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THE FAT ANGEL SINGS

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     It Dreaming’ / ‘Manifest’ & ‘Fixed Positions’


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BLEACH LAB – ” NOTHING FEELS REAL “

Posted: October 15, 2021 in MUSIC

0

There’s something about Bleach Lab. Their second EP, ‘Nothing Feels Real’, is
run through with that sort of spectral, magical powder that first drew Wolf
Alice to wider attention – a gut instinct that something truly special could be
just around every corner. In terms of high compliments, it doesn’t come much
better than that.

10 track vinyl LP combining the first two EP’s from Bleach Lab. the band’s
second EP is full of open-hearted emotional songs Whilst their debut EP, A Calm
Sense of Surrounding found them processing grief, in particular the loss of
bassist Josh Longman’s father, its follow-up finds them striving to set
boundaries both personally and romantically. From a musical standpoint, Nothing
Feels Real comprises their most immediate material to date. Influenced by the
likes of The Sundays and The Cranberries, it features their biggest choruses,
whilst the introduction of drummer Kieran Weston and his background in producing
Bon iver-esque ethereal pop, has added an extra layer to Bleach Lab’s already
complex sound. “Nothing Feels Real” is the document of a band who have
progressed both musically and emotionally since their last outing



Produced by the legendary Stephen Street, it’s no surprise there’s a touch of
The Cranberries to opener ‘Real Thing’, either – Jenna Kyle’s vocal gliding
across the emotional spectrum, never losing the warmth that draws the listener
in. Musically deft of touch, ‘Inside My Mind’ manages to covey both the weight
of thoughts and a soothing, reassuring tone in the same four-minutes, while
‘Talk It Out’ may well be one of the more subtle earworms of 2021 so far.



While so many new acts go for the big and bombastic to grab the
attention, Bleach Lab’s approach is far more effective. An EP that doesn’t just
impress, but stops you dead in your tracks. Stunning.





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STEPHEN – ” THE RADAR OF SMALL DOGS “

Posted: October 15, 2021 in MUSIC
Tags: Stephen
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Fans of New Zealand indie pop The Clean will always be an essential inclusion in
any collection, but far less gushed about is David Kilgour’s short-lived band
Stephen. The band was formed during a hiatus from The Clean, though at the time
it didn’t seem like Kilgour had any plans to revive his most famous outfit.
Stephen was an attempt for him to take more of a backseat, sharing song writing
duties with Alf Danielson (Goblin Mix) and later Steve Kilroy. The band was
conceived as a bit of a relaxed atmosphere after the high expectations placed on
The Clean, and it’s reflected in their breezy kiwi-pop. “The Radar of Small
Dogs” has been compiled and reissued previously, first at Flying Nun and later
as a short-run white label edition for Joyful Noise, but it’s turned up this
time as a reissue for Grouper’s Yellow Electric imprint with new art, liner
notes, and original photographs. Sometimes essential reissues pop up in the most
unexpected places.



The release culls together the band’s “Dumb” EP, which finds them enjoying
breezy indie-pop with a scratchy fit, and songs from “The Radar of Small
Dogs” demos that they’d been working on for an un-released debut LP, which found
Kilroy enter the mix. While it’s not an album proper, the record gives a potent
snapshot of a band that wasn’t quite meant to last but seemed to be enjoying
their time while they existed. In an upcoming Maggot Brain interview Kilgour
refers to his time in Stephen as being “in someone else’s band” underlining the
aspirations to just play without needing it to carry the import that people had
placed on The Clean. That Joyful Noise issue was up and gone in no time, so I
wouldn’t sleep to hard on this version. The new issue is limited to 1000, and if
your Flying Nun collection needs a bit of padding, this one is a damn fine
addition.

Stephen under exclusive license to Songbroker Released on: 2020-10-23




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FRUIT BATS – ” SOMETIMES A CLOUD IS JUST A CLOUD “

Posted: October 15, 2021 in MUSIC
Tags: Eric D. Johnson, Fruit Bats
0

It’s impossible to give everything a fair shake around here, and I’ll be honest,
the release of Fruit Bats’ LP “The Pet Parade” stunned me last year. We are
really digging into this new cut, though, which features as the ‘new track on a
comp of faves’ nestled in among the round up of Eric D. Johnson’s favourite
works over his career. “Rips Me Up” is doused in a kind of swaggering,
tie-loosened ‘70s grandeur. Originally recorded along with the sessions for “The
Pet Parade“, the cut didn’t fit the tone of the album, but as a standalone it’s
got a sweat-matted and oddly wrecked feeling to it, despite its polished
exterior.

Beset by feelings of loss, there’s a pain that’s palpable in Johnson’s tidal
breath slide underneath those background vocals. The new collection “Sometimes a
Cloud Is Just a Cloud: Slow Growers, Sleeper Hits and Lost Songs” (2001–2021) is
out January 28th, 2022 on Merge Records.

Released October 11th, 2021

Produced by Josh Kaufman
Band: EDJ, Joe Russo, Josh Kaufman, Josh Mease, Nathan Vanderpool


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SUSANNA HOFFS – ” NAME OF THE GAME ” FEAT. AIMEE MANN

Posted: October 15, 2021 in MUSIC
Tags: Aimee Mann, Susanna Hoffs
0

Susanna Hoffs is honouring some of the great musicians in her life with covers
of songs by Prince, Syd Barrett, The Velvet Underground, Nick Drake, and more
on “Bright Lights” (Baroque Folk Records), out November 12th. 

“These were songs I admired and adored and had listened to on repeat for pure
pleasure, but strangely, had never sung,” says Hoffs. “Stepping up to the mic to
sing them for the first time with our incredible band was truly exhilarating if
a little terrifying

Produced by Paul Bryan, “Bright Lights” is a collection of songs that shaped a
young Hoffs and her friend, the late David Roback of Mazzy Star, when they were
teens. Prince’s Purple Rain track “Take Me With U” is the sole track released
after the earlier era of their musical discovery.



“Bright Lights” also moves through songs by the Monkees, Richard Thompson, The
Merry-Go Round, Chris Bell, and Paul Revere & The Raiders, with Aimee Mann (‘Til
Tuesday) joining Hoffs on Badfinger’s 1971 track “Name of the Game.”

“The artists on Bright Lights approached song writing from a deeply emotional
place and with a profound sensitivity to the world around them,” says Hoffs.
“Sadly, many of them died too young. I didn’t actually see the big picture of
that until I looked at the whole track list. It was subconscious. Yet I’ve
always been drawn to songs that were intensely emotional.”

Hoffs adds, “The best analogy for singing a cover is, ‘does the dress fit?’ Can
I wear it well? Will I be able to do it justice and bring something new to it?

Bright Lights Track List:

Time Will Show the Wiser (The Merry-Go Round)
One These Things First (Nick Drake)
You and Your Sister (Chris Bell)
Name of the Game, featuring Aimee Mann (Badfinger)
I Want to See the Bright Lights Tonight (Richard and Linda Thompson)
You Just May Be the Other (The Monkees)
Him or Me – What’s It Gonna Be? (Paul Revere & The Raiders)
Femme Fatale (The Velvet Underground)
Take Me With U (Prince)
No Good Trying (Syd Barrett)



“Bright Lights”, the new Susanna Hoffs album is out November 12th.


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ANDREW BIRD & IRON & WINE (SAM BEAM) – ‘UPWARD OVER THE MOUNTAIN’ & ‘CALL IT
DREAMING’ / ‘MANIFEST’ & ‘FIXED POSITIONS’

Posted: October 15, 2021 in MUSIC
Tags: Andrew Bird, Iron & Wine, La Blogotheque, Sam Beam
0

For more than ten years, La Blogotheque has changed the way people experience
music videos. We film beautiful, rare and intimate sessions with your favourite
artists, and the ones you are soon to fall in love with. Come, stay a while, and
be taken away.

Get yourself inside the magnificent and untroubled landscapes of Yosemite
National Park in California. Back in August we shot two exclusives recordings
with Andrew Bird and Iron & Wine.

Andrew Bird and Iron & Wine (aka Sam Beam), can see the two artists perform in
the beautiful great outdoors and do so with charity and preservation in mind.

Performing from Tenaya Lake and Cathedral Beach in California’s Yosemite
National Park, the two musicians demonstrated both the majesty of their
musicianship and the natural world. With the onset of climate change, the two
musicians are attempting to bring awareness to the very real plight, they say.
The performances were sponsored by Lucky Brand with media company La
Blogothèque, which includes a $25,000 donation to the National Parks and
contests for fans for Taylor guitars and other gifts that will benefit the
outdoors.

“As a performer, reacting to my environment has been a constant driver,” says
Bird in a statement. “From my “Echolocations” series to Gezelligheid concerts to
Play for the Parks, the idea is simple: be flexible and wait for your
environment to tell you what it wants to hear. With Sam Beam and Yosemite as
collaborators, this was an ideal environment.”

See Bird with Beam perform “Manifest” and his new song, “Fixed Positions.”



“No photograph can prepare a person for the scale and beauty of Yosemite,” said
Beam in a statement. “It was my first visit and I was completely overwhelmed!
What a blessing to be able to spend it making music with Andrew Bird—and ankle
deep in water to boot!”

See Beam with Bird perform his songs, “Call It Dreaming” and “Upward Over the
Mountain.” Next summer, the two musicians will play a show together at the Red
Rocks Amphitheater in Colorado.



“Lucky Brand has had a long-standing history of providing artists and musicians
with a platform for self-expression,” said Michael DeLellis, SVP, Head of
Marketing, in a statement. “Play for the Parks is our latest content series
installment that highlights artists’ voices while paying tribute to our great
American landscape.  We are excited to share these intimate music videos with
our consumers and music lovers everywhere.”


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THE DB’S – ” I THOUGHT YOU WANTED TO KNOW ” 1978-1981

Posted: October 15, 2021 in MUSIC
Tags: Chris Stamey, I Thought You Wanted To Know 1978-1981, The Db's
0

What we have here are home and field recordings of The dB’s. Most of these
tracks predate the release of Stands For deciBels by two to three years and were
the basis of the signing of the band to Albion Records (UK) in 1980. Some songs
are being released to the public for the first time in this package. Now, almost
thirty years after a number of these tracks first saw the light of day on Rhino
Records, we find ourselves in the position of releasing the earliest of these
selections from our archives to a whole new audience. It’s the first time most
have been on vinyl. The live recordings were found after months of Chris sifting
through a trove of ancient cassettes, and we are glad to be able to include
these key songs from those early years. – Peter Holsapple, The dB’s – Durham, NC
– 2021.



In the halcyon days of New York punk club CBGBs, there was a pinball machine
located in the furthest corner away from the stage. In his memoir Spy In The
House Of Loud: New York Songs And Stories, dB’s co-leader Chris Stamey remembers
being drawn to that part of the room on the (frequent) occasions when the band
on stage wasn’t quite as thrilling as legend would have you believe.

He wrote: “When a skilled player like Dee Dee Ramone nudged it just the right
way, making all the lights go off at once, I would see that old pinball machine
as a metaphor for what great rock records should do: trigger some kind of
instant deep-brain response, bypassing the critical facilities, beyond analysis.
Just neurons flashing all over the place…
We wanted to shove the machinery. To make the lights flash off and on.”

In their initial burst of creativity, The dB’s managed to do that spectacularly
well, two indie singles and a pair of UK-released 1981 LPs – “Stands For
deciBels” and “Repercussion” – representing a dizzying synthesis of Television,
fellow Southerners Big Star and their British Invasion heroes The Move. However,
beyond the most fanatical outposts of the worldwide record shop archipelago, the
guitar-and-vocals duo of Stamey and Peter Holsapple, bassist Gene Holder and
drummer Will Rigby never gained much purchase, their lasting influence confined
to fingerprints faintly discernible on the next generation of jangly US
underground bands – REM, The Replacements, et al.



This new collection of low-budget recordings and rediscovered live material
(parts of which were previously available on 1993’s Ride The Wild Tom-Tom set)
captures The dB’s’ sketchy formative years, with their first low-budget A-sides
– 1978’s (I Thought) You Wanted To Know, recorded with
wayward Television guitarist Richard Lloyd, and the 1980 version
of Holsapple’s breakneck Black And White steered by future REM co-producer Don
Dixon – receiving their first official reissue. It captures a fleeting moment
when The dB’s should have become power-pop contenders, and highlights the cubist
twists and baroque underpinning that would condemn them to become one of the
archetypal cult bands.



While they made their name in New York, all four dB’s came from Winston-Salem,
South Carolina, where they had been playing in bands since the turn of the
1970s. Still teenagers, Stamey and Holsapple played alongside future Let’s
Active kingpin Mitch Easter on a $1,000-valued home-released LP as Rittenhouse
Square in 1972. An impatient jumble of The Kinks, Yes and Mountain, it’s not a
record Holsapple plans to reissue. “It’s considered a collector’s item by people
who have obviously never heard it,” he tells Uncut with a sigh. “Save yourself
several hundred dollars and listen to it on YouTube.” Informed
by Television, The Flamin’ Groovies and the (very local) success of Alex
Chilton’s Big Star, Stamey and Rigby then came together to form Sneakers, who
put out a quirky 1976 EP on Stamey’s own Carnivorous label (later renamed Car,
and perhaps most famous for releasing Chris Bell’s I Am The Cosmos – the only
solo record the ill-starred Big Star man put out in his lifetime).

All those years of gigging on the margins ensured that, by the time they started
to rematerialise in New York in 1977, The dB’s had a command of musical dynamics
that few of their DIY contemporaries could match. Their live version of The
Beatles’ Tomorrow Never Knows on this new collection is a case in point, the
foursome taking perverse delight in delivering a perfectly hand-whittled take of
a song that owed its existence to tape manipulation and studio trickery.



Such old-school skills helped Stamey link up with Lloyd, who went uncredited on
the glorious (I Thought) You Wanted To Know – recorded
with Stamey, Holder and Rigby – because he was still under contract with
Elektra. However, The dB’s were not quite a functioning outfit
until Holsapple arrived – fresh from an unhappy spell in Memphis. Taking courage
from the taut sound of Elvis Costello & The Attractions’ This Year’s Model, the
four-piece dB’s came on like a Ramones-paced ? And The Mysterians with
occasional Van Der Graaf Generator time signatures.

(I Thought) You Wanted To Know shows that they cannibalised the odd song from
members’ past lives (The Sneakers’ Let’s Live For The Day, and Death Garage”–
the B-side of a solo Holsapple single, Big Black Truck, released on Car in
1978), but generally started afresh. Adopted by Alan Betrock, founder of New
York Rocker, they recorded on four-track after hours in the magazine’s offices,
but despite an abundance of killer choruses, never had much faith that the
straight record industry would give them their due.

Stamey’s sardonic My Sire Wristwatch – never recorded in a studio but salvaged
from a live tape – mocks a ‘new wave’ promotional item supposedly given away at
a time when Seymour Stein’s label were trying to scrub the word “punk” from the
musical lexicon, pointedly quoting their “new wave” slogan: “You better get
behind it before it gets past you.”

However, their disdain for the dumbed-down music business conformity was married
to a profound faith in what pop music could do. The dB’s were unashamed of their
pre-revolutionary influences, performing loving covers of The Chambers Brothers’
Time Has Come Today and a Byrds-y take on Bob Dylan’s My Back Pages here, but
they arguably had better songs of their own. The rough early versions
of Holsapple’s Bad Reputation and the Sister Lovers-style Nothing Is Wrong are
glorious, while Stamey’s mastery of lopsided writing is underscored by the fact
that he had enough A-material to abandon Everytime Anytime and Tell Me Two
Times before The dB’s got to record a proper album.

With Betrock as nominal producer, The dB’s started recording Stands For
deciBels in 1980, but were unable to find the funds to finish it off, management
company-turned-UK label Albion ultimately picking the band up and making a
quixotic attempt to break them in Britain. The label resorted to spectacular
gimmicks to try and draw attention to Stands For deciBels (cassette copies came
in a ludicrous tin can) and Repercussion (each copy came with a cassette
sellotaped to the front), but good reviews never translated into sales.

Stamey quit, leaving Holsapple to lead the band through two further albums (Like
This and The Sound Of Music) before he became better known as the unofficial
fifth member of REM on Green and Out Of Time. The dB’s continue to kind of
exist; the original lineup made Falling Off The Sky in 2012, while Goin’ To The
Club from this record comes with a new Stamey vocal, and he says he would have
prodded his bandmates into re-recording a few more of the tracks here were it
not for the pandemic.

However, if that would have been interesting, the joy of the eavesdropped
recordings on (I Thought) You Wanted To Know comes in the unvarnished edges.
Listen carefully and you can hear the shape of the back rooms and half-empty
venues where The dB’s spun gold. Both Holsapple and Stamey have mixed feelings
about their singing on these recordings, but if the high harmonies on this
version of Dynamite and the glorious What’s The Matter With Me? are not perfect,
they encapsulate The dB’s’ delight in creating this spectacular music for the
pure joy of it; all those flippers flapping, bumpers bumping, everything
flashing at once.

The dB’s – “I Thought You Wanted to Know: 1978-1981” 23 Tracks of Remastered
Early Singles, Demos, and Live Recordings


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DUMMY – ” ATONAL POEM “

Posted: October 15, 2021 in MUSIC
Tags: Dummy
0

Dummy will release their new album “Mandatory Enjoyment” via Trouble in Mind
Records. The group has shared a new video for the hypnotic album highlight
“Atonal Poem.” Where much of the album finds the group turning up the fuzz or
creating a more layered shoegaze and noise pop sound, “Atonal Poem” is more
serene and soothing, which the group attributes to being “obsessed with new age
music.”

In a statement, Alex from Dummy says, “We were listening to a lot of very
peaceful music played on malleted instruments. It’s kind of like, wouldn’t it be
funny to try to write a song like this? Why not break the rules? Why not
challenge the expectations, especially within yourself? We wanted to create
something uninhibited and untethered to convention. We had no idea where it
would take us, but this track was the result. In the mythology of the record,
this song represents the visitor’s journey home, far away from the atrophy and
decay of life on Earth.”



The band has also shared an influences playlist on Spotify, featuring songs from
Silver Apples, Mariah, Antena, Sun Ra, Stereolab and more. It’s an eclectic
blend of music, with some influences that might not be so obvious on first
listen.

The group said in a statement, “Here’s a playlist to accompany our new
album, “Mandatory Enjoyment.” We tried to make it as honest as possible; some of
these tracks are directly referenced on our album. Others inspired production or
aesthetic choices.”

Taken from the band’s debut album “Mandatory Enjoyment”, out October 22nd, 2021
via Trouble In Mind Records (www.troubleinmindrecs.com)


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HALL AND OATES – ” LIVE AT THE TROUBADOUR ” 3 LP SET

Posted: October 15, 2021 in MUSIC

0

Hall and Oates for over a decade (1974-1988) Daryl Hall and John Oates were a
hit-making machine that eclipsed the Everly Brothers as the #1 charting duo of
the Rock era. In 14 years, they placed 16 hits in the Top 10 nationally,
including six number 1’s. The duo debuted with “She’s Gone” in 1974, fighting it
out with the Soul group Tavares for the highest chart position. It was a
middling hit climbing to #60. But on their second outing, they struck gold with
“Sara Smile,” a song written for Hall’s girlfriend, which landed at number 4
spot.

With the reissue of “She’s Gone,” in 1976, it became a smash hit at #7, and Hall
and Oates had arrived. “Rich Girl,” went to #1 in 1977, but they owned the
charts in the 1980s beginning with “Kiss on My List,” “You Make My Dreams,”
“Private Eyes,” and “I Can’t Go For That (No Can Do) all from 1981, and all
topping the national charts.

More hits followed; “Maneater,” Family Man,’ Say It Isn’t So,” “Adult
Education,” “Out of Touch,” and “Method of Modern Love.” These guys had the
Midas Touch, though not everyone was enthralled with them. The hits stopped in
1991, but Hall and Oates continue to tour.



John Oates explains; “Playing the Troubadour in LA has been a “rite of passage”
for live musicians for 64 years and Daryl and I played our first show there
opening for the late great Harry Chapin in 1973. Over the years I always loved
seeing shows and hanging out there with musicians and friends…returning to play
again in 2008 was a full circle moment for me and the vibe was amazing.”



They were inducted into the Rock and Roll Hall of Fame in April 2014. Daryl Hall
& John Oates “Live At The Troubadour” will be released in a 2-CD and 3-LP set
(the first time ever on vinyl) on November 26th, 2021.




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 THE ROLLING STONES IN NYC – CAN’T GIVE IT AWAY ON SEVENTH AVENUE:

Posted: October 15, 2021 in MUSIC

0

When the Rolling Stones first arrived at JFK Airport in June 1964, they hadn’t
even had a hit record in America. By the end of the decade, they were mobbed by
packed audiences at Madison Square Garden and were the toast of New York City’s
media and celebrity scene.

More than fifty years later, the history of New York City and the Rolling Stones
have entwined and paralleled, with the group playing in nearly all of the Big
Apple’s legendary venues. Along the way Mick Jagger, Keith Richards, and the
rest of the Stones have left an impact on the culture of the city, from the
turbulent “Fun City” of the 1960s and ’70s through the twenty-first century. The
evolving career of the Stones has often reflected the cultural changes of the
city, as the Stones and their music were the centre of social and political
controversies during the same era that New York faced similar challenges.

Can’t Give It Away on Seventh Avenue: The Rolling Stones and New York
City explores the history of the group through the prism of New York. It is a
highly detailed document of the dynamic and reciprocal relationship between the
world’s most famous band and America’s most famous city as well as an absorbing
chronicle of the remarkable impact the city has had on the band’s music and
career.


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MODERN NATURE – ” ISLAND OF NOISE “

Posted: October 15, 2021 in MUSIC
Tags: Modern Nature
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Good news today, Seems that faves Modern Nature (feat members of Ultimate
Painting, Sunwatchers) has a new project on the way. Previewing a few tracks in
an excellent set at The Woods Stage at the End Of the Road Festival. The new
album is unlike any other in the Modern Nature catalogue. While Jack Cooper
still blends folk, jazz, psychedelia, and kosmiche touchstones, this is less a
pop album and more of a compositional approach to world building.

The record spans two versions – “Island of Noise” and “Island of Silence”, the
latter an instrumental version of the record. The album pushes out the edges of
Cooper’s world while also drawing the conceptual edge tight — with the record
set to inhabit an imaginary island seen from an outsider’s perspective. The
album will feature kindred spirits both audio and visual from Cooper’s world,
drawing in saxophonist Evan Parker, pianist Alexander Hawkins, bassist John
Edwards and violinist Alison Cotton, as well as long term collaborators Jeff
Tobias and Jim Wallis. An accompanying book will feature Booker-nominated poet
Robin Robertson, mycologist Merlin Sheldrake, illustrator Sophy Hollington, and
writer Richard King and there will be a film as well (excerpts of which are
above, created by Jack and his former Mazes bandmate Conan Roberts. The new
record arrives November 19th from Bella Union.



There is an Event Bundle includes one free entry to the launch event at The
Social on November 15th featuring an exclusive film screening and Q&A, presented
by Caught by the River. Collect your album on the night, days before official
release! More info about the event here.

Island of Noise – 180g Recycled Vinyl
Island of Silence (Expanded Instrumental Version) – 180g Recycled Vinyl
36pg Perfect Bound Booklet with 10 contributions from artists & writers in
conjunction with, and inspired by, a song on the album. Contributors include
Sophy Hollington, Evan Parker, Merlin Sheldrake and Robin Robertson. Limited to
1000 copies.

Since the demise of his previous band Ultimate Painting, Jack Cooper – under his
Modern Nature guise – has never stopped looking ahead, exploring and reaching
for something further. Since 2019, he’s released an EP, last year’s mini album
“Annual“, one full length LP, one 7” and three live cassettes – in the process
mapping out astonishing new terrain. Island Of Noise presents an obvious new
peak in his discography.

Available only as a limited edition boxset. Made from sustainable material. JACK
COOPER — Guitar JOHN EDWARDS — Double Bass ALEXANDER HAWKINS – Piano EVAN PARKER
— Soprano Saxophone JEFF TOBIAS — Bass Clarinet JIM WALLIS – Percussion




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