The Fat Angel Sings

The Klittens are five musicians on a mission, untrained but unbothered. A band for those who have a knack for happy songs and sad sentiments. Their music is a surprising mix of indie-fuzz and DIY. The result: a repertoire that reaches from dark post-punk to danceable songs about grandma’s.

What initially started as a platform and creative outlet for political ideas, ended up in a group of friends that is growing into a professional band. An adventure that each of the members had always dreamed of, but never dared to make happen.

The girls are slowly crawling out of the Amsterdam underground scene: they toured the UK with York’s indie rock band Bull, supported SASAMI and Tacocat, and played shows with Dutch bands such as Personal Trainer, Pip Blom and global charming.

The band released their first three singles in 2020 which got a lot of recognition, despite the pandemic and limited possibilities. They kicked off with ‘Manic Dixi Dream Girl’ (self-released), followed by ‘Bleeding Gums’ (Permanent Creeps, UK) and ‘Liebe Resi’ (Geertruida, NL).

In April 2022 The Klittens have released their debut EP ‘Citrus’ (digital + vinyl) which included singles ‘Canned Air’, ‘Herkenbosch’, ‘Pristine Blue’ and ‘Benson’.

This new song “Atlas” is written and performed by The Klittens – Yaël Dekker, Katja Kahana, Michelle Geraerts, Winnie Conradi and Laurie Zantinge. Synthesizer by Gabriel de Oliveira.

To celebrate the album’s 25th-year anniversary, The Jesus And Mary Chain reissue their long-sold-out sixth studio album “Munki”. On Fuzz Club Records, the reissue arrives on CD and gatefold double LP. The vinyl has been remastered by Pete Maher (The Rolling Stones, Jack White, Liam Gallagher). Originally released June 2nd 1998 on Sub Pop / Creation Records, “Munki” was – up until the Mary Chain’s reformation in 2007 – an experimental rock’n’roll masterclass turned swan song for the Reid brothers, whose fractious in-fighting culminated in the band’s break-up less than a year after its release. It was perhaps fitting, then, that “Munki” is argued by some as the definitive Mary Chain record in the way it seemed to chart the full array of musical directions the band had ploughed over the five records that came before.

The decision to bookend the album with Jim’s rousing sing-along ‘I Love Rock ‘N’ Roll’ and William’s caustic white-noise anthem ‘I Hate Rock ‘N’ Roll’ perfectly captures the two-fold tension at the heart of the Mary Chain at that time – a tension between noise and melody, and warring brothers.

Across the album’s 17 tracks and 70-minute running time, there are the expected abrasive noise-rock epics ‘Cracking Up’ and ‘Degenerate’ by way of fuzzed-out pop hits like ‘Fizzy’ and the tender acoustic slow-burner ‘Never Understood’. Between the Reid’s Glaswegian snarls and unapologetically insolent lyrics – “I’m a mean motherf*cker now, but I once was cool”, “McDonald’s is sh*t!”, “Children are fools!” being just a few lyrical highlights – “Munki” also features two great guest appearances. Mazzy Star’s Hope Sandoval returns for another Mary Chain duet on ‘Perfume’, which has a swagger that’s equal parts menacing and bittersweet, and the Reid’s younger sister Linda (Sister Vanilla) sings beautifully on top of ‘Moe Tucker’s motorik proto-punk scuzz.

Suede perform a very special cover of Patti Smith’s, ‘Because The Night’ with the BBC Concert Orchestra. Recorded live from the BBC ‘s legendary Maida Vale Studios for Radio 2’s Piano Room Month. The full set, available on BBC Sounds and BBC iPlayer also includes their classic single ‘She’s In Fashion’ and their new single ‘The Only Way I Can Love You’.

“Roach” is Miya Folick’s clearest and most direct work yet, eschewing some of the lyrical and musical obfuscations she layered onto her 2018 debut album, “Premonitions”. With ear-worm melodies, heart-wrenching poetry, eclectic production and anchored by Folick’s once-in-a-lifetime voice, “Roach” straddles a line between pop and something more experimental.

She enlisted a team of collaborators who she trusted to bring out the grittier side of her artistry, including Gabe Wax (War on Drugs, Fleet Foxes), Mike Malchicoff (King Princess, Bo Burnham), Max Hershenow (MS MR) and a team of some of LA’s best players. The result is an album that sounds as honest and intimate as the subject matter at hand, a candid snapshot of where she is now and what it took to get there.

released December 8th, 2023

IDLES have returned with a new single entitled “Grace” from their forthcoming LP “TANGK”, which will be released on February 16th via Partisan Records. The track features distorted guitar tones and a dirty drum groove built around a hi-hat shuffle. On the downtempo, slow-burning song, frontman Joseph Talbot croons, “No god, no king, I said love is the thing.”

“The song came from nowhere and everything,” the vocalist shared in a press statement. “It was a breath and a call to be held. The only words or singing that came from our sessions with Nigel [Godrich] and I needed it, truly. All is love.”

As with the rest of the upcoming album, “Grace” was produced by Godrich, Kenny Beats, and the band’s Mark Bowen. 

The band’s new album “TANGK” will be released on February 16th via Partisan Records.

Suede return with “Autofiction: Expanded” – a deluxe version of critically acclaimed album ‘Autofiction’, which debuted at #2 in the UK Albums Chart and marked Suede’s highest charting LP since 1999’s “Head Music”. Accompanying the original album on the special limited edition 3CD release are B-sides and additional album session material, as well as an ‘Autofiction’ live album recorded on their March 2023 UK tour.

Originally the lead single from Suede’s ninth album ‘Autofiction’, this track will be included in the expanded release of the album, set to drop tomorrow. The expanded edition includes six bonus tracks and live versions of the original album.

Suede are pleased to announce ‘Autofiction: Expanded’ featuring six bonus tracks and live versions of the original album. Out on 8th December

Big Thief’s Adrianne Lenker has today shared a new song ‘Ruined’, a moving new track that acts as an introduction to her highly anticipated next solo album, which she has confirmed will arrive next year. Her latest single sees Adrianne embrace a piano-led melody, and she’s described the song as “a quiet beacon for me. It may contain the essence of the gift of romantic love but it’s mostly about something much bigger.”

Alongside ‘Ruined’, she has also shared an accompanying, suitably autumnal video – directed by her brother Noah Lenker – as well news of a forthcoming UK and EU tour.

We can expect a new album from the singular artist next year, as well a 2024 tour.

The Fontaines D.C. frontman releases his debut solo album. Amongst brief rests from relentless tours with the critically acclaimed Dublin post-punk band, Chatten decided to challenge his creativity and occupy a different sound world, expanding his artistic voice. With Dan Carey behind the sound board, the first single opts for drum machine downtempo and soft nylon finger picking guitar. It seems that Chatten finds a new sense of curiosity in his storytelling on this record, developing his lucid lyricism.

Having released three albums in only marginally more years at the helm of Fontaines D.C, Grian Chatten’s solo debut arrived in the promo-shunning manner of a true passion project. An immediate tonal departure from his day job, ‘Chaos For The Fly’ was a record of melancholy introversions, laced with strings and acoustic plucks, and written as an escape from the frustrations of fame and touring. Where FDC have increasingly found themselves thrust into the glare of awards shows and mainstream adoration, ‘Chaos…’ reminded the world that, beneath the bright lights,

Chatten is a songwriter’s songwriter in the great tradition of them; a modern-day bard of the broken spirit, capable of spinning darkness into real beauty.

On white coloured vinyl with signed print., “Chaos For The Fly”, out 30th June on Partisan Records:

Returning six years after the release of their funky-pop opus ‘After Laughter’, Paramore’s latest boasts another deft sonic transformation for the trio. Inspired more by the rough-edged indie-rock of the likes of Bloc Party, Yeah Yeah Yeahs and The Rapture, ‘This Is Why’ is a darkly seductive record that sees the band growing ever more comfortable in their skin, all while staring squarely at the growing sense of discomfort and disillusionment that haunts our current lives.

A far cry from the emo heartland of their early discography, ‘This Is Why’ is blistering (‘The News’, ‘You First’) and breathtaking (‘Liar’, ‘Thick Skull’) in equal measure. 

Dublin’s “False Lankum” feels like it has been dug up like hidden treasure beneath the belly of the bog, gleaming beneath the earth like a Celtic axe, cutting to the core of the human condition. It will take you on a Shamanic journey so intense that you will come out the other side feeling like your soul has been in a speed wash – in a good way.  The first track ‘Go Dig My Grave’ is so visceral that it will shake you to the core. A reworking of an old folk song with several incarnations Lankum have constructed the piece so cleverly that it grips and tricks the listener with a haunting narrative, swelling like a Celtic demon layered on a dark bed full of drones and dulcimers, putting a shiver down your spine.  Breathing space comes in the swell and sway of ‘Clear Away In the Morning’ followed by the first of three ambient Fugues. In ‘Master Crowley‘s’ trad instrumental you can hear every wheeze of the living and breathing concertinas, leading to an unexpected demonic siren swirling and pulling the listener slowly underwater. Just when you start to feel comfortable, they take the listener down another spiral, creating a purposeful sense of disorientation, but trust the journey and you will soon arrive at the stunningly accomplished ‘Netta Perseus’ with unexpected shadows in the soundscapes.

Lankum is pure punk, pushing the genre to its limit, amalgamating the best of folk with elements of metal, krautrock, punk and psychedelia, creating a new genre of its own, transcending cultural boundaries using Indian harmoniums, echoing the drones of the uilleann pipes perfectly and bringing a depth and harmony to the tracks and recognition of the universality of the human condition. It’s as twisted and stunning as a Celtic Knot. As the legendary Irish singer Frank Harte said, “Those in power  write the history while those who suffer write the songs.”  

Succinctly summing up a Mercury Prize shortlisted magnum opus like ‘False Lankum’ is a daunting task. Lankum’s fourth LP will surely be studied for its contribution to expanding contemporary sonic landscapes, but limiting the body of work as a triumph of ‘traditional’ or ‘folk’ genres misses the mark on exactly how experimental and fearless it is. From Radie Peat’s haunting voice that could make a spine-tingling impact in any era (her take on The Deadlians’ song ‘Newcastle’ is a must-listen), to the unbelievable amount of instruments the Dublin quartet perform, it’s impossible to come away from ‘False Lankum’ without hearing genius.

Our 4th album “False Lankum” is out now on Rough Trade Records.