The Fat Angel Sings

The debut album from Paris Paloma, “Cacophony” follows (and includes) her breakthrough single ‘Labour’. Written around themes of feminine rage, societal expectations on women and deeply embedded misogyny, the album continues the deep consideration and dissection of Paris’ own experiences and observations as a woman. ‘labour’, and subsequent singles including ‘as good a reason’, have seen her lyrics and music resonate deeply with an every growing fanbase.

The 700+ fans at her sold out London show were termed a ‘politely loving coven’, capturing the sense of community and female energy which Paris inspires. Unheard tracks such as ‘his land’ are emotive and cinematic, while the gloriously climactic ‘the last woman on earth’ has become a fan favourite already via TikTok. 

Paris says: Today I held my first ever album in my hands for the first time. I’m so happy to share this beautiful vinyl with you. Swipe to see the etching on the fourth side of the disc, and to the end to get a glimpse of the red gatefold vinyl, available only on my website. This is such a dream to see the culmination of so much work in physical form, I hope you buy it and love it and give it many spins.

King Hannah crafts a musical tapestry that seamlessly weaves between the serene depths of meditative pop and the expansive, sonorous landscapes brimming with darkness, wit, and wry humour. Merrick’s vocals, a smoky delight, imbue her words with profound weight and potency, complemented by the bluesy canvases Whittle masterfully paints beneath them. Their sound effortlessly transitions from moments of post-rock expansiveness to evoking the sensation of Springsteen straying onto a gritty side-street off his highway to freedom.

In recent times, the duo has graced stages alongside esteemed artists such as Kurt Vile, Thurston Moore, Kevin Morby, and DIIV, captivating audiences at festivals across Europe and North America including End of the Road, Green Man, Primavera Sound, and Fusion, among others. King Hannah’s accolades include being hailed as Stereogum’s Band to Watch, The Guardian’s Ones to Watch, Paste’s Best of What’s Next, and featured in DIY Magazine’s NEU segment, SPIN’s rising artists, and many more.

Effortlessly side-stepping from wispy & fragile folk to booming, Slint-like breakdowns, King Hannah’s second album softly entices its listeners in before rattling bones with cranked guitars and slammed drums.
The Liverpool duo haven’t wasted a single moment since their 2022 debut. They’ve fine-tuned their smoky atmospherics, nurtured a blues-y pop aesthetic, and riddled the whole shebang with a weighty post rock ballast that blows our socks off every time they kick into gear.

And for every storm, there’s a beautiful lull that creeps under your skin and radiates luscious great fronds of warmth out from within.

Between 1998 and 2003, Frank Black and co. released six albums under the ‘Frank Black And The Catholics’ moniker. All recorded live and direct to two track tape , the albums are some of the most energised, raw, and essential of Frank Black’s career.

For almost two decades, the Catholics’ studio albums have been out of print or unavailable on vinyl. Now, Demon Records is proud to present ‘The Complete Studio Albums’ boxset featuring all six original releases expertly remastered from the original studio tapes and pressed on heavyweight 180g clear vinyl.

Includes all six studio albums – ‘Frank Black And The Catholics’ (1998), ‘Pistolero’ (1999), ‘Dog In The Sand’ (2001) [first time on vinyl], ‘Black Letter Days’ (2002) [2LP, first time on vinyl] ‘Devil’s Workshop’ (2002) [first time on vinyl], and ‘Show Me Your Tears’ (2003).

Each album is pressed on 180g clear vinyl and housed in printed inner sleeves along with outer sleeves featuring spot gloss detailing.

All 80 tracks have been newly remastered from the original studio tapes by Phil Kinrade at Alchemy Mastering at AIR.

The albums are housed together in a rigid outer sleeve and accompanied by a 32 page booklet featuring new liner notes by Catholics producer / engineer Ben Mumphrey plus unseen and rare photographs by Steve Gullick.

This instalment in the acclaimed ‘Year’ series of the works of Marc Bolan and T. Rex takes in a period of change during which Marc Bolan was very active in recording studios in the US and Europe.

This 5LP set includes the “Tanx” and “Zinc Alloy” albums, and the non-album hit singles and their B- sides. LP4 features demos and outtakes from both albums, whilst LP5 focuses on Bolan’s forays into soul music, including highlights of the abandoned album he wrote and produced for Sister Pat Hall. The singles included are “Children Of The Revolution”, “Solid Gold Easy Action”, “20th Century Boy”, “The Groover”, “Truck On (Tyke)” and “Teenage Dream”. The 12×12 booklet contains a brand new 16,000 word essay by acknowledged Bolan authority Mark Paytress (author of the definitive Bolan biography), detailing Bolan’s life through this eventful period.

Demon Music continue with their year-themed Marc Bolan / T. Rex releases with CD and vinyl box sets focused on 1973 called “Whatever Happened to the Teenage Dream?“

Also featured are many previously unpublished photos taken by Keith Morris in the course of 1973, as well as ephemera from the era. The 5LP vinyl edition is pressed on orange vinyl and the official artists shop offers A4 prints of Tony Visconti’s score for ‘Whatever Happened To the Teenage Dream’ (note: these are not signed).

Additionally there’s a single LP ‘Songwriter’ version of this release and two seven-inch picture discs (20th Century Boy and ‘The Groover’ both limited to just 1000 units.

Presented in gatefold sleeve with 8 page booklet. Mick Ronson was one of the rock ‘n’ roll world’s lost legends. Although quiet and unassuming, he left a legacy of his brilliant work with the likes of Michael Chapman, David Bowie, Lou Reed, Bob Dylan and the Ian Hunter Band along with scores of other artists, where Mick would give his talents as producer or arranger.

Issued for the very first time the original tapes of material that would go on to be re-recorded for the critically acclaimed ‘Heaven & Hull’ posthumously released album. Features guest vocals by David Bowie, Chrissie Hynde and Ian Hunter

Limited vinyl pressing of 500 copies, includes four page libretto, CD features three extra studio tracks plus six live recordings. Just seen for sale –‘To Hull And Back’.

Going to be released 30/8.

Joni Mitchell will release the next installment of her archival series, Joni Mitchell “Archives, Vol. 4: The Asylum Years (1976-1980)“, on Oct. 4.

6-CD SET includes nearly 100 unreleased recordings tracing Joni’s groundbreaking work from the birth of “Hejira” to her legendary collaborations with jazz luminaries. Features newly unearthed demos and studio outtakes (including the Hejira Demo’s! And a Paprika Plains work in progress tape!), sections from the Rolling Thunder Revue (including impromptu, offstage renditions), 1976 and 1979 Tour recordings, contributions from Charles Mingus, Jaco Pastorius, Herbie Hancock, Wayne Shorter, and more.

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified “Hejira” [1976], the gold-certified double-LP “Don Juan’s Reckless Daughter” [1977], her collaboration with Charles Mingus entitled “Mingus” [1979], and live album “Shadows and Light” [1980]. Channelling the thrill and excitement of these records, 

Highlights from this collection include recordings and alternate takes from three of Mitchell’s albums, “Hejira”, “Don Juan’s Reckless Daughter” and “Mingus”, plus live cuts from various tours, including Bob Dylan’s Rolling Thunder Revue. It will be released as a 6-CD/digital version, as well as a 4-LP version that consists of Mitchell’s “personal favourites” from the 6-CD version.

the first song from the set, “Intro to Coyote / Coyote,” recorded at the Forum in Montreal, Canada on December 4th, 1975.

Joni Mitchell – “Intro To Coyote/Coyote”. Originally featured on her 1976 studio album ‘Hejira’, it was written on the tour bus while Joni traveled with Bob Dylan’s Rolling Thunder Review.

The forthcoming ‘Joni Mitchell Archives, Vol. 4 – The Asylum Years (1976-1980)’ out October 4th, 2024 via Rhino Records.

Joni Mitchell is currently scheduled to perform two shows at the Hollywood Bowl in Los Angeles on October. 19th and 20th, featuring special “Joni Jam” guests.

“No Hero”, our 5th studio album is coming out in September! We’re very proud of it and hope you like what you’ve heard so far?. Never knowingly lacking in a strife of surprises, crescendonically deadpan quartet Desperate Journalist return to the musical affray with a brand new single, ‘Unsympathetic Parts 1 and 2′. This is the first track to be taken from their fifth album, entitled “No Hero” on Fierce Panda Records.

As creative re-entries go, ‘Unsympathetic Parts 1 and 2’ is a gleaming, beaming signpost towards a longplayer which sees Desperate Journalist push and pull their original noirish indie sound into newer, ever more nubile shapes and jagged angles without losing that glowering essence rare.

Desperate Journalist very much consist of Jo Bevan (vocals, synths and drum machine); Robert Hardy (guitars, synths and piano); Caroline Helbert (drums, drum machines and percussion); Simon Drowner (bass and synths).

White LP / Greeen marble LP / CD / Cassette all available Indie record store exclusive Curaçao LP

With “The Future Is Our Way Out”, the American band Brigitte Calls Me Baby delivers a striking debut album, which shows a big sound with a lot of echoes of the legendary band The Smiths. It may take some time to get used to the vocals on Brigitte Calls Me Baby’s debut album, but if the voice of singer Wes Leavins has you in your hands, this band from Chicago quickly plays a winning game. Brigitte Calls Me Baby makes no secret of her musical heroes and finds them mainly in British and American music history. The band is not averse to compelling songs and a lot of drama, but once used to the songs on “The Future Our Way Out” is a wonderful album with a sound that, despite all the influences from the past, sounds fresh and contemporary.

I came across Brigitte Calls Me Baby. For a moment I thought that Morrissey had finally made a good album, but the voice of the singer of Brigitte Calls Me Baby sounds a bit different than that of the British singer, who unfortunately seems to have lost his way at the moment.

Despite the comparison with Morrissey’s voice, the vocals on Brigitte Call’s Me Baby debut album.

Morrissey is audibly a source of inspiration for the American singer, who also mentions Roy Orbison and Elvis Presley as sources of inspiration, something that can also be heard in a number of tracks on the debut album of the band from Chicago. Wes Leavins likes to sing out loud, which creates a lot of drama, but in the end the vocals on “The Future Is Our Way Out” by Brigitte Calls Me Baby almost always stay on the right side of the line as far as I’m concerned and these vocals are really impressively beautiful at times.

The fact that the opening track of the album reminded me of Morrissey was mainly due to the vocals, but also musically I heard similarities with the music that Morrissey’s band The Smiths made in the distant past. As a result, the music of Brigitte Calls Me Baby sometimes feels a bit British, but the songs on the band’s debut album also have an American side.

Certainly the more uptempo songs on the album have some of the music with which The Strokes once appeared, while a touch of Americana brings the aforementioned musical heroes of Wes Leavins a little closer. Personally, I like the songs that are close to the music of The Smiths because of the guitar lines and the vocals, because the oeuvre of the illustrious British band can’t be influential enough for me.

“The Future Is Our Way Out” by Brigitte Calls Me Baby is full of rock-solid songs, which, despite the dominant vocals and the frequently recurring guitar lines, sound surprisingly varied. the further I get and the more impressed I get with the debut album of the band from Chicago, which easily walks through time in terms of influences and covers a number of decades. I dare to predict Brigitte Calls Me Baby a bright future, especially if Wes Leavins can also show his impressive voice on stage.