanilla Fudge’s fourth album, “Near The Beginning”, contained a 23-minute live epic called ‘Break Song’ which featured solos from all four band members.
I had already familiar with the first 4 studio albums Their 5th, “Rock & Roll”, came out in October 1969, but by now the band were in total disarray. The band also went back into the studio to record “Out Through the In Door”, a Led Zeppelin cover album released in 2007 only in Europe.
If you like this band or want to get into them then they have never sounded better than here – The mono versions of the first 2 albums sound the best to me preserving the weight of the music more But The live double album is a treasure to behold, absolutely superb
This is an excellent box by a seminal US band These are the must have “Vanilla Fudge”, their second album, “The Beat Goes On” , It was followed by “Renaissance” one of Vanilla Fudge’s best albums , “Near the Beginning” Around this time the band supported it by touring with Jimi Hendrix, Also opening several dates on Cream’s farewell tour, and later in the year, touring again with the fledgling Led Zeppelin as their opening act.,
The band sounds a little bit like Cream on the introduction to this smoking song. This great track, “Shotgun,” was released by he bandin 1968. The song was originally recorded and released as a single by Junior Walker & the All Stars in 1965. It was written by Autry DeWalt. Vanilla Fudge’s killer version was issued on the album “Near the Beginning“
The expansive, symphonic-tinged “Near the Beginning”. After part of the band recorded a radio commercial with guitarist Jeff Beck, an idea was hatched to form a Cream-styled power trio with plenty of individual solo spotlights. Exhausted by the constant touring, the band decided that their late-1969 European tour would be their last.
Following the release of their final album, “Rock & Roll”, Vanilla Fudge played a few U.S. farewell dates and disbanded in early 1970. The band’s legacy will also be fuelled and remembered by their original five albums released between 1967 and 1969.
Bogert and Appice first formed the hard rock group Cactus, then later joined Jeff Beck in the aptly named Beck, Bogert & Appice. Appice went on to become an active session and touring musician, working with a variety of rock and hard rock artists. Vanilla Fudge reunited in 1984 for the poorly received “Mystery” album, and, over the course of the next two decades, Vanilla Fudge would regroup for tours. These reunions often had differing lineups, always anchored by Carmine Appice and usually TimBogert.
Irish rock legends Thin Lizzy have announced they will release their first new album in over 40 years early next year. We are thrilled to announce the release of “Thin Lizzy – Acoustic Sessions”, a ground breaking new frontline album that brings together the legendary voice of Philip Lynott, the masterful guitar work of founding member Eric Bell, and the powerful original drum takes of Brian Downey.
This unique project offers fans a rare opportunity to experience Thin Lizzy’s classic hits like never before, with Lynott’s previously unheard vocal takes perfectly complemented by Bell’s fresh acoustic arrangements and Downey’s dynamic drumming. Drawing on material from the band’s iconic Decca era, the album revisits tracks from Thin Lizzy’s first three albums, presenting them in an intimate, stripped-down format that is sure to captivate both long time fans and a new generation of listeners.
Titled “The Acoustic Sessions“, the record will comprise acoustic re-imaginings of classic songs that pair unreleased Phil Lynott vocal tracks with brand-new guitar parts recorded by original member, Eric Bell.
Renowned for their twin guitar harmonies, Thin Lizzy found themselves exploring a heavier sound on their last studio album, 1983’s “Thunder and Lightning”.
Not long after that record arrived, the band came to an abrupt halt following the death of bass player and founding member Phil Lynott in 1986.
Despite sporadically touring with various new-look line ups over the years, the Thin Lizzy brand has released no official music has since then. As such, this new record represents the first new Thin Lizzy release for over four decades.
Eric Bell was part of the band’s original line-up alongside Lynott and drummer Brian Downey. He and organist Eric Wrixon would eventually make way for what would become the band’s most-known line-up, featuring Scott Gorham and Brian Robertson.
As the guitarist attests, the acoustic reworkings – which tackle classics such as “Whiskey In The Jar,” “Shades of a Blue Orphanage” and “Dublin” – hark back to their original song writing tact. Of recording “Eire” from their 1971 self-titled debut, Bell says: “I wrote the main guitar part first on acoustic and then we built it up from there. I played the 12-string acoustic guitar throughout the track and introduced the electric on top.
“This was useful in the studio in Belfast recently where we recorded fresh guitar parts to allow us to create new Thin Lizzy acoustic versions of some of our favourite songs,” he continues. That found the guitarist and producer Richard Whittaker “recreating those original acoustic parts and adding the vocals which Philip laid down on the day and those original drum parts”.
There have been numerous versions of Thin Lizzy’s classic “Whiskey In The Jar” over the years, including Metallica’s hugely successful Garage Inc. cover, but this marks the first official acoustic release from the band. Its origins as an Irish folk song can reportedly be traced back to the 1700s, but Lynott and co. breathed fresh life into it in 1972, when it appeared as a bonus track on “Vagabonds of the Western World”.
Whittaker, who was tasked with scouring the original recording sessions to create skeleton tracks for Bell, believes “we’ve made something really quite unique and special”.
“Acoustic Sessions” releases on January 24th 2025 via Decca Records. A special two-disc edition includes an exclusive bonus track, “Slow Blues G.M“, written as a tribute to Gary Moore.
Tori Amos will release a new live album, in December, called “Diving Deep Live”. It was recorded during Tori Amos’s 93-date Ocean to Ocean tour (SDE was at the Palladium in London) and as the title suggests, the idea is for this album to highlight deeper cuts, fan favourites etc. Despite that, the first single is the decidedly un-deep cut ‘Cornflake Girl’, “Diving Deep Live” is available on 2LP vinyl and CD. The 2CD set offers four extra songs.
Tori Amos has long been renowned for never playing the same show twice. As The Guardian noted in 2022, she “is famous for her eclectic setlists peppered with fan favourites, B-sides, and covers.” Now these unique live performances, which also feature Musical Director and bassist Jon Evans and drummer and percussionist Ash Soan, are captured in a new live album “Diving Deep Live”, The tour, which spanned 93 dates across the globe throughout 2022 and 2023.
Standing as a welcome reminder of Amos’s brilliance as a virtuosic musician and performer, “Diving DeepLive” features tracks from across her iconic catalogue, “Silent All These Years”, which appeared on 1992 debut “Little Earthquakes“, and “God” from Amos’ 1994 album “Under The Pink”.
Tori Amos: “After having already moved the entire tour twice due to the Pandemic, I was eventually able to start rehearsing with the band, which for this tour consisted of my musical friend of a million years, MD and bassist Jon Evans, and, for the first time, renowned drummer and percussionist Ash Soan. By the time we set off, Europe had still not fully opened up so we played the UK and Ireland and headed to the States. By the time we finished in late summer 2023 we couldn’t believe how quickly time had passed and how much fun we’d had. Playing with these two beings was one of the greatest experiences I have had on stage. To be able to sit back and jam with the guys was so very special and I truly hope anyone listening will find themselves getting lost in the moment just like we did.”
During the course of an illustrious 35-year career, Amos has sold over 12 million records, performed 1000s of concerts, been nominated for eight Grammys and won countless awards. A noted humanitarian, Amos was the first spokesperson for RAINN (Rape, Abuse, and Incest National Network), which is the United States’ largest anti-sexual assault organisation. Amos’ legacy and impact on female artists today is as prevalent and dynamic as ever – Halsey recently paid homage to Amos as one of the artists that has inspired her most in her career saying “I grew up on Tori and have always considered her in a class of her own”. In October this year, lifelong fan Natasha Khan of Bat For Lashes presented Amos with the Inspirational Artist Award at Music Week’s ‘Women in Music’ event to rapturous applause and a standing ovation from the thousands of women present working in the industry.
There’s a special ‘coke bottle’ clear vinyl edition available via D2C channels and an indie exclusive ‘bone’ coloured vinyl edition available.
The album will be issued on 6th December 2024, via Decca.
As The Rolling Stones were preparing to play two nights at Wembley Stadium in June 1999, their first London shows in 4 years, they announced a surprise show at London’s Shepherd’s Bush Empire for June 8th, 1999. An intimate crowd of 1800 lucky fans were treated to a number of rarely heard gems over the course of 96 minutes. The band played a number of rarely heard gems over the course of an hour and a half. As Mick Jagger stated from the stage that night, “If you want to see the hits go to the big place down the road”. And as promised, the deep cuts were deep – “Melody” (from 1976’s “Black and Blue“) performed for the first time since 1977, while “Moon Is Up” (from 1994’s “Voodoo Lounge“) was also brought to the stage for the only time in the band’s live career. the support act Sheryl Crow, opened the show, joins the band during “Honky Tonk Women”.
This release is being issued as a 2CD+blu-ray set, on 4K UHD blu-ray and as a 2LP vinyl package. The show has been mixed in Dolby Atmos which is promoted as being on the 4K blu-ray but it should be on the blu-ray on the 2CD+blu-ray package as well.
“Welcome to Shepherd’s Bush” will be released on 6th December 2024 via Mercury Studios.
Mount Eerie (aka Phil Elverum) new album, “Night Palace”, released this Friday via Elverum’s own P.W. Elverum & Sun label. Now he has shared another song from it, “Non-Metaphorical Decolonization,” and announced some new 2025 tour dates. “Non-Metaphorical Decolonization” is the final single from the album and is accompanied by a music video.
Elverum had this to say about the song in a press release: “The final single to be released in advance of “Night Palace” is a break in the clouds, a clear voice bringing down an unambiguous hammer onto the ground of here and now: We live in the raw wound of a stolen continent empowered by multi-generational internalized racist destruction. Our self-serving dishonesty and subliminal ignorance will only keep us trapped as cycling perpetrators, so why not look right at the thing and give it a name? Liberate all, past and future! Start with giving up everything.”
When the album was announced, Mount Eerie shared two new songs from it, “Broom of the Wind” and “I Walk,” the former via a music video.
Thier was a third single, “I Saw Another Bird,” The last Mount Eerie album was 2019’s “Lost Wisdom pt. 2”. Which was a collaboration with singer Julie Doiron (in 2008 Elverum and Doiron previously collaborated on the Mount Eerie album “Lost Wisdom“). In 2020 he also revived his previous musical moniker, The Microphones, releasing the first album under that name in 17 years, Microphones in 2020.
Elverum directed his energy toward building a house and what he has called “basic forest maintenance” on a parcel of land on Orcas Island, Washington, where he moved with his young daughter after Elverum’s brief marriage to the actress Michelle Williams fell apart in 2019.
A press release says that “Night Palace” was written and recorded in the aftermath life-changing events, as Elverum attempted to settle into his new life. As the press release puts it: “After a natural disaster, things do grow back. A person catching their breath after a traumatic experience has a kind of reoriented clarity. Art that is made without urgency or expectation has a chance to reach beyond the usual. It was in this patient clarity that “Night Palace” came to be written and recorded from 2022 to 2024. Elverum’s life settled back down and he reassembled the old analogue reel to reel studio at his quiet deep woods home and began experimenting again.”
The video for the song “Non-Metaphorical Decolonization” by Mount Eerie made by Phil Elverum, except for a couple shots by Peter J. Brant from 2014
This is Rundgren’s 19th album and finds him returning to the guitar heavy rock of his earlier albums, inspired by his stint with The Cars’ Elliot Easton and Greg Hakes in The New Cars!
American multi-instrumentalist, songwriter, and record producer. Hailed in the early stages of his career for both his own material and for his production of other artists, supported by the certified gold solo double LP “Something/Anything?” in 1972, his career has produced a diverse and eclectic range of recordings often both as a solo artist and as a member of the band Utopia
If ever a title explained an album’s intent, it’s Todd Rundgren’s “Arena“, an explicit return to the extravagantly theatrical guitar rock he abandoned, largely out of boredom, some 25 years ago. During that quarter century, Rundgren touched upon almost all of his other obsessions, spending a considerable amount of time fixated upon technology, but deliberately avoided anything resembling Utopia until he stepped in for an absent Ric Ocasek for the 2005 Cars reunion which followed on the heels of “Liars”,Todd’s strongest and poppiest album in years. The New Cars — as the reunited band was wittily dubbed — returned Rundgren to arenas and reignited his interest in outsized rock & roll, so he threw himself into a project that gave him an excuse to sing skyscraper hooks and play too much guitar, which is exactly what “Arena” promises and delivers. Apart from an occasional glimpse of computer-stitched seams, the album is an uncanny recreation of Todd’s late-’70s/early-’80s period
Ever the multi-talented artist, Rundgren performs every note, drum fill and vocal harmony on this album!
Like several of his earlier albums, this was entirely a solo effort, with Rundgren playing all the instruments. In contrast to his earlier albums, he produced this album entirely on an Apple laptop computer using Propellerhead’s Reason software for composition and Sonoma Wire Works’ RiffWorks for recording.
The Fat Angel Sings 