The Fat Angel Sings

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

Our new EP “A Brief Intermission in the Flattening of Time” is coming out November 21st. It’s 4 songs and features friends & bands we love on each track. @detroitarun produced it with me in Nashville earlier this year and it really shaped up to be something special to us.

You can stream two of those songs today — “Cocaine & Lexapro” featuring Kevin Devine , and “Berlin” feat. Tigersjaw , as well as watch the beautiful video for C&L from our friend @thegrayhall .

You can pre-order the EP at the link in our bio & stories. It also includes the “No Joy Sessions” and “Doom & Gloom Sessions” on the pressing. Then also get a ticket to come see us on our remaining tour dates this year (before we go do the next record).

I want to give some love to “Berlin”, the second single we released last week featuring the always incredible tigersjaw. yetis, detroitarun and I cracked this on our last full day in the studio when i played a super basic beat on a drum machine and we found a pad sound that reminded us of Foreigner. Then we sent it over to the TJ team, thinking only Ben was going to sing on it, only to get it back with Brianna doing the scratch harmonies we accidentally left in. We absolutely freaked the first time we heard it.

love this song so much and Sarah absolutely took it to another level. Our new EP “A Brief Intermission in the Flattening of Time”, is out Nov 21, and you can preorder it at the link in our bio (and stream the other 2 singles). First few vinyl variants are sold out so get on it!

And also a new pressing of “Schmaltz” is available now too. Like I said, big day.

Sugar – the band formed by Hüsker Dü’s Bob Mould with bassist David Barbe and drummer Malcolm Travis – return with their first new music for thirty years. Says Mould, “Sugar was a meteorite. I spent all of 1991 writing and performing new material at solo shows. David and Malcolm had never met but I was certain we three would work well together.

“Sugar was a workhorse. After weeks of rehearsal in early 1992, we spent three months recording “Copper Blue” and “Beaster”. By summer 1992, the musical climate was perfect for what we created.

“Sugar was a phenomena. No one could have predicted the results. We held onto the wheel and did our best to enjoy the wild ride. Sugar was part of a pivotal era in popular music, and a special time in my life.”

Beside the new single, Sugar will perform together for the first time since January 1995, at New York City’s Webster Hall on Saturday, May 2 and Sunday, May 3, 2026 and then in London’s O2 Forum Kentish Town on Saturday, May 23 and Sunday, May 24, 2026 .

The official promo video from Sugar for the UK single ‘ Changes’ released in August 1992.

Next month will also see Sugar 1992 debut album, “Copper Blue“, commemorated with “Copper Blue – The Singles Collection“, a limited edition 4LP box set to be released by BMG on Record Store Day Black Friday, November 28th.

The Barr Brothers return with “Let it Hiss”, their first album in eight years—a document of personal reckoning and musical renewal. After hitting a breaking point in 2022, brothers Brad and Andrew Barr chose honesty over habit, reconnecting not only with each other but with the messy beauty of imperfection. “It’s what happened when we stopped pretending everything was fine,” says Andrew. The result is their most personal and collaborative work to date.

Recorded in Montreal and produced by the brothers themselves, “Let it Hiss” features contributions from longtime friends including Elizabeth Powell of Land of Talk, Jim James of My Morning Jacket, and Québécois artist Klô Pelgag.

Tracks range from garage-band reggae to hushed folk hymns and climactic soul-punk eruptions, all mixed by Jon Low (The National, Bon Iver). The album’s title doubles as a mission statement: leave the hiss in, celebrate the cracks.

After decades of playing together, The Barr Brothers strip everything back to find new ground—embracing vulnerability, joy, and the unpredictable path forward.

Debut album from Ireland’s pre-eminent punk/noisy, alt-rockers Gurriers. Recorded in Leeds at the Nave with Alex Greaves, “Come and See” explores how existential mundanity in the 21st century is now essentially lived in the digital realm, and society has blindly sleepwalked into this actuality without realising the full extent of its corrosive damage.

“Come And See” not only includes songs of raging intensity but equally brilliant song-writing, the record includes the singles “Des Goblin”, “Nausea”, “Sign Of The Times” and a new definitive recording of ‘Approachable’.

Recorded in Leeds at the Nave with Alex Greaves, “Come and See” explores how existential mundanity in the 21st century is now essentially lived in the digital realm, and society has blindly sleepwalked into this actuality without realising the full extent of its corrosive damage.

“Come And See” not only includes songs of raging intensity but equally brilliant song-writing, the record includes the singles “Des Goblin”, “Nausea”, “Sign Of The Times” and a new definitive recording of ‘Approachable’.

taken from the album “Come and See” released 13th Sept,

Did you ever think of me as kind of a lovable loser? This is a vulnerable question for me to ask you. (I can already hear the response: “I wouldn’t say ‘lovable’…”) But this is how I’ve cast myself in our new song. “One Hand Free.”

We recorded it in the same sessions as our record “Goodbye Small Head“, but left it off because I tyrannically declared that it didn’t fit the album, even though we all loved it. It’s a tale of isolation and romantic disaffection that has escalated to the level of biological identity. Did you ever get so bummed out that you were no longer sure what class of animal you were? This is my despondent disavowal of mammalian membership. But in a fun way!

We made a music video for it too. Boston music scene legend JJ Gonson shot some of it with me at a the Harvard Museum of Natural History. Our great drummer Sam Durkes put the rest of it together and edited it and made it the odd little post-MTV experience that it is. He designed the cover art for the single too. Because he’s the best.

I think “One Hand Free” might also be a break-up song about the end of a long abusive relationship, namely, my imagined love-hate affair with the pop culture public at large. I just have this general feeling like I’m done with letting their cruel gaze take up space in my head?

Not you guys, though. You guys are my one and onlys.

Anyway, parse that for awhile if you will, or just enjoy the gorgeous alt-country sounds of the Ezra Furman Band at our effortless best.

Lucrecia Dalt’s A Danger to Ourselves is a daring yet intimate reflection on the unfiltered complexities of human connection. Stripping away fictional narratives present on the artist’s last several album endeavours, A Danger to Ourselves arrives from a place of emotional sincerity.

Sonically unravelling like a deeply personal conversation, Dalt’s voice is focal, supported by a lush array of acoustic orchestration and percussive instrumentation, and an esteemed cast of collaborators.

Dalt, born in Pereira, Colombia, was raised in a family of music enthusiasts who encouraged her to pick up a guitar when she was nine. Dalt followed this creative impulse, becoming fascinated with computer-based production and leaving a burgeoning career as a civil engineer, moving from Medellín to Barcelona and ultimately Berlin, where she developed her distinctive, adventurous sound.

Her work has spun into increasingly accomplished terrains with Anticlines (2018) and No era sólida (2020), and notably, ¡Ay!, Dalt’s 2022 breakthrough sci-fi bolero album. Along the way, Dalt expanded her practice into scoring for films like On Becoming a Guinea Fowl (2024), HBO series The Baby (2022), and the forthcoming psychological horror Rabbit Trap, while creating sound installations and performances that showcase her luminous modulations and distinctive, evolving vocal approach.

A Danger to Ourselves emerged from fragmentary declarations Dalt scribbled while navigating life on tour for ¡Ay!, and the formative moments of a new relationship. She began crystallising these intimate fragments into musical compositions in January 2024, giving gradual form to a purposeful constellation of songs.

The album’s sonic architecture builds upon dynamic drum loops provided by collaborator Alex Lázaro, whose percussive backbone, as on ¡Ay!, became a canvas for Dalt’s layered vocals. Rather than following conventional melodic structures, the album generates musicality through the interplay of basslines, rhythms, and compositional design.

A Danger to Ourselves reveals Dalt’s uncompromising quest for sonic clarity, where bold production choices and meticulous recording techniques encourage both voice and instrument to harmonise with newfound depth and radiance. Distinctly anti-conceptual, A Danger to Ourselves is a poetic instinct by which Dalt ushers in an unobstructed focus on the music itself, using vocals that vibrate past the songs’ parameters, and observing the beaded echoes of primal, romantic thrill.

Lucid attention to detail is palpable in every measure, a dedication that spins in concentric circles, forming a field that unifies the personal and ethereal. Drawn from intuitive experiments, the album uses simple gestures and intricate compositions to weave wandering lines, as in “divina,” which moves between Spanish and English through elastic soundscapes and mesmerising auditory collage.