The Fat Angel Sings

A song is a song until it isn’t, until it’s pushed to its limits and beyond to become harder, faster and more dissonant. The music on Oneida’s 17th full-length album, “Expensive Air”, all started as tightly structured, melodic rock songs—very much in line with the non-stop bangers of “Success” from 2022—but along the way, they changed.  

Bobby Matador sketched the structures of these songs from his home base in Boston, then sent the demos to Oneida’s New York contingent: Kid Millions, Hanoi Jane, Shahin Motia and Barry London. “We were working out the songs in New York without Bobby. We would start out riding the riffs, and then Shahin and Jane would add wild, out-of-tune licks,” said Kid Millions. “It seemed so perfect.”   

 Oneida has long straddled gray-area boundaries between the NYC punk/psych/rock world and the art/experimental world, playing at gritty rock clubs and elevated cultural institutions, including the Guggenheim, MoMA PS1, ICA London, MassMOCA and the Knoxville Museum of Art. The band has been known for extended live improvisational performances, collaborating onstage with Mike Watt, members of Flaming Lips, Portishead, Boredoms, Yo La Tengo, Dead C, Godspeed You! Black Emperor, and many others.

Oneida’s members juggle a wide variety of other music projects. Drummer Kid Millions has played with Spiritualized, Royal Trux and Boredoms and releases solo compositions under his own name and as Man Forever. Shahin Motia founded noise-punk’s Ex Models and currently plays in Knyfe Hits. Kid and Fat Bobby perform and release music as People of the North, and Bobby’s outside projects New Pope and Nurse & Soldier each released new albums in 2023. 

Oneida’s previous album, “Success”, came after a four-year hiatus, unleashing the band’s pent up creative energy in a set of catchy, accessible, nearly poppy songs. Song structure remained important in the run up towards “Expensive Air“, but so was the instinctual, improvisatory interplay that has always been a part of Oneida’s process. The band had been playing live together for two years, sharpening its attack and pushing its songs to go harder, faster and wilder.  

Oneida recorded “Expensive Air” in three sessions scattered across 2023, convening at Colin Marston’s Menegroth The Thousand Caves studio in Woodhaven, Queens, whenever they had a few songs ready. Marston and the band mixed the album in February 2024 at Menegroth. 

The new album expands on what Oneida achieved with “Success“, but also pushes past it, laying down irresistible song structures then blowing them to psychedelic bits. “I found myself thinking about this record as a darker, looser, louder, counterpart to “Success,” Bobby explains. “Both records charge forward from the jump and mix the elliptical with the blunt, and longing with self-mockery. But “Success” is like laughing in a car gunning carelessly through an ice storm, and “Expensive Air” is how you laugh at yourself as the car spins into the ditch, or a tree. Same trip, but a little closer to the bone.”   

Oneida off the album ‘Expensive Air’ out on Joyful Noise Recordings.

In this entertaining and observant memoir, Johns takes us on a tour of his world during the heady years of the sixties, with beguiling stories that will delight music fans the world over, such as when he had to bail the Steve Miller Band out of jail on their second day in London, his impressions of John and Yoko during the Abbey Road sessions, or running into Bob Dylan at JFK and being asked by Dylan to work on a collaborative album with him, the Stones, and the Beatles, which never came to pass.

Johns was there during some of the most iconic moments in rock and roll history.

“Glyn Johns was there. He was there at some of the most important recording sessions in Rock and Roll. Reading his book, you are standing beside him as he sets up the studio in readiness for the arrival of groups like Led Zeppelin, The Beatles and The Rolling Stones. For me it is a fantastic romp through the pages of Rock and Roll history.” –Sir Paul McCartney

“Glyn Johns has been a very important person in my recording life (and also his brother Andy). Glyn was the first recording engineer who helped me to understand recording and through that he was very supportive in introducing me to a lot of sessions with important people such as Ben Sidren, Leon Russell, Ronnie Lane, Pete Townshend and Howling Wolf. This together, of course, with many of the great recordings he did with us. He is one of the best.” –Charlie Watts

“Sound Man will make readers aware of the many sides of Glyn Johns, a giant of a man and one of my best friends from the moment we met in 1963 to present day. Apart from his genius behind the faders and success as the producer of myriad hits, his humour comes through here, together with his unfailing desire to do the very best work he could in the face of some frighteningly egotistical artists.”–Bill Wyman

“If you remember the sixties then you probably weren’t there, unless of course your name is Glyn Johns. Sound Man is an intimate, humorous journey through the corridors of the music industry, as told by one of the greatest record producers of all time. I’m proud to be mentioned here and there, and to have worked with Johns on so many memorable occasions. A great read!” –Eric Clapton

“Glyn Johns was the most sought after sound engineer at the time when the recording industry was just exploding in the early 60s in London. He soon became the first choice of the artists who wrote their own songs and wanted a producer who could create for them a great sound for their recordings. He was always a strong and direct influence on the talent he worked with, and his records sounded brilliant! He soon became one of the very few truly great record producers and remained so over the last fifty years. Reading Sound Man reminded me of just how many incredible people he worked with and how many great iconic records he made. It’s fantastic reading.” –Chris Blackwell, founder of Island Records

“Sound Man opens with a declaration: A record producer has to have an opinion and the ego to express it more convincingly than anyone else. So Glyn Johns has stood his ground with a few big-headed rock stars? I must be the exception. I’ve only had transcendental moments in the studio with Johns. Returning to the control room after a studio take I often felt like running: the joy of hearing what Johns had created out of the glue-and-string that was The Who was like a drug. He is an artist himself of supreme talent and experience.” –Pete Townshend

British Folk-Rock Post-Punk duo, The Waeve, return with their latest guitar driven romp, “City Lights”. 

Graham Coxon (Blur) and Rose Elinor Dougall return with the follow-up to last year’s acclaimed eponymous debut. Produced by James Ford (Fontaines DC, Arctic Monkeys), the record features both artists on vocal duties in addition to playing a host of instruments including saxophone, keyboards and drums. The WAEVE have established themselves as a song writing partnership to watch and with “City Lights” they further push the boundaries of their collaborative creativity, using this album to chronicle the evolution of their relationship and forays into parenthood.

“City Light”s is presented in a beautiful gatefold sleeve designed by Matt de Jong (Blur, Arlo Parks). The title track was released in May and added to the 6Music playlist, as well as garnering coverage on NME, DIY, Stereogum, Under The Radar + more. At this point the band were main support to Elbow across a full UK arena tour, in addition to their own sold-out headline show at London’s Hoxton Hall. This summer sees them play large scale shows with Noel Gallagher, Breeders plus Green Man Festival and their own headline show at Village Underground on 29.10, with a full album tour to follow in the spring.

“City Lights’, the new album by The WAEVE will be released on 20th September 2024. Includes the new single ‘You Saw’,

“Rave Immortal”, the debut album by ALT BLK ERA, is available to pre-order now, Artists that aren’t bound by any genre can do it all. We listen to whatever we want, we make whatever we want, we are whoever we want to be.”
They sound like big words from Nyrobi until you hear “Rave Immortal”, is the debut album by ALT BLK ERA, the duo she formed with her sister Chaya in Nottingham in the later stages of lockdown.

Fearlessly bold in its vision and unbridled in its execution, this is an album seized by the shock of the urgent, an expression of defiant intention to be seen and heard and never again to be overlooked. Its ten bangers-in-waiting came to life during a whirlwind six-day recording session overseen by Natt Webb at RatCat Studios (The Struts, King Blonde).

The MOBO-nominated ALT BLK ERA are not just unbound by genre, they run circles around them. Listen to “Rave Immortal” and you hear the alt-metal of ‘Come on Outside’ rub shoulders with the earth-rumbling drum’n’bass pound of ‘Crashing Parties’. ‘Hunt You Down’ imagines a darkwave underworld version of Billie Eilish, while brash punk rap hyperfuels ‘Come Fight Me For It’. The dexterity is eye-watering even before you learn that the sisters are only 20 and 17 years old.

If the duo’s taut, tinderbox energy seems to scream with a frenetic need to maximise their every second, then there is a reason for that. In late 2020, Nyrobi was diagnosed with chronic fatigue syndrome, leaving her constantly tired and in acute pain. 
Amid a distressing time, the one salvation proved to be an online music course suggested to her by her mother. Attending twice a week alongside Chaya, it offered Nyrobi a focal point to her new life, a reason to take on the pain and get out of bed. The sisters reconnected in a profound way. Before long, they were writing songs together.

For a while, the sisters chose to hide the illness, fearful that the music industry would discriminate against them. But, true to the ALT BLK ERA philosophy, they have seized control of that narrative and are now proud to speak openly about the condition, in the hope that it will allow others to share their own hidden struggles. And woe betide anyone who is thinking about judging them for it.

Fans of the legendary blues-rock guitarist Rory Gallagher have reason to rejoice with the upcoming release of The BBC Collection. This comprehensive 20-disc set captures Gallagher’s electrifying live performances and studio sessions recorded at the BBC over 16 years, from 1971 to 1986. The collection includes 18 CDs of radio concerts and sessions, alongside two Blu-ray discs featuring BBC TV concerts and studio performances from 1973 to 1984.

More than three-quarters of the audio recordings in this set are being officially released for the first time, providing an unparalleled look into Gallagher’s dynamic performances. The Blu-ray discs, which include previously unreleased concert footage, offer a visual and auditory feast, showcasing Gallagher’s raw power and stage presence.

18 CDs of radio concerts and sessions from 1971-1986.
2 Blu-ray discs of BBC TV concerts and studio performances from 1973-1984.
Rare recordings, including the 1977 dual television and radio broadcast Sight & Sound concert.
Gallagher’s headlining set at the 1980 Reading Festival.
The emotional At Midnight concert live from Ulster Hall in Belfast, 1984.
The Best of Rory Gallagher at the BBC
In addition to the comprehensive box set, fans can also enjoy The Best of Rory Gallagher at the BBC, available as a 2CD set or a triple-vinyl collection. These sets feature 11 of Gallagher’s top BBC studio recordings and a 13-track (12 on the 3LP) live performance from The Venue in 1979. This selection will also be available for digital download.

Rory Gallagher was one of the most recorded musicians at the BBC during the 1970s. This extensive box set has been curated from the BBC archives and Gallagher’s personal collection of transcription discs and off-air cassette recordings. It stands as a testament to Gallagher’s enduring influence and the energy he brought to every performance.

Author Nick Hornby shares a personal anecdote about his introduction to Rory Gallagher: “‘Tore Down’ was the first song I ever heard played… It’s a BBC recording of Rory Gallagher playing at the Paris Theatre in London in July 1972. And I was in the audience, aged 15, and those opening bars were enough to make me realize that this was something I wanted to do again and again…

‘Tore Down’ was my introduction to live, loud, amplified blues and when Gallagher had finished, my 15-year-old self could not contain his excitement. He ran down to the front to shake Rory’s hand… When the BBC did eventually broadcast the concert, I taped it by leaning the microphone from my clunky cassette recorder against the speaker of our old transistor radio and I listened to that tape over and over again.”

In addition, A 2CD and triple-LP ‘The Best of Rory Gallagher at the BBC’ sets will be released featuring eleven of Gallagher’s best BBC studio recordings and a thirteen track (twelve on 3LP) 1979 BBC In Concert Live from The Venue performance.

All three versions will be released on 11th October 

Suede’s second album “Dog Man Star” will be reissued for its 30 Anniversary later this year. ‘Dog Man Star’ is seen by many as the band’s most musically adventurous album – sweeping strings sit next to orchestral ballads, epic widescreen pieces, indie anthems and trashy glam rock. It was the last to feature guitarist and co-songwriter Bernard Butler.

The band’s 1994 long-player would be the last to feature guitarist and co-songwriter Bernard Butler and includes the singles ‘We Are The Pigs’, ‘The Wild Ones’ and ‘New Generation’.

Sadly, there’s no SDE blu-ray edition, which we did last year for the band’s debut, but there will be a brand-new half-speed master in 2LP gatefold packaging and a 3CD deluxe edition seven-inch packaging

The 3CD set includes B-sides and the full-length version of the non-album single ‘Stay Together’ and other bonus tracks and rarities from the period.

The reissue features revised cover art, with design undertaken for Suede’s by official designer and photographer Paul Khera. There’s also new sleeve notes by Simon Price.

“Dog Man Star” will be reissued on 4th October 2024 via Demon Music. A seven-inch picture disc of ‘We Are The Pigs’ will also be issued on 13th September.

Suede: Dog Man Star – 30th Anniversary Edition 3CD Deluxe Packaging

• This album celebrates the 30th Anniversary of Suede’s second album
• Housed in a brand new 7″ Deluxe Gatefold Packaging
• It includes the classic hit singles ‘We Are The Pigs’, ‘The Wild Ones’, and ‘New Generation’
• CD2 has B-sides and the full-length version of the non-album single ‘Stay Together’ and CD3 includes additional tracks and rarities from the period
• Art and design has been undertaken for Suede by official designer and photographer Paul Khera
• Features new sleeve notes by Cure / Manic Street Preachers biographer Simon Price
• Also available as 2LP Half Speed Master Edition

‘Come Ahead’ is the new album by Primal Scream. Not out ’til November, The 11-track album is produced by David Holmes and the during the songwriting process Bobby Gillespie found himself writing alone, using an acoustic guitar, with lyrics coming before the music, for the first time. You can preview Love Insurrection,

I’m very excited about this album in a way that you would be making your first record. If there was an overall theme to “Come Ahead” it might be one of conflict, whether inner or outer. The title is a Glaswegian term. If someone threatens to fight you, you say, ‘come ahead!’ It’s redolent of the indomitable spirit of the Glaswegian, and the album itself shares that aggressive attitude and confidence. They have a word for this up there, gallus. “Come Ahead” quite a cheeky title too.

Described as featuring “some of the most personal songwriting of the band’s career” the sessions were completed between Belfast, London and Los Angeles with guitarist Andrew Innes and Holmes.

“Come Ahead” will be released on 8th November, via BMG Records.

After teasing their legendary BBC recordings on two Record Store Day releases, the Faces are set to make fans “Shake, Shudder, Shiver” with a comprehensive boxed set to be released September 6th, 2024,  the “Faces At The BBC — Complete BBC Concert & Session Recordings 1970-1973” will be released. This 8CD/Blu-ray box set captures all of the surviving BBC recordings of The Faces, showcasing their electrifying performances and unique style.

The comprehensive box set compiles the band’s BBC concerts and studio sessions, much of which have never been released before. Remastered with the full cooperation of Rod Stewart, Ronnie Wood, and Kenney Jones, the collection promises a fresh, high-quality listening experience.

One of the standout features of this release is the Blu-ray, which includes newly restored footage from Faces’ April 1972 appearance on “Sounds for Saturday.” This concert is a testament to the band’s peak form, radiating their joyous rock ’n’ roll spirit that has inspired generations. Fans can get a preview with the release of “Stay With Me (Live on Sounds For Saturday, BBC, April 1, 1972)”.

Accompanying the music is a lavishly illustrated 48-page hardback booklet, featuring new commentary from surviving band members and archival quotes from Ronnie Lane, Ian McLagan, and John Peel. BBC broadcaster Gary Crowley provides detailed liner notes, including a new interview with Jeff Griffin, the producer of all the Faces’ BBC concerts.

Many of the recordings thought lost have been recovered from the Faces’ archives and private collections. Notably, the collection includes a stereo mix of the May 13, 1971, Paris Cinema concert and a February 1973 show that was never aired due to the BBC’s concerns over the band’s rowdy interaction with the audience.

The Faces’ journey with the BBC was fraught with initial challenges, as the band was initially deemed “not serious” enough for airplay. However, John Peel, the legendary broadcaster, championed the band and secured their first BBC session on March 9th, 1970. In the liner notes, Rod Stewart, Ronnie Wood, and Kenney Jones express their gratitude for Peel’s support, acknowledging that without him, the Faces might not have achieved their breakthrough.

“Faces At The BBC — Complete BBC Concert & Session Recordings 1970-1973” spans the band’s formation and meteoric rise. Exploring a period of intense creativity, which included four Faces studio albums (“First Step”, “Long Player”, “A Nod Is As Good As A Wink…To A Blind Horse”…, and “Ooh La La“) and several solo albums that Stewart recorded with most of the band (“Gasoline Alley”, “Every Picture Tells A Story”, “Never A Dull Moment”, and “Smiler“).

The box set includes live versions of fan favourites such as “Bad ’n’ Ruin,” “Had Me A Real Good Time,” “Miss Judy’s Farm,” “Too Bad,” and the hit single “Stay With Me.” Several of Stewart’s solo songs were performed as well, including, “(I Know) I’m Losing You” and the U.S. and U.K. No. 1 hit, “Maggie May.”

As a special highlight, the collection features John Peel’s Christmas Carol Concert, originally broadcast on Boxing Day 1970. This unique performance includes Stewart singing “Away In A Manger” and a carol medley sung by a choir featuring the Faces, their roadies, John Peel, Marc Bolan of T-Rex, and others.

“Faces At The BBC — Complete BBC Concert & Session Recordings 1970-1973” is available for pre-order now. Don’t miss out on this opportunity to own a piece of rock history, meticulously restored and presented for a new generation of fans.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of “Dulling The Horns” goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record “Dulling The Horns” live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.”

If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On “Dulling The Horns”, you can hear him rediscovering the fire in real time.

Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far “Dulling The Horns” is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

‘Dulling The Horns’ Wild Pink’s debut for Fire Talk — is out October 4th