The Fat Angel Sings

The Australian group’s third LP is via ATO Records.I, for one, have never been opposed to the prospect of a noise-rock LP summed up by its creators as a “nihilistic death march,” but the first half of 2025 has surely made a record like “Chrome Dipped” a particularly welcomed sound for a broader demographic of ears. The melodically aggressive tones of Australia’s CIVIC feel geared toward this moment of tension and frustration both here in the States and abroad, with the band’s lyrics vaguely addressing themes that conveniently match up with the conspiracy wormholes we’ve lost distant relatives to over recent years and a growing sense of AI supremacy some of us may soon be losing our livelihoods to, as well.

The band mostly speaks in abstraction when discussing the 11 songs on “Chrome Dipped”, perhaps less as songwriters carefully guarding the true meanings of their work and more so due to the fact that the snarling vocals and wailing guitars behind them (to say nothing of the “disgusting” central riff on at least one of these tracks) do plenty of talking themselves. While their overarching sense of nihilism can be found in the lyrics if you’re searching for them, it’s hard to deny that the catharsis this mood permits provides more than a bit of the muscle behind each of these doomy post-punk cuts.

Melbourne garage punks Civic look a little different than on their last album, with a new drummer and one fewer guitarist. They sound a little different too. While the snarl of earlier records remains, “Chrome Dipped’s” pace is comparatively subdued, relying on moodier sounds and textures to demonstrate their ferocity. The result is an engrossing display of rumbling rock’n’roll that calls to mind great Australian punk of the past while retaining its own identity.

They haven’t abandoned the aggression of previous records entirely — limbs will continue to flail when they play thrashier songs like ‘Poison’ and ‘Fragrant Rice’ live — but the evolved sound points to a new-found versatility that makes an already great band all the more compelling.

1. “The Fool”“The Fool” is about living in an illusion or lie that supports your own selfish narrative and lifestyle patterns. You think you’re sailing, but you’re actually drowning. [It’s] a nihilistic death march about dreamers and idiots. A jangly pagan punk song meant to provoke the senses. It recalls the story of the fool and what’s behind the thousand-yard stare.

2. “Chrome Dipped”A balancing act between human emotion in a world that’s hurtling toward complete reliance on the machine. 

3. “Gulls Way”Paints a picture of a rose expelling its seeds to create offspring. The garden is grown only to be tainted by a freezing storm. Your world freezes over. A farewell song to loved ones. 

4. “The Hogg”
Finding peace and gratitude in being out of your depth in a foreign place. The song is about staring into the abyss and seeing nothing but its pure beauty. Surface-level pleasure with sinister undertones. A porcelain dancer draped in flesh, pirouetting to the infinite beat. ‘The Hogg’ is my reality. ‘The Hogg’ is my destiny.

5. “Starting All the Dogs Off” I’m painting a picture of this character on a mission to nowhere, that’s leaving a trail of destruction behind him, but can’t deny his human emotions getting in the way. There’s a love story in there, there’s loss, there’s all this life stuff getting in the way of his journey to emotional freedom. The ending is kind of this ultimate form—it’s like the final blow. It’s about giving into who you are, and coming to that realization. 

6. “Trick Pony”Being stuck in the anxious brain. Fight-or-flight in full effect. The pinnacle of disaster. 

7. “Amisuss” Serendipitous events around the loss of my mother. Noticing/experiencing her spirit in a non-tangent way. It was almost like watching the transformation of her leaving her physical body behind and becoming something that still resides in and around me. 

8. “Poison”
Ultimately a song about a relationship/friendship becoming toxic. 

9. “Fragrant Rice” The change of hand in kinship and the fear around that becoming your reality. Humanity is the rice. We are all the same. We will all have loss. 

10. “Kingdom Come”“Kingdom Come” is a ballad about people who live with longterm addiction and manage a life through a chaotic and turbulent existence. Somehow functional and always on the edge of collapse, but also wanting nothing else.

11. “Swing of the Noose” Finding freedom in nihilism and embracing the demise.

“Instant Holograms On Metal Film” is the first Stereolab album in 15 years, featuring 13 new studio recordings. There’s a sophistication to the band’s gentle, thoughtful, propulsive indie pop that extends beyond frontwoman Laetitia Sadier’s French coo. It’s in Andy Ramsay’s gentle but decisive snare taps, the texture of Tim Gane’s guitar, and the webs of vintage synths that scaffold each song.

Sometimes, like on ‘Aerial Troubles’, you get so engrossed in their groove it’s jarring when it ends. Thankfully, there’s always another uber-cool synthy jam to swallow you up.

There’s a certain sense of comfort in hearing that the first new album from Stereolab in 15 years contains much of what made their back catalogue so beloved and continuously rewarding: lush jazz-pop arrangements, twisty time signatures, splashes of Marxist politics, pop-art visual aesthetics, playfully dadaist song titles and a sense of melody that prevails in spite of or perhaps even because of their litany of avant garde influences.

It’s identifiably, unmistakably a Stereolab album, reacquainting us with the groop’s playfully cerebral aesthetic, always evolving but identifiably their own, whether drifting into dreamy ambience or firing up some “Electrified Teenybop!” “The sound of Instant Holograms on Metal Film” after so much, even arriving after all this time, is enough to make you believe no time had passed at all since they brought a close to their first act—the logic of the timeline of their choosing is the only one that matters. 

Played by Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson and Xavi Muñoz, with contributions from Cooper Crain and Rob Frye of Bitchin Bajas, Ben LaMar Gay (composer/jazz multi instrumentalist), Holger Zapf (Cavern of Anti Matter), Marie Merlet (Monade) and Molly Read among others.
The group will be playing live throughout 2025, with shows in Europe, North America, South America and the UK.
The album follows “Not Music” released in 2010; remastered and expanded reissues of seven of their albums in 2019; and volumes 4 and 5 in the Switched On series appearing in 2021 and 2022 respectively.

Ten years ago, Citizen released “Everybody Is Going to Heaven” — a record that marked a bold turning point in their career. Following the breakout success of Youth, the band could have stayed the course. Instead, they doubled down on darker textures, heavier moods, and a fearless sense of experimentation.

Released in 2015, “Everybody Is Going to Heaven” expanded Citizen’s sound beyond their emo and post-hardcore roots, weaving in elements of grunge, and alternative rock. Tracks like “Cement” and “Stain” captured a raw, unsettled energy that explored mortality, depression, and identity with an honesty that still resonates today. It wasn’t a record built for easy listens — it was built to last.

Now, a decade later, “Everybody Is Going to Heaven” stands as a defining moment in Citizen’s evolution a record that challenged both the band and their audience, and helped shape the fearless, genre-blurring artists they’ve become. As they celebrate its 10th anniversary, Citizen remains a band deeply committed to growth, refusing to be tied to a single sound or era. “Everybody Is Going to Heaven” didn’t just mark where they were; it lit the way for everything that came next.

This 10 Year Anniversary Edition features new, gatefold packaging with updated photos, lyrics and liner notes. Disc one incldues the originial album in full and the brand new second disc features rare b-side “Nail In Your Hand,” a re-done version of “Heaviside” with artist Wisp performing vocals on the song, and seven never-before heard demo versions of songs from Citizen’s second album. 

released June 27th, 2025 “Everybody is Going to Heaven” (10 Year Anniversary Edition), out now on Run For Cover Records.

London based sister and brother duo The Molotovs debut album ‘Wasted On  Youth’ is a bold mix of new wave punk, indie, and garage rock showcasing the band’s raw energy and sharp songwriting Think the energy and songwriting of the Jam, the charisma of the Libertines and anthems to kick start a new generation.

Despite still being in their teens, the album explores important themes of selfempowerment, youthful determination, and the drive to enjoy life in a complicated world. With a sound rooted in rock history but fully alive in the present, the record captures the urgency and spirit of today’s youth.

Having played over five hundred gigs, The Molotovs have already shared stages with the likes of the Sex Pistols and The Libertines and been shouted out by punk legends Green Day, with The Telegraph highlighting them as one of the rising stars who could share the stage with Oasis.

‘Wasted On Youth’ is produced by Jason Perry (Don Broco, Trash Boat) and released via Marshall Records

A powerful new statement featuring some of her most intense and thought-provoking work to date.

When Laura Jane Grace questioned the right’s double standard of gender construct with the release of “Your God” by questioning whether the Almighty has a penis, she gave Rolling Stone a logical response: “If you refer to your God as He and Him, but you will not refer to a transgender person with the pronouns that are theirs…that’s just insane.” My guess is that Grace’s upcoming album with her band The Trauma Tropes, “Adventure Club“, will be equally filled with uneasy queries that offer less simple answers.

‘Adventure Club’ was recorded in Athens, Greece and made possible by a grant through the Onassis Air Program, “an artistic research, residency, and fellowship program that fosters artistic process and experimentation by bringing together creative practitioners from a variety of geographies and practices”, which Grace was awarded a fellowship through.

A powerful new statement featuring some of her most intense and thought-provoking work to date.

The album features notable performances from outside collaborators known as the Trauma Tropes, including Grace’s wife, Paris Campbell (vocals), as well as Athens-based musicians, Jacopo Fokas (bass) and Orestis Lagadinos (drums).

On standout, “Your God (God’s Dick),” Grace and Campbell belt out some of Grace’s most anthemic lyrics ever penned, with an a capella intro channeling the stadium power pop of Queen.

On “Wearing Black,” Grace critiques the corporatization of and police presence at Pride events, with her signature punk ethos and raw, unabashed outlook on full display.

The album features notable performances from outside collaborators known as the Trauma Tropes, including Grace’s wife, Paris Campbell (vocals), as well as Athens-based musicians, Jacopo Fokas (bass) and Orestis Lagadinos (drums).

On standout, “Your God (God’s Dick),” Grace and Campbell belt out some of Grace’s most anthemic lyrics ever penned, with an a capella intro channeling the stadium power pop of Queen.

On “Wearing Black,” Grace critiques the corporatization of and police presence at Pride events, with her signature punk ethos and raw, unabashed outlook on full display.

It wasn’t enough that a solo Kim Gordon, in melodic rock-out mode, had a crit-list top 10 in her 2024 album The Collective and its center piece song, “Bye Bye.” Rather than concentrate on the Family Feud–like question of what one might bring on vacation with this new re-recording, Gordon instead rips through a list of items that the Trump administration has cancelled or bankrolled, from “diversity” and “housing for the future” in one verse, to “mental health” and “victim”-hood in another.

“Justin Raisen had this idea to redo ‘Bye Bye’ starting at the end of the song. When I was thinking of lyric ideas, it occurred to me to use words taken from a site that had all the words that Trump has essentially banned, meaning any grant or piece of a project or proposal for research that includes any of those words would be immediately disregarded or “cancelled.” I guess Trump does believe in cancel culture, because he is literally trying to cancel culture.” –

Kim Gordon The words Gordon speaks in “BYE BYE 25!” have begun to disappear under Trump’s agenda.

The Alice Cooper group returns with their first new studio album in more than five decades. “The Revenge of Alice Cooper” features contributions from all five original members, including late rhythm guitarist Glen Buxton. Alice Cooper was joined in the studio by lead guitarist Michael Bruce, bassist Dennis Dunaway and drummer Neal Smith. They constructed “What Happened to You” with a riff from an old demo tape by Buxton, who died in 1997.

‘Black Mamba’ featuring the legendary Robby Krieger of The Doors is the first single from the new album and serves as a venomous introduction to the new era of Alice Cooper.

For the first time in over 50 years, Alice Cooper and the original band reunite to bring rock ‘n’ roll back from the shadows! “The Revenge of Alice Cooper” is a high-voltage journey into vintage horror and classic ’70s shock rock. Together, they’ve created an album packed with the sound, energy, and mischief that made them legendary. In a truly special moment, Glen Buxton, the band’s original guitarist who passed away in 1997, makes a posthumous appearance through unreleased recordings, seamlessly blending the past with the present.

Inspired by the iconic 1953 film The Wild One starring Marlon Brando, the track captures the same defiant spirit that once shocked middle America and defined a generation. Reuniting five decades after their rise to fame, the band channels the chaos, danger, and cool of their early days, a time when rock was feared, eyeliner was scandalous, and every show felt like a revolution. “Wild Ones” is the sound of the Alice Cooper Group with their engines roaring, still loud, still dangerous, and still not asking for permission.

This album is a celebration of friendship, nostalgia, and the sound that made Alice Cooper a rock icon. From the venomous bite of “Black Mamba” to the rebellious charge of “Wild Ones”, and the soft, haunting melodies of “See You on the Other Side”, every track feels like a lost rock ‘n’ roll classic.

Released 25/07/2025

The London based acoustic band. Wandering Hearts, album “Déjà Vu”. And if that doesn’t sound familiar, keep reading.

The subtitle of this intriguing release is a lyric from the title track: “We Have All Been Here Before.” I mean, really–how many of us have actually sat down and decided to make a song by song cover album from one of the premier vocal bands of all time?.

“Déjà Vu” was, arguably, the release of 1970, as Messrs. Crosby, Stills and Nash bestrode the world, adding the trump card of Neil Young into the brand. Very much of its time, somehow it remains timeless. There are few 50-year-old records that can raise the neck hairs like this one can. Each and every song comes with an instant flashback to the day first heard, A wonderful record,

So who the Hearts, Wandering or otherwise? Tara Wilcox, Chess Whiffin and AJ Dean Revington is who. They have been on the UK country circuit long enough to have gained plaudits from most who have encountered them, sharing stages with big hitters like Robert Plant, Tom Petty and more. Indeed, no lesser than Lissie chose them as her support band for her US tour of 2024. This is album number four, the third as a trio, founding member Tim Prottery-Jones having left after their 2018 debut. All three are strong and confident singers, gelling well for the harmonies that are their trademark.

The trio electing to go for the full-on electric assaults that characterize the release. Which, given the axe-wielding credentials of Young and Stills, might be considered brave or even foolhardy. But suffice to say it is their regular band they employ to provide the surprisingly faithful instrumental heft of the full fat rock songs that fill out the recording, along with the additional input of producer Michael Rault. That the set was recorded at Taurus Rising Studios, Joshua Tree, CA, may have something to do with the atmosphere of authenticity, too.

The first and most obvious realization, as they launch into “Carry On,” is their willingness to mirror the original arrangement. So, strummed 12-strings, check. Dual and dueling lead guitars, check. A swell of organ to underpin it all, check. The organ isn’t the same organ, and the soloing is different, but the vibe is the same. The vocals, well of course they aren’t and can’t be those of four men, when these are but three, and two of them women. But they still shiver the timbers, and make for a pretty remarkable reproduction. But there the world class karaoke ends, as “Teach Your Children” becomes, actually, much less saccharine than the (let’s be honest) anodyne original. Electric piano gives it a likeable shimmy along. Revington takes the nominal lead, his female bandmates adding their harmonies, and I’m loving it.

“Almost Cut My Hair” is taken by Wilcox. She manages to imbue the song with a a convincing rock chick holler. Apparently she did then actually elect for a shorter coiffure, but it is a gutsy recreation, and Rault’s guitar, and that of Steve Milbourne, ring out to rally the troops with finesse. It is a strong contender for standout track. The aptly named Doug Organ, possibly a pseudonym, plays keyboards here and throughout, with bass from Dustin Bookatz and drums from Garrett Ray.

“Helpless” is one of the more-covered Neil Young songs in existence. So a good cover needs a very strong vocal delivery to lift it above the mundane. Whiffin has such a voice, abetted by her cohorts. The instrumentation is juggled neatly, which manages to give a different feel to, essentially, the usual arrangement. Organ’s piano is solid and strong, with moans of electric guitar to capture the high plains drift. As it becomes a cappella to finish, it is nigh on perfect. No interference for “Woodstock,” and no attempt to introduce any aspects from any other version. This doesn’t and shouldn’t disappoint. Revington is pleasingly gruff with his delivery, and Ray patters about his kit with sufficient relish to make for a very enjoyable experience.

Then the title track breaks rank, with flute tooting all over it, the bass of Bookatz a rotating rumble. The combined female vocals sound a little more rushed than Crosby perhaps planned, but I like that aspect, even as it then slows right, right down, the gruffness of Revington, as he takes over, now a little smoother, but still his own voice. A lovely retro guitar solo from Rault adds further luster, with the bass running riot as the song fades. Once more they have made one of my less preferred songs sound better. Can they do the same for the second of the Nash ick-fests? I am pleased to say that they can. Just. Guitar and vocals, Wilcox on lead, Whiffin on harmony.

One evening at the Jazz Cafe, Camden in 2018, six artists came together in celebration of John Martyn’s music. It was an evening of deep connection, not just to John’s music, but also with a unique community of John Martyn fans. That night saw the sparks of what was to become ‘The John Martyn Project’ – an ongoing homage to a truly pioneering and unique musical soul.

The John Martyn Project are not delicate flowers. Bonding at Music School during late nights of listening to records and enjoying exotic herbs, they bemoaned the fact that such beautiful music came from such a conflicting source. However, it is not their intention to deny the obvious. At their live shows, they often ask the audience to recount their encounters with Martyn. A cheerful nod if you bought him a drink merits a thumbs up. A stream of profane invective, either humorous or threatening, gets an appreciative nod. Actual physical violence from the “Great Man” gets a small round of applause. There is frequently someone in the audience with a story of this latter sort. They are not a “Tribute” band, as they don’t play slavish recreations of recorded tracks, and have no wish to honour the man, but they want to channel his inspiration.

Active as a touring project since 2018 they have now released their first album, “The John Martyn Project – Volume One”.  It is an amazing refreshing and energizing romp through (mainly) the ’70s highpoints of Martyn’s catalogue.

In not lionizing the man you should not dishonor the things that he did well. Martyn’s focus was his guitar, and there is no shortcut to paying appropriate tribute to the musician, if not the man, if you cannot dazzle in this area. Fortunately, Kit Hawes has the chops. His guitar work is impressive throughout, encompassing the range that Martyn did himself, but also augmenting it. Martyn also worked with the very best over the years. Some, like erstwhile Pentangle bassist Danny Thompson, could both meet his musical standards and share/tolerate his hellraising and were long-term partners. Other musical arrangements were necessarily shorter. But Martyn’s musical standards were always high. The JMP carries all the necessary tools. Jon Short on basses, and John Blakely on drums and percussion, have to embody a range of styles, and do so admirably and inventively.  Blythe Pepino, Kit Hawes, Pete Josef and Sam Brookes provide rhythm guitar and keyboards in various combinations.

The vocals are a specific revelation and break from their originator. Martyn wrote tunes, to which he later added words and vocals. His voice “weathered” through the years, and his slurred style became more pronounced. This was a stylistic choice, but they fit the style of someone struggling to hold things together. Sometimes things were lost. JMP rotates the vocal duties. Sam Brookes has mastery of the folk style, and can elide but in a cleaner style. He can add pathos without intimidation (this is good!). Hawes and Josef bring cleaner styles.

The addition of a female singer brings something else entirely. Initial success in working with Beverley Martyn turned into a personal failure for John, and a disaster for Beverley. Martyn primarily worked with men throughout his career, and this may have been best for all.  Pepino reclaims and redeems her tracks. On “Don’t Want To Know,” I was never convinced that Martyn preferred love to evil. With Pepino there is no doubt at all, and it is beautiful to hear.

Folk music is for mutual singing, and JMP incorporate this into their shows, and now they provide a rousing version of “May You Never” for you to sing to with them.

“The John Martyn Project – Volume 1” is a worthy and guilt-free way to listen to the music of a person who should have been a better man.