The Fat Angel Sings

‘Koalas’ the new single is out now. so excited to announce the release of our new album, ‘Pomegranate’, Tess Parks is back with her third solo album, ‘Pomegranate’, dropping October 25th The dreamy lead single and video ‘Koalas’ is out everywhere now .

Following her critically acclaimed solo return with 2022’s ‘And Those Who Were Seen Dancing’ and earlier albums with Anton Newcombe, ‘Pomegranate” was written and recorded between London, Toronto and Los Angeles and produced by close collaborator Ruari Meehan, who also co-mixed the record alongside Grammy-nominated engineer Mikko Gordon.

Re-establishing Parks as the consummate artist-observer against a swirling nouveau-delic backdrop, ‘Pomegranate’ is her most ambitious and cinematic to date. The single ‘Koalas’ is a piece of beautifully hazy, slow-burning psych-folk with Parks’ smoky vocals floating over feathery acoustic guitar and piano, and some spellbinding whistling courtesy of Molly Lewis.

The first song, ‘Koalas’, is out everywhere now (!!) and you can stream/pre-order the album on limited edition vinyl and CD

Nick Cave & the Bad Seeds are releasing a new album, “Wild God”, on August 30th via Bad Seed/Play It Again Sam. This week, Cave shared its third single, “Long Dark Night,” via a lyric video.

The song was inspired by the poem “Dark Night of the Soul” by the Spanish 16th-century poet St. John of the Cross. Cave further explains in a press release: “‘Long Dark Night’ is inspired by one of the greatest and most powerful poems of conversion ever written. Ultimately, though, it’s a beautiful country tune. It feels like a sweet companion to the song, ‘Wild God.’”

Previously Nick Cave & the Bad Seeds had shared the album’s first single, title track “Wild Then they shared its second single, “Frogs,” . “Wild God” is Nick Cave & the Bad Seeds’ 18th studio album and is he follow-up to 2019’s acclaimed “Ghosteen”, Cave and bandmate Warren Ellis produced the album, which was mixed by David Fridmann. Cave started writing the album on New Year’s Day 2023 and there were recording sessions at Miraval Studios in Provence, France and Soundtree Studios in London, England.

The album also features Colin Greenwood of Radiohead (who contributes bass) and Luis Almau (on nylon string guitar and acoustic guitar).

“I hope the album has the effect on listeners that it’s had on me,” Cave said in a previous press release. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” Cave added: “Wild God”…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”

London-based artist Naima Bock is releasing a new album, “Below a Massive Dark Land“, on September 27th via Sub Pop/Memorials of Distinction. This week she shared another new song from it, “Gentle,” via a music video.

Bock had this to say about “Gentle” and its video in a press release: “I’ve lived with this song for a couple of years. It’s a kind of copy and paste of different sections of my life, each verse is a different version of myself or situation I was in. None of them link in reality, but they fit together in this song, which leaves me with a sense of union and satisfaction. I would like to allow for the listener to take the lyrics in whatever way is relevant to them. I can say it’s my favorite song to play and one of my favorite songs that I’ve written. It means a lot to me.”

Ellie Wintour and Sophie Lincoln directed the video and collectively had this to say: “Our jumping off point for the video began with the lyrics ‘You want me to be gentle, fragile, you want me to stay young. I pray that I stay gentle, fragile, I pray that I stay.’ We developed Naima a character playing on femininity as facade, but also her sense of easygoing style. In using two-dimensional substitutes for three-dimensional objects – mixing worlds of the real and make-believe – we tried to play on the song’s themes of expectation, assigned roles, and conformity.”

Bock has already shared two new songs from it, “Kaley” and “Further Away,” and announced some tour dates. “Below a Massive Dark Land” is Bock’s second album, the follow-up to 2022’s debut album, “Giant Palm”. Jack Osborne and Joe Jones produced the album, with additional production and arrangement by Oliver Hamilton and Bock.

Yesterday a new Flyte recording was gently nudged out into the world. It’s a live recording of “Chelsea Smiles” from Middle Farm Studios. You may have heard the live version of “Even On Bad Days” from that same day, well this completes the picture.

Recorded at Middle Farm Studios Performed by Will Taylor, Nick Hill and Her Ensemble (Deni Teo, Coco Iman and Ellie Consta)

Burlington, Vermont’s Robber Robber are one of those bands who defy easy categorization. I don’t know if they’re unpigeonholable but they do incorporate a bunch of disparate elements into their off-kilter brand of indie rock. One of the first things you notice on their debut album is the drums; co-founder Zack James has a unique style that is both lithe and powerful where live drumming hits side-by-side with either triggered samples or drum machines. He gives the band a unique backbone that effortlessly slips between easy groove and industrial clank, and locks in step with Carney Hemler’s bass. Then there’s the guitar interplay between singer-guitarist Nina Cates and Will Krulak; their instruments dance around each over, sometimes slashing, sometimes blurring together, sometimes slapping you in the face. Cates’ vocals are chameleonic as well, capable of a breathy coo that lends itself to “Wild Guess” shoe gazier moments (“Sea of War,” “Seven Houses”), but also banshee wails and heavy-attitude snarl.

Robber Robber are at their best and most memorable when throwing curveballs — the push-pull mechanics of “Backup Plan” and playful ripper “How We Ball” — which thankfully makes up most of “Wild Guess”.

released July 26th, 2024

Written and produced by Nina Cates and Zack James

It’s been five years since the last Wand album and a lot has gone on in their world since “Laughing Matter”. The band’s line up changed significantly — only singer-guitarist Cory Hanson and drummer Evan Burrows remain from their original line up and since Hanson released two very good solo albums, including last year’s unfortunately named “Western Cum”. With new members inspiring new sounds, in particular Evan Backer who comes from a music composition background, Wand went back into the studio to quietly blow up their sound. Hanson mostly left guitar duties to Rober Cody and played Fender Rhodes electric piano instead, while Backer arranged strings and horns while the band got inspired by Miles Davis’ electric albums from the ’70s.

The result is “Vertigo”, a record unlike anything they have made before that still retains their Wand-iness. Gone are the guitar heroics and in their place are subtle, simmering arrangements and songs that don’t follow traditional pop arrangements and often flow into seamlessly into the next. This all makes for an “album” album, in the ’70s sense, where you’re meant to listen to the whole thing as a piece. “Vertigo” is not “difficult” but it does benefit greatly from dedicated listening — it’s a great headphone album — and there are no shortage of standouts, including the syncopated horn blasts of “Mistletoe,” the dreamy, jazzy “Lifeboat,” and the swaying, subtle stunner “Smile.” (There are also plenty of guitars here, just not the towering riffs of their previous records.) “Vertigo” has a lot of big ideas and impressive moments packed into a mere 39 minutes, but all of them flow naturally and nothing is overstuffed. Ten years on from their debut album, Wand continue to grow and surprise in wonderful ways.

Wand is Cory Hanson, Evan Burrows, Robert Cody, and Evan Backer.

Reissues of Spooky Tooth’s “It’s All About” and “Spooky Two”

Proper Records, in collaboration with Universal Music Recordings, are reissuing “It’s All About” and “Spooky Two,” the first two albums by the much-loved and greatly missed Spooky Tooth.

The band’s line-up (guitarist Luther Grosvenor, vocalist Mike Harrison, drummer Mike Kellie and bassist Greg Ridley) joined forces with American keyboardist/vocalist Gary Wright in October 1967 and formed Spooky Tooth. Wright was introduced to the members by Chris Blackwell, the founder of Island Records renowned for promoting Progressive Rock,

In the 21st century, Spooky Tooth remains somewhat under the radar. Despite being signed to Island Records and offering a heady brew of heavy blues and soul, their music, beloved by the underground in the late ’60s, is still ripe for rediscovery. Formed from the group Art, featuring vocalist Mike Harrison, guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie, Spooky Tooth came into being with the addition of American-in-London keyboard player Gary Wright, suggested by Chris Blackwell.

“It’s All About” (1968)

Recorded at Olympic Studios and produced by Jimmy Miller, who was also behind the boards for Spencer Davis Group, Motörhead, Traffic, the Rolling Stones and Blind Faith. their debut album, “It’s All About,” is a powerful blend of soul-tinged rock, suffused with sweetness on both originals and carefully chosen covers. Released in June 1968, it includes a version of Bob Dylan’s “Too Much of Nothing,” a blistering take on the Nashville Teens’ “Tobacco Road,” and the Jimmy Miller-Gary Wright co-write “It’s About A Roundabout,” On this dreamy cut, vocalist/keyboardist Gary Wright demonstrates some sharp melodic and compositional instincts. which has a driving beat reminiscent of Northern Soul. “It’s All About” is a lovely, often surprising album that offers a unique listening experience.

This full-length debut from British blues-rockers Spooky Tooth has a tone similar to Traffic with its psychedelic take on the influential pop and soul music of the ’60s. The few cover tunes including Janis Ian’s “Society’s Child” but original songs like the soulful ballad “It Hurts You So” and “Bubbles” (with its Beach Boys sensibility) are the real standouts.

Although Spooky Tooth eventually became better-known for their straightforward blues-rock, the trippy pop of It’s All About counts as a career highlight for the group. Fans of late-’60s British rock are definitely advised to check out this impressive release.

“Spooky Two” (1969)

Released in March 1969, “Spooky Two” is heavier and less quirky than the debut. It includes a remarkable version of Larry Weiss’ “Evil Woman,” a heavy nine-minute blues track that established Luther Grosvenor as one of the great British guitarists of his era. Gary Wright’s originals shine on this album, with tracks like the Cream-inspired “Lost In My Dream” and the storming “Better By You, Better Than Me,” later covered by Judas Priest. Mike Harrison’s voice is in fine form throughout, making “Spooky Two” one of the great British rock records of the late ’60s.

“I’ve Got Enough Heartache” whines and grieves with some sharp bass playing from Greg Ridley, while “Better by You, Better Than Me” is the catchiest of the songs, with its clinging hooks and desperate-sounding chorus. The last song, “Hangman Hang My Shell on a Tree,” is a splendid example of the bandmembers’ ability to play off of one another, mixing soulful lyrics with downtrodden instrumentation to conjure up the perfect melancholia. Although Spooky Tooth lasted about seven years, their other albums never really contained the same passion or talented collaborating by each individual musician as Spooky Two.

Both “It’s All About” and “Spooky Two” are presented with meticulous attention to the detail of the original UK first pressings and are available on audiophile 180gm vinyl. Whether you’re replacing much-loved originals or adding to your collection afresh, this is a great way to enjoy such enduring and influential music.

The band members, Grosvenor later joined Mott the Hoople in the 1970s (replacing Mick Ralphs who left to form Bad Company), adopting the name Ariel Bender. Kellie later joined the Only Ones in the late 1970s also performing with them in 1980s. Ridley became a member of Humble Pie.

Thursday, July 25th, Billy Joel participated in his final show of a record-breaking franchise run at Madison Square Garden. The historic night yielded the Piano Man a pair of esteemed titles, including the most lifetime performances by any artist (150) and the most consecutive shows (104) at the Big Apple venue. During the night, guests turned up to assist in the celebratory spirit of the occasion, including appearances by Jimmy Fallon and Guns N’ Roses frontman Axl Rose, who helped Joel and his audience of nearly 20,000 strike the specialty of the occasion. 

Billy Joel told the crowd, “Let me mention a couple of things that we’ve done. We were the first group to play at Yankee Stadium [in 1990]. We were the last band to play at Shea Stadium [in 2008]. We played Berlin the night that the Berlin Wall came down [in 1990, so not quite]. We were the first American full-fledged performance in the Soviet Union [in 1987]. And we were the first band to play after Castro came to power, and we played Cuba [1979]. We played in front of the Coliseum in Rome for a half million people [in 2006]. And the food was great. But out of all of them, this is the best. There’s no place like this.”

The conclusion of Joel’s franchise run at The Garden arrives more than 10 years after the first-ever residency performance and 50 years after his debut at the venue, which initially occurred on December 14th 1978. To commemorate the achievement, comedian and television host Jimmy Fallon raised the final banner to the rafters. “Who else does this? No one else does this,” he exclaimed, bubbling with jubilant energy. 

Next, Joel’s daughters, Della and Remi, appeared on stage and sang “My Life” alongside their dad. After a couple more tunes, the locationally fitting “New York State of Mind” was added to the course of classic material, acting as the preamble to “Allentown” and “This Is the Time.” plus “Allentown,” “It’s Still Rock and Roll to Me,” “Movin’ Out,” “Piano Man,” “Scenes From an Italian Restaurant,” “You May Be Right,” “The River of Dreams” racked up the title of consecutive plays at each of the musician’s MSG gigs. 

Rock maven Rose assisted Joel on a cover of the Wings “Live and Let Die.” Last night’s rendition was not the first time Rose had taken on the Paul McCartney hit; notably, Guns N’ Roses received Grammy recognition for their take on the layered favourite featured on their “Use Your Illusion I” album. The pair continued their collaborative stage time with AC/DC’s “Highway to Hell.” They previously performed the cover in 2017. Just when it seemed the guests had retired for the night, Rose returned, this time during the night’s final number, “You May Be Alright.” 

Besides sit-ins and well-deserved accolades, the night was, in its simplest form, highlighted by the thrill of fans gathered to share in a historic musical experience, as captured via the night’s energy during “Piano Man.” Watch a pro-shot video provided by Madison Square Garden.

In the summer of 1973, Genesis re-signed their contract with Charisma Records. Manager Tony Stratton Smith said they got “a much-improved deal” despite their being able to get a better one with a bigger label, but the group were loyal and trusted Charisma with their careers. With a new agreement in place and thus a green-light for a new album, Genesis recorded “Selling England by the Pound” at Island Studios in August 1973, It was the second Genesis album that John Burns co-produced. Peter Gabriel contributed lyrics based on the idea of commercialism and the decline of English culture and the rise in American influences. Its title refers to a UK Labour Party slogan to make it clear to music critics who may have thought Genesis were beginning to “sell out” to the US.

The record was released in October 1973 to a positive critical reception, though slightly more muted than for “Foxtrot“. The “Selling England by the Pound” tour visited Europe and North America between September 1973 and May 1974. Their six shows in three days at The Roxy in Los Angeles were well received by audiences and critics. The success of the tour earned the group the “Top Stage Band” title by readers of NME.

“I Know What I Like (In Your Wardrobe)” was released as a UK single with “Twilight Alehouse”, a non-album track recorded in 1972; its release in February 1974. Its success led to an offer for Genesis to appear on BBC’s national show Top of the Pops; the group thought this would not suit their image, and they declined the offer. The setlist is complete and features all five of the main songs from the “Selling England” album.

One of the very best shows Genesis played during the North American leg of the tour took place at the University of Montreal in Canada, on 21st April ‘74. A stunning performance this superb concert was also recorded for live FM radio transmission across Canada, and synched too in the USA and across Europe. Tracks: This recording is probably one of the most widely circulated Genesis bootlegs.

It’s particularly great to hear a live version of ‘The Battle Of Epping Forest’ which surely must have been one of the most difficult songs to play live that Genesis ever had. Peter Gabriel takes on all the individual characters very well and gives them an individual voice and it is a brilliant version.
Closing with an excellent version of “Supper’s Ready” where Gabriel again implements his vocal armoury, whereby, he’s virtually telling a story within a story.

Setlist:1 Watcher Of The Skies 8:54 2 Story Of Britannia 1:45 3 Dancing With The Moonlit Knight 8:51 4 Story Of Romeo And Juliet 1:59 5 The Cinema Show 11:18 6 I Know What I Like (In Your Wardrobe) 6:29 7 Story Of Five Rivers 1:25 8 Firth Of Fifth 10:01 9 The Story Of Henry And Cynthia 1:49 1 The Musical Box 11:03 2 Horizons 2:09 3 The Battle Of Epping Forest 12:31 4 The Story Of Old Michael 3:02 5 Supper’s Ready 24:37 6 Outro 0:37

Live FM broadcast recorded at Centre Sportif De L’Université De Montréal, Canada, 21st April 1974.

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive.

The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as “Red Mile”. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album ‘Pain Olympics’. At once, their vision became expansive, cinematic.  

Now, ‘Red Mile’ is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? ‘Red Mile’ is, for them, something like samsara: a return and a rebirth.

‘Red Mile’’s sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud’s prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars — alternately lilting, scuzzy and soaring — ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album – a winding, alllllmost Jerry Garcia guitar noodle that leads us out of ‘Red Mile’ – is delivered without sentimentality. 

Principal songwriter Zach Choy’s lyrics are cutting but merciful, with a sharp self awareness that never slides into self-satisfaction. Crack Cloud as artists are critical — and ultimately as forgiving — of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death.