The Fat Angel Sings

“Lindsey Buckingham’s self-titled album is his first solo release since 2011’s Seeds We Sow and follows his departure from Fleetwood Mac. As with the seven studio and three live albums he has released as a solo artist beginning with 1981’s Law and Order, the new project showcases Buckingham’s instinct for melody and his singular fingerpicking guitar style, reaffirming his status as one of the most inventive and electrifying musicians of his generation.

It was written, produced and recorded by Buckingham at his home studio in Los Angeles. “I wanted to make a pop album, but I also wanted to make stops along the way with songs that resemble art more than pop,” he says. “As you age, hopefully you keep getting a little more grounded in the craft of what you’re doing. For me, getting older has probably helped to reinforce the innocence and the idealism that hopefully was always there.”

“Everything on the record is me, for better or worse,” Buckingham said. “Many of the songs on this album are about the work and discipline it takes in maintaining a long-term relationship. Some of them are more about the discipline and some of them are more about the perks. ‘Scream’ is about the perks. It felt very celebratory and it was also very, very simple and short. To the point. It didn’t evolve into some huge thing. It made its case and got the hell out.”

“Scream” follows the singles “I Don’t Mind” and “On the Wrong Side.” Lindsey Buckingham arrives on September 17th via Reprise.

The single opens with instrumentation that builds as Buckingham’s voice enters in a cathartic rush. “I love you when you scream,” he sings on the chorus.

“Scream” is the third track from Lindsey Buckingham’s forthcoming self-titled solo record due out September 17th on Reprise Records.

On her new song “Radio Silence,” available now everywhere , Hemby showcases her acute metaphorical lyricism as she details the deafening sting of a fading friendship.

Co-written by Hemby with Rosi Golan (Dear John, Vampire Diaries, Grey’s Anatomy) and grammy-winning songwriter Daniel Tashian (Kacey Musgraves’ ‘Golden Hour’), “Radio Silence” is a slow-burning ballad from Hemby’s ‘Pins and Needles’ album out October 8th via Fantasy Records.

“This song is basically about being ghosted by a friend, only not because of a fallout, but because your friend doesn’t want to drag you into their struggles, so they shut down,” says Hemby. “I was the friend, and Rosi Golan was the one reaching out. She and I wrote this song with our friend Daniel Tashian.”

“Radio Silence” is from Natalie Hemby’s new album ‘Pins and Needles’ available everywhere October 8th.

About a year ago I was driving around the desert bouncing between southern Arizona, Joshua tree, slab city and Sedona visiting friends and exploring some far out areas I had never been. while I was out west I began receiving the first mixes of “Transmigration Blues” and started selecting which songs the album would consist of from the material that had been recorded a few months prior. It was a beautiful way to bring the songs back into my life. I was in motion and activated, I was in a place where I could experience the songs coalesce with the environment and moments in a non-centered way. Which is some attempt to try and say I was able to allow myself to hear them as apart of what was happening rather than as the only thing that was happening. Metaphorically speaking i suppose if one can’t see the forest through the trees then maybe go to the desert. anyways….eventually I was left with a handful of songs that weren’t included on the album, some were used as singles and some haven’t been released until today. I’m very pleased to see all these songs now under the same roof in this new deluxe version of “transmigration blues.” it feels like, in some small way, a home coming of sorts.

When I started The Dead Tongues I was just beginning to turn my focus toward acoustic instruments after many years of playing through big amps and lots of effects pedals. I felt excited in the absence of electricity and drawn to the minimalism that was required, and honestly I still am. Yet I find myself spending more and more time once again with the electric guitar, which feels equally familiar as it does foreign at times. In the recording of “Pawnshop Dollar Bills” it’s all there, rediscovery and unknown territory, just an energetic push toward something that feels alive.

“Pawnshop Dollar Bills” the newest single from The Dead Tongues, out now on Psychic Hotline.

Déjá Vu (Radio Edit) · The Dead Tongues, released through Psychic Hotline

The first single from the new album “IV”. Written by Joel Van Horne. Joel Van Horne – vocals, guitars, synthesizers, loops, piano, bass, percussion // Ben Wysocki – drums, percussion // Julie Davis – vocals // Kramer Kelling – vocals // Hunter Burnette – vocals // Sydney Clapp – vocals

Meet my new album.  It’s called “IV”.  The official release date will be October 15th, 2021. The first single “Everything In Between” I am absolutely thrilled to announce the release of my fourth LP this fall! So much time and love was put in to this record by so many. It’s my most collaborative album so far, with a large cast of Colorado musicians that gave their many talents to these songs. Official release date is on the way, and I’ll be releasing a few singles leading up to that date, with one coming real soon. I am damn proud of what we made and simply can’t wait to share it with you.

Snowy Range Records Released on: 2021-08-20

Charlotte Cornfield has announced a new LP titled “Highs in the Minuses“. The follow-up to the Canadian singer-songwriter’s 2019 album “The Shape of Your Name” comes out October 29th via Polyvinyl and Double Double Whammy. The first cut from the album is out today alongside an accompanying video. Check out ‘Headlines’ below.

“I wanted to express the joy of seeing people, of those little interactions that happen throughout the day that I missed so much in the last year and a half,” Cornfield said of ‘Healdines’ in a statement. “When I wrote this song I was spending so much time walking alone through my neighbourhood, and I wanted the video to take place on the same streetscape but be the antidote to that solitude. To me the city is so much about the people in it. Adrienne McLaren Devenyi, the director, came up with this arc of me exchanging objects with people as I move through the neighbourhood and that just created a beautiful jumping off point for these interactions. We had so much fun making this video, and it was such a gift to see everybody.”

Cornfield recorded Highs in the Minuses at Howard Bilerman’s studio in Montreal with bassist Alexandra Levy (Ada Lea) and drummer Liam O’Neill (Suuns). “I feel really grateful that he was on the same page, in terms of focusing on the emotion,” she said of working with Bilerman. “He didn’t worry about all the little details that people can sweat about in the studio.”

“Headlines” is taken from Charlotte Cornfield’s album, Highs in the Minuses, out October 29, 2021.

“John is on a walk somewhere in Chicago,” Timothy Showalter, who records as Strand Of Oaks, sing on his upcoming album In Heaven. “Losing our leaders/Who you gonna follow?”

The “John” he’s singing about is singer songwriter John Prine, the late country-folk songwriter who died last year from complications due to Covid-19. Showalter grew up in Indiana, just a couple hours away from the big city of Chicago, where Prine was from. His latest song, “Somewhere in Chicago,” pays tribute to his late hero — not just by name-checking him, but by emulating the calming, sing-song nursery rhyme cadence of Prine’s best tunes.

“It’s a song for John Prine, growing up Midwestern, the goodness I learned from my parents, me learning that gentle music can be powerful,” Showalter has said “For someone from Northern Indiana, John Prine was my Willie Nelson. The patron saint of Midwestern ethos. I think about him every time I pick up a guitar.”

Showalter abandons the bombastic grandeur of his best rock anthems for the ballad, singing in a quiet, low register as a chorus of backup vocalists return each of his lyrics by singing, “The master calls back into the room” in a low hum. By the time he gets to the pre-chorus (“There’s a blue oasis”), Showalter has been reduced to a literal whisper, his voice trailing off during the word “oasis.”

In the refrain, Showalter plays off of several Prine songs — “When I Get to Heaven,” “Taking a Walk” — by imagining that the singer-songwriter is spending his time in the afterlife, embarking on leisurely strolls down the streets of the city he grew up in. It’s a moving image, transforming a song rooted in grief into an occasion for healing and hope.

Wild Pink released one of the best albums of the year so far in “A Billion Little Lights”. And now, the New York indie rock band has already returned with the new EP “3 Songs“. We’ve heard the record’s lead single and opening track “Ohio” a collaboration with Samia. And today, we get to hear the EP’s other two yearning, expansive tracks, “Leferever” and “A Scene From The Eau Gallie Causeway.”

John Ross played guitar, bass, keys and sang
Dan Keegan played drums
Samia sang on “Ohio”
Stephen Chen played saxophone on “Ohio”
Ellis Ludwig-Leone wrote string arrangements for “Leferever”
Andie Tanning & Gokce Erem played violins on “Leferever”
Mike Slo-Mo Brenner played pedal steel on “Leferever”

Produced, mixed and mastered by John Ross
Drums recorded with Allen Tate at Red Convertible

Released June 25th, 2021

A band from Oslo, Norway. Nostalgia is at once the most destructive, most overused and most poetic emotion I know. This EP is my attempt at tapping into nostalgia in its utmost purity, musically and lyrically. That specific year, that specific place, that specific guitar tuning, those specific bands.

So, it’s about a certain year in my life. It was 1998, I was sixteen and had just moved to Texas on my own. It’s about the people I met, the people I had left behind, and the music I encountered there: The Get Up Kids, Braid, Deep Elm Records bands, and most of all the tape of Ultramagg’s self titled debut. An album I haven’t heard since, but that was always played in my friend’s Taurus as we drove around for hours on end, to Magnolia to see a house show, or downtown to buy t-shirts & records. Or as we sat on our skateboards in all those humid nights spent in an IHOP parking lot. At least that’s how I remember it.

And that, of course, is the problem with the nostalgic scope. The lens is inaccurate, always a little blurred around the edges, always filtered through the experiences of the 20 years that came after it. If I remember anything, it’s not to trust my memory.

Recorded over a weekend in the summer of 2017 (June 22nd-25th, to be specific), unrehearsed and mostly live, and mixed the week after, maybe as a one-off, who knows. I guess I had to wait until the recording itself was a bit tinged with nostalgia, before releasing it. – Sjur Lyseid

Sjur Lyseid: vocals, guitar, bass guitar
Anders Blom: guitar
Eirik Kirkemyr: drums, bass guitar
Anders Magnor Killerud: backing vocals

Released June 25th, 2021