The Fat Angel Sings

“Wasted On Youth”, the debut album from London sister and brother duo The Molotovs, is a bold mix of new wave, punk, indie and garage-rock showcasing the band’s raw energy and sharp songwriting. Having played over 500 gigs, The Molotovs have already shared stages with the likes of Blondie, Iggy Pop and Paul Cook of The Sex Pistols. Teenage siblings Matt and Issey Cartlidge possess the energy and songwriting of The Jam, the charisma of The Libertines — and enough anthems to kickstart a new generation. The sheer velocity of their instrumentation, combined with the biting vocal delivery, creates a sonic landscape that keeps listeners gripped from the first chord. This record is a definitive statement of intent from a band that lives and breathes the stage.”

For ones so young – singer-guitarist Matt Molotov is 17, his bass-playing sister Issey Carts 19 – London’s The Molotovs certainly know (and love) their new-wave stuff. Their rep as frontrunners of a new mod revival is justified – Molotov’s pinched and snarling delivery smacks of teenage Paul Weller, albeit in a world when he’d got into hard rock Americana “Come On Now” or The Futureheads “More More More” rather than Parisian café soul.

Roots, Rock, Reggae: Live at the Hammersmith Odeon is a stunning, previously unreleased live album from Bob Marley, recorded over several nights during the Wailers’ residency at London’s prestigious Hammersmith Odeon in June 1976, during their “Rastaman Vibration” tour.

Booking the venue was an audacious move, but Bob had newfound stardom from the U.K. chart success of “No Woman, No Cry,” and an ecstatic crowd packed the place. Highlights include a transcendent title song, a rarely-performed “Bend Down Low,” an extended version of “Crazy Baldhead,” and a 30-minute encore that incorporates a 12-minute “Get Up, Stand Up.” New liner notes by Marley associate Don Letts bring an eyewitness account to the experience, now available on black vinyl.

UMG Recordings, Inc.

Released on: 14th august 2026

‘Do we get stupider as we grow up?’ In his wildly popular Broadway show “American Utopia”, David Byrne reflects on human connections, life and how on earth we work through it. He joins the dots with his music and it all starts making sense. Spike Lee here transforms the production into immersive, dynamic cinema that radiates with astounding performances, inventive contemporary dance and political urgency. American Utopia flows like an iridescent dream vision. Work by James Baldwin, Janelle Monáe and Kurt Schwitters is highlighted among exhilarating renditions of Byrne’s solo work, as well as Talking Heads classics. 

According to the multi-hyphenate, we love looking at humans more than anything else. Anti-fascist and anti-racist, Byrne illuminates our responsibility to care for one another as he and his co-performers burn down the house.

Spike Lee documents the former Talking Heads frontman’s brilliant and timely 2019 broadway show based on his album tour of the same name. Spike Lee here transforms the production into immersive, dynamic cinema that radiates with astounding performances, inventive contemporary dance and political urgency. American Utopia flows like an iridescent dream vision.

Experience it like never before in stunning 4K.
In UK & Irish cinemas for one night only 5 August.

On “Sirenas”, Los Angeles quartet Allah-Las explore psychic vistas of atmospheric instrumental storytelling. The band’s sixth album coalesces around a more spontaneous soundscape shaped by freeform experimentation, intuitive vibrations, and open-ended moments of inner and outer worlding. Channeling a fluid sweep of influences, from The Durutti Column, I.A.O., and Popol Vuh’s scores for Werner Herzog to Jacques Cousteau’s expansion of The Silent World beneath the ocean’s surface, “Sirenas” mediates on subconscious grooves loosely imagined and deeply felt, and opens up previously unimagined pathways in the process

“Pt. Conception” out now, full record “Sirenas” out 28th August Mexican Summer in partnership with Calico Discos

releases August 28th, 2026

All songs written by Matthew Correia, Spencer Dunham, Miles Michaud, and Pedrum Siadatian

Twenty years on, “Kiss Of Death” still hits with the same force it did in 2006 — raw, loud, uncompromising Motörhead at full throttle. Both formats celebrate one of the most crushing records of the band’s later era, Originally released in 2006, “Kiss Of Death” saw Lemmy, Phil Campbell and Mikkey Dee firing on all cylinders. Picking up where Inferno left off, the album delivered another blast of hard, fast, no-bullshit rock ’n’ roll

First released in 2006, “Kiss of Death” is Motorheads’ 18th studio album and was the follow-up to their 2004 album  ”Inferno”. Unmistakably Motorhead, they pick up where they left off,  continuing the heavier side of the band with standout tracks including “Sucker”, “God Was Never On Your Side” and more. It also features guest appearances from Mike Inez (Alice in Chains) and C.C. DeVille (Poison).

The 20th Anniversary Edition, is newly half-speed mastered from the original tapes, alongside liner notes form Classic Rock’s Dave Ling. It also contains an exclusive bonus live LP from the band 2007 performance at Lowlands Festival in Biddinghuizen, The Netherlands which is now officially on vinyl for the first time.  The CD includes three additional bonus tracks.

Motörhead’s 2006 classic album returns, newly half-speed mastered from the original tapes. Featuring “Sucker”, “God Was Never On Your Side”, plus an exclusive 2007 Lowlands Festival performance available for the first time.

Fat Dog have announced that their sophomore album, “Cancel Me (I’m Tired)”, is set to be released on October 2 via Domino Recordings. Out now is the title track, which was inspired by John Lennon’s “How Do You Sleep.” The band cook up a dance-punk cut built around vocalist Joe Love’s sardonic delivery in which he implores those able to do so to cancel him because he’s—you guessed it—tired.

Fat Dog have a slew of tour dates coming up this summer and fall, including a few gigs in the coming days with Foo Fighters. 

The second album by South London seven-piece Fat Dog is titled “Cancel Me (I’m Tired)”. After releasing their debut album “WOOF“. in 2024 and becoming one of the UK’s most exciting breakthrough bands in the process, they have a good reason to be tired. They’ve spent the period since “WOOF.’s” release spreading their raucous, infectious and irresistible bark around the world. The reason that they want you to cancel them is that they’ve been around the world and they’re tired. But if Fat Dog – Joe Love, Chris Hughes, Morgan Wallace, Ellis Dickson, Michael Dunlop, Dillon Harrison and Jed Bevington – are tired with the world, the world is not tired of them. In fact, the world can’t get enough of them.

With follow up “Cancel Me (I’m Tired)”, Fat Dog have created an exhilarating, swaggering, panoramic, inventive, re-inventive, re-re-inventive electro-punk-art-pop-rock’n’roll-space-country triumph that deserves all the adjectives. Over ten mind-bending and melodic tracks, it blends electro-pop anthems, cascading rave bangers, cowboy-tinged pitstops and swirling psychedelia. Into its lyrical orbit, the record pulls mentions of addiction, family ties, love, AI, ancestry, extra-terrestrials, Chris Tarrant, S&M, B&M, H&M and M&Ms. “Cancel Me (I’m Tired)” possesses all the rabid frenzy and electrifying excitement of their debut but now delivered on a grand and glorious scale. Big, big things are ahead. Fat Dog are only just getting going. 

The band’s sophomore LP will arrive on October 2nd via Domino.

Peter Gabriel has released another new song from his “o\i” album, titled “I Belong to the Sky.”

According to Gabriel himself, this song was originally considered for his most recent album, “i/o,” but wasn’t fully finished until now. In a statement, the singer said that “it was always one of my favorites.”

“The starting point of the song was the timpani tom-tom pattern which was inspired by an old film called Jazz on a Summer’s Day which featured a wonderful drummer called Chico Hamilton,” Gabriel continued. “I think he was the pioneer of the use of timpani sticks on the toms and I always loved that sound; calm and hypnotic. It set a really strong mood for me and the song grew up around it.

“I’m a strong believer that reality is more malleable than we imagine and that if you really make strong pictures of something happening, you really affect the chances of it materializing. Visualizing…how dreams leave their nest, is the main topic of the song.”

The artwork that accompanies “I Belong to the Sky” is called “Nimbus de Toekomst 1, 2019” by Berndnaut Smilde

“I loved this image of the sky,” Gabriel explained. “The cloud brought inside — that mixture of outside and interior worlds. I think that’s what the song is all about. This mix between the interior and the exterior and the transition between them. So, I was very happy that we were allowed to use this image.”

As he has been doing now for several months, “I Belong to the Sky” arrives on a full moon. Before this track, Gabriel already released six others: “A Hard Lesson,” “Won’t Stand Down,” “Till Your Mind Is Shining,” “What Lies Ahead,” “Put Down the Bucket” and “Been Undone.”

Each song has “Dark-Side” and “Bright-Side” mixes, with the second mixes arriving during each month’s new moon, the same pattern Gabriel followed with his previous album.

“I have been thinking about the future and how we might respond to it,” Gabriel explained of o\i in an earlier press release. “We are sliding into a period of transition like no other, most likely triggered in three waves: AI, quantum computing and the brain computer interface. Artists have a role to look into the mists and, when they catch sight of something, to hold up a mirror. These are my lumpy bits –” i/o:” the inside has a new way out and o\i: the outside has a new way in.”

I am so pleased to announce my latest single. A cover of Sandy Denny’s Classic tale of the captivity and eventual execution of Mary Queen Of Scots at Fotheringhay castle.

I’ve been singing this song for years, it’s one of my very favourite Sandy Denny songs. At just 3.30 long it contains within it an entire world, it could be a historical novel, play or painting, such is the vivid nature of its imagery. The melancholia in “Fotheringay” isn’t just passive sadness. It is the heavy, quiet dignity of a woman who has accepted her fate but refuses to let anyone else dictate how she meets it.

Sandy Denny wrote it as a young woman on the cusp of the rest of her life, and it carries a heavy, prophetic weight.

Despite being surrounded by guards, courtiers, and a literal kingdom, Mary was utterly alone. Even when Sandy was at the absolute peak of her fame, worshipped by audiences, those closest to her noted she carried a profound, unshakeable internal loneliness. She was constantly looking out of her own castle windows feeling entirely misunderstood. The song captures that specific feminine isolation, the feeling of a room full of people listening but “with no-one to heed her call”

When you have a voice like Sandy’s the world immediately feels a sense of ownership over you. The industry, the audience, and those nearest you, build a figurative castle around your talent. They want to keep you in a specific room, singing a specific way, serving a specific purpose.That guarded door Sandy sings about is the claustrophobia of being deeply perceived but never truly seen. It is the exhausting realisation that your unique gift has become the very thing that isolates you from a normal, free life.

“In my end is my Beginning” – Mary Queen Of Scots

Musically I have leant into its plaintive early music flavour, setting it on harp, recorder ensemble, organ and drum. To me it has always had the ancient quality of a long lost Dowland song. Sandy’s songwriting is at once timeless and yet contains a thrilling relevance and modernity even today.

Ed O’Brien likes to quote a line from the great Kentucky poet and farmer Wendell Berry: “To know the dark, go dark.” It is the insight, after all, that ultimately led O’Brien from one of the darkest spans of his life to “Blue Morpho“, his absorbing second solo album.

Named for the iconic and magically iridescent butterfly O’Brien first encountered in Brazil, “Blue Morpho” is not some grand destination for O’Brien, not a finishing point. He speaks of the people with whom he made it as a new musical family, a group of compatriots he cannot wait to work with again. He is still learning how to write songs and trust the result, how to help lead a band toward his burgeoning vision. He is candid about the discrepancy between being in one of the world’s biggest bands and being one of rock  music’s most lauded guitarists but also being a beginner again, a new songwriter and finally starting to figure out his approach.

O’Brien will talk to you about faith and recovery, psychedelics and meditation, Wim Hof and wilderness, all avenues for continuing to grow. “Blue Morpho” is part of the same endless journey — going in the dark, emerging from it, and recognizing that, if we’re living at all, there will always be more darkness to navigate not too far up ahead.

Almost slept on this album for a month after release but I’m so glad I didn’t. 2:45 on “Teachers” is sublime. “Obrigado” is a near-indescribable bossa-influenced epic: at times uplifting, contemplative, and searching – a fitting conclusion to an album I almost ignored entirely. The extended slow burn outro is an out of this world vibe as well. 

“Peacelands” is a word and concept created by visionary Louisville artist Mark Anthony Mulligan,” explains My Morning Jacket singer-guitarist Jim James. It’s “an imaginary land of peace, friendship, and equality he created in his artwork — a place where folks listen to each other and find a way to get along in peace, friendship, and togetherness, despite their differences. “I think about this word “Peacelands” in our world all of the time, especially in troubled times, and we believe that it’s still possible for us to achieve Mark’s vision of “Peacelands” — a world of love and friendship — if only we can learn to listen, love, and forgive in paths of peace, acceptance, and tolerance.

We stand with the people of Minnesota and everywhere else affected by the horrors of ICE brutality and lack of human decency or transparency from this administration,” James continues. “There is room for everyone to be safe and free and at home in this vast world and we need to find a new path together to safe and humane immigration policy and reform rooted in peace and love… safety and equality… and new systems of fairness, freedom, and transparent justice for all.

“Peacelands” is an album of mostly unreleased, acoustic peaceful protest songs – some covers and some of my own – released exclusively on @bandcamp. We are proud to support organizations like @aclu_nationwide fighting for our safety and freedoms here at home, as well as @doctorswithoutborders and @rescueorg – organizations working hard to help heal the horrors of war and terror around the globe… working around the clock to help move us all towards “Peacelands.”