Day Wave and Hazel English present new song, “PDA.” The duo spearhead the lo-fi, sun-drenched, DIY and dreamy indie-rock sound bursting out of the Bay Area, California, and although Day Wave has been Hazel English‘s longtime producer, they have never before officially featured on the same song. Taking note from the forebearers of classic US indie and in memoriam of their youth spent as devout teenage indie heads, the duo finally came together to record their own version of Interpol’s classic PDA – from the debut album Turn On The Bright Lights which turned 15 years old in September this year.
Speaking on his admiration of Interpol, Day Wave says, “I remember first hearing Turn On The Bright Lights when I was 14. I was blown away. And for me the immediate stand out was PDA. I’ve been playing the song on repeat ever since. I never thought of attempting to cover it until recently, it was almost too important to me. But having been so influential for me, I thought it would be cool to pay homage to the album.”
The classic sophomore LP, available in a limited white vinyl pressing and available for the first time ever as a coloured LP. After two years of seemingly endless tours, the quartet returned in early 2004 to Peter Katis’s Tarquin Studios in Bridgeport, Conn., to record their second album. They had already debuted a handful of songs earmarked for Antics on the road: Length of Love, Narc, C’mere. Meanwhile, having revisited – and reinvented– the material from Bright Lights night after night, they discovered new strengths. There was more room for experimentation in these songs, for toying with arrangements and intricacies of individual parts, than on their debut.
The acclaimed record, which was originally released back in 2004, is set to be reissued on limited-edition white LP. It will arrive on September 27 – the album’s original release date – via Matador Records.
All 10 tracks from ‘Antics’ will appear on the reissue, including ‘Evil’, ‘Slow Hands’, and ‘Narc’
With Antics, Interpol has delivered a disc even more engaging than its celebrated predecessor, without sacrificing any of the depth that has made them such an important band for so many. The songs are at once catchier and more variegated, revealing themselves over time to a degree heard on few current releases, and nothing is ever obvious. Frontman Paul Banks describes, “A lot of time, there are specific topics or events that that inspire the songs, but it’s not explicit in my lyrics.“ Indeed, with Interpol, things are rarely what they seem.
Interpol is a New York-based rock band formed in 1998. The band currently consists of Paul Banks (vocals, guitar), Daniel Kessler (guitar) and Sam Fogarino (drums).
Interpol’s second album ‘Antics‘ 15th Anniversary out now on Matador Records
Recorded during time spent in upstate New York with Dave Fridmann, the five songs that make up “A Fine Mess” gradually emerged as a body of work with a narrative and flow unto itself. The title track, and BBC 6 Music-playlisted single Fine Mess then received further production from Kaines and Tom A.D. and mixing from Claudius Mittendorfer, who had first worked with Interpol as engineer on Our Love To Admire. The resulting set is a living, breathing postcard from the band to their fans as they tour the world throughout 2019, and a linear continuation of the visceral and contagious energy set loose with Marauder.
Echoing its title, the artwork for A Fine Mess is illustrated by a series of lost images, recovered from an abandoned police station in Detroit, MI. In a crumbling evidence room – amongst the rubble – an undeveloped roll of film, dated “1-20-96”, featured latent images of a breaking and entering scene, the rooms in chaos.
From the beguiling refrain of the title track, to the soulful topsy-turvy of No Big Deal, cathartic chorus of long sought-after live favourite Real Life, anthemic swell of The Weekend, and angular shades of Thrones, A Fine Mess is a bracing and distinct entry in Interpol’s oeuvre.
Interpol‘s latest album ‘Marauder’ is out now on Matador Records.
Interpol have shared new track ‘The Weekend’ and announced the upcoming EP ‘A Fine Mess’. Check out all details . After the surprise release of the title track ‘A Fine Mess‘ back in January, now the NYC trio have announced the release of a five track EP in the run-up to their packed summer festival schedule. The latest offering comes with ‘The Weekend’, another new track following on from the dark and raucous mood of 2018’s acclaimed ‘Marauder‘.
Following their successful Australian tour, Interpol have released a new single.
“These are all upbeat rockers,” said frontman Paul Banks . “They’re not b-sides. They’re all pretty rich rock songs with big choruses. It’s all material that we can see being played in a club with people dancing. Sometimes when you turn on an Interpol record you expect people to not be dancing because it’s coming from a more pensive or melancholy place. This is a place rocking EP.”
Due for release on May 17th, the EP was recorded during recent downtime in Upstate New York with Dave Fridmann.
“We had the idea of the EP to be a separate batch of songs to be part of this whole campaign,” Banks said. “We’ve refined the material since then. It’s not like ‘Marauder songs on the EP’, it was always supposed to be a separate EP and a body of work in its own right. “It’s a good way to interact with fans these days. In hip-hop they put out mixtapes between records and it’s a good method. We’re engaged and active right now so it’s good to double down and turn the party up a notch.”
So with the band so engaged, will we hear more new material in the near future?
“I don’t know if we’re going to step into the world of doing a series of EPs,” Banks added. “I think it’s more likely that the next thing we do will be a full-length record, but who can say? We don’t actually have any concrete plans beyond this EP.” . Among the five new songs is ‘Real Life’, which was aired on the band’s ‘Turn On The Bright Lights’ 15th anniversary tour back in 2017. The band have a celebrated history of renewing old rarities and releasing them, however it sounds like their isn’t too much left in the vault.
“We might have exhausted the stores a little at this point,” Banks admitted. “I don’t hate the idea of putting out all the old material and cleaning out the archive to share that stuff, but I am more interested in new material.” As for the lyrics of the EP, Banks continued: “’Marauder’ was a little more reflective, and this one’s more about taking the party by the horns. Maybe the lyrics are a little devious and mischievous. There’s no shame to that.”
Interpol’s latest album ‘Marauder’ is out now on Matador Records.
For their sixth album,”Marauder“, Interpol come out swinging. English-American singer and bassist Paul Banks, lead guitarist Daniel Kessler and drummer Sam Fogarino have been playing together now for 21-years, about the age they each were when the band formed back in 1997. The recording for this record began in 2016 with a 15th anniversary tour of the band’s first and classic album Turn On The Bright Lights sandwiched in between the recording session. The band took on famed producer Dave Fridmann, known for his band Mercury Rev but also for producing music by Flaming Lips, Weezer, Sleater-Kinney and many more, just to give an idea of his visceral aesthetic.
For a sense of Marauder, Paul Banks here dives into detail and unveils some of the thoughts that went into this record.
1. “If You Really Love Nothing”
One of the swing jams. Sam is rocking a shuffle and the rhythmic poise is uncommon for us.
The song has some of my favorite lyrics: “If you really love nothing, everybody’s made up, everybody’s losing.” It’s a similar sentiment as expressed by “Stella.” “The building fronts are just fronts.” Both songs, I suppose, center around a narrator who is perplexed by a woman with unwieldy psychological pathologies involving paranoia and dissociation. This song, like “Stella,” suggests the narrator gives up on this woman ultimately. The choruses feature the best guitar interplay on the record.
2. “The Rover”
“The Rover” was one of the first songs we got cooking. Daniel introduced the riff and the rest came very quickly — bass, drums and vocals.
I wanted to keep the bass and guitar simple in the verses. I felt that the counterpoint of a drone against Daniel’s poppy, sharp progression would provide a bottled-up energy that we release when the chorus arrives and the bass and guitars diverge.
The lyrics are about a seductive, charismatic cult leader who has no trouble amassing young followers. His message is one of inclusion, obedience, hedonism, and salvation. The end is nigh, so come and see me.
3. “Complications”
Another swinger. Sam really stretching out and having fun. One of my favorite songs. I feel that the “The Rover” and “Complications” exist in the same world — in the same movie. If “The Rover” were walking through the desert on an acid trip, then “Complications” is the song playing in the jukebox of the dive bar where he winds up — the come-down at sundown.
4. “Flight of Fancy”
This song has a very strange chord progression from Daniel. I think in my mind it begins on the 5th chord of the melody and then plays out like: 5, 1, 2, 3, 4. But if you ask Daniel, the order of the chords is as you hear them: 1, 2, 3, 4, 5. Basically I think he’s starting his melody in the “wrong” place. And he thinks I’m nuts. We are probably both right.
But that difference of orientation lent itself to a fun and fluid arrangement between bass and two guitars. I think it would be difficult for someone else to learn the song because it doesn’t really seem to follow any rules. To play it correctly, I first had to memorize my bass pattern before I could feel it.
Lyrically the song begins as a lover’s lament — much like “NYSMAW” — the idea is, why can’t I know you?
Then the chorus opens into a defiant assertion. A claiming of agency. My thoughts are my own. And I am my thoughts. It suggests in the feel and tone (and in my mind) that one day we will not just be defending our right to privacy and free-speech. But we may some day find ourselves defending our freedom of thought. It’s another song, like “Surveillance,” that thematically is akin to an episode of Black Mirror. I just like the idea of reclaiming the right to free thought.
5. “Stay In Touch”
Our gothic jam. Daniel loved the simple ominous descending bassline and never let me change it. 🙂 His riff has always struck us — it has a beautiful hollow, woody timber — hooky but vague. Moody and distant, but sticky and inviting. Producer Dave Fridmann loved it immediately for how it invited his ear. It’s amorphous. We slaved to make it hold together as a song while maintaining the nebulous quality of Daniel’s languid shifts. The third verse features a cool Eastern or African sounding guitar part from Daniel. Very sparse but filled with kinetic energy. It inspired my second best riff on the record, lovingly referred to as “Cuban Bill Gates.”
Sam brought the flavor on this one.
6. “Mountain Child”
In my mind the narrator is perhaps the same character from the “Rover” — a dusty man. Here, he’s in love with a girl who is in love with nature. She is a social outcast by choice. She prefers the wild. But the narrator can see her — knows the ilk of her spirit and chooses to follow her.
In the third verse he is bitten by a venomous snake. And as the song proceeds, his consciousness breaks down as the toxin invades his senses. He becomes nonsensical, fevered: “My mountain child is strange and I’m a kind of hero. We used to rule back then. What did we used to rule back then?” [These] are his last thoughts before he perishes.
The outro features my fourth favorite riff, but it’s really just an inversion of what Daniel is playing.
7. “NYSMAW”
Just an easy breezy pop rocker. Dancing, punchy energy. Daniel coordinated the snare accents to emphasize his stabbing, off-kilter guitar hits. Lyrically the song is about wanting to understand more of one’s partner. It’s the frustration that we cannot know all and the frustration that she in fact may know all of me.
8. “Surveillance”
Sam and Daniel often championed this song’s disco beat and high-energy propulsion. Harmonically it’s a strange journey. Daniel’s chord pattern begins as a four-chord pattern, then he adds a chord to his sequence, making it five-chords. Then he adds a sixth chord. It’s like a round that acquires a new facet with each pass. It gives an illusion that there is no clear anchor to the verses, but there is always the four-chord nested pattern. [It] never rests.
Sam brings a special energy on this track. Signature Sam dance style. The bass and drum interplay here was something we worked on diligently. If it came out correctly we should be flamming. This song features my third best guitar riff, nicknamed “Bill Gates.”
(It appears in the outro.)
9. “Number 10”
This song was destined to be a B-side. I had written a fun surfy baseline that jived well with the drums but I was never super stoked on the song. In the studio we just recorded it because we had some time. But there was no second guitar and no vocals.
When we tracked it, it came out really explosive and fun. The additional guitars and vocals were written in a few hours over two afternoons. No fuss no muss.
The lyrics are about an office drama. The narrator is tired of his supervisor, Ella breathing down his neck. She’s a tough boss. But there is also a love there, a secret attraction. A mutual secret attraction. But alas, business is business and their desire is never sated. I think that feeling of frustration and desire suits the temperment of the music. The flighty intensity. Pent up lust.
I love this song. It’s the loosest, most spontaneous and unpolished track on the record, and I’m proud of its garage feel and grit.
10. “Party’s Over”
Popping pills and masturbating to Instagram. (Fiction!) Also an anarchist call to arms.
11. “Probably Matters”
It’s like an impressionist/surrealist film about a defunct relationship — the remorse, guilt, and shame that can nag us through the haze of afterthought.
Interpol’s new album Marauder out on Matador Records on August 24th.
Earlier this month, Interpol hosted a press conference in Mexico City to announce their new album Marauder. The band answered questions and smiled for photos, and the press conference was pretty par for the course. Well, that is, until a man interrupted the panel to massage frontman Paul Banks’s head, without a single word of explanation.
Turns out, Interpol don’t need to beef up their security after all: The stunt was for their music video for “The Rover,” the first single off their new record. The mystery man in question is actor Ebon Moss-Bachrach (Girls, The Punisher) playing the song’s title character, a cult guru in the making.
The music video introduces us to The Rover on the brink of a breakdown inside a van carrying the band. After throwing himself out of a moving vehicle, he acquires his first followers and romps his way across the city to reunite with Interpol at the press conference.
“It’s the origin story of the character described in the song, the birth of a cult leader,” says Banks. “When we meet him, he is partly unhinged. He’s a man on the verge, an artist subjected to great pressures, and beset with existential frustrations. A distracted hipster who enjoys psychedelics, let’s say.”
Director Gerardo Naranjo (Narcos, The Walking Dead) filmed the Rover’s trippy adventures on-location in Mexico City for four days straight, resulting in a music video that blurs the line between reality and fantasy.
‘If You Really Love Nothing’ is the latest single from Interpol’s new album Marauder out on Matador Records due out in August
Marauder isn’t due out until August. 24th, on Matador Records
Interpol used their last single “The Rover” to follow the meandering adventures of a guru in the making, but now, in a follow-up track entitled “Number 10,” the band tackle subject matter a little more familiar: the modern office romance. The new song,is the second single from the band’s forthcoming sixth album Marauder.
“Number 10” describes the secret office relationship between Ella and one of her employees. Blending romantic dialogue with more standard office banter, the song begins with lead singer Paul Banks assuring that “Your secret’s safe here,” before Ella encourages her employee to “Go and talk to Steve about it.” In compliance with standard office procedure, we can only assume Steve is the head of HR.
By the sound of the track’s fast-paced dueling guitars and anxious lyrics, “Number 10” is a far cry from a love song as this pair navigates the tricky ethical waters and power dynamics of interoffice romance. In a Beats 1 interview with Zane Lowe, Banks described the grungy new track as an attempt to “sound faithful to a live recording.” .
Interpol recently announced an expanded tour to support Marauder,
We’re nearly halfway through 2018, but Interpol might still be able to shape it into their year: The band is dropping a new album, Marauder, via Matador Records on August. 24th, their first full-length since 2014’s El Pintor.
The rush has already begun for the band, having been tucked away in rural upstate New York, with recording starting last December and finishing in April, although it’s likely that having the cops called on them while practicing down in the city was more of an annoyance than a thrill.
But for those of us who didn’t get to hear Interpol through the walls or down the street, it really all starts today. And that begins with “The Rover,” a shattering first look at the band’s forthcoming record. The song’s title leans into the album’s name—the roaming air of a marauder directly links to roving and wandering, which are captured in the song’s lyrics. The brash line, “You can stick to the highways and suicide,” is wrapped in the lawlessness of a marauder.
On Marauder, Interpol turn to producer Dave Fridmann for the first time; Fridmann has worked with the likes of Spoon, The Flaming Lips, MGMT and numerous others. The new record’s focus of capturing the band’s live energy is felt strongly on this first track, as the drums pound forward and the sharp guitar pierces through it. You can listen to the band play the song live on The Late Show with Stephen Colbert on Friday, June 8th.
Recent hints appearing on the band’s social media have also been explained: The mural begun in Mexico City has now been unveiled to feature the band’s new album art. Mexico City is also where Interpol are streaming from as they hold a press conference to discuss their new record. The livestream begins today (June 7) at 12:30 p.m. EST (now) you can watch by heading to Interpol’s website or Facebook page.
The band will be roaming across the globe on their tour and will reach the massive Madison Square Garden in February of next year. Listen to “The Rover”
A new show for London 2018! Ride are thrilled to be playing BST Hyde Park on Saturday 7th July, joining The Cure’s big 40th Anniversary Concert! Interpol,Goldfrapp, Editors, Slowdive(band) and The Twilight Sad (Official) are also on the bill plus many more to be announced.
The Cure’s longtime collaborator Tim Pope has confirmed he will be making a documentary to coincide with the band’s 40th anniversary, this comes after the band announced a huge gig at Hyde Park earlier this week.
The Robert Smith-led band will celebrate four decades since the release of their debut single ‘Killing An Arab’ next year, while 2019 will mark the 40th anniversary of their debut album ‘Three Imaginary Boys.’
Pope wrote on Twitter earlier this week: “So, 2018 will see me collaborating with Robert on a feature-length, chronological documentary of The Cure’s history from the 1970s via present day to the future. Robert himself will tell the story and this will work alongside other events for the band’s 40-year celebration.”
He continued: “The film to which I will bring my own style of jiggery-pokery will use as well as ‘old favourites’ a cornucopia of material from Robert’s collection which has never been seen before; Super-8; interviews; bootlegs; rare performances; behind-the-scenes, blah.”
The Cure are set to play Hyde Park next July with support coming from Interpol, Editors and Goldfrapp.
Grizzly Bear release their first album in five years Painted Ruins produced by band member Chris Taylor. Painted Ruins fits the current political mood, it’s an album of songs beautiful on the surface, but with darkness nibbling on all sides; hope and despair on an endless see-saw. It’s also a record of thirty something friends, estranged by both geography and navigating the adult territory of marriage, divorce and parenthood, fighting through separation to find the common ground that once and still exists. It’s political and personal and the best Grizzly Bear album in ages.
2LP – Double 180 Gram Vinyl housed in Gatefold Sleeve with Download.
Kacy and Clayton – The Siren’s Song
Kacy and Clayton first met Jeff Tweedy in the backroom of the Fillmore Auditorium in San Francisco in September 2016. The band had been invited to open for Wilco on night 4 of their annual 5-night run. While waiting for their soundcheck, Jeff appeared through a curtain backstage and introduced himself. In the conversations that followed, Kacy Anderson, Clayton Linthicum and Jeff Tweedy discussed their mutual appreciation of Davy Graham and Jeff’s understanding of Saskatchewan’s geography. Those conversations would eventually blossom into an invite to stop by Wilco’s studio, the Loft, a visit they made only weeks later. In January 2017, Kacy and Clayton returned to the Loft with a rhythm section and a batch of new songs. Over the course of 8 days, the band recorded 9 songs with Jeff Tweedy producing and Loft house engineer Tom Schick at the helm. These 9 songs are what would become the band’s fourth album, The Siren’s Song. While writing and recording The Siren’s Song, Kacy and Clayton found inspiration in the music of Sammi Smith, The Everly Brothers, Link Wray’s chicken shack LPs, country records with harpsichords, The Sir Douglas Quintet, Gene Clark, Jeannie C. Riley, as well as British traditional singers like Peter Bellamy and the Watersons. The Siren’s Song is a product of these influences and an extraordinary progression in the band’s own sound.
Echo and the Bunnymen – It’s All Live Now
Each LP is individually numbered and strictly limited. 180 Gram, black vinyl pressed at Record Industry comes in a single sleeve aqueous-gloss, old school tip-on Stoughton sleeve with brand new artwork and hard stock insert. Never before seen photos of the band. Liner notes by guitarist Will Sergeant. One of the most acclaimed British rockers from the 1980’s, this legendary band formed in Liverpool in 1978 and were forefathers of the neo-psychedelic movement. This brand new collection of their legendary live material recorded in Sweden in 1985 includes classic Rock- N-Roll covers of legendary tunes by the Doors, Rolling Stones, Velvet Underground, Television and more available on vinyl for the first time. Many of the tracks from Sweden were recorded live for Swedish National Radio at the Karen Club. Also included here is a legendary extended version ofDo It Clean recorded live in concert at the Royal Albert Hall in 1983.
Sheer Mag – Need to Feel Your Love
Sheer Mag has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those that suffer the brunt of ignorance and injustice in an imbalanced system. With their debut LP, the cloak has been lifted. It is time to reclaim something that has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that’s poisoned our world. However, it is in our ability to love – our primal human right to give and receive love – that the damage of such toxicity is newly explored. On Need to Feel Your Love, they make their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame: It is love. This – is Sheer Mag.”
Interpol – Our Love to Admire
To celebrate the 10th anniversary of Our Love to Admire, Capitol release expanded versions of this beloved classic. Our Love to Admire marked a critical and commercial breakthrough for the band. Recorded at New York’s Electric Lady and the Magic Shop studios with producer Rich Costey (Muse, Death Cab for Cutie), the album boasts an expansive, cinematic sound that drove home such notable songs as The Heinrich Maneuver, Pioneer to the Falls, No I In Threesome, Mammoth and Rest My Chemistry. Upon its release, the album debuted in the Top Five in both the U.S. and the U.K. Interpol formed in the late 1990s and quickly established a dense, intoxicating sound featuring layers of guitar, bass and synthesizers. The band came up through the vibrant New York scene, alongside such notable contemporaries as the Strokes and the National, but gained crucial early attention in Britain, where they recorded a prestigious live session for legendary BBC DJ John Peel. The LP and CD debut a sparkling new edition of the original album, remastered for this release by Gavin Lurssen with all of its original packaging intact. The bonus DVD captures the band’s 12-song performance at the London Astoria on July 2, 2007. The DVD includes live versions of several songs fromOur Love to Admire, along with such earlier Interpol favourites as Narc, Obstacle 1, Public Pervert, Evil and NYC.
2CD – CD and DVD Set.
2LP – Double 180 Gram Vinyl.
2LP+ – Double 180 Gram Vinyl with DVD.
Kelley Stolz – Que Aura
Extra fine songwriter and longtime bedroom-pop auteur Kelley Stoltz delivers on the promise so many of his records slyly hint at. Que Aura is the platonic ideal of a Kelley Stoltz record, which is a very exciting thing indeed. Stoltz embraces his best synth-pop tendencies, with this incredibly self-assured set of tender tunes, combining in his own hangdog fashion both a disco-lit abandon and the attendant post-party sighs of dread and remorse. Great songs come out of Stoltz at an alarming rate on any given day but this particular collection is some of his most effortlessly catchy stuff yet. Ennui under the disco lights suits him very well – there’s a hearty sip of Pulp-ian white Brit shimmy with a wink, a dash of Fleetwood Mac’s cynically professional late ’70s sheen, and even a spritz or two of Echo and The Bunnymen, which should surprise no one who’s noticed Stoltz has been playing guitar with McCulloch and Company for the past year or so. This record cements Stoltz’s place in the power-pop pantheon where he belongs, right between Dwight Twilley and Martin Newell.
Shelby Lynne and Allison Moorer –Not Dark Yet
Critically acclaimed artists and sisters Shelby Lynne and Allison Moorer release Not Dark Yetvia Silver Cross Records / Thirty Tigers. Produced by Teddy Thompson, their first and highly anticipated album together is an extraordinary debut of the pair’s transcendent musical bond. Not Dark Yet was recorded in Los Angeles in the summer of 2016. The album provides a potent look at the sisters’ individual and collective artistry through eclectic song choices from writers ranging from the Louvin Brothers, Nick Cave, Kurt Cobain, and back to Jessie Colter. Shelby and Allison wrap their arms around the past, plant their feet in the present, and nod toward what’s around the bend with a co-writtenIs It Too Much, to close out the ten-song set.
LP – 180 Gram Vinyl.
Ariel Pink – Another Weekend / Ode To The Goat (Thank You)
Ariel Pink’s Another Weekend is the first single from the forthcoming album. The limited 7″ record comes in printed inner sleeve with liner notes and artwork from Matt Fischbeck, longtime collaborator of Ariel Pink.
Anna Meredith – Nautilus
Limited Edition one off pressing on Etched 12” Vinyl (500 copies – Exclusive to Rough Trade). Stand out track from Anna Meredith’s critically acclaimed album Varmints gets a release on a beautiful limited etched vinyl in all of its 5 minutes 30 seconds glory, and comes backed with hard to find gem Miranda. The flip side of the vinyl features an etching. Anna Meredith, aside from sharing bills with Anna Calvi, James Blake and These New Puritans, Meredith’s dizzying CV includes being Composer In Residence for the BBC Scottish Symphony Orchestra, writing a piece for MRI scanner, soundtracking Prada’s Spring / Summer 2015 campaign, symphonies created for nursery children, music for park benches in Hong Kong and sleep-pods in Singapore. Performances at the BBC Proms have included collaborations with Laura Marling and The Stranglers for the first 6Music Prom, a performance of her body-percussion piece Connect It from the BBC Ten Pieces project and her Last Night Of The Proms composition Froms, simultaneously performed by five symphony orchestras across the UK, was broadcast to an audience of 40 million people.
The Fat Angel Sings 