The Fat Angel Sings

In celebration of 50 years of Frank Zappa’s widely-acclaimed “Over-Nite Sensation”, a newly expanded 50th anniversary edition will be released on November 3rd via Zappa Records/UMe in a variety of formats, “Over-Nite Sensation” turns 50 years old. To celebrate this iconic album, we present a 4CD + 1 Blu-ray Audio Super Deluxe showcasing 88 total tracks with 57 unreleased tracks & mixes. Featuring the 2012 remaster of the original album by Bob Ludwig along with additional masters, highlights and mix outtakes from the original 1973 sessions mastered by John Polito. It was also the first album by Zappa to be released in quadraphonic surround sound. the album signaled a change in musical direction for the Mothers, with Frank handling the bulk of the lead vocals and being the only guitar player. It was a new band, a new sound and eventually the album went gold. over the years, almost every song on “Over-Nite Sensation” would go on to become live staples and fan favourites. 50 years on, the album is still one of the highlights of the Zappa catalogue.

‘Over-Nite Sensation’ has turned 50 years old; an absolute classic – for some, a gateway to Zappa, a place to start.

In 1973, Frank Zappa and The Mothers were once again on the move. Coming off a year laden with a pair of well-lauded high watermarks — July 1972’s jazz-fusion solo masterstroke “Waka/Jawaka” and November 1972’s big-band Mothers progression “The Grand Wazoo” — Zappa wanted to next convene another revised Mothers collective, rethink some long-throw compositional tracts, and begin exploring the differences inherent in the form and function of his songwriting. In turn, Zappa also decided to bring his own singing voice more to the lead vocal fore than ever before, as well as refine the scope of his guitar playing.

And thus, September 1973’s “Over-Nite Sensation” was born. A stone cold classic, “Over-Nite Sensation” has long been viewed by both the cognoscenti and layman as being a gateway album entry into the Zappaverse at large, serving as a mighty grand place to enter into the breach along with his follow-up March 1974 solo release, “Apostrophe”. It was also the first album by Zappa to be released in Quadraphonic surround sound, an ever-evolving sonic medium Zappa would continue to explore throughout his career on the cutting edge.

Not only did “Over-Nite Sensation” signal a change in musical direction for The Mothers at large, but Zappa handled the bulk of the lead vocal duties and staked his claim as the album’s only guitarist. It was a new band with a new sound that resonated widely, eventually going gold in 1976. Over the ensuing years, almost every song on “Over-Nite Sensation” became indelible live staples and longstanding fan favourites, with “I’m The Slime,” “Fifty-Fifty,” “Zomby Woof,” and “Camarillo Brillo” immediately making their respective presences known in the setlist. In the here and now, 50 years on, “Over-Nite Sensation” remains both one of the top-tier highlights of the vast Zappa catalogue as well as one of his most consistent bestsellers.

The new group of Mothers heard on “Over-Nite Sensation” was comprised of virtuoso musicians rooted in jazz (keyboardist George Duke, violinist Jean-Luc Ponty, drummer Ralph Humphrey, and trumpeter Sal Marquez) and serious music (wind instrumentalist Ian Underwood and percussionist Ruth Underwood) alike, all polished off with the Fowler brothers duly in tow (with Bruce Fowler on trombone, and Tom Fowler on bass). As a result, the instrumentation of this aurally palpable Mothers lineup was akin to having a mini orchestra in a rock format — and Zappa utilized them brilliantly, crafting arrangements for existing material like “Cosmik Debris” and “Montana” in addition to writing a large number of new compositions to maximize their strengths.

The truly crazy, over-the-top vocal stylings of Ricky Lancelotti catapulted songs like “Fifty-Fifty” and “Zomby Woof” into the stratosphere. For his part, Kin Vassy (of Kenny Rogers and The First Edition) added numerous, tasty tidbits all throughout. But perhaps the most legendary guest turns of them all would be those by Tina Turner and The Ikettes. With Zappa tracking at Ike Turner’s Bolic Sound studio in Inglewood, Calif., it only seemed logical that Tina and Frank’s paths would eventually cross. Although famously uncredited, Tina and The Ikettes’ background vocals were draped all throughout the record and are undeniably unique —and spot-on perfect.

If you dropped the needle on “Over-Nite Sensation” for the first time in 1973, it was immediately apparent something new, different, and exciting was happening in Zappa’s ever-expanding musical universe. The material was funky, funny, challenging, and mighty — and, yes, even more accessible than his output of the prior few years.

Also included are live recordings from 1973 showcasing the same band that recorded the album, one from the Hollywood Palladium in Los Angeles and the other recorded at Cobo Hall in Detroit.

On March 23rd at the Hollywood Palladium, fans got early tastes of the “sort-of” guru blues of “Cosmik Debris” and the sleazy, slow-rolling funky grease of “Curse Of The Zomboids (I’m The Slime).” Nary a few months later on May 12th at Cobo Hall in Detroit, the odds-busting, horn-driven instrumental sneer of “Fifty-Fifty” and the “Don’t Eat The Yellow Snow,” “Nanook Rubs It,” and “St. Alphonzo’s Pancake Breakfast” troika medley were all served up with patented Zappa narrative aplomb.

The 2Lp 180-gram black audiophile vinyl reissue features the album cut at 45 rpm for the first time ever from the original analogue tape by Chris Bellman at Bernie Grundman mastering in 2023 and a bonus 24” x 12” poster of the complete cover art.

The Blu-ray contains the album newly re-mixed in Dolby Atmos and 5.1 surround by Karma Auger and Erich Gobel at Studio1LA, Zappa’s original 4-channel Quadraphonic mix (available for the first time since 1973), and the Hi-Res stereo 2012 remaster at 192K24B and 96K24B. The package features unseen photos from the album cover shoot along with liner notes and essays by Mark Smotroff and Vaultmeister Joe Travers.

Roger Waters has released another song from his upcoming “The Dark Side of the Moon Redux” album. He has rerecorded all of Pink Floyd’s classic 1973 album without any of his former bandmates. Waters released the first song, “Money,” last month.

Waters says ‘when we recorded the stripped down songs for the “Lockdown Sessions, the 50th anniversary” of the release of “The Dark Side Of The Moon” was looming on the horizon. It occurred to to me that “The Dark Side Of The Moon” could well be a suitable candidate for a similar re-working, partly as a tribute to the original work, but also to re-address the political and emotional message of the whole album. I discussed it with Gus and Sean, and when we’d stopped giggling and shouting ‘You must be ****ing mad’ at one another we decided to take it on. It’s turned out really great and I’m excited for everyone to hear it. It’s not a replacement for the original which, obviously, is irreplaceable. But it is a way for the seventy nine year old man to look back across the intervening fifty years into the eyes of the twenty nine year old and say, to quote a poem of mine about my Father, “We did our best, we kept his trust, our Dad would have been proud of us”.

“I’m immensely proud of what we have created, a work that can sit proudly alongside the original, hand-in-hand across a half-century of time,” Waters said in a press release announcing the album. “The original “Dark Side of the Moon” feels in some ways like the lament of an elder being on the human condition. But Dave [Gilmour], Rick [Wright], Nick [Mason] and I were so young when we made it, and when you look at the world around us, clearly the message hasn’t stuck. That’s why I started to consider what the wisdom of an 80-year-old could bring to a re-imagined version.”

Drummer Mason was given a preview of the album and highly praised it. “He actually sent me a copy of what he was working on,” Mason said earlier this year. “And I [wrote] to him and said, ‘Annoyingly, it’s absolutely brilliant!’ It was and is. It’s not anything that would be a spoiler for the original at all, it’s an interesting add-on to the thing.”

“The Dark Side of the Moon Redux” includes all 10 songs from the original album plus a new 13-minute original composition. It will be released on October 6th.

The National are a Brooklyn-based five-piece hailing from Ohio. The group contains two pairs of brothers — Bryce Dessner (guitars), Aaron Dessner (bass, guitars), Scott Devendorf (bass, guitars), and Bryan Devendorf (drums) — and features Matt Berninger on vocals.  

The National unveiled two new tracks, “Alphabet City” and “Space Invader.” The latter comes accompanied by an evocative visualizer crafted under the creative direction of Noah Sacré and Pauline de Lassus – both songs come hot on the heels of their LP “First Two Pages of Frankenstein”, which was released on April 28th.

Within the melancholic embrace of the seven-minute “Space Invader,” frontman Matt Berninger weaves a tapestry of contemplation and introspection. His distinctive and emotive voice croons out alternate scenarios, pondering the roads not taken: “What if I stayed on the/ C train until Lafayette?” he muses.

Similarly, “Alphabet City” receives the visualizer treatment on which de Lassus lends her artistic prowess to the animation and drawings that enrich the animated interpretations and resulting visual journey. Notably, both videos feature photographs by Brent Walter-Ballantyne. On “Alphabet City,” Berninger’s voice is just as vivid this time crafting a tale of presence: “I’ll still be here when you come back from space/ I will listen for you at the door.”

On October 27th Prince & The New Power Generation’s iconic 1991 album the “Diamonds And Pearls” deep dive exploration will be released via all physical, digital, and streaming partners, with the classic album remastered for the very first time, and featuring 33 previously unreleased studio tracks, live audio, as well as a previously unreleased 2+ hours of video concert performances from Prince’s legendary vault.

Ranging from alternate versions of album tracks, to numbers Prince gave away to other artists, and songs recorded while on the road in 1990. The double-platinum “Diamonds and Pearls” found Prince and his new backing band the New Power Generation trading drum machines and keyboards of his ’80s work for a more organic analog sound. This change helped him quickly recover from the relatively poor commercial and critical performance of 1990’s “Graffiti Bridge”. The 1991 album spawned several successful singles, including “Gett Off,” “Cream” and the title track.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix.

In celebration of the reissue’s unveiling, Prince’s estate shared a previously unreleased track titled “Alice Through the Looking Glass.”

The reissue comes with a 120-page book equipped with a foreword by Chuck D, photos, essays, a Dolby Atmos mix of the LP on Blu-ray, and two hours of concert footage shot at the late artist’s Minneapolis club, Glam Slam, in 1992. The collection will arrive as a 7xCD or 12xLP set.

Notably, “Insatiable (Early Mix – Full Version),” which contains lyrics and instrumentation that Prince had decided to cut, is featured in the collection and has been released. Along with the liberated tracks from the vault and aforementioned material, the reissue also holds remixes and B-sides from the era.

Listen to “Alice Through The Looking Glass” and “Insatiable (Early Mix – Full Version)” and watch the trailer promoting the collection

Prince & The NPG previewed the “Diamonds And Pearls” Tour at Prince’s Minneapolis club, Glam Slam, on January 11th, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24 track master and rounds out the audio content of the 7CD and 12LP sets. This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck. The Blu-ray is completed by the long out of print “Diamonds And Pearls” Video Collection, originally released on VHS and LaserDisc in 1992.

The 120-page hardback book which accompanies the set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

The singer-songwriter follows up her latest album ‘Strays’ with a three-act project: “Act I: Topanga Canyon” features Buck Meek, Jonathan Wilson, and Ny Oh.

Beyond excited to share Strays II, a 3 part journey and follow up to my album “Strays” that came out earlier this year. Join me on “Act I: Topanga Canyon“, as we head back to where “Strays” all began. “Strays II” is out everywhere digitally on 13th October,

Listen to “Act I: Topanga Canyon” via Loma Vista

“Strays II” expands the original LP with nine new songs that will arrive in the form of three distinct acts, each telling its own unique story of love, grief, and acceptance. On “Act I: Topanga Canyon“—available now via Loma Vista Recordings—Price is joined by “Strays” producer Jonathan Wilson, as well as other collaborators .

Recorded at Wilson’s Topanga studio during the same sessions as the rest of “Strays”—and also partially written amidst the six-day psilocybin trip that Margo Price and her husband Jeremy Ivey took the summer prior—all three acts of “Strays II” further complement the initial album from earlier this year.

Regarding the new single “Strays,” Price wrote: “The title track is the story of how my husband Jeremy and I met and fell in love in Nashville two decades ago. I wrote most of the words and Jeremy wrote the chords and melody. It also reflects how we have always tried to stay true to who we are as people: ‘Love and pain it comes in waves but it was quite enough in those early days, we were wild as wolves my darlin’, we were strays.’”

A. Savage, of the rock band Parquet Courts, has announced his second solo album, “Several Songs About Fire”. The project is set to arrive on October 6th via Rough Trade Records. To celebrate the news, he’s shared its lead single “Elvis in the Army,” a rollicking, guitar-led cut with galloping drums and Savage’s signature sardonic delivery. “Most things are over, the old world is gone,” he deadpans.

“Several Songs About Fire” is bolstered by the support of Jack Cooper (Modern Nature, Ultimate Painting) and Cate Le Bon, as well as members of Kamikaze Palm Tree and caroline. “Elvis in the Army” follows the previously shared “Thanksgiving Prayer” and is accompanied by a music video shot in Paris and directed by Emile Moutaud.

Of the track, Savage explained: “We often describe ourselves in geographic terms. American, New Yorker two terms that I’ve used to identify myself that have to do with being from or of a certain place.

So ‘Elvis in the Army’ is a bit of an inventory of those labels. They have less to do with geography than we realize. Really we’re just talking about ourselves, then framing certain characteristics geographically. No matter where I live I’ll have an American psyche until the day I die, for better or for worse. I’ll always be of America. And I can’t imagine a time where New York doesn’t feel like home. But despite that, I’d rather not be associated with a place, at least for now.”

Savage’s second solo album will be released on October 6th via Rough Trade.

On a night at SXSW in Austin two months ago, Ratboys members Julia Steiner, Dave Sagan, Marcus Nuccio and Sean Neumann sat together at a vegan BBQ truck stationed in front of Cheer Up Charlie’s. It was almost midnight, as the clear-skied night cracked open and an aperture of neon washed over the entire venue. but everything came together so perfectly under the sparkle of a Texan evening, as the light pollution ensconced the whole joint just right.

Ratboys began 13 years ago in South Bend at the University of Notre Dame, where Steiner and Sagan were studying. Making music together in dorm rooms, we thought sounded good and showing it to our friends.” Fast forward to a decade and nine drummers later, and you’ll find the quartet deeply immersed in their own mountainous groove. Sagan noted that a big part of the work now is building an infrastructure to play music they’re proud of and can make a living off of it, too.

“We’re definitely focused on trying to make it sustainable and do it as well as possible,” Nuccio, who’s been with Ratboys since 2017 and also drums in local groups Pet Symmetry, What Gives and The Please & Thank Yous, chimed in. It made sense that we were gathered at High Road’s showcase at that very moment, given how they became such an integral part of Ratboys’ evolution from a strictly DIY band six years ago. “We were still booking everything ourselves,” Neumann, who became the band’s permanent bassist in 2016.

Steiner had graduated from Notre Dame a year before Sagan—who was finishing a five-year program— taking shelter at her parents’ house in Kentucky before settling down in Chicago. Steiner was in the city, she and Sagan made the first Ratboys album, “AOID”. “We recorded sporadically, whenever Dave was able to come home,” she said. “We recorded “AOID” in a shared practice space, so [through the walls] you could hear other bands practicing. So I recorded all the vocals for that record in the middle of the night when no one else was there.”

Keeping company with peers like Dowsing, NNAMDÏ and Sinai Vessel, the band found a place within the local emo scene—eventually signing with famed emo label Topshelf Records—despite their tunes being a pastiche of pop-punk, indie-folk and outlaw country. In 2021, they celebrated that era by releasing “Happy Birthday, Ratboy”, an album where they re-recorded songs from their 2011 “RATBOY” EP and other origin-story-era gems.

Sometimes you gotta dig deep, but that’s how we started.” More than any other band working right now, Ratboys are emblematic of Heartland rock ‘n’ roll; a quartet more than comfortable staying put in the place they cut their teeth in, no matter what. Ratboys have now been together for more than a decade, a story that began in 2010 when frontwoman Julia Steiner and guitarist Dave Sagan met at Notre Dame freshman orientation and, soon after, recorded a cover of “Spiderweb” by the Champaign-Urbana slacker-rock project Easter. Since then, their band has evolved into a full-time four-piece line-up, and their marriage of noisy indie rock and alt-country has shifted and evolved. Their new album “The Window” is another stage in that evolution. It’s their first to be recorded collaboratively from start to finish, and the new coming-together lends it a triumphant, expansive sound.

For 10 years, the band’s lifeblood has been their impeccable live-show reputation.

“We’re all just deeply addicted to everything that goes into being a band. Playing live and having that connection with people over art, that shared interaction, is the best thing on Earth. Recording and making music that wasn’t there before is, literally, magic,” Steiner concluded.

Ratboys—are one of the few remaining acts of their time with so much left to give. They haven’t stretched their potential too thin by always being in the limelight with a gazillion releases. No, instead, they tour often and take their time making standalone albums that fuck exponentially.

“The Window”, Ratboys’ upcoming fifth album. It was on the horizon a month ago—and many critics had collectively clocked the band’s release of “Black Earth, Wi” and its “record on the way” energy—but things were still being kept under wraps when they took to Austin. Now, “The Window” closes the book on a near-two-year marathon of shows in America and Europe, as the band took to the road, once quarantine lifted, to give “Printer’s Devil” the celebration it deserved in 2020. Now more than ever, Ratboys are now on everyone’s radar; their pedigree vaulted even further into the echelons of Midwestern excellence after Walmart used their 2021 single “Go Outside” in a commercial.

The 11 tracks on “The Window” are something of a real majesty. Ratboys zero in on everything they do exceptionally well and put it in a blender. Steiner’s songwriting, in particular, is at a pinnacle—which says a lot, given how dense and heavy and immaculate “Printer’s Devil” was, the demos for which were tracked in the emptied rooms of her childhood home in Louisville after it was sold. Somewhere on the spectrum in-between Rilo Kiley and Wildflowers-era Tom Petty, Ratboys have made it to a place in their own artistry where they have ample reserves of courage to execute risks.

Steiner returns to window imagery on the album often, as it’s one of the few motifs that properly captures the helplessness and isolation of quarantine, which undoubtedly shaped much of this album. Being pent up inside, where else did we have to turn but towards our small glimpse at the hope still moving next to us? But, instead of looking over her shoulder and considering what’s growing beyond the panes, Steiner is on the outside peering in, still grieving and sketching the pieces of her past unshaken by the crumbling world encased all around it. And from those reflections comes sirens of hope. “So take this part of me / Carry it with you / Wherever it leads / Don’t be scared,” she sings during “The Window.”

Rather than adopting the steadfast, Ratboys sound by steamrolling through emo directions and country chords, Steiner takes those textures on “The Window” and uses them to embellish her own love for catchy pop music through elaborate, balmy and well-crafted choruses.

There is no overarching concept to “The Window“; it’s Steiner and the crew honing their craft by installing past doorways onto new frames: The infectious, raucous “Crossed That Line” was written for a friend’s short film about a fictional punk band (which didn’t end up getting made); “I Want You (Fall 2010)” is Steiner’s delicate ode to a decade-long companionship with Sagan that ends in a cheeky Midwest emo riff; “Morning Zoo” is the best country-rock song you’ll hear this summer; “Empty” features introductory, distorted vocalizations reminiscent of “Molly.”

“The Window” was produced by Chris Walla, the Death Cab for Cutie bassist When Foxing toured for their Walla-produced 2018 album “Nearer My God“, Ratboys opened shows for them—which is how they got linked up with Walla to begin with, at their gig in Montreal.

The warm, vintage, band-in-a-room rawness of “Black Earth, Wi” was not a one-off. All of “The Window” embraces that sonic presentation, as—per Walla’s guidance—Ratboys recorded the entire album straight to tape and built the foundational sound of the project off of that technique. “The songs themselves are pretty stylistically all over the map, but that fidelity makes any song sound better—whether it’s a rock song or a folk song,” Beyond Sagan’s absurd, career-defining guitar solo, “Black Earth, Wi” is the epitome of what Ratboys are.

“The Window” is out August 25th via Topshelf Records. 

Buck Meek is an integral part indie-rock act Big Thief a band one that’s courted fervid devotion, controversy, backlash, and backlash to that backlash. And yet none of that seems to extend to the aptly named Meek, who’s quietly been releasing impressive solo work over the last half decade to little fanfare. It’s the irony of Big Thief as a whole: They’re a band that practically demands a cultish following, but whose individual members resist the kind of cult of personality that surrounds performers like Mitski, Snail Mail, or any one of the boygeniuses.

This unknowability is at the heart of all of Meek’s work, including his new record “Haunted Mountain”, a collection of songs that weave the mystical and everyday while meticulously obscuring the reality of either. While, for all intents and purposes, Big Thief are a band from nowhere, Meek is very much a product of his Texas upbringing—most noticeably in the tumbleweed yodel that characterizes his vocal stylings, but also in the vast, open frontier obscuring the edges of his work.

Meek talked about the “balance between myth and…something very simple and grounded” that characterizes the Texas songwriters he admires, such as Townes Van Zandt, Blaze Foley, and Guy Clark. 

On “Haunted Mountain” ,Meek is obsessed with finding a way to live in both worlds. The record’s title itself is a testament to an unmovable sturdiness and the mystical spirits that may call it home, with each song existing somewhere on the spectrum between the two. Simmering mid-album highlight “Cyclades” is a study in how memory itself becomes its own shrouded apparition, especially when it’s repeated and passed down. “There’s too many stories to remember, too many stories to tell,” sings Meek It’s one of several times that Meek presents small moments of reality that quickly bloom into the fantastic, loosening the grip on either.

This isn’t the only moment where truth is hard to come by on “Haunted Mountain”. Meek doesn’t treat this so much as a problem to be solved as a reality to be accepted. “I’ll never know the secret life inside of you,” he sings on “Secret Side,” a slow-trotting folk song highlighted by lilting harmonies with “Haunted Mountain” producer Mat Davidson. Later, on “Where You’re Coming From,” Meek sings of rough-and-tumble specifics—weeds, grass, dirt, streams—providing a gritty contrast to the impenetrable mind and heart of another. It’s just as these kinds of musings come to a head that Meek and his backing band typically whip themselves into a frenzy, louder, harsher, and more rocking than anything in his catalogue, letting the music speak where words tend to fail. 

As in-step as Meek and his band are throughout the album, they don’t always excuse some of “Haunted Mountain’s” trite declarations (“Our first kiss felt like home,” “I knew the moment that I saw you that my life would never be the same,”), but even the most treacly moments are quickly hedged by walls of distorted noise or the wail of Meek’s benign mountain spirit. 

out 25th August via 4AD Records.

Soccer Mommy the project of Nashville-based musician Sophie Allison has announced a new covers EP entitled “Karaoke Night”. Allison initially began teasing the project last month when she shared a cover of Sheryl Crow’s “Soak Up the Sun.” 

Out today is Allison’s version of Swift’s “I’m Only Me When I’m with You.” Allison said regarding the track, “I really wanted to cover this song because it’s one of my favorites from Taylor’s first album. I listened to that record so much when I was a kid and I think it had a lot of influence on me then.”

“Karaoke Night”, will be out September 22nd via Loma Vista, will also feature Allison’s takes on songs by Taylor Swift, R.E.M., Pavement, and Slowdive (not “Alison,” believe it or not).

Holy Wave are from Austin, Texas and uphold the Lone Star State’s long-standing reputation for top-notch lysergic sounds. The band consists of multi-instrumentalists Joey Cook, Ryan Fuson, Kyle Hager, Julián Ruiz, and Dustin Zozaya. Holy Wave released their first LP in 2011, “Knife Hits”, followed by “The Evil Has Landed” EP in 2012. Both albums were were paired up on a 2013 collection called “Evil Hits”.

2014 brought their second LP Relax, produced by Erik Wofford (The Black Angels, Explosions In The Sky, My Morning Jacket), which took the band on extensive U.S. and European tours.

“The Evil Has Landed Part II” collects b-sides from the Relax sessions and demos from their 2016 LP, “Freaks of Nurture”.

Originally released December 11th, 2015