The Fat Angel Sings

 “I Must Be Dreaming” is the first new album from Alabama Shakes in more than a decade. The album expands on 2015’s album “Sound And Color’s” unfettered exploration, leaning toward a viscerally charged form of psychedelic soul. Produced by Alabama Shakes and their repeat collaborator Shawn Everett, the album came to life at Nashville’s Sound Emporium Studios and Blackbird Studio.

While the album sustains their signature intensity, its songs often wander into more lush and otherworldly terrain, revealing a more exacting command of atmosphere and space. Singer-guitarist Brittany Howard explains that the album’s title has a double meaning, reflecting both disbelief at the state of the world and recognition of its beauty.

“It’s a snapshot of what we’re living through in 2026,” says Brittany Howard of Alamaba Shakes’ simmering new protest single. “I look around and wonder how we got to a place where there’s so much strain and so little support. I mean, it shouldn’t be impossible to take off work so you can bring your child to the doctor—that’s actually insane. My hope is that one day people will hear this song and say, ‘Yeah, shit was crazy back then, but we made it through.’”

From the archives of the Zuma ‘85 sessions come ‘Countryman ‘82’ and ‘Dume Room’, a small sampling of oddities and lost recordings left on the mixing room floor.

released August 1, 2025
Matt Correia / Drums, Percussion
Spencer Dunham / Bass
Miles Michaud / Guitar, Organ
Pedrum Siadatian / Lead Guitar, Synthesizer

Recorded and produced by Allah-Las (& Jeremy Harris on “Dume Room”) 

A cult musician, Jon Spencer has only released one LP as a full-fledged “solo” artist, “Spencer Sings The Hits” (In The Red) way back in 2018. This is despite the fact that all the projects he’s been involved with over the years have revolved around his charismatic figure and his performing skills as both a vocalist and guitarist.

Recorded with Chris Bittner in the studio and produced by Jon Spencer himself, the album’s lineup is a classic trio composed of Spencer with Kandall Wind (bass and vocals) and Macky Spider Bowman (drums and vocals), the formula is the consolidated one that we’ve come to know and love over the years.

“Sick of Being Sick!” is an acid blues rock and roll album that thrives on the power and acidity of the guitars, on riffs that can be reminiscent of a familiar tune, yet are always played with great effectiveness, supported by a rhythm section that proves absolutely up to the task.

Essentially, Jon Spencer is a true snake charmer, sometimes making individual notes “sound” with his guitar (Get Away, Coulda Been, Guitar Champ…), sometimes tracing sinuous electric lines (Come Along, Out of Place), the distinctly garage spirit and attitude aligns with punk (Fancy Pants) while still having a melodic nature (Get Away).

Powerful bass lines, unleashed drums, Jon Spencer does not renounce his characteristic “crooner” approach, which is as iconic as it is parodic, but absolutely effective. The album contains all short songs, eight in total, lasting less than twenty minutes.

He’s now approaching sixty, but when he stands in front of a microphone and plays guitar, he does things with an energy and a nastiness that perhaps no one else possesses.

Julia Jacklin has a new Album, Shares New Song “Get Away From Me (I Think I’ll Love You Soon)”

The Australian singer/songwriter Julia Jacklin has announced a new album, The Gem, and shared its first single, “Get Away From Me (I Think I’ll Love You Soon),” via a self-directed music video. “The Gem” is due out September 25th via 4AD Records. check out the new song, followed by the album details and her upcoming tour dates.

Julia Jacklin has become one of indie rock’s most distinctive voices, pairing a twangy Australian croon with brash, cutting lyrics. “Get Away From Me (I Think I’ll Love You Soon), the lead single from her forthcoming LP “The Gem“, finds Jacklin doing what she does best: pulling her hair out over a likely doomed love affair. It recalls 2022’s “I Was Neon,” a standout, albeit more upbeat. Backed by fuzzy guitars and a marching drumbeat, Jacklin’s husky, crackling alto sears through the tension of wanting to be held and wanting to be free. “You don’t have to be careful,” she croons, “I don’t have to be right / You don’t have to call me up, darling / If you don’t come home tonight.” A sparkly, jangly guitar solo makes for a delightful intermission amid the heartbreak Jacklin spends the rest of the song nursing.

Jacklin recently announced that she’d signed a worldwide deal with the iconic British label 4AD and also announced some 2026 and 2027 tour dates.

Jacklin produced the album with Robert Muinos and it was recorded entirely in Melbourne. In 2017 she moved to the city from Sydney. She knew hardly anyone in Melbourne and started hanging out in a pub called The Gem. Muinos, described as an old drinking buddy, is the owner of Rat Shack studios, which is above The Gem. There Jacklin teamed up with Jacob Diamond (guitar), Mimi Gilbert (bass), and Jess Elwood (drums) to record the album. Previous Jacklin albums were knocked out in a couple of weeks, but she laboured over this one for nearly a year.

“The Hardest Thing” another track from the album Premiered today by Jack Saunders on his BBC Radio 1 show, the song is accompanied by a one-shot music video directed by Danny Cohen and filmed entirely from a helicopter winding through the Melbourne city skyline.

“The Gem” felt like a metaphor for the whole process, because a lot of it did feel like digging. I felt like I was doing it almost in the dark, just trusting I was going to find something,” says Jacklin in a press release.

Of the main theme of “The Gem”, Jacklin adds: “I want to love and be loved, but I also want to be free. The tension between those two things has been the central question of my life.”

Jacklin’s last album was 2022’s “PRE PLEASURE“, released via Polyvinyl . It followed 2019’s acclaimed “Crushing” and 2016’s “Don’t Let the Kids Win“.

Jacklin is also in the band Phantastic Ferniture. They released two new songs—“Change My Mind” and “Dare to Fall in Love”—in 2025.

“The Gem” Due Out September 25th via 4AD Records

“Herzsprung” is GB’s most expansive work yet. Written while living in London, the Copenhagen-based songwriter and producer spent weeks cutting up copies of Metro — one of the city’s free newspapers — to form the lyrical foundation of the songs.

“Herzsprung” could so easily become leaden under the heft of all its attendant lore Gustav Berntsen appears in a widely reviled Jaguar campaign, uses the money to hole up in a studio deep in the Swedish woods). Or it could grow stiff and unyielding, lily-gilded with math rock riffs, odd time signatures, and lyrics scrapbooked together out of the pages of London’s Metro newspaper. What’s remarkable, then, is how Berntsten’s AD 93 debut just breezes by—a balancing act he’s mastered alongside many of his fellow Danish esotericists. If you’ve ever wondered what late-era Arctic Monkeys would sound like if they got really into American Football (or you’re wondering that for the first time right now) this is the album for you.

 The album draws together a wide spectrum of influences; from the groove-driven fusion jazz of the 1970s to Japanese noise-rock psychedelia, anthemic grunge, and outsider pop. 

“Herzsprung” by GB is a significant expansion of the artist’s sonic palette, combining collage-based arrangements with more open, melodic song structures. 

The album is grounded in an unusual lyrical method, with texts created from cut-out passages of the free newspaper Metro. Musically, “Herzsprung” features densely textured, experimental guitar work and catchy, pop-leaning moments, referencing a wide spectrum from groove-oriented fusion jazz to anthemic grunge and outsider pop. 

The recording and band chemistry play a major role, with parts of the record tracked live to 24-track tape in a studio in the Swedish wilderness. The album’s climax, “Shit River,” features GB backed by a full choir, emphasizing the album’s playful and immediate execution.

released August 21st, 2026

For more than four decades, The Jayhawks have been one of Americana’s defining bands, blending country, folk, soul and rock across a run of enduring albums. Emerging from Minneapolis alongside peers like The Replacements, Hüsker Dü and Soul Asylum, they helped lay the foundations for the genre while earning a reputation as a formidable live band. Current line-up Gary Louris, Marc Perlman, Karen Grotberg and Tim O’Reagan continue that legacy on Sanctuary Park, produced by Bob Ezrin.

Official Art Track for “Keeping Our Heads Above Water” from The Jayhawks’ new album, ‘Sanctuary Park,’ out August 28th,

Courteeners mark 20 years with God Bless The Band, a concise overview of their catalogue, drawing from all seven studio albums—from St. Jude through to Pink Cactus Cafe. Alongside these selections, the release includes two new tracks, ‘The Luckiest Man Alive’ and ‘Plus One Forever’, produced by Liam Fray and James Skelly, tying past and present into a single set.

Courteeners have announced the release of ‘God Bless The Band – The Very Best Of Courteeners’ on Friday 28th August. A collection of some of the band’s best music from 2007 – 2026 including 2 brand new tracks.

Ben Kweller’s “On My Way” finally lands on vinyl, answering years of demand for his much-loved second album in this format. The record is remastered by Howie Weinberg, bringing renewed depth to its mix of melodic indie rock and singer-songwriter charm.

This edition also gathers 12 previously unreleased tracks from the “On My Way” sessions, including demos and B-sides that deepen the picture of the album’s original run. Some of these cuts have circulated in live sets or early file-sharing days, while others surface here for the first time.

A key release for longtime listeners, this expanded version captures a formative moment in Kweller’s catalogue, offering both the core album and a broader look at the material surrounding it.

Tobacco Brown coloured vinyl 2LP on The Noise Company. Comes in a reverse board with UV spot-gloss, quad-fold sleeve with archival photos from the era.

Ty Segall returns with “Chrome“, a collaborative album made with his long-running band of Ben Boye, Evan Burrows, Mikal Cronin and Emmett Kelly. Built around towering riffs, driving rhythms and intertwining guitars, it captures the chemistry of a group operating at full strength.

Written collectively, the album combines sharp, hard-hitting rock with lyrics that move between personal dream imagery and broader social observations. Fuzz-drenched guitars, muscular rhythms and punchy keyboards give the songs their force, while Segall’s distinctive vocals tie everything together.

The result is a focused and energetic record that draws on classic rock, proto-punk and garage influences without losing its own identity. Fast-moving, loud and full of momentum, “Chrome” finds Segall and his band pushing each other towards some of their most direct and powerful work.

“Black Paint” is the first single from Ty Segall’s album “Chrome“, out on LP/CD/CS from Drag City on August 28th, 2026.

Velocity Girl’s “1989-1992” gathers the key recordings from the band’s early years on Slumberland Records, documenting their rise from Washington, DC’s emerging indie-pop underground. Even in these formative recordings, the group’s gift for combining infectious melodies, swirling guitars and wistful songwriting is unmistakable.

The collection spans multiple line-ups and early releases, including the enduring favourite ‘Forgotten Favorite’ and debut single ‘I Don’t Care If You Go’, featuring original vocalist Bridget Cross. Alongside essential singles and compilation tracks are covers of songs by Beat Happening and The Jam, plus two previously unreleased recordings.

With extensive liner notes by John R. Davis, “1989-1992″ offers a comprehensive overview of the band’s earliest chapter and the foundations of one of indie pop’s most beloved groups.