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Search "danny+brown"
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Rome Is Not A Town - Tender Arms Power Heels
Rome Is Not A Town
Tender Arms Power Heels
LP | 2022 | EU | Original (Startracks)
23,99 €*
Release: 2022 / EU – Original
Genre: Rock & Indie
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Last Ten Seconds Of Life - Last Ten Seconds Of Life
Last Ten Seconds Of Life
Last Ten Seconds Of Life
2LP | 2022 | EU (Unique Leader)
19,59 €* 27,99 € -30%
Release: 2022 / EU
Genre: Rock & Indie
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Dany Laj And The Looks - Ten Easy Pieces
Dany Laj And The Looks
Ten Easy Pieces
LP | 2021 | US | Original (We Are Busy Bodies)
17,99 €* 19,99 € -10%
Release: 2021 / US – Original
Genre: Rock & Indie
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Ten Easy Pieces is Dany Laj and the Looks third full-length album. The past two years has seen Laj spending quite a bit of time with his 4 track recorder writing a big collection of songs, re-working old ones, and even trying his hand at covering songs by Canadian artists he loves. "I think I had about 38 songs that I presented to our manager Eric with all kinds of stylings, I remember finally saying 'okay, that's the record' and felt bad 'cause I had bombarded his hard drive with like a million different mixes and so on.In comes Ten Easy Pieces, his most focused effort yet. After demoing and having more than three records worth of material, Laj eventually got together with his lifelong mate/longtime bassist Jeanette Dowling and drummer Dusty Campbell and started recording the latest Looks effort, which is their most focused effort to date.
Dan Luke And The Raid - Out Of The Blue Black Vinyl Edition
Dan Luke And The Raid
Out Of The Blue Black Vinyl Edition
LP | 2019 | EU | Original (New West)
23,99 €*
Release: 2019 / EU – Original
Genre: Rock & Indie
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Dan Padilla / Prince Of Austin - Split EP
Dan Padilla / Prince Of Austin
Split EP
7" | 2016 | US | Original (Dead Broke)
9,99 €*
Release: 2016 / US – Original
Genre: Rock & Indie
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Split EP from Dan Padilla (including members of legendary CA melodic punk kings TITLWheel) & Prince (of Austin), whose members include members of Dude Jams!, Huff Stuff Magazine, Punkin Pie, The Capitalist Kids & more. Swan song release for Dan Padilla. 2 tracks from Dan Padilla, 1 ultra-cut from Prince (of Austin).
The Day's Refrain / A.M. Thawn - A.M. Thawn / The Day's Refrain
The Day's Refrain / A.M. Thawn
A.M. Thawn / The Day's Refrain
7" | 2000 | DE | Original (Park Bench)
7,99 €*
Release: 2000 / DE – Original
Genre: Rock & Indie
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Used Vinyl
Medium: VG+, Cover: VG
Picture disc. Plastic cover with seam split
Rome Is Not A Town - It's A Dare
Rome Is Not A Town
It's A Dare
LP | 2017 | EU | Original (Startracks)
15,99 €*
Release: 2017 / EU – Original
Genre: Rock & Indie
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Tony Hawk & Punk Rock Karaoke - In The City Silver Vinyl Edition
Tony Hawk & Punk Rock Karaoke
In The City Silver Vinyl Edition
7" | 2023 | EU | Original (Cleopatra)
13,99 €*
Release: 2023 / EU – Original
Genre: Rock & Indie
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Tony Hawk & Punk Rock Karaoke - In The City Purple Vinyl Edition
Tony Hawk & Punk Rock Karaoke
In The City Purple Vinyl Edition
7" | 2023 | EU | Original (Cleopatra)
13,99 €*
Release: 2023 / EU – Original
Genre: Rock & Indie
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Brian Eno, Holger Czukay, J. Peter Schwalm - Sushi. Roti. Reibekuchen
Brian Eno, Holger Czukay, J. Peter Schwalm
Sushi. Roti. Reibekuchen
2LP | 2024 | EU | Original (Grönland)
34,99 €*
Release: 2024 / EU – Original
Genre: Rock & Indie, Electronic & Dance
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Dean Wareham / Britta Phillips / Sonic Boom - A Peace Of Us Emerald Vinyl Edition
Dean Wareham / Britta Phillips / Sonic Boom
A Peace Of Us Emerald Vinyl Edition
LP | 2024 | US | Original (Carpark)
26,99 €*
Release: 2024 / US – Original
Genre: Rock & Indie
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Preorder shipping from 2024-11-22
In a season where we all seek comfort, tradition, and a return to a home of sorts, a trio composed of indie music"s foundational members have gifted us A Peace of Us-an album of diverse holiday tunes filtered through their musical imaginations. Dean & Britta, well-known from their work defining a genre with Galaxie 500 and Luna, join Spacemen 3"s Sonic Boom, another bastion of indie"s collective adolescence, to bring to life a collection that draws from early "60s pop, garage, country, James Bond soundtracks, Christmas carols, and electronica. Dean Wareham recalls a sentiment from his DJ friend Chris: "You can experience all the emotions of Christmas through music: love and hate, joy and heartache, nostalgia, regret, anticipation, and frustration."
Teen Jesus And The Jean Teasers - I Love You Transparent Blue Vinyl Edition
Teen Jesus And The Jean Teasers
I Love You Transparent Blue Vinyl Edition
LP | 2024 | US | Original (Mom+Pop)
33,99 €*
Release: 2024 / US – Original
Genre: Rock & Indie
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Preorder shipping from 2024-11-01
Teen Jesus and the Jean Teasers are a powerhouse, celebrated for their raw emotion and incisive social observations. Their talent has earned them nominations for Best Independent Punk Album or EP at the AIR Awards, Emerging Songwriter of the Year and Song of the Year at the APRA Awards, along with nods from the J Awards and Rolling Stone Awards. Recognised as Spotify's RADAR Artist, their rising global influence is undeniable.

Following their award winning 2022 EP, Pretty Good For A Girl Band, their debut album I Love You charted at number 6 on the ARIA Albums Chart, marking a significant milestone. The accompanying tour saw them sell out iconic venues like 170 Russell in Melbourne, the Metro Theatre in Sydney, and The Triffid in Brisbane. They capped off the year supporting the Foo Fighters at AAMI Park in Melbourne and launched into 2024 by supporting The Vaccines across the EU/UK.

I Love You showcases the bands growth, with each member contributing to songwriting. It stands as a definitive statement of their sound—joy, rage, and euphoria, delivered with precision and heart. Teen Jesus and the Jean Teasers continue to make waves, solidifying their place in the music industry.
Alan Licht & Charles Curtis & Dean Roberts - May 99
Alan Licht & Charles Curtis & Dean Roberts
May 99
LP | 2023 | EU | Original (Blank Forms Editions)
29,99 €*
Release: 2023 / EU – Original
Genre: Rock & Indie
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In the spring of 1999, Charles Curtis, Alan Licht, and Dean Roberts brought an unconventional mix of drone, improvisation, and experimental rock on an eleven-stop tour of Europe. The concept was straightforward, yet novel: each night, they would improvise a single piece while sustained sine waves played for the duration of the concert. May 99, culled from three shorter pieces recorded for a radio program at Amsterdam's VPRO near the end of the tour, represents an early high watermark in the collision of minimal and rock sensibilities that started to become prevalent in the late 90s and is an ear-opening listen even for those familiar with the musicians' other projects.May 99 combines resonant sine waves in the style of eminent downtown New York composer La Monte Young's Theater of Eternal Music with scratchings, scrapings, and warblings produced by Licht and Roberts's guitars, Curtis's cello, and a variety of electronics. Just as sine waves hold together these sundry improvisations, a shared tendency toward the minimalistic-Licht's performances with the Blue Humans, collaborations with Loren Connors, and solo guitar records; Roberts in the band Thela and his solo project White Winged Moth; and Curtis performing with Young and his own Trio-brought together three musicians with very different backgrounds, creating fertile ground on which they generated the album's unclassifiable sounds.
High Tone Son Of A Bitch - Live At The Hallowed Halls
High Tone Son Of A Bitch
Live At The Hallowed Halls
LP | 2022 | EU | Original (Ripple Music)
23,99 €*
Release: 2022 / EU – Original
Genre: Rock & Indie
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Tina Has Never Had A Teddybear - He's Comin' Back
Tina Has Never Had A Teddybear
He's Comin' Back
7" | 2022 | EU | Original (Rundling)
13,99 €*
Release: 2022 / EU – Original
Genre: Rock & Indie
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Arrington De Dionyso's Malakait Dan Singa - Open The Crown
Arrington De Dionyso's Malakait Dan Singa
Open The Crown
LP | 2013 | US | Reissue (K)
23,99 €*
Release: 2013 / US – Reissue
Genre: Rock & Indie
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You may have experienced ARRINGTON DE DIONYSO'S MALAIKAT DAN SINGA as an unexpected live force, pushing up through the earth like daffodils in late winter; or maybe you're familiar with their previous exploits in the studio, "Malaikat dan Singa" [KLP215] and "Suara Naga" [KLP226], which burn clean with fragrant traumas. "Open the Crown" is similarly passion-filled, with new vistas (channeled hallucinations) exploring English (previously only the Indonesian language was employed) as their stomping ground to expand parallel themes anew. Open the Crown conveys tendrils of raw energy emanating from the head - dream visions translated directly to audio outrage. Heavy. And sexy. To be expected from ARRINGTON DE DIONYSO and his molten collection of MALAIKAT DAN SINGA who manipulate the "form'd and the formless" to create from within this broken system.
Don Van Vliet & The Magic Band - Rough, Raw And Amazing
Don Van Vliet & The Magic Band
Rough, Raw And Amazing
2LP | 2015 | US | Original (Ozit/Dandelion)
33,99 €*
Release: 2015 / US – Original
Genre: Rock & Indie
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Used Vinyl
Medium: Near Mint, Cover: Near Mint
Harry Dean Stanton With The Cheap Dates - October 1993
Harry Dean Stanton With The Cheap Dates
October 1993
LP | 2021 | EU | Original (Omnivore)
24,99 €*
Release: 2021 / EU – Original
Genre: Rock & Indie
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King Buzzo Of Melvins with Trevor Dunn - Gift Of Sacrifice
King Buzzo Of Melvins with Trevor Dunn
Gift Of Sacrifice
LP | 2020 | US | Original (Ipecac)
22,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie
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Wasted Shirt (Ty Segall & Brian Chippendale Of Lightning Bolt) - Fungus II
Wasted Shirt (Ty Segall & Brian Chippendale Of Lightning Bolt)
Fungus II
LP | 2020 | US | Original (Famous Class)
26,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie
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• Heavily recommended by Henry Rollins

• LP includes an 8-page risograph lyric zine by Brian Chippendale

“Rarely when formulating combinations of musicians you would like to hear play together do you get to actually hear it. If Brian Chippendale and Ty Segall made a record, would you want to hear it? If the answer is yes, read on. If the answer is no, it’s too bad you ended up canned, suspended in syrup with nothing but other peaches to keep you company.

“Ty’s 2019 album First Taste and the new Lighting Bolt album Sonic Citadel are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5th -13th 2018, in the air-conditioning free environs of Ty’s home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would.

“Prepare To Be Stoked Dept.: The album is exploding euphoria from start to finish. A morphing day-glo rainbow that will bring a smile to your face like if you were on your way to Washington DC for the Million Puppy March. Upon first spin, all boxes are checked and any previously held doubts are completely obliterated. The more you play it, the better it kabongs you upside your head. Hectic doesn’t even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.”

—Henry Rollins
Joan As Police Woman, Tony Allen & Dave Okumu - The Solution Is Restless
Joan As Police Woman, Tony Allen & Dave Okumu
The Solution Is Restless
2LP | 2021 | EU | Original (Pias)
23,99 €* 31,99 € -25%
Release: 2021 / EU – Original
Genre: Rock & Indie
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Joan As Police Woman, Tony Allen & Dave Okumu - The Solution Is Restless
Joan As Police Woman, Tony Allen & Dave Okumu
The Solution Is Restless
2LP | 2021 | EU | Original (Pias)
29,99 €*
Release: 2021 / EU – Original
Genre: Rock & Indie
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Used Vinyl
Medium: Near Mint, Cover: Near Mint
Giles Corey (Dan Barrett of Have A Nice Life) - Giles Corey
Giles Corey (Dan Barrett of Have A Nice Life)
Giles Corey
2LP+Book | 2020 | US | Original (The Flenser)
46,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie
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“‘Some time in the Spring of 2009, I tried to kill myself. Six months before that, I used a Voor’s Head Device for the first time.’ This line opens the 150-page book that accompanies Giles Corey, an intensely personal, intimate portrait of depression that took me almost four years to make.” —Dan Barrett


Giles Corey’s haunting self-titled debut is back in print! The Flenser is pleased to offer a new version of this cult favorite as a double LP housed in a gatefold jacket, with the same 150-page book that accompanied the previous versions.

Giles Corey is the gloomy folk-driven solo project from Have A Nice Life mastermind Dan Barrett. Here, Barrett forgoes the post-industrial trappings of Have A Nice Life in favor of an intimate singer-songwriter approach. While thematically related to his other work—dealing with subjects like suicide, death and the paranormal—Giles Corey feels more personal, with impressive shifts from quiet desperation to cathartic outburst. Over the years the album has gained a fervent following, and has sometimes been compared to a religious experience. It is dark yet purgative enterprise not for the frail of heart.

The accompanying book is an integral part of the album. Its examinations of the life and times of cult leader Robert Voor parallel the themes within the lyrics and offer further immersion for the reflective listener. In Barrett’s own words: “The album follows a story arc of emotions that are detailed in the accompanying book, as much a part of this record as the music. The text switches between personal tales of struggles with depression, suicide, and a feeling of being lost, and the story of cult-leader and afterlife theorist Robert Voor. Voor’s writings on death and the afterlife feature prominently across Have A Nice Life’s Deathconsciousness, Nahvalr’s self-titled debut, and Giles Corey, making him the unifying factor behind most of the music I’ve written in the last ten years. This record is as personal and raw as anything I’ve ever done.”
Giles Corey (Dan Barrett of Have A Nice Life) - Hinterkaifeck
Giles Corey (Dan Barrett of Have A Nice Life)
Hinterkaifeck
LP | 2020 | US | Reissue (The Flenser)
27,99 €*
Release: 2020 / US – Reissue
Genre: Rock & Indie
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Preorder shipping from 2024-11-22
“Wretched Humanity, the fault is yours.” Giles Corey is the gloomy, stripped-down solo project of Dan Barrett, one of the masterminds behind the cult act Have A Nice Life. Dealing with issues like suicide, depression, and the paranormal, Giles Corey is both incredibly bleak and intimate. Two years after the project’s self-titled debut, Barrett recorded three minimalist tracks before a series of live performances, releasing them as Hinterkaifeck. Hinterkaifeck was released in February 2013 by Enemies List Home Recordings, and has existed exclusively as a digital release until now. The title is a reference to a gruesome and mysterious mass murder that took place on a remote farm in 1922 near Munich, Germany. The Flenser presents Giles Corey’s Hinterkaifeck as a one-sided 12-inch record with a special etching on the b-side. “Giles Corey’s Hinterkaifeck is a testament to his ability to wield emotion with his ambience and subtlety.” —Sputnikmusic
Black Wing (Dan Barrett of Have A Nice Life) - No Moon
Black Wing (Dan Barrett of Have A Nice Life)
No Moon
2LP | 2020 | US | Original (The Flenser)
32,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie, Electronic & Dance
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Dan Barrett—the man behind Have A Nice Life, Giles Corey, and Enemies List Home Recordings—has unveiled his sophomore album as the electronic project Black Wing on The Flenser. No Moon is a gorgeous chillwave / post-punk record with nine bleak yet blissful songs and is a fitting close out to the year 2020. Written over the course of the last few years, with about half of the songs penned over the last six months (mostly due to pandemic “free time”), No Moon is a heart-wrenchingly honest outpour of emotion. Throughout the writing process, Barrett was having recurring dreams and felt a strange sense of timelessness—that, combined with quarantine is what he simply describes as “a weird experience.” Barrett explains, “Quarantine was profoundly isolating. With writing this record, more than anything I just wanted to prove to myself that I could make something out of it. That ended up being a lot of songs about feeling isolated, a lot of ‘trapped in my own head’ moments. I think that was a lot of people’s experience as well.” Barrett formed Black Wing in the mid-2010s as an opposite to his project Giles Corey; where Giles started as “only acoustic instruments allowed,” Black Wing started with only digital instruments. In 2015, Black Wing released its first proper full length, …Is Doomed, to great critical acclaim. Much like that album, No Moon bubbles with electronica and indie-pop with earworm melodies and affecting lyrics. But No Moon is a transitional change from Black Wing’s debut; the songs here are a bit more experimental and there’s a significantly wider emotional range to them. The lyrics are haunting and personal and resonate deeply with the listener. The nine new tracks on No Moon are gloomy yet glorious, heavy while ambient, overwhelming yet alluring, and offer an earnest and honest look into one’s self during such a troubling and confusing year—something everyone can relate to.
Giles Corey (Dan Barrett of Have A Nice Life) - Hinterkaifeck
Giles Corey (Dan Barrett of Have A Nice Life)
Hinterkaifeck
LP | 2020 | US | Original (The Flenser)
20,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie
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“Wretched Humanity, the fault is yours.”

Giles Corey is the gloomy, stripped-down solo project of Dan Barrett, one of the masterminds behind the cult act Have A Nice Life. Dealing with issues like suicide, depression, and the paranormal, Giles Corey is both incredibly bleak and intimate. Two years after the project’s self-titled debut, Barrett recorded three minimalist tracks before a series of live performances, releasing them as Hinterkaifeck.

Hinterkaifeck was released in February 2013 by Enemies List Home Recordings, and has existed exclusively as a digital release until now. The title is a reference to a gruesome and mysterious mass murder that took place on a remote farm in 1922 near Munich, Germany. The Flenser presents Giles Corey’s Hinterkaifeck as a one-sided 12-inch record with a special etching on the b-side.


“Giles Corey’s Hinterkaifeck is a testament to his ability to wield emotion with his ambience and subtlety.”

—Sputnikmusic
Giles Corey (Dan Barrett of Have A Nice Life) - Giles Corey
Giles Corey (Dan Barrett of Have A Nice Life)
Giles Corey
2LP+Book | 2020 | US | Original (The Flenser)
41,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie
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Used Vinyl
Medium: VG, Cover: VG+
Small light scuff on side B.
Includes original inner sleeves with seam splits.
Giles Corey (Dan Barrett of Have A Nice Life) - Giles Corey
Giles Corey (Dan Barrett of Have A Nice Life)
Giles Corey
2LP+Book | 2020 | US | Original (The Flenser)
42,99 €*
Release: 2020 / US – Original
Genre: Rock & Indie
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Used Vinyl
Medium: VG, Cover: VG+
Small light scuff on side A.
Includes original inner sleeves.
Empty Country - Empty Country II Pink Vinyl Edition
Empty Country
Empty Country II Pink Vinyl Edition
2LP | 2023 | UK | Original (Tough Love)
31,99 €*
Release: 2023 / UK – Original
Genre: Rock & Indie
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As the front person of celebrated indie band Cymbals Eat Guitars, guitarist and singer Joseph D’Agostino spent over a decade setting autobiographical, emotionally vivid lyrics against a backdrop of soaring and compositionally ambitious rock. After four critically acclaimed LPs that solidified D’Agostino’s reputation as a gifted songwriter, he chose to break from his long-term band and debut a new project: Empty Country. On 2020’s self-titled debut, D’Agostino’s storytelling lens shifted away from personal narrative and toward fiction; psychopaths, apparitions and deplorables populated a bleak and uncanny parallel version of American dystopia. Empty Country’s sprawling and sonically adventurous arrangements—filled out by collaborating musicians including Rachel and Zoë Browne (Field Mouse), Kyle Gillbride (Swearin’), Zena Kay (Angel Olsen), and former CEG drummer Charlotte Anne Dole—ranged from luminous jangle-pop to scorching emo-punk to narcotized Americana. Though the pandemic curtailed planned touring, a seven-piece iteration of the band played one packed Brooklyn show in May 2022, supported by Charles Bissell (The Wrens) and Field Mouse; Empty Country also backed Bissell on several classics from The Meadowlands. “It was a wonderful return to live music for all of us,” says D’Agostino. “So many folks reached out to me and told me how Empty Country offered them comfort during those first several months of being stuck inside. I’m happy that it came out and connected with some people and that I was able to establish this universe I could continue to build on.”

Empty Country II, the project’s second full-length, is a thrilling expansion of that world. D’Agostino pushed himself to new places as a songwriter, crafting a collection of short stories set to music that grapple with the biggest questions now hanging over America—gun violence, the addiction epidemic, and generational hopelessness among them. In 2020, he’d moved from Philadelphia to small-town New England to be closer to family, and his new locale, coupled with the dread of lockdown, inspired him to return to the haunted world from the first LP. “It’s pretty jarring to leave a city—where you can safely assume you’re aligned with your neighbors on many political and social issues—for somewhere more rural and conservative,” says D’Agostino, noting the Trump flags and Blue Lives Matter hood wraps that dot his new dirt road residence. Across the new album’s nine tracks, D’Agostino introduces us to a bevy of characters: three generations of West Virginia clairvoyants, crushed by the weight of their secret knowledge; a group of drag queens and misfits in early ‘80s New York City; a pill mill doctor’s daughter who dabbles in necromancy; a convicted killer; a bullied kid injured and alone in the forest as night falls. Through the stories of these characters, Empty Country II delivers an engaging and deeply moving rumination on time, family, and the disintegration of America.

Despite the stoicism of its storytelling, Empty Country II cuts the darkness with beauty, humor, and an earnest belief in the transcendent power of rock music. It was recorded over two weeks at Fidelitorium, the renowned studio in Kernersville, NC, belonging to R.E.M. producer Mitch Easter. Legendary recording engineer John Agnello, whose previous collaborations with Cymbals Eat Guitars resulted in their 2014 high-water mark, Lose, brought his trademark clarity and nuance to the process, helping Empty Country II crackle with a vital energy that imbues these stories with genuine lifeforce. Dole returned on drums for the record, her virtuosic performances lending raw power and immediacy; her twin brother Patrick joined on bass, his decades of experience uplifting the songs with subtle melodicism and formidable technicality. The group's chemistry and deep personal history are palpable, allowing them to approach the record’s complex story with subtlety and dynamism. “Mitch has collected an astounding array of weird mics, amplifiers, and oddball orchestral instruments: organs, Buddhist temple bells, bar chimes, tubular bells,” enthuses D’Agostino about the studio. “FLA,” a gripping portrait of a queer tour boat pilot in the Florida Keys pining for their absent lover, was arranged from the ground so the group could incorporate Easter’s timpani. D’Agostino considers it a high point of his lengthy discography and lauds that song’s harmonica solo as “my favorite 30 seconds of music that I’ve ever been a part of.”

Empty Country II also features some of D’Agostino’s most danceable songs—like “David,” a tribute to D’Agostino’s late friend David Berman. Featuring a lyrical tapestry of Silver Jews references and surreally beautiful images, head-nodding Philly soul grooves collapse into cosmic freeform jazz-inspired sections, ornamented with inventive hand percussion, marimba flourishes, and toe-tapping piano chords. “Recite a poem as the day vibrates,” D’Agostino sings. “I finally wrote this song for you / But I don’t know who I’d show it to.” It’s a paraphrase of W.S. Merwin’s famed short poem “Elegy”, written after the passing of his own mentor, John Berryman. On “Bootsie,” a runaway girl from West Virginia explores the crumbling, glorious 1980s New York City of Paris is Burning, finding community in a scene of drag queens who offer her a new way of thinking about what makes America—and rock music—great. Based on his own mother’s experiences at the height of the Aids epidemic, the song has deep personal meaning to D’Agostino. “The men you thought were brave / are arrogant and depraved,” he sings against the damaged disco beats of the Dole siblings’ rhythm section. Inverting the chorus of the Talking Heads’ “Heaven,” the lyrics of “Bootsie” celebrate the underdogs and misfits: “Hell is the place where everything happens / The band’s playing all the songs ever written at once / Shape the chaos, make your little story / Baby, this life’s perfect purgatory.”

Though Empty Country II is a record about the forces that drive Americans apart, it’s also imbued with empathic love and an understanding of what binds people to family and country—in spite of the darknesses we encounter. The concept of a Great American Rock Album might scan as outdated in 2023, but with this sprawling and uncompromising epic, D’Agostino and Empty Country shatter ambivalence and confront the horrors with a community-minded sense of cautious optimism. “We may be staring into an abyss,” says D’Agostino. “But we’re all staring together.”
Paul Weller - Fat Pop Standard Black Vinyl Edition
Paul Weller
Fat Pop Standard Black Vinyl Edition
LP | 2021 | EU | Original (Polydor)
28,99 €*
Release: 2021 / EU – Original
Genre: Rock & Indie
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We may be cursed to be in the midst a global pandemic, buffeted by all of its stresses and pain. But everyone knows that art provides succour, that music is the most reliable balm. And for many there is further significant comfort to be drawn from the knowledge that Paul Weller is in the midst of an unbelievably prolific purple patch. Paul Weller will not let us down when we need him most.

On May 14th, Paul Weller releases his 16th solo album since his self-titled debut in 1992, his fourth in as many years and his second in just under twelve months following June 2020’s magnificent, chart-topping On Sunset. It’s not hyperbole to state that this new album, titled Fat Pop (Volume 1), is among his most compelling collections, bar none, including all of his era-defining work in the 1970s and ‘80s with The Jam and The Style Council. It’s an absolute scorcher.

When lockdown was declared in March 2020, Paul Weller decided immediately that he wanted something to focus on, since it seemed unlikely he’d be able to tour On Sunset as planned that summer.

“I had lots of ideas stored up on my phone,” he explains down that same handset, speaking from outside his London home, “and at least this gave me an opportunity to develop them.” So he started to record songs on his own, doing just vocals, piano and guitar, then sending those sound files to his core band members such as drummer Ben Gordelier, Steve Cradock on guitar and various other instruments, and bassist Andy Crofts for them to add their parts. “It was a bit weird not being together, but at least it kept the wheels rolling. I’d have gone potty otherwise.”

The band reconvened at Weller’s Black Barn studio in Surrey during the summer when restrictions were lifted to finish the work, with several of the songs being cut live. By this stage, the shape of the album was clear to all. Weller wanted to deliver an album of singles, twelve short, distinct blasts, each strong enough that they could stand alone if so desired.

“That was a conscious decision,” he confirms. “I even thought about putting every song out as a single first then gathering them all on an album, but that wasn’t practical at the moment. They all have that strength and immediacy, I think, and they’re all short, three minutes or so maximum.”

Producer Jan ‘Stan’ Kybert was so taken with the concept that he half-jokingly suggested that the album be called Greatest Hits. “I quite liked the idea and every song does stand up as a single, I think,” chuckles Weller, “but no, we couldn’t do that really.”

Instead, he plumped for Fat Pop (Volume 1). “I thought we’d add Volume 1 to it just to keep my options open in the future for a second volume!” The title track, a tight, heavy blast of ultra-modern funk, is itself the conceptual key to the whole album. “It’s a celebration of music and what it’s given us all. No matter what situation you are in, and we’re in one now, music doesn’t let you down, does it?”

As ever, Weller’s sonic masterplan was to avoid whatever had recently preceded it. “After [2018’s] True Meanings I thought I wouldn’t have any acoustic guitars for a little while, so I’ve largely avoided those with On Sunset and with Fat Pop,” he says. “But more than anything I wanted something vibey, something we could play live.” He laughs ruefully at the irony of that. “God knows when that will be, bearing in mind where we are with the virus. But in the imaginary gig in my mind I can see us playing all of the songs on Fat Pop live, along with the songs from On Sunset, blending them with some of the old favourites too. What a great set that would be.”

Live is where he imagines On Sunset and Fat Pop (Volume 1) working in tandem, because they don’t act as companion piece albums otherwise. “On Sunset was quite lavish in places, whereas with this one I wanted to limit it in some ways, make the production less expansive.”

Beyond that desire to keep it frill-free and tight, sonically Fat Pop (Volume 1) is a diverse selection of sounds. No one style dominates. There’s the synth-heavy, future-wave strut of Cosmic Fringes, the stately balladeering of Still Glides The Stream, Testify’s moving-on-up soul, and the kind of dramatic three minute pop symphonies on Failed, True and Shades of Blue with which Paul Weller has hooked in generation after generation of devotee.

More than sonic plans, though, Weller set himself the same task as he does before any recording. “Whenever I make an album I’m always just trying to at least match what’s gone before because each time I think the bar’s been raised. If all goes to plan, sometimes I manage to go over that bar too.”

Sometimes he does, sometimes he really does.

Fat Pop (Volume 1), the story behind each song:

Cosmic Fringes

A dramatic entrance to Fat Pop (Volume 1). Cosmic Fringes pairs a minimal, pumping electro swing with a deadpan vocal that detonates an unspecified poseur and blowhard. “I’m a sleeping giant, waiting to awake/I stumble to the fridge/then back to bed”.

“It’s not about anyone in particular,” suggests Weller, “but I suppose it could be about a keyboard warrior, someone who is constantly brainstorming ideas but never gets around to doing them. Someone talking the talk, but never doing anything.”

“When I first did the demo it was quite punky, a bit like The Stooges. It doesn’t sound anything like that now because then I had the idea of stripping it all back to just the drums and bass, putting those synths on it. It’s got a bit of motoric feel to it and a little bit glam rock too, I think.”

True

A song with all the attributes of the greatest Paul Weller numbers: fire in its belly, questing lyrics, boss horns, flashes of guitar fury and a yearning melody you awake humming daily. It’s also a tremendous vocal, shared between Paul and Lia Metcalfe, the young Liverpudlian singer with The Mysterines.

“I really like her band and I really like her singing,” he says. “It makes a massive difference that we sang it live, in the same room. She’s got a really powerful voice and I wanted to write something for us to sing together, so I did. Then I just sent the phone demo to Lia and two weeks later we cut it. That was one of the last things we did for the album, in around September”.

Fat Pop

That brilliant, heavy bassline? “I did that. When we recorded it I was actually thinking about Cypress Hill, doing something that sounds like a DJ Muggs production. It’s got a bit of that. It’s my favourite song on the album, I think, about all the times music’s been there for me.”

Shades of Blue

A classic three-minute English pop kitchen sink drama, written by Paul Weller and his daughter Leah, who joins him on vocals. “Leah wrote the chorus for it and helped me finish it up. I wrote the verses. Reminds me of a suburban drama, a play.”

Glad Times

Sweeping, wistful, sparkling in shades of blue, Glad Times’ winning melancholia has been in the back of Weller’s mind for a while. “I wrote this with Tom (Doyle) and Ant (Brown). They usually send me a backing track and we work on it from there. It’s been around for a while, nearly made it onto On Sunset but didn’t quite fit. I really liked it, though, so I’m really glad it made it on to this album instead.”

Cobweb / Connections

Pastoral introspections, featuring a lovely acoustic solo by PW and a string score by Hannah Peel. “I think the song is saying that the more you can be yourself and be happy with yourself, the more you change into something better. It’s not just good for you, it’s good for everyone else as well. ‘Save yourself and save everyone around you too.’ It’s from observation but I suppose it’s about me too.”

Testify

Superfly strutting, cut live in the studio with Andy Fairweather Low adding distinctive vocals and Jacko Peake on fine flute and saxophone. When allowed out of the house, it’ll be a future live favourite.

“We had actually done it live two or three years ago,” says Weller, “but while I loved the groove I never really got a grip on the song. Then I did this charity gig in Guildford, one of the last things I’ve done probably, some Stax songs with Andy Fairweather Low. Our voices sound so good together and he’s such a lovely fellow, so I sent him the backing track. As soon as lockdown was lifted he came down to the studio for the afternoon. We cut it live and that was it.”

That Pleasure

In amongst those soulful strings there is some barely contained rage in Weller’s voice as he sings ‘Lose your hypocrisy.’ “I suppose it’s my reaction to the whole Black Lives Matter movement,” he explains. “You’re always on tender ground writing about that, but, regardless of my colour, any human being should be disturbed. You should be appalled and disgusted and shocked by those images of George Floyd being killed in the street. It has to stop. It’s a question for everyone.”

Failed

‘All the things I never get/and all the things I never meant/and all the things that make no fucking sense…I’ve failed.’

“Yes, I’m asking myself the question,” admits Weller, a man who has never been afraid of self-reflection in his songwriting. “It’s an angry song because I wrote it right after a massive row with my wife. But I like it. It’s honest. It’s not how I feel all the time, but it is how I feel some of the time. I’m just talking about me as a man. We all measure success in different ways.”

It’s also one of his favourite songs on the album, a stand-out.

Moving Canvas

A chunky, percussive groove, with the feel of Traffic but updated for the here-and-now.

“It’s going to be great live that one. I wrote it about Iggy Pop. I hope he likes it if he ever gets to hear it. It’s my tribute to him, even though it doesn’t sound anything like him. Aside from all the great records he’s made, as a performer he’s high art. It’s all about the Igster.”

In Better Times

A plaintive plea with some beautiful sax and guitar breaks. “Cold in your eyes, don’t you know you break my heart in two”.

“It’s me talking to a young person who is going through something, addiction or mental health pressure, or whatever, and just saying it’ll be alright. Just get through this bit and there’ll be better times to come, you’ll look back and you’ll see it differently.”

Still Glides The Stream

A stately collaboration between Weller and long-time guitar foil Steve Cradock.

“I had the chords and possibly the melody, which I sent to Cradock. And he sent me back a poem and I edited that, then we sent it back and forth by phone. Lockdown songwriting. I just liked the poem. In my mind, I was thinking about our road sweeper who’s a lovely fellow. I started thinking that there’s so many people in this country who form the infrastructure of it and without whom we’d be fucked. But they’re looked down upon, not really noticed. So I was imagining their story. I did find out that there’s a book of the same name (by Flora Thompson) and Cradock said he had seen it in a shop, so that’s where the title comes from. I just liked the poetry of it. Steve’s a very soulful fella.”
Paul Weller - Fat Pop Limited Standard CD
Paul Weller
Fat Pop Limited Standard CD
CD | 2021 | EU | Original (Polydor)
12,09 €* 21,99 € -45%
Release: 2021 / EU – Original
Genre: Rock & Indie
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We may be cursed to be in the midst a global pandemic, buffeted by all of its stresses and pain. But everyone knows that art provides succour, that music is the most reliable balm. And for many there is further significant comfort to be drawn from the knowledge that Paul Weller is in the midst of an unbelievably prolific purple patch. Paul Weller will not let us down when we need him most.

On May 14th, Paul Weller releases his 16th solo album since his self-titled debut in 1992, his fourth in as many years and his second in just under twelve months following June 2020’s magnificent, chart-topping On Sunset. It’s not hyperbole to state that this new album, titled Fat Pop (Volume 1), is among his most compelling collections, bar none, including all of his era-defining work in the 1970s and ‘80s with The Jam and The Style Council. It’s an absolute scorcher.

When lockdown was declared in March 2020, Paul Weller decided immediately that he wanted something to focus on, since it seemed unlikely he’d be able to tour On Sunset as planned that summer.

“I had lots of ideas stored up on my phone,” he explains down that same handset, speaking from outside his London home, “and at least this gave me an opportunity to develop them.” So he started to record songs on his own, doing just vocals, piano and guitar, then sending those sound files to his core band members such as drummer Ben Gordelier, Steve Cradock on guitar and various other instruments, and bassist Andy Crofts for them to add their parts. “It was a bit weird not being together, but at least it kept the wheels rolling. I’d have gone potty otherwise.”

The band reconvened at Weller’s Black Barn studio in Surrey during the summer when restrictions were lifted to finish the work, with several of the songs being cut live. By this stage, the shape of the album was clear to all. Weller wanted to deliver an album of singles, twelve short, distinct blasts, each strong enough that they could stand alone if so desired.

“That was a conscious decision,” he confirms. “I even thought about putting every song out as a single first then gathering them all on an album, but that wasn’t practical at the moment. They all have that strength and immediacy, I think, and they’re all short, three minutes or so maximum.”

Producer Jan ‘Stan’ Kybert was so taken with the concept that he half-jokingly suggested that the album be called Greatest Hits. “I quite liked the idea and every song does stand up as a single, I think,” chuckles Weller, “but no, we couldn’t do that really.”

Instead, he plumped for Fat Pop (Volume 1). “I thought we’d add Volume 1 to it just to keep my options open in the future for a second volume!” The title track, a tight, heavy blast of ultra-modern funk, is itself the conceptual key to the whole album. “It’s a celebration of music and what it’s given us all. No matter what situation you are in, and we’re in one now, music doesn’t let you down, does it?”

As ever, Weller’s sonic masterplan was to avoid whatever had recently preceded it. “After [2018’s] True Meanings I thought I wouldn’t have any acoustic guitars for a little while, so I’ve largely avoided those with On Sunset and with Fat Pop,” he says. “But more than anything I wanted something vibey, something we could play live.” He laughs ruefully at the irony of that. “God knows when that will be, bearing in mind where we are with the virus. But in the imaginary gig in my mind I can see us playing all of the songs on Fat Pop live, along with the songs from On Sunset, blending them with some of the old favourites too. What a great set that would be.”

Live is where he imagines On Sunset and Fat Pop (Volume 1) working in tandem, because they don’t act as companion piece albums otherwise. “On Sunset was quite lavish in places, whereas with this one I wanted to limit it in some ways, make the production less expansive.”

Beyond that desire to keep it frill-free and tight, sonically Fat Pop (Volume 1) is a diverse selection of sounds. No one style dominates. There’s the synth-heavy, future-wave strut of Cosmic Fringes, the stately balladeering of Still Glides The Stream, Testify’s moving-on-up soul, and the kind of dramatic three minute pop symphonies on Failed, True and Shades of Blue with which Paul Weller has hooked in generation after generation of devotee.

More than sonic plans, though, Weller set himself the same task as he does before any recording. “Whenever I make an album I’m always just trying to at least match what’s gone before because each time I think the bar’s been raised. If all goes to plan, sometimes I manage to go over that bar too.”

Sometimes he does, sometimes he really does.

Fat Pop (Volume 1), the story behind each song:

Cosmic Fringes

A dramatic entrance to Fat Pop (Volume 1). Cosmic Fringes pairs a minimal, pumping electro swing with a deadpan vocal that detonates an unspecified poseur and blowhard. “I’m a sleeping giant, waiting to awake/I stumble to the fridge/then back to bed”.

“It’s not about anyone in particular,” suggests Weller, “but I suppose it could be about a keyboard warrior, someone who is constantly brainstorming ideas but never gets around to doing them. Someone talking the talk, but never doing anything.”

“When I first did the demo it was quite punky, a bit like The Stooges. It doesn’t sound anything like that now because then I had the idea of stripping it all back to just the drums and bass, putting those synths on it. It’s got a bit of motoric feel to it and a little bit glam rock too, I think.”

True

A song with all the attributes of the greatest Paul Weller numbers: fire in its belly, questing lyrics, boss horns, flashes of guitar fury and a yearning melody you awake humming daily. It’s also a tremendous vocal, shared between Paul and Lia Metcalfe, the young Liverpudlian singer with The Mysterines.

“I really like her band and I really like her singing,” he says. “It makes a massive difference that we sang it live, in the same room. She’s got a really powerful voice and I wanted to write something for us to sing together, so I did. Then I just sent the phone demo to Lia and two weeks later we cut it. That was one of the last things we did for the album, in around September”.

Fat Pop

That brilliant, heavy bassline? “I did that. When we recorded it I was actually thinking about Cypress Hill, doing something that sounds like a DJ Muggs production. It’s got a bit of that. It’s my favourite song on the album, I think, about all the times music’s been there for me.”

Shades of Blue

A classic three-minute English pop kitchen sink drama, written by Paul Weller and his daughter Leah, who joins him on vocals. “Leah wrote the chorus for it and helped me finish it up. I wrote the verses. Reminds me of a suburban drama, a play.”

Glad Times

Sweeping, wistful, sparkling in shades of blue, Glad Times’ winning melancholia has been in the back of Weller’s mind for a while. “I wrote this with Tom (Doyle) and Ant (Brown). They usually send me a backing track and we work on it from there. It’s been around for a while, nearly made it onto On Sunset but didn’t quite fit. I really liked it, though, so I’m really glad it made it on to this album instead.”

Cobweb / Connections

Pastoral introspections, featuring a lovely acoustic solo by PW and a string score by Hannah Peel. “I think the song is saying that the more you can be yourself and be happy with yourself, the more you change into something better. It’s not just good for you, it’s good for everyone else as well. ‘Save yourself and save everyone around you too.’ It’s from observation but I suppose it’s about me too.”

Testify

Superfly strutting, cut live in the studio with Andy Fairweather Low adding distinctive vocals and Jacko Peake on fine flute and saxophone. When allowed out of the house, it’ll be a future live favourite.

“We had actually done it live two or three years ago,” says Weller, “but while I loved the groove I never really got a grip on the song. Then I did this charity gig in Guildford, one of the last things I’ve done probably, some Stax songs with Andy Fairweather Low. Our voices sound so good together and he’s such a lovely fellow, so I sent him the backing track. As soon as lockdown was lifted he came down to the studio for the afternoon. We cut it live and that was it.”

That Pleasure

In amongst those soulful strings there is some barely contained rage in Weller’s voice as he sings ‘Lose your hypocrisy.’ “I suppose it’s my reaction to the whole Black Lives Matter movement,” he explains. “You’re always on tender ground writing about that, but, regardless of my colour, any human being should be disturbed. You should be appalled and disgusted and shocked by those images of George Floyd being killed in the street. It has to stop. It’s a question for everyone.”

Failed

‘All the things I never get/and all the things I never meant/and all the things that make no fucking sense…I’ve failed.’

“Yes, I’m asking myself the question,” admits Weller, a man who has never been afraid of self-reflection in his songwriting. “It’s an angry song because I wrote it right after a massive row with my wife. But I like it. It’s honest. It’s not how I feel all the time, but it is how I feel some of the time. I’m just talking about me as a man. We all measure success in different ways.”

It’s also one of his favourite songs on the album, a stand-out.

Moving Canvas

A chunky, percussive groove, with the feel of Traffic but updated for the here-and-now.

“It’s going to be great live that one. I wrote it about Iggy Pop. I hope he likes it if he ever gets to hear it. It’s my tribute to him, even though it doesn’t sound anything like him. Aside from all the great records he’s made, as a performer he’s high art. It’s all about the Igster.”

In Better Times

A plaintive plea with some beautiful sax and guitar breaks. “Cold in your eyes, don’t you know you break my heart in two”.

“It’s me talking to a young person who is going through something, addiction or mental health pressure, or whatever, and just saying it’ll be alright. Just get through this bit and there’ll be better times to come, you’ll look back and you’ll see it differently.”

Still Glides The Stream

A stately collaboration between Weller and long-time guitar foil Steve Cradock.

“I had the chords and possibly the melody, which I sent to Cradock. And he sent me back a poem and I edited that, then we sent it back and forth by phone. Lockdown songwriting. I just liked the poem. In my mind, I was thinking about our road sweeper who’s a lovely fellow. I started thinking that there’s so many people in this country who form the infrastructure of it and without whom we’d be fucked. But they’re looked down upon, not really noticed. So I was imagining their story. I did find out that there’s a book of the same name (by Flora Thompson) and Cradock said he had seen it in a shop, so that’s where the title comes from. I just liked the poetry of it. Steve’s a very soulful fella.”
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