The Fat Angel Sings

Available on 180 grm Clear Vinyl LP with a pack of 6 colour pencils so you can colour in your own album cover . The CD comes in two different designs, Recorded in Berlin & remotely between 2020 & 2021 , the band returns with their 20th full-length studio album, ‘The Future Is Your Past’ is The Brian Jonestown Massacre’s second studio album of 2022 alone, and the veteran psych-rock band’s twentieth overall. Like its twin ‘Fire Doesn’t Grow On Trees’, it was recorded remotely and in studios in Berlin during the lockdowns of 2020 and 2021, with the cult band’s icon(oclast)ic leader Anton Newcombe

“My son Wolfgang is very different to me, thank god, but we have so many things in common; dancing, making up songs, and vocalizing strange combinations of words and ideas that make us laugh, or make sense to us in some meaningful way,” frontman Anton Newcombe said in a press release. “At a certain point, I started writing down these words and random ideas to use as titles. I felt like everything was so sad and hopeless, but I am not helpless. I decided to sing anthems to empower me, to remember to remember, to fight the beast until it dies, to give it everything you got because that’s all there is to give… these were not songs for COVID times, for these times of war and crisis after crisis, these are songs for all time.”

The album was recorded in Berlin By Anton Newcombe , joining him in the studio for this album were Hakon Adalsteinsson (guitar), & Uri Rennert (drums) .

The band in 2022 have been touring and completed a 34 date tour in North America with Mercury Rev and the Magic Castles which was very well received by the audience, plus 3 festival appearances in the summer of 2022 in Angers , France , Graz , Austria & Switzerland which were also successful. With this the band went on tour in Europe which started in September 2022 with many sold out shows .

A new tour is coming up in the UK in January 2023 & going into Europe in February .

The dates are 28/01/23 U.K Falmouth – Princess Pavilions , 29/01/23 U.K Bristol – SWX , 30/01/23 Brighton- Concorde 2 , 31/01/23 U.K Brighton – Concorde 2 . 01/02/23 U.K Brighton – Concorde 2 , 02/02/23 U.K. Norwich- Epic Studios , 03/02/23 U.K Birmingham – Academy 2 , 04/02/23 U.K Manchester – Ritz , 05/02/23 U.K Glasgow – Barrowlands , 06/02/23 U.K Edinburgh – La Belle Angele , 07/02/23 U.K Newcastle – Riverside , 09/02/23 IRELAND Dublin – Academy , 10/02/23 U.K Belfast – Limelight T 11/02/23 U.K Liverpool – Camp & Furnace , 12/02/23 U.K Nottingham – Rock City , 14/02/23 U.K Leeds – Stylus , 15/02/23 U.K London – Forum ,

Tracklisting

1)Do Rainbows Have Ends , 2) Nothing Can Stop The Sound , 3) The Light Is about To Change , 4) Fudge , 5) Cross Eyed Gods , 6) As The Carousel Swings , 7) The Mother Of All Fuckers , All The Feels , 9) Your Mind Is My Café , 10) Stuck To Yous

New Album by The Brian Jonestown Massacre – “The Future Is Your Past“

Release date 10th February 2023

Originally released as a bonus 7″ as part of the limited edition Dinked pressing of Cindy’s third album, “1:2,” “Little Liability” and “Take My Place” are now available to stream/download. The first instrumental, the second gently poetic, both devastating in that manner we’re now beginning to understand as typically Cindy. Another two half-open windows into the mysteriously intimate world of Karina Gill & co. 

Little Liability:
“This song feels like walking in the northwest part of San Francisco. Aaron lives in that neighborhood. It’s usually overcast there and the wide avenues are crossed by narrower streets. It’s a quiet part of town that eventually leads you to the ocean. ”

Take My Place:
“I wrote this song, like most Cindy songs, because something I came across in daily life crystallized things I’ve thought and felt for a long time. It was heaven to sit down with my friend Kati in her apartment and work out a two guitar arrangement on her four track. She’s an incredible musician and even though we tried a few versions, the first recorded attempt is what you hear. ”

– Karina Gill, 2022

released August 5th, 2022

Introducing Index For Working Musik, a new internationally aligned London-based collective featuring TOY and Proper Ornaments’ Max Oscardnold formed Index for Working Musik with Drift’s Nathalia Bruno and will release their debut album, “Dragging the Needlework for The Kids at Uphole”, via Tough Love Records next year. You can listen to their dirgey first single now. “Wagner” It isn’t as pretentious as its title might sound, really,” say the band of the first single. “It’s a confusion of the random way thoughts materialise and disappear when walking. A collection of ghosts a memory retains, and a contrast of observations made by people on the street.”

Check out the video, directed by former Jesus and Mary Chain bassist Douglas Hart, now.

“Dragging the Needlework for the Kids at Uphole” is 35 minutes of repeat phrased guitars, slow-clipped drums and dulcet vocals where the recurring landscape is the desert. Reel-to reel-loops of Afghan music compete with the found sound overlays of voices recorded at the queue of the pharmacy and drum machines borrowed from Spanish heroes, channelling both far-off climes and snippets from a closer reality. It’s a strange psychic brew, built of imagined mysticism and domestic realities, of fever dreams and days that stretched into weeks of months.

Taken from the album, “Dragging the Needlework for The Kids at Uphole”, out 17th Feb 2023 via Tough Love Records.

After the haunting “My Name Is Safe in Your Mouth” (2018) and the dramatic, synth-loaded “Who the Power” (2020), Liela Moss’ has a new album “Internal Working Model” bristles with frustration at our disconnected culture but also – crucially – burns with a desire to reconnect – in her own words: “We see the beneficiaries of the status quo suppress realness and wellbeing by selling you a banal alternative that upholds their agenda. I want to add to the firepower to burn that old house down.”

“I was working with Johnny Hostile on extra instrumentation for this track, when he sent it back with a middle 8 vocal section written and sung by his partner Jehnny Beth,” says The Duke Spirit’s Liela Moss of the track “Ache in the Middle” which is on her upcoming solo album. “He emailed saying she loved the track and hoped I didn’t mind her spontaneous contribution? This was a real gift, some unexpected beauty. The track crystallizes my thoughts about some of my own childhood, ideas about attachment and my recent work with Children’s Social Care. Jehnny Beth must have somehow understood where I was with this personal process, because she jumped straight in with a complimentary lyrical flow.”

With Moss’ expressive voice leading the way over fractious synth backdrops, the result is at once tense and tender, timeless and timely; determined to plug into positivity wherever it can be found. Personal and expansive, galvanic and inquisitive, it’s an album that sees the modern world’s mess through open eyes but isn’t willing to stop there: it wants to seek out solutions, source the potential in other ways of being and seeing.

Moss’ new album, “Internal Working Model“, is out January 13th via PIAS and also features guest Gary Numan.

Rozi Plain’s new album, “Prize”, is out January 13th via Memphis Industries, and she’s just shared a new song from it. “I think ‘Help’ is my favourite song on the new album,” Rozi says. “We turned it into what it became up in the snow in Glasgow with Gerard and Jamie.

Over the course of four albums, Rozi Plain’s hypnotic, gently askew songs have steadily sauntered their way from her birthplace of Winchester, reverberated through the bustling Bristol DIY scene, to where they now emanate from London’s creative epicentre. Acquiring a worldliness that’s reflected in her travels as a touring musician, each consecutive release has broached new sonic territory, whilst retaining a home-grown intimacy and a familial warmth of spirit.

On “Prize”, her fifth long-player, on Memphis Industries, Rozi’s unique, heart-felt approach continues to prevail and, with the help of collaborators including Jamie Whitby Coles, Gerard Black, Amaury Ranger, Alabaster De Plume, Cole Pulice, Danalogue (of Comet is Coming) and Kate Stables (of This is the Kit), the album marks her as one of our most innovative and engaging songwriters.

The Soundwalk Collective and Patti Smith are releasing an album of remixes from their collaborative albums this Friday which features contributions from Kaitlyn Aurelia Smith, Laraaji, Lucrecia Dalt, Jim Jarmusch and more. The album opens with ambient remix of “Peradam” by Brian Eno.

Soundwalk Collective with Patti Smith release a special deluxe box set release of “The Perfect Vision”, the triptych of acclaimed albums that encompasses “The Peyote Dance”, “Mummer Love” and “Peradam”. The box set, which includes a remix album featuring contributions from Brian Eno, Jim Jarmusch, Laraaji and more.

Between 2019 and 2021, Soundwalk Collective and Patti Smith collaborated on the creation of “The Perfect Vision”: a triptych of albums which took their inspiration from the writings of three emblematic French poets: Antonin Artaud, Arthur Rimbaud and René Daumal. Central to the work was the poets’ necessity to travel to different lands to acquire a new vision and perspective on themselves and their art. Recorded in the Sierra Tarahumara of Mexico (The Peyote Dance), the Abyssinian valley of Ethiopia (Mummer Love), and the Himalayan Summit of India (Peradam) respectively, each album retraces the poets’ footsteps, channelled through on-location recorded soundscapes, in search of hidden, earthy sounds that hold embedded existence, with Patti Smith revisiting the poets’ words that have been inspired by the landscapes. The result is a sound and visual montage that traverses the works of Rimbaud, Artaud and Daumal in their voyage to elsewhere.

Now, the three albums of “The Perfect Vision” are released as a deluxe box set that includes a special 7-track remix album featuring a stellar cast of contributors that includes the likes of Brian Eno, Jim Jarmusch, Laraaji and more. The box set also includes a book which features an interview with Patti Smith and Stephan Crasneanscki of Soundwalk Collective along with photos and drawings. Also included is a A4 print signed by Patti.

Nashville-based singer/songwriter Sunny War has already made a name for herself in the world of punk-inflect blues and folk, crafting songs that fuse caustic reflections and soulful world-weary beauty. Over the past few years, she’s built a cult following with her self-released records, including her 2018 and 2019 breakout records, “With The Sun and Shell Of A Girl”, followed by last year’s “Simple Syrup”. Now she has signed with New West Records and is set to share her label debut, “Anarchist Gospel”, next year.

“I feel like there are two sides of me,” says the Nashville-based singer-songwriter and guitar virtuoso known as Sunny War. “One of them is very self-destructive, and the other is trying to work with that other half to keep things balanced.” That’s the central conflict on her fourth album, the eclectic and innovative “Anarchist Gospel”, which documents a time when it looked like the self-destructive side might win out.

Extreme emotions can make that battle all the more perilous, yet from such trials Sunny has crafted a set of songs that draw on a range of ideas and styles, as though she’s marshaling all her forces to get her ideas across: ecstatic gospel, dusty country blues, thoughtful folk, rip-roaring rock and roll, even avant garde studio experiments. She melds them together into a powerful statement of survival, revealing a probing songwriter who indulges no comforting platitudes and a highly innovative guitarist who deploys spidery riffs throughout every song.

Because it promises not healing but resilience and perseverance, because it doesn’t take shit for granted, “Anarchist Gospel” holds up under such intense emotional pressure, acknowledging the pain of living while searching for something that lies just beyond ourselves, some sense of balance between the bad and the good.

Sunny War has shared a new taste of “Anarchist Gospel”, “Higher,” a tender, sentimental Americana ballad with David Rawlings on guitar, Jack Lawrence of The Raconteurs/The Dead Weather on bass, John James Tourville of the Deslondes on pedal steel, Megan Britt Coleman on drums, and Jo Schornikow on mellotron.

the upcoming album ‘Anarchist Gospel’ out February 3rd on New West Records.

It was a historical moment when Creedence Clearwater Revival toured Europe and played London’s iconic Royal Albert Hall in 1970, and footage of that storied night has existed in the vault for over 50 years until finally getting released as part of this new 2022 film. The first half of the film is documentary-style, narrated by Jeff Bridges (who famously rocked out and crashed a car to “Lookin’ Out My Back Door” as The Dude in The Big Lebowski), and it tells the story of John Fogerty, Tom Fogerty, Stu Cook, and Doug Clifford’s pre-CCR days up through the 1970 tour, which it includes lots of on and off stage footage of. It chronicles John and Stu getting drafted, the early cover songs that gave CCR a chart presence, their first original hit, playing The Ed Sullivan Show and Woodstock, and more. And then the second half is a concert film with multiple full songs from the Royal Albert Hall show.

When CCR took the stage for two nights in April of 1970, the band members had reached the height of their international stardom and arrived ready to prove themselves as equals to the likes of Led Zeppelin, Jimi Hendrix, and the Beatles, who had announced their breakup just days before. Their performance—which included hits like “Born On The Bayou,” “Proud Mary,” “Fortunate Son,” and “Bad Moon Rising”—was met with a 15-minute standing ovation and rave next-day reviews in the UK’s top publications. More than 50 years after that legendary show, the original multitrack tapes have been meticulously restored and mixed by GRAMMY®-winning producer Giles Martin and engineer Sam Okell. The 180g LP was mastered by Miles Showell at Abbey Road Studios using half-speed technology for the highest-quality listening experience.

It’s the best of both the documentary and concert film worlds, and a great watch. The new documentary concert film, ‘Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall,’ will be available for streaming on Netflix beginning September 16 (in the US, Canada, United Kingdom, Australia, NZ, Latin America and Africa).

At the height of the 2020 pandemic, when live music had all but ceased to happen, The Flaming Lips came up with an idea for performing shows. an idea they were uniquely prepared for. Frontman Wayne Coyne had long been using a clear polymer “space bubble” to walk atop crowds at festival shows and he wondered: what if everyone, the band and the audience, was in space bubbles? What began as a drawing Wayne posted to Instagram soon became something the band were actually going to try to pull it off. And they did, after a couple postponements, in 2021. 

“The Flaming Lips Space Bubble Film”, co-directed by Coyne and Blake Studdard, tells the story of how the shows came to be and how they did it, as well as serving as a concert film of the shows themselves. It’s successful on both fronts, though the documentary is more fascinating as Coyne takes this “it’s so crazy it just might work” idea into reality, featuring interviews with Coyne and the rest of the Lips, Coyne’s wife Katy Weaver, band manager Scott Booker and Oklahoma City mayor David Holt. It answers such questions as “what if you have to use the bathroom?” and “is there enough oxygen in those things?” and more with lots of great footage of those truly special shows.

It’s good that all shows aren’t like this now but we’re glad this showed it was possible.

An immersive archival journey through the explosive New York music scene of the early 2000s. Set against the backdrop of 9/11 and a world unaware of the seismic political, technological and cultural shifts about to occur, “Meet Me in the Bathroom“, tells the story of the last great romantic age of Rock’n’Roll through the prism of a handful of era defining bands;

The documentary immerses you in the pre-social media, pre-gentrification world of New York, as it examines the lives of key figures from each band, the transformation of the city, and the cultural forces that shaped it. Combining never before seen footage, intimate audio interviews and a visceral sense of time and place, “Meet Me in The Bathroom” is a raw and authentic evocation of a time The Guardian described as “a flashbulb moment, before everything changed”.

Directed by Dylan Southern and Will Lovelace (LCD Soundsystem: Shut Up and Play the Hits), “Meet Me in the Bathroom” is the documentary adaptation of Lizzy Goodman’s 2017 oral history of the early ’00s NYC scene that gave us The Strokes, Interpol, Yeah Yeah Yeahs and more. While following the same bands — not as many here as the book — their film runs parallel to the book and feels less like an adaptation and more of a companion piece. There are no talking head interviews like you find in most rock docs; instead they tell the story with video footage from the era, both onstage and off, which is set against audio of new and archival interviews.

It’s more of a “you are there” than a “remember when” experience that should strike a chord both with folks who lived and those who are curious as to what it was like.