The Fat Angel Sings

Jesse Malin has a new album coming September 27th via Little Steven’s Wicked Cool Records, and the first single is the Stonesy “The Way We Used to Roll,” which was co-produced by Lucinda Williams. “There’s something about the sleazy pulse and creepy progression that brought to mind the low-level criminal braggart characters, a nod to some of the folks that we grew up around in Little Italy and the Lower East Side of New York City,” Jesse said.

Since the release of his 2019 album “Sunset Kids”, Jesse Malin has been on a prolific song writing creative streak, one that only increased during the pandemic with his popular you-are-there livestreams and the release of one-off singles like “Todd Youth”.

The new song is a “celebration of life and its tribal rituals that have always been connected to music,” says the New York songwriter

Jesse Malin will release a new double album, “Sad and Beautiful World”, on September 24th. “This one is for the survivors, the dreamers, the leavers and the believers,” says Jesse. “My music has always been about rebirth and redemption. Sad and Beautiful World is for those who pick up the pieces and find beauty in the madness.”

The album is divided into two themed discs: “Root Rock” is mostly “sad eyed ballads” while “Radicals” is a little louder, but the whole thing was influenced by the last year. “The sirens, the protests, riots and the darkness outside my doorstep definitely made its way in these songs,” adds Malin. “Everything rose to a boiling point, and we found a way to get through it.”

The album includes “The Way We Used To Roll” and his cover of the Tom Petty song “Crawling back To You” and the new single is “State of the Art.”

The album is the follow up to 2019’s Sunset Kids, Malin’s well received long-player produced by Lucinda Williams and Tom Overby.

Jesse and his band will be touring throughout 2021, including nine UK dates, commencing at Glasgow’s King’s Tut’s Wah Wah Hut on Monday September 27th and including London’s Garage on Friday, October 8th.

Sad and Beautiful World takes its title from a line of dialogue in Jim Jarmusch’s 1986 cult-classic film Down By Law. A lyric in the song “Almost Criminal” gives the double record its theme: Roots Rock Radicals, Malin’s take on a phrase from the intersection of punk and reggae back in the day.

The “Roots Rock” side leans to the sad-eyed ballads, while its companion, the “Radicals” side, roughs things up a bit. But not everything is as black and white as the movies. All of Sad and Beautiful World is both tough and tender, laced through with vividly drawn characters striving against circumstance and a raw emotional tenor. The 17 songs served up here will break your heart, move your hips, and keep the lights shining.

Billie Joe Armstrong once said “New York City is the centre of the universe, and there is no New York City without Jesse Malin.” Malin remained in his shuttered city and made a record. He eventually overcame the anxiety, fear and loneliness by writing. “The sirens, the protests, riots and the darkness outside my doorstep definitely made its way in these songs,” adds Malin. “Everything rose to a boiling point, and we found a way to get through it.”

Jesse sets the scene of his beloved hometown with the autobiographical “Backstabbers,” a coming-of-age tune about navigating through the city lights. Recorded in 2019, the slinky strut of “The Way We Used To Roll” now has an extra layer of meaning. Both songs were produced by Lucinda Williams, who also sings backup on “Backstabbers,” and her partner, Tom Overby. The majority of Sad and Beautiful World was produced by Malin’s long-time guitarist Derek Cruz and Geoff Sanoff.

“Crawling Back To You” Written by Tom Petty

Jesse Malin Under Exclusive License To Wicked Cool Records Released on: 2021-07-12

Golden Doubt is the second album (and first on Ba Da Bing Records) from Melbourne-via-Tasmania quartet Quivers, following their 2018 debut We’ll Go Riding on the Hearses and 2021 full-length cover of R.E.M.’s Out of Time. We highlighted lead single and Golden Doubt opener “Gutters of Love” as one highlight from the album back in March, praising “singer Sam Nicholson’s voice,” as well as the song’s “gleaming guitar work, vocal harmonies from Quivers members Holly Thomas and Bella Quinlan, and keen production courtesy of Matthew Redlich (Holy Holy, Husky, Ainslie Wills).” There’s plenty more where that came from on this album, 40 minutes of sunny, yet deeply felt jangle-pop that scratches the melodic rock itch without a shadow of a Golden Doubt.

With jangly guitars, gorgeous harmonies and quietly confessional song writing, the latest from this Melbourne indie-pop quartet is a must-listen for fans of the Go-Betweens or the Triffids.

That said, ‘Golden Doubt’ is more a carrying of the torch than an exercise in nostalgia – these songs are warm, inventive and reward repeat listens, the band’s idiosyncrasies shining bright throughout.

Ten seconds into “Golden Doubt”, the new album from Melbourne indie-rockers Quivers, you’ve already been hit with their not-so-secret weapon.

“For me, it’s all about the harmonies,” frontman Sam J Nicholson tells Double J’s Zan Rowe. “It’s so much about Bella [Quinlan], and Holly [Thomas], and the occasional shout from Mike [Panton] as well.”

The voices of his bandmates give Nicholson’s lead vocal a textural heft. You not only hear their harmonious contributions, but you also feel them in your ears and heart. Those harmonies are sweet, but also incredibly strong.

That strength is bolstered further on Golden Doubt by a bespoke choir packed with all-star fans and friends of the band. We want to be a band that gets on stage and has a really good time, and that’s what we usually do,” he says. “We love playing live. We want to be a loud guitar pop band where everyone sings.

Cindy is a band built around the singing and guitar playing of Karina Gill. She became a musician only recently, having sat on the side lines while ex-partners and friends made their stabs at it. Gill describes a chance encounter with an abandoned Squire Strat left in the basement by a previous tenant, “mummified in electrical tape with the remnants of a burrito on the head stock”, that led her to begin carefully strumming her way through simple chords and making her own songs. After one interesting self-released LP, still finding their footing, the band made the masterful and buzzed-about Free Advice, which went from a limited cassette on local SF label Paisley Shirt to vinyl pressings on Tough Love (UK) and Mt St Mtn (USA). Cindy’s third LP arrives in quick succession, the quietly devastating 1:2. Jesse Jackson on bass, Simon Phillips on drums and Aaron Diko on keyboards weave the perfectly thin web behind Gill’s slow Velvety strums and murmured melodies.

The rhythm section brings the crude flow, while the keys add subtle and surreal counterpoint to the withering world Gill depicts in her lyrics. “Songs tie together seemingly disparate things by the logic of mood,” Gill tries to explain. This isn’t dream-pop sunshine bliss; half-closed black drapes hang on the window where the narrator stares into the middle distance. “Sometimes you say you’re feeling small/You plan all day for your own funeral”, she intones in Party Store. Gill has a way of halting her phrasing that makes it feel like her thoughts are gently tumbling into the abyss. It’s this unsettling quality mixed with the hazy atmosphere that makes Cindy’s new LP 100% addicting and the perfect antidote to comfort listening.

Dinked Vinyl Edition Details:
• Yellow Vinyl. *
• Bonus yellow 7” featuring 2 exclusive songs. *
• 6 x double side postcard set. *
• Hand-numbered edition.
• Limited Pressing of 700. *
*Exclusive to Dinked Edition

on Tough Love Records, RELEASE DATE: 1st October 2021

Legendary 1972 show at The Roundhouse, London from the “Space Ritual” era. Includes the original recording of Hawkwind’s hit single “Silver Machine”. It is the first time the whole show has been available on double vinyl.

Bonus tracks include “Master Of The Universe” (Original 1972 LP Mix) and “Born To Go” (Original 1972 LP Mix).

Tracklisting:

Side 1 – 1. Announcement / Apology, 2. This Is Your Captain Speaking (Breakdown), 3. This Is Your Captain Speaking, 4. You Shouldn’t Do That, 5. The Awakening

Side 2 – 1. Master Of The Universe, 2. Paranoia, 3. Earth Calling, 4. Silver Machine

Side 3 – 1. Welcome To The Future, 2. Born To Go, 3. Brainstorm (Jam), 4. End Announcement

Side 4 – Bonus Tracks: 1. Master Of The Universe (Original 1972 LP Mix), 2. Born To Go (Original 1972 LP Mix)

Released through PLG UK catalouge

Throughout his four-decade-long career, British singer-songwriter John Martyn (1948-2009) was hailed for his innovative musicianship, his emotive vocals and his genre-bending, progressive folk songs, which incorporated elements of rock, jazz and blues.

All of that can be heard in 1998’s “The Church With One Bell”, which found Martyn interpreting a diverse selection of blues tracks–from oft-covered standards like Elmore James’ “The Sky Is Crying” and Lightnin’ Hopkins’ “Feel So Bad,” to more recent cuts by Portishead (“Glory Box”) and Ben Harper (“Excuse Me Mister”). Martyn also delivers a reflective rendition of Randy Newman’s “God’s Song;” a refreshing take on Dead Can Dance’s “How Fortunate the Man With None;” a haunting performance of “Strange Fruit”–as made famous by Billie Holiday; plus two rousing Bobby Charles covers (“He’s Got All The Whiskey,” and “Small Town Talk”).

Captured at Glasgow’s CaVa Sound Studios, Martyn co-produced the album with GRAMMY®-winner Norman Dayron, a veteran of the Chicago blues scene, who collaborated with the likes of Muddy Waters, James Cotton, Howlin’ Wolf and Michael Bloomfield.

This special, 180-gram pressing marks the first vinyl reissue of The Church With One Bell–which has been out of print since its original release. Limited to 4,350 units worldwide, this sought-after title was remastered from its original analog tapes and cut at half-speed by Miles Showell at Abbey Road Studios and pressed at Quality Records Pressing (QRP).

Universally recognized as being the works of a true maverick genius, the canon of recordings by the late, great Captain Beefheart aka Don Van Vliet – often ably assisted by his Magic Band – rank amongst the most important and influential rock music ever created and continue to inform and influence musicians to this day whilst also garnering a following of new, young musically adventurous rock fans along the way.

Within these works the 1974 album “Unconditionally Guaranteed” is a true hidden gem which has been rightfully elevated to cult status over the years since its first appearance.

Originally released by Virgin Records in the UK (and Mercury Records in the USA) “Unconditionally Guaranteed” represents a fascinating pivot point within Beefheart’s recordings.

Known as he was for his more oblique amalgams of delta blues, avant-garde jazz and rock on albums such as “Trout Mask Replica” and “Clear Spot”, “Unconditionally Guaranteed” captures a musical moment when Beefheart deviates from that path and embarks on an exploration of more melodic soundscapes into which he continues to contribute his uniquely poetic lyrics delivered via his instantly recognizable vocals.

The 10 tracks on “Unconditionally Guaranteed” include a bevy of elliptical yet beautiful love songs such as “This is the Day” and the wonderful “Lazy Music” which is undoubtedly one of Beefheart’s most ravishing and mesmeric recordings. By contrast the album opener “Upon The My-O-My” is a great example of Beefheart and The Magic Band delivering their trademark, earthy take on rock at its very best.

On “Unconditionally Guaranteed” Beefheart is ably assisted by a fantastic line-up of the ever-changing Magic Band that includes key alumni such as Zoot Horn Rollo, Art Tripp, Rockette Morton and Alex Saint Claire. The album is produced by Andy Di Martino.

Unavailable on vinyl for over 20 years this Record Store Day 2021 reissue of “Unconditionally Guaranteed” will return this fantastic album to the vinyl racks where it should be.

“Seanóirí Naofa” is the lead single from a forthcoming EP of the same title by Tau & And The Drones of Praise.

This is the follow up to their second album released in February 2019, which garnered widespread acclaim including a four star review in The Irish Times.

In a flash of Imbas (inspiration) Seanóirí Naofa was written and recorded by the Berlin/Ireland based ensemble in just a few hours which gives the track its raw/ archaic immediacy. Opened stringed tunings and old instruments like the hurdy gurdy contains that signature Tau drone while maintaining a confident and contemporary, folky feel.

The mountain on the cover is Queen Maeve’s Cairn at Knocknarea, Co Sligo. The photograph was taken on Spring Equinox 2020, just as the world went into lockdown. The fiery warrior spirit and sovereignty which Goddess Queen Méabh represents so inspires the band, and is a reminder of our own inner fire and our own sovereignty.

Here, frontman Shaun Mulrooney retraces his ancestors’ footsteps, as his surname originates in County Sligo which is a stone’s throw from where he currently resides. Rory Nelson Mckee’s traditional guitar playing being at the helm on “Seanóirí Naofa” gives this work Tau’s most Irish sounding feel to date.

Dance awake, dream anew – Seanóirí Naofa single is released June 5th

“Seanóirí Naofa” EP is released at midnight on Summer Solstice 21st June 

Released June 22nd, 2020

An intimate and vulnerable serenade of sweet, stirring indie folk, Georgia Parker’s new EP ‘I Think I Know’ is a wondrous and radiant upheaval. An intimate and vulnerable serenade of sweet, stirring indie folk, singer/songwriter Georgia Parker’s new EP is a wondrous and radiant upheaval. A deep outpouring from the heart, “I Think I Know” comes to life with visceral emotion and soft, gently stunning sentiments. It’s a beautiful eruption of passion and purpose, love, loss, hope, and connection that brings us closer to the artist than ever before.

Anna
Wondered what you were thinking
When you asked me how I’d been
and your dad was watching
Small talk in the fishmonger shop
But it’s been ten years now since I forgot about that

Anna I think I know
Where I wanna go
Somewhere with you down by the coast
Cause Anna I think I know
Yeah I know

Georgia Parker’s new EP I Think I Know, independently out this Friday, July 16th, 2021. The artist’s third EP (following 2019’s “Too Far Gone” and 2020’s “Coated Blue”) finds the Kent, based twenty-something exploring the emotional ins and outs of our shared human condition addressing, as she describes, “the complexity of human relationships and the effects that those relationships have on our personal growth and identity.” Reminiscent of indie folk artists like Adrianne Lenker, Adam Melchor, Julien Baker, and Phoebe Bridgers, “I Think I Know” resonates with poignant, moving melodies, tender harmonies, and Parker’s beautiful vocal serenades.

The first song that I wrote for this record was ‘Caroline,’” Parker tells us. “My intention with this song was to tell a story of the ending and escape of a troubled relationship. A personal account, I loved writing a detailed and intricate narrative of how I was feeling around the relationship I had with this person; it felt personal and yet freeing. I have always used writing as an outlet for personal experiences and relationships, and so I used that as a jumping off ground for this project. Each song on this record uses one person as its inspiration. It begins with the memory and questioning of a bond I had as a child (Anna), leaning into more specific realities while dating men as a young woman (‘Garden Pics’).

The record continues with ‘Caroline’ and ‘I hate you but you turn me on’ which declares a couple of the more personal and heart wrenching connections I have endured with others, before ending with ‘My Inertia’ and ‘miomo’ which tie in and end the record with an exploration of the relationship I have with myself.”

“These songs were all personal accounts, and I wanted it to feel so,” she adds. “Each song was intended to feel poetic, grand and all in all tell a story that felt relatable or at least suggest sentiment. The recording and production of this record began right as the world went into isolation and so every song and instrument was recorded remotely.”

Parker rises and falls with effortless ease through seven songs that bear her soul. She chose the records title because of its suggestion of uncertainty or shyness. “For me this represents the optimistic yet gentle incline into assurance,” she says. “‘I Think I Know’ was taken from the chorus of Anna and depicts the quiet conviction in a song all about questioning.”

“I choose to believe it proves my ability as a lyricist and as a story teller. With my first self-produced single ‘miomo’ as well as tracks ‘My Inertia, ‘Caroline’ and ‘Love Is A Liar,’ I am confident that my vision as a singer-songwriter and artist has proven to be emotive and direct, as well as individual.”

Highlights abound throughout her EP, from the gorgeously stirring, show-stopping opener “Anna” through the bittersweet “Caroline” to the vibrant, breath taking self-produced finale, “miomio,” I Think I Know glows with authenticity and charm. I hope that my listeners can relate to these stories and evoke their own introspection,” Parker shares. “The main aspect I have taken away from this process is how much I love telling a story through music, and how I feel even more inspired in the projects I have started planning for after ‘I Think I Know’. I am excited for people to hear it; it is a beautiful stepping stone that I proud to be jumping from.”

for fans of Adrianne Lenker, Adam Melchor, Phoebe Bridgers

“Geist” feels like a window – or a mirror – into possibilities of the self and beyond. Shannon Lay’s new album is tender intensity, placeless and ethereal. It exists in the chasms of the present — a world populated by shadow selves, spiritual awakenings, déjà vu, and past lives.

“Something sleeps inside us,” Lay insists on the opening track, and that’s the guiding philosophy throughout. A winding, golden, delicate thread of intuition that explores the unknown, the possibility. Its title, Geist, the German word for spirit, is rife with an otherworldly presence, the suggestion of another. The promise that you are never alone.

Lay tracked vocals and guitar at Jarvis Tavinere of Woods’s studio, then sent the songs out to multi-instrumentalists Ben Boye (Bonnie Prince Billy, Ty Segall) in Los Angeles and Devin Hoff (Sharon Van Etten, Cibo Matto) in New York; trusting their musical instincts and intuition. She then sent those recordings to Sofia Arreguin (Wand) and Aaron Otheim (Heatwarmer, Mega Bog) for additional keys, while Ty Segall contributed a guitar solo on “Shores.”

As a whole, Geist is both esoteric and accessible. Songs range from a concise, pared-back cover of Syd Barrett’s tilt-a-whirl-esque “Late Night,” to the meditative Dune-inspired “Rare to Wake,” to the mostly a-cappella “Awaken and Allow,” which channels Lay’s deep Irish roots, a moment of reflection, before a drop happens — its intensity mirroring the anticipation and anxiety that come with taking the first step to accepting change for yourself.

And the title track “Geist,” a song about the power living in all of us, is a love song to the possibility of healing, an ode to falling into the arms of what you’re becoming. It’s a glimpse into the parts of yourself you have yet to meet. But you can, if you want to.

Releases October 8th, 2021

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