The Fat Angel Sings

Foxtide are made up of Elijah Gibbins-Croft, Oey James and Ian Robles, Foxtide are a byproduct of being bred by the beach and raised by a DIY house-show scene. The SoCal three-piece were formed around garage jam sessions and earned their cult following through the intense vitality of their live shows. First starting to release music in 2019, it was the band’s second EP “Visions” in 2021 that took them from a hometown secret to a band to watch nationally. 

Foxtide have played alongside Backseat Lovers, Echo & The Bunnymen, Lime Cordiale, Sarah & The Sundays, Mustard Service, Beach Goons, and more. Moving into the chapter of their next project, Foxtide are abandoning the idea that they need to create “perfect” music, and simply making what they like to listen to. Tinged with the aloofness of early 2000s rock, while experimenting with the formulas of modern pop, all threads are knotted in the authenticity behind Foxtide’s unrelenting love for music.”

Foxtide’s album “Entropy” is set to be released on April 17th, 2026. The album will feature 11 songs and has a total duration of 17 minutes. 

Fans can listen to the album on various platforms, including Apple Music and Amazon Music. 

Arriving on April 17th via Position Music, Foxtide will release their second album titled “Entropy”. A more mature step away from the surf-rock foundation the band introduced themselves with, “Entropy” draws near to the disorderly quality of life. Where celestial, nostalgic synths soar, the record remains tethered by guitar-forward arrangements and unguarded lyrics

San Diego’s Foxtide release one more single ahead of their new record, titled “Wait it Out.” The closing track of the upcoming album, Foxtide show themselves a lot of grace on the new song. Tender, patient, and anthemic, “Wait it Out” leafs through the pages of a chapter without allowing the book to slam shut.

Singer Elijah Gibbins-Croft said, “‘Wait it Out’ can be a message to yourself or the ones you love. That you’re willing to be patient for yourself or for them. Whether it’s waiting until you see them again or waiting with them for the hard times to pass.”

The album is described as a more mature step away from the surf- rock foundation, with celestial, nostalgic synths and guitar-forward arrangements. The title track, “Wait it Out,” is a message of patience, encouraging listeners to wait for themselves or loved ones. 

The Doors’ Strange Days 1967: A Work in Progress, Part 2 presents newly unearthed material from the band’s early 1967 album sessions, featuring rough mixes without final overdubs on side one and previously unreleased outtakes of “When the Music’s Over” on side two.

The Doors’  record store day is a revelatory archival release that provides an intimate window into the experimental zenith of one of rock’s most enigmatic bands. This LP is the direct successor to the previously unearthed first volume, continuing the deep dive into the 1967 studio sessions at Sunset Sound. While the original “Strange Days” album is celebrated for its polished, atmospheric production — including the pioneering use of the Moog synthesizer — this collection strips back those layers to reveal the raw, skeletal foundations of the songs.

For fans and historians, it offers a rare chance to hear Jim Morrison, Ray Manzarek, Robby Krieger and John Densmore crafting their second masterpiece in real-time, long before the final overdubs and musique concrète effects were applied.

Pressed on limited-edition transparent turquoise vinyl with an exclusive poster print included, it’s a visceral, unpolished look at a masterpiece in the making. Doors engineer Bruce Botnick said “[This is] a document showing some of the give and take of recording in the studio and sorting out the songs, and where they would eventually live.”

Off the back of the success of their second album “Caramel” and on the brink of their biggest headline tour to date, Coach Party release an exclusive pressing of their “Club Caramel” live sessions, featuring breakout singles Disco Dream and Girls!.

Coach Party are a British indie-rock band hailing from the Isle of Wight. With their unique sound and captivating performances, they have quickly gained recognition in the music industry. Known for their infectious melodies and heartfelt lyrics, their music resonates with listeners of all ages.

Off the back of the success of their 2nd album Caramel and on the brink of their biggest headline tour to date across the UK, Europe, US and Canada, Coach Party release an exclusive pressing of their “Club Caramel live sessions”, .

Captain Beefheart & The Magic Band’s fourth studio album, “Lick My Decals Off, Baby”, is often cited by Don Van Vliet himself as his favourite and most accomplished work. Released in December 1970 as the immediate follow up to the monolithic “Trout Mask Replica“, it refined that album’s chaotic energy into something arguably more complex, angular, and darker. This Deluxe Edition serves as the definitive celebration of this avant-garde masterpiece, offering fans a deeper look into the meticulous and often grueling creative process that defined The Magic Band.

This limited set features the original 15-track album recut from the original master tapes by the legendary Bernie Grundman, along with a second disc of previously unreleased instrumental versions and alternate takes from the original 1970 sessions at The Record Plant in West Hollywood. These instrumental tracks, allow listeners to hear the raw, unfettered machinery of The Magic Band without Beefheart’s guttural, multi-octave growl.

The advertisement for Beefhearts’ album “Lick my decals off, baby”

This transparency reveals the “impossible” chord progressions and syncopated rhythms that the band famously rehearsed for up to 14 hours a day under Van Vliet’s intense direction. The alternate takes of “Woe-Is-Uh-Me-Bop” and “I Wanna Find A Woman That’ll Hold My Big Toe Till I Have To Go” offer further insight into how these surrealist compositions evolved in the studio

Whether they’re rocking stadiums, making a beeline for the discotheque, or gathering around the campfire, the implicit message of Arkells is always the same: Everyone is welcome here. Since the beginning, Arkells have never wavered in their mission to be the house band that soundtracks the greatest nights of your life and provides emotional support in your darkest hours. And that spirit is reflected in an ever-evolving sound that hits all the perennial pleasure points — fusing the anthemic power of alt-rock, the pulpit-shaking passion of vintage soul, the off-the-cuff intimacy of singer-songwriter music, the urbane edge of 21st-century indie, and the futurist aesthetics of modern R&B.

Thanks to that eclectic ethos, Arkells have continued to evolve, while making everyone feel right at home. As one of the most rotated acts on radio, and record holders of the Juno for Group Of The Year, Arkells have extended their reach beyond borders by infiltrating all corners of pop culture; from sports telecasts and video games to the stages of Coachella and Bonnaroo.

But the band’s longevity is ultimately a function of their commitment to never coasting on past glories and to always live completely in the moment. Even through their impressive history together, Arkells still approach every gig as an opportunity to prove themselves to the unconverted; as they’re fond of saying, each time they take the stage, “we understand the assignment.” The first rule of rock ’n’ roll is to play every show like it’s your last — but as Arkells prove night after night, it’s just as important to hold onto the unbridled energy and enthusiasm of your first.”

The tour poster has “NO KINGS” in all-caps and Bruce says: “We are living through dark, disturbing and dangerous times, but do not despair — the cavalry is coming! Bruce Springsteen and The E Street Band will be taking the stage this spring from Minneapolis to California to Texas to Washington, D.C. for the Land of Hope And Dreams American Tour. We will be rocking your town in celebration and in defense of America — American democracy, American freedom, our American Constitution and our sacred American dream — all of which are under attack by our wannabe king and his rogue government in Washington, D.C. Everyone, regardless of where you stand or what you believe in, is welcome — so come on out and join the United Free Republic of E Street Nation 

Bruce Springsteen and The E Street Band perform “Purple Rain” in honour of “The Maestro” Prince for the opening night of the Land of Hope and Dreams American Tour in Minneapolis, Minnesota on March 31st, 2026.

Right from the start, you could tell this wasn’t going to be a typical run-through of hits. Opening with “War” (a The Temptations cover) was a bold move on its own—but bringing out Tom Morello and playing it for the first time since 2003 made it hit even harder. It set the tone fast: intense, a little gritty, and very intentional. That energy carried straight into “Born in the U.S.A.” and “Death to My Hometown,” both of which sounded louder and heavier with Morello in the mix.

The E Street Band sounded as tight as ever, and Springsteen had that mix of storytelling and edge he’s known for. Songs like “No Surrender” and “Darkness on the Edge of Town” felt familiar in the best way—but nothing about the night felt phoned in.

One of the coolest moments was “Streets of Minneapolis,” especially since it was the first time he’s done it with the full band. You could feel the crowd lean in a bit more for that one—it made the whole night feel connected to the city, not just another stop on tour.

There were also some quieter, heavier moments that really landed. “American Skin (41 Shots)” and “Long Walk Home” slowed things down in a way that made you actually stop and listen. When he introduced “Long Walk Home” as “a prayer for my country,” it didn’t feel scripted—it just felt honest.

The acoustic “House of a Thousand Guitars” gave everyone a breather before the show picked back up again. Then it just kept building—“Because the Night” (from the Patti Smith Group), “Wrecking Ball,” and “The Rising” all felt huge live.

By the time they hit “The Ghost of Tom Joad,” “Badlands,” and “Land of Hope and Dreams,” the place was fully locked in. Those songs, especially with Morello, had this raw, almost electric feeling that’s hard to describe unless you were there.

The encore was everything you’d expect—in a good way. “Born to Run,” “Dancing in the Dark,” “Tenth Avenue Freeze-Out”—all the moments people wait for. But the real surprise was ending with “Purple Rain” as a tribute to Prince. In Minneapolis, that just hits differently. It didn’t feel like a gimmick—it felt like respect.

Honestly, it didn’t feel like a three-hour show. It felt like a conversation, or maybe even a release. Springsteen’s not up there just going through the motions—he still means every word, and you can tell.

Baltimore’s Turnstile pay homage to Manchester giants The Stone Roses in tribute to late bass player Mani. Hardcore heroes Turnstile performed the unlikely cover version of The Stone Roses‘ classic track.

The Baltimore, Maryland, group chose the track for their appearance on triple j’s Like A Version series and said it felt appropriate after the recent death of Stone Roses bass player Gary ‘Mani’ Mounfield.

Yates says: “I love this song. It’s one of my favourite songs of all time. It’s unconventional and simple and just beautiful. “As a Brit, The Stone Roses were one of those bands that every kid who had any inkling towards anything alternative just knew from such an early age – just such an iconic band and, in my opinion, probably the coolest of all of the Manchester bands coming out at that time.”

“We’ve done covers for years. We’ve done different covers live, a lot of bands. But this was a different experience because we got to lay it down in a studio. It felt good to, especially when on tour and playing your songs every night, to break from that and play someone else’s.”

Mills, who hails from England, says she hopes people like their version of what she describes as a “powerful” song. “One of the most iconic bass lines of all time. I think it’s so powerful in its simplicity,” she says.

Turnstile cover The Stone Roses ‘I Wanna Be Adored’ live for triple j’s Like A Version.

Black Midi’s Cameron Picton mathy punk for acoustic, high drama sophistipop with My New Band Believe, Many were sad when mathy Londoners black midi broke up two years ago, but I’m enjoying the burning embers more than the original fire. At first, most of the attention focused on Geordie Greep, who burst out of the gate with his impressively wigged-out “The New Sound“. The band’s other singer/guitarist, Cameron Picton, kept a lower profile but emerged last year with a solo project that has since evolved into My New Band Believe.

Picton has gone even further afield than Greep with My New Band Believe, but in a more grounded way. Acoustic guitars are at the center of this pretty, lushly arranged record that at times recalls the string-laden, wildly romantic sophistipop of the ’80s.

Songs flow into one another, swooping daringly with the melodrama of a film score, as Picton moves the action from Paris to Seville and then to London for a little English prog. You can’t take all the math out of him after all.

Interestingly, My New Band Believe announced a non-LP single, “Numerology,” which is out today as well and was perhaps too singular a pop song to squeeze onto the album. And the day before the album’s release he shared another new song. Picton is moving fast and it’s exciting to think where he’ll land next.

 “Hey, what’s up with Total Control?” the answer is not much. The Melbourne band who raged near the epicenter of the city’s incestuous, mullet-clad “dolewave” post-punk scene haven’t played live since 2020 and the members have scattered.

I thought of that moment when Buz first played me the demo for the song which would become ‘Heat’, when first he asked me to play music with him. I heard it, smelled the fresh coconut juice and the sour sweat on Iggy’s leathery hide. I knew that we would do it right. Station Model Violence in 2024 with Buz Clatworthy, who also records as R.M.F.C. Clatworthy’s guitar style goes a long way toward making the band — and their self-titled debut — not just a Total Control clone, even if there’s plenty of shared DNA. Along with the incendiary, angular shredding, he leans heavily on 12-string guitar, adding a chiming, jangly shimmer. 

I moved to Sydney at the end of 2022. It was toward the end of two years of Melbourne lockdown that started in the immediate wake of the Total Control tour of Japan at the end of 2019 and was the longest time in 20 years that I had not travelled overseas or played music.

Station Model Violence is heavy, darkly glam, melodic, psychedelic, punishing, and hypnotic. It’s the kind of record where you put it on and immediately think, “Oh yeah, this is the stuff.” It absolutely rips. You might want to head straight to “Heat,” the band’s first single, built on a descending riff and tom-heavy drumming that just keeps building, adding hooks along the way. 

After moving to Sydney I had an overwhelming need to start a new band and sing again. Total Control and Straightjacket Nation would be difficult to gather any momentum with my living interstate, and also I wanted to settle here and start something new and try and obliterate some of the stasis that entered my veins from the lockdown.

Low Life asked me to play a solo show with Iceage at the opera house, but I had no ambitions for solo performance and had no songs, so I formed a band called KX Aminal with Greta, Michael and Micky from Den, and Josh from Diat.

KX Aminal are an important part of the Station Model Violence story. When we were writing songs for KX Aminal, Josh and Greta and I were drunk on fine chablis and playing a guitar line that sounded very much like Crisis, and Josh turned to me and looked me in the eye and mumbled “it smells like Kwisis”. Later Buz acknowledged this was something he would always want to hear when writing songs with a band, and on this point it was destined. We would write songs together to smell like Kwisis.

Anyway, KX Aminal went into stasis and I got the itch again. Buz had written a few demos that didn’t work as R.M.F.C. songs and he asked me to have a listen to hear if I could sing something on it, and over the winter of 2024 I visited his home studio and we recorded some vocal ideas with his demos.

We released a demo for ‘Learn To Hate’ “recorded after eating mushrooms on fabulous winter evening” and formed a lineup for a one off show in late 2024 with Micky (Den), Yuta (The Lewers) and Georgia (G2g). This was the final Idiota Civilisaaaztatatanini show, so a nice loop back with Josh who is my spiritual aminal and guide.

After this show, Yuta and Georgia left, and Michael (Den), Alan (R.M.F.C.) and Kuceli (Gaud) joined. Seeing as Micky, Michael, Kuceli and I played in KX Aminal and we never got to record those songs, we decided to absorb some of them into Station Model Violence.

We combined some of those KX songs with the demos Buz wrote and wrote a couple of new songs together and played a couple of shows, and then recorded an LP with Mikey in Melbourne and Micky in Sydney at the start of 2025.

The album was mixed over the course of the year as we had created this incredibly dense beast and much credit is due to the patience and persistence of Mikey Young.

The first single, ‘Heat’. Revisit that image of the coconuts and the drill and pastoral psychedelicism and the smell of KWISIS.

released February 27th, 2026

Following “Everything Must Go” and “Chain Yer Dragon”, Goose return with “Big Modern!”, expanding their indie rock core with neon-tinted synths, propulsive rhythms and anthemic songwriting. Tracks like ‘Good2B’ and ‘Good Times // End Times’ sit alongside ‘Big Modern’ and ‘Torero’, balancing immediacy with a more ambitious studio approach. It’s a confident step forward, capturing the band’s instinct for melody while widening their sound into something bigger and more dynamic.

The announcement follows an array of cryptic teases from Goose, including a hilarious video posted to social media last Friday starring Emmy Award-nominated actor Jake Lacy (The White Lotus, The Office, Girls), who then accompanied the band as they sat courtside at the following night’s New York Knicks vs. Chicago Bulls game at NYC’s Madison Square Garden. Lacy sat between the four members of Goose, each of whom wore bright yellow hoodies spelling out “FACE” – a key lyrical component of their fan favourite song, “Big Modern!” The teaser video and MSG appearance capped off two weeks of speculation inspired by guerrilla marketing in major US cities featuring the words “Big Modern!” along with a BIGMODERN.com website displaying Morse code for mysterious phrases and interactive messaging based on Goose fans’ thoughts across social media.

A fully immersive world of sound that ingeniously captures what it feels like to move through today’s overstimulated, hyperconnected society, “Big Modern!“ is heralded by today’s premiere of the rapturous new single, “Good2B.” From its first percussive note, the track offers up an unstoppable disco-funk energy, with sun-drenched congas, slinking bass lines, and organ hits dancing over an endless lyrical parade of people, places, and things. It’s joyous and messy; reward and distraction. It’s everything you could ever want, everywhere, all of the time, and all of it goes down smooth. But despite its intoxicating lightness, “Good2B” is laced with an anxious undercurrent. It’s a never-ending party with a looming expiration date.

“‘Good2B,’ and “Big Modern!”  as a whole, deal with the occasional state of flow amidst absurdity,” says Goose’s Rick Mitarotonda. “It’s doing the electric slide down the grocery aisle between the Pop-Tarts and Frosted Flakes. Hyper-convenience, hyper-connected; lost in the digital sauce and feeling pretty good about it. All while we’re left with the nagging questions: how long can this feeling last? How long can all of it last?”

Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keys, guitar), Trevor Weekz (bass), and Cotter Ellis (drums) — traverse genres with their unique brand of irresistible songcraft, fluid musicianship, and spirited improvisational performance.

releases June 12th, 2026