The Fat Angel Sings

 After more than Thirty-five years after they burned slow and bright, Galaxie 500 remain one of indie rock’s most quietly untouchable constellations. In conversation with Dean Wareham, Naomi Yang and Damon Krukowski, take anentry to the dimmer recesses of their back catalogue.

Guitarist Dean Wareham, drummer Damon Krukowski and bassist Naomi Yang had met at the Dalton School in New York City in 1981, but began playing together during their time as students at Harvard University. Wareham and Krukowski had formed a series of punk-influenced student bands, before Wareham returned to New York. When he returned in 1987 he and Krukowski formed a new band, with Yang joining the group on bass guitar, the new group deciding on the name Galaxie 500, after a friend’s car, a Ford Galaxie 500.

Across just three studio albums – 1988’s “Today”, the following year’s “On Fire” and 1990’s “This Is Our Music” – they crystallised the indie rock dream in a form that seemed to rewrite early dream pop’s grammar in their own hand, but they spoke it with a different cadence; spacious and stubbornly their own.

After producing two albums celebrated by a thirsty underground network of fans, Galaxie 500 released what turned out to be their unexpected swansong, “This is our Music”. The title is an intentionally declarative statement. After being labelled masters of the disengaged and forlorn, Damon Krukowsi, Dean Wareham, and Naomi Yang delivered a full-length comprised of their most stately material.

Here, one can hear potential realized, as well as changes afoot. “Fourth of July” is a surprisingly up-front song for the band, with rolling drums and a bass-heavy refrain, and it proved to be their most popular single. The track sets the stage for the dynamism of This is our Music. When Galaxie 500 sounds wistful (Summertime), it sounds like years of yearning actualized; when the band sounds regretful (Sorry), it comes pleading on its knees. The trio found a beautiful balance between increased production values and knob-twiddler Mark Kramers odd handed approach.

“On Fire” is widely recognized as the canonic pinnacle of Galaxie 500’s career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, “Blue Thunder“, the closest a song can come to waves crashing on a beach in song-form. Lyrically inconsequential, with a chorus composed entirely of la’s, the tracks power lies in a systematic build and break of intensity that reaches a Spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, 

“On Fire” sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham’s vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like “Snowstorm”, “Strange, and Decomposing Trees” have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy.

When Galaxie 500’s “Today” was released in 1988, it set off a chain reaction of quiet explosions still being felt. Never before had a record so emphasized the calming elements of rock music, transforming what at first seems like a collection of bridges into fully realized songs. and one can draw a straight line from here to the many groups they influenced, like Low, Belle and Sebastian, and Bon Iver. 

“Today” is full of idiosyncrasies. The trio of Damon Krukowski, Dean Wareham, and Naomi Yang were recent Harvard grads who intuitively eliminated any histrionic tradition to rock songs, leaving core emotion (not for nothing did they include a cover of “Don’t Let Our Youth go to Waste”, by the kings of feeling, the Modern Lovers). It was produced by Mark Kramer, who was best known for his work with cataclysmic slop rock pioneers such as Bongwater, Ween, and King Missle.

The bands hometown of Boston was just coming out of its love affair with Mission of Burma and pouncing upon the spasmodic electricity of the pixies. despite, or perhaps because of, all these elements, “Today” thrived. More than 30 years after its initial release, its title is still no misnomer. the music, recorded with what many thought at the time was too much reverb, sounds present, alive, and indeed a product of today. Songs like “Flowers”, “Temperatures Rising“, and of course “Tugboat” (the bands debut single) stand the test of time and exist in an eternal now

Playing was always fun. Making the first record was probably the most fun. It turned out a lot better than we expected, and all these years later I find that’s somehow why I write ‘entertainer’ on my tax return.”

Galaxie 500 Live London 1990. Probably recorded February 11th, which is when Galaxie 500 were in London to play at the Falcon. Broadcast on Feb 16th 1990, recorded by me, from analogue satellite Scart connected to an AKAi VCR, recorded at SP. A few promos were shown during this show, but I edited them out, leaving just the interview and live performance.

Few bands embodied cool with such ease as the 80s collapsed into the 90s. Wareham, a New Zealand-born Australian by upbringing, lent the group a sensibility that set them apart from their Boston peers, while Damon and Naomi’s taste and restraint were as decisive as Dean’s guitar. And then there was Kramer: producer, bassist and mercurial in-house architect of Noise New York, the tiny but iconic East Village studio where so many weirdo classics of the era took shape. Kramer’s production didn’t just capture Galaxie 500; it gave them a frame, wrapping their fragility in tape warmth and negative space. 

Their refusal to reform made last year’s compilation Uncollected Noise New York ’88-’90 hit all the harder. Galaxie 500’s first release of new archival material in nearly 30 years, it stands as their most comprehensive collection of unreleased and rare recordings to date. Across 24 tracks, it captures the complete Noise New York studio sessions, including outtakes and non-album material, tracing their entire arc. Shaped in lockstep with Kramer at Noise New York, these songs are desire lines toward a certain sorcery.

With Bad Company officially set to be inducted into the Rock & Roll Hall of Fame this fall, the legendary band‘s very first tribute album is also on schedule to arrive just in time to commemorate the honor.

Due on October 24th is “Can’t Get Enough: A Tribute to Bad Company”, a collection of classic tracks from the group’s repertoire revamped with the aid of special guests including HARDY, The Pretty Reckless, Joe Elliott and Phil Collen from Def Leppard, Slash featuring Myles Kennedy and The Conspirators, Charley Crockett, Dirty Honey, Halestorm, Black Stone Cherry, The Pretty Reckless and more.

Adding a layer of authenticity to these songs is the involvement of both Bad Company vocalist Paul Rodgers and drummer Simon Kirke.

“Bad Company has always been one of those bands that just hits you in the chest – raw, soulful and real,” said Charlie Starr of Blackberry Smoke. “‘Run with the Pack’ is like a masterclass in groove and grit. There’s simplicity to it that’s so powerful – no frills, just feel. You don’t need to dress it up – it’s just honest. Paul Rodgers’ voice is cool confidence, never overdone, just authentic. That kind of music doesn’t age; it just gets cooler.”

Here’s Blackberry Smoke‘s rendition of “Run With the Pack,” featuring Rodgers and Mastodon drummer Brann Dailor, shared to preview the collection:

Said Rodgers: “Blackberry Smoke absolutely channelled the essence of the song and everyone delivered from their souls. I love every aspect of their performance harmonies, guitars and delivery!”

Also shared thus far is “Rock ‘n’ Roll Fantasy,” as covered by English glam/rock/pop band The Struts:

“Bad Company are plain and simply one of the cornerstones of rock and roll,” said Marc LaBelle, lead vocalist of Dirty Honey. “Their music has been part of the soundtrack of my life for as long as I can remember. Paul Rodgers voice is timeless, classic, and like a fine wine only got better with age.”

I never imagined I’d be asked to cut a Bad Company tune, especially this one. I grew up cranking the volume anytime it was on a classic rock station in Texas. Still do. It’s an untouchable and timeless song. I only hope I can do it some justice.”

Said Joe Elliott: “I’ve loved Bad Company since the very beginning, a phenomenal combination of two of my favourite bands, Free & Mott The Hoople, what’s not to love?! What a privilege it is for myself & Phil to cover one of my favourite Bad Co songs WITH Paul & Simon! Wow!”

HARDY added: “There’s a short list of bands my dad played for me as a young boy that shaped my love for rock n’ roll, and Bad Company is on that list. It’s a very cool and surreal moment to be part of this project.”

Slash said in a statement, “Bad Company was the background music of an important period in my youth. They were such a great band, and a huge influence on me then and still are today.”

Bad Company guitarist Mick Ralphs passed away in June at age 81, so both this tribute album and the band’s Rock Hall induction will serve as a tribute to his lasting influence.

Wet Leg performed live on KEXP on September 9th, 2025, showcasing their signature style with a set of our tracks: “Catch These Fists,” “Davina McCall,” “CPR,” and “Mangetout.” The performance was hosted by Cheryl Waters and featured vocalists Rhian Teasdale and Hester Chambers, along with drummer Henry Holmes and multi-instrumentalist Joshua Mobaraki. 

Wet Leg performing live in the KEXP studio. Recorded September 9th, 2025.

Songs: catch these fists 00:48 davina mccall 04:04 CPR 07:59 mangetout 11:02

The Band: Rhian Teasdale – Vocal, Guitar Hester Chambers – Vocal, Guitar Henry Holmes Drums, Vocal Joshua Mobaraki – Guitar, Keys, Vocal Ellis Durans – Bass, Vocal

On her fourth album, “Unclouded“, Melody’s Echo Chamber embarks on a life-affirming new chapter with an album that celebrates the present moment, whatever state we find ourselves in. Beautifully psychedelic songs and the band on this album are just unreal!

“Unclouded’s” impressive cast includes Swedish maestro Sven Wunder, who co-produced the record and contributed to the writing, Josefin Runsteen on strings, Dina Ögon’s Daniel Ögen on guitar and Love Orsan on bass (who Melody describes as “masters of the velvet groove”), British drummer (and Dinked alumnus) Malcolm Catto, and frequent collaborator Reine Fiske (of the great Dungen) whose guitar parts can be heard shimmering throughout the record.

Last but not least, Leon Michels collaborated with Melody on the album’s gorgeous closer “Daisy”, a sparkling pop song plucked from the ether.

“The music I create unusually inhabits the liminal zone between realism and fables,” says Melody of the album. “But the more experience I have of living, the deeper I love life and the less I need to escape. If my heart still belongs to the blue hour, it also feels like I’ve gathered up all the pieces of myself that were scattered everywhere and glued them.”

The album includes recent single “Daisy” and with the album announcement comes new single “In the Stars.” “My eyes are closed not in denial, but in devotion—to vibrant memories, to the complexity of human feelings, to seeing more deeply,” says Melody Prochet of her new Melody’s Echo Chamber single. “It’s also driven by a resilient aesthetic that emphasizes the beauty of transient things and the bittersweet feeling of their impermanence.” New album Unclouded is out December 5.

Melody’s Echo Chamber releases her fifth album in December and here’s an early taste.

“We died when we started writing this album,” say Sorry, preparing to release “Cosplay”, their third studio album, set for release on 7th November on Domino Recordings. But if Sorry did, indeed, die before a note had been recorded, before a single word had even been jotted down, who the hell are this bunch now masquerading as Sorry? Who has donned the Sorry outfits so convincingly? Who is it that has recorded “Cosplay“, this album that first meticulously erases and then extravagantly redraws the perimeters of what a contemporary rock’n’roll band can achieve?

Sorry have released “Today Might Be The Hit”, the new single to be taken from their forthcoming new album “Cosplay”, which is set for release on November 7th. The band have recently announced two special launch shows titled COSPLAYOGRAPHY, one of which takes place at the ICA on album release day, as well as UK, EU and US dates.

Welcome to the world of Cosplay, where anyone can be anyone, past or present, real or imaginary, dead or alive. The most direct track on “Cosplay”, “Today Might Be The Hit” has a bouncing energy that recalls the band’s early works but possesses layer after layer of detail. Snippets of bird song, overlapping gang vocals and fragments of conversation are shot through the track, creating something both immediate and overwhelming that blazes across its short run time. 

Narratively the song marries the unfortunate life of Ludwig Boltzmann, whose entropy formula was dismissed in his lifetime and later immortalised on his gravestone, with a full-on guitar and drums number that sits squarely in the garage rock tradition.

Sorry – “Echoes” from the album “Cosplay”, out on 7th November on Domino Recording Co.

Indie-pop singer/songwriter Lande Hekt (formerly of Muncie Girls) announced a new album, “Lucky Now“, due out January 30th, 2026 via Tapete Records. She also shared its lead single, “Favourite Pair of Shoes,” via a music video.

Hekt had this to say about the song in a press release: “I wrote this song when I was listening to a lot of The Bats and The Chills, it probably sounds nothing like any of that Flying Nun stuff but that was what was inspiring me at the time. Despite the lines that lean towards despair, I think this is quite a hopeful song. It’s about rising out of a pit of hopelessness and doing something really positive. The song features my old friend and longtime collaborator Samuel Bedford.

Hekt wrote and recorded “Lucky Now” with producer Matthew Simms (Wire, It Hugs Back).

We first sang together when we were 16, we recorded a song together for his folk solo project, then we were in an indie rock band together when we were 21 called Selfish Son. Sam sang on my song ‘Kitchen’ in 2020 and now he sings on this song and ‘Coming Home.’ Each of these collaborations are 5 years apart which is tidy.”

“Favourite Pair of Shoes” is the first single from the album “Lucky Now“, out 30th January 2025 on Tapete Records.

Florence + The Machine performed ‘Everybody Scream’ on the Graham Norton Show last night, The London band are set to release their sixth full-length effort on October 31st, following on from 2022’s ‘Dance Fever’. Florence Welch and co. have already previewed the project with ‘One Of The Greats‘, and the title track, which they took on Friday night live in the studio. 

The theatrical rendition saw her backed by a choir for a rousing performance amplified by dramatic lighting and Welch’s soaring vocals as she recited: “The harvest, the needle, protect me from evil/ The magic and the misery, madness and the mystery / Oh, what has it done to me? Everybody scream.”

The group recently posted the back cover to the upcoming LP, which contains 12 songs overall. The album opens with F+TM’s two recent singles, ahead of cuts titled ‘Witch Dance’, ‘Sympathy Magic’, ‘Perfume And Milk’, ‘Buckle’ and ‘Kraken’.

The rest of the record is comprised of the tracks ‘The Old Religion’, ‘Drink Deep’, ‘Music By Men’ and ‘You Can Have It All’, before concluding with ‘And Love’.

The stirring track comes from their upcoming album, which is set to arrive on October 31st

“And Your Song is Like a Circle” is the second LP from New York-based artist Skullcrusher, a.k.a. Helen Ballentine. Recorded piecemeal over a period of years following the release of her celebrated 2022 debut, Quiet the Room, “And Your Song Is Like a Circle” does not capture experience – it gestures toward the imprint of an experience that is uncapturable. Swaying between vaporous folk and crystalline electronics, landing somewhere in the snowfields shared by Grouper and Julia Holter, “Circle” probes the ways that grief turns itself inside out. Loss itself becomes as real and substantial as what’s been lost.

The production of “Dragon,” the third single from Skullcrusher’s upcoming album, “And Your Song is Like a Circle“, distinguishes itself from the rest of Helen Ballentine’s discography—similar to “Exhale,” the rare percussion line anchors the song’s tempo, giving it a drive that is typically unsought in Ballentine’s ballads. Typical of many Skullcrusher songs, the lyrics are left to be searched for, hiding behind corners of echoed vocals. which she says she wrote “while thinking about dissociation and how it can feel to be brought back to the ground from this state. Like in Spirited Away when Chihiro begins to disappear in the spirit world she touches Haku’s hand, which pulls her back but then she can’t move her legs. It is a heavy thing to feel the weight of living and pull yourself back to earth. I was interested in the idea of this being a heavy burden but also a necessary aspect of living. It is hopeful but scary as well. Similar to the way armor is a protection but also a burden, either physically or mentally. It’s difficult to protect yourself.”

Ballentine sings in waves of despair, repeating “the weight is heavy” in rounds of harmony and layered vocals. As the song endures, it swells with distortion, and the steady piano lead is trumped by a buzzy synth. Ballentine sings until her repetition goes unnoticed, fusing with the pulsing wall of sound. “Dragon” heralds a new wave of the Skullcrusher sound: passionate, unabashed expression.

Skullcrusher album  “And Your Song is Like a Circle”  arrives next month

Militarie Gun’s 2023 debut album “Life Under The Gun” was received by fans and critics as a step in a more melodic direction from the band’s grittier, hardcore-informed EPs, but bandleader Ian Shelton said it was the way he’d heard Militarie Gun in his head the whole time. It was during the making of the album that Ian discovered how to hone in on his pop sensibilities, and now, Militarie Gun are back with a new album that presents them first and foremost as an alternative rock band.

This sounds like the work of a band who’s found their comfort zone, and who’s still able to change things up enough to incorporate cheerleader chants (“B A D I D E A”), jangle pop guitars (“Laugh At Me”), hip hop interludes, and a string-laden acoustic emo ballad (“Daydream”). It’s also the work of an artist who’s gone through some shit and is ready to open up about it. After abstaining from alcohol for the first 30 years of his life, Ian says he started drinking and developed an unhealthy relationship with it relatively quickly, and those experiences shaped this album.

The songs vary between desperation, melancholy, and self-sabotage, and it doesn’t take long to realize how dark this subject matter can get. Even before you hear the lyrics, you see such track titles as “Maybe I’ll Burn My Life Down” and “I Won’t Murder Your Friend.” big hooks and big feelings from a noticeably more tortured narrator.

It marks a bold leap forward for the Los Angeles based band, conceptually and artistically, pulling in new sounds, raw reflections on self-destruction, and some nineties ethos. At face value, it’s a concept album about hitting rock bottom and the arc of that crashing, burning, rebuilding, and repeating.

 “Pt. II” kicks things off with a distorted spoken word piece of Shelton responding to how he’s been. Judging by his bruised, defeated face on the album’s cover, it’s not good. It is “B.A.D,” to be exact, as it drops straight into lead single “B.A.D.I.D.E.A,” an arena-sized power-punk anthem Shelton originally wrote for Doja Cat, when she expressed interest in making a hardcore punk album two years ago. That might sound odd, but Militarie Gun has been hovering at the edge of pop culture for a while.

On November 28th, Warner/Reprise will release a new 50th Anniversary Edition of Neil Young’s Tonight’s The Night, complete with six bonus tracks – two of those previously unreleased.

Included on the new release are versions of “Lookout Joe” and “Walk On”, both recorded during the original 1973 album sessions at S.I.R. in Los Angeles. “Lookout Joe” replaces the version that was recorded at Young’s Broken Arrow Studio and subsequently included on the original release of “Tonight’s The Night”.

These versions of “Lookout Joe” and “Tonight’s The Night (Take 3)” have never been released. “Everybody’s Alone”, “Raised On Robbery” (featuring Joni Mitchell) and “Speakin’ Out Jam” appeared on “Archives Vol II”, while the unreleased version of “Wonderin’’ and “Walk On” from the same sessions has only ever been available to stream on NYA. This is the first time all six bonus tracks from the original sessions have been available on vinyl.

“Tonight’s The Night 50” will be released on vinyl, CD and digitally, with a clear vinyl version available at the Greedy Hand Store and indie retailers.

A new 18-track version of the ‘Ditch Trilogy’ classic will be released on Nov 28