Just off the heels of their soaring single “Always You”, burgeoning trio Deux Visages has announced a direct support slot on Sweet Pill‘s upcoming Summer run in addition to joining The Linda Lindas as special guests on the East Coast in October. The dates cover Los Angeles, New York City, Texas, the Pacific Northwest and more. See below for a full list of dates, and find more info on tickets here.
Deux Visages is vocalist Daphney Hanono, guitarist Jack Chiu and bassist Tony Jouvin. Their emergence has been a whirlwind. Founded over a thread of DMs in high school, they were hastily signed to Atlantic Records after word of their rampant and immersive live shows hit. Fast-forward >> a series of singles, an EP, support tours with Mannequin P*ssy, julie and Wunderhorse, plus an uproot from Miami to Philadelphia >> the three have now perfected their chemistry and eclectic, earnest dream-pop rock that is singularly Deux Visages.
Last month they announced their signing to Pure Noise Records alongside their sentimental, infectious track “Always You”. Frontwoman Daphney Hanono enthuses “’Always You’ is the song that we always wanted to write. It’s about being a fly on the wall and watching over someone you love. It’s about longing, uncertainty, and fear. Essentially, a song that’s written to be a cry for someone that won’t hear.”
“Always You” taps into Deux Visages’ visceral experience of grieving your childhood – and the duality of trying to hold onto it while also tearing yourself away from it. It’s the first preview into their debut studio album which is due Fall 2026.
Aug 17: Dallas, TX – AM/FM * Aug 19: Houston, TX – White Oak Music Hall * Aug 21: Austin, TX – Mohawk * Aug 22: San Antonio, TX – Paper Tiger * Aug 25: Mesa, AZ – The Nile * Aug 27: Los Angeles, CA – El Rey Theatre * Aug 28: San Francisco, CA – August Hall * Aug 30: Portland, OR – Hawthorne Theatre * Aug 31: Seattle, WA – Neumos * Sep 03: Denver, CO – The Oriental Theater * Sep 05: Omaha, NE – The Slowdown * Oct 02: Pittsburgh, PA – Mr. Smalls Theatre ~ Oct 04: Philadelphia, PA – Theatre of Living Arts ~ Oct 06: Boston, MA – Paradise Rock Club ~ Oct 07: New Haven, CT – Toad’s Place ~ Oct 08: Brooklyn, NY – Brooklyn Steel ~
For ten years Spike F*ck has existed more as a messy myth than an artist; sporadic works forever poised on the precipice of triumph, rumours of death or insanity and so on. His Smackwave EP (Partisan), now a decade old and certified cult classic was aptly censored by media outlets. The release addressed themes as literal as the title suggests; drug use, gender identity, Catholicism and existentialism.
Soon after, Spike was swept up in the whirlwind of unexpected success, going from underground warehouse parties and impromptu performances on Melbourne trams to catching the eye of Rick Owens, draped in high fashion and editorial photoshoots accompanied by interviews in which he gave unrelenting and uncensored details of his life. On the precipice of breakthrough, Spike disappeared. It had all happened in a flash, he was gone; and it seemed as if the artist witnessed by others was merely a relic of that time period, or possibly a figment of their imagination. Bootleg uploads and comments on old YouTube videos discussed possibilities that seemed wild but believable, given Spike’s nature, fueling rumours of monastic solitude, relapse, or reinvention. Only the most sincere kept the myth alive. Their recent return to performance showcased that Spike had been thoroughly consecrated in underground memory with three sold out LA shows and two sold out nights in NYC.
Luckily, the devotion to his music persevered, somewhat bolstered by his inconsistency and inaccessibility. This inexplicable goodwill towards his artistry is perhaps partly due to Spike’s timeless, pained and confessional lyricism, though more pointedly, the fragility of a life mired in addiction. His being or works does not question the virtue of life, but simply addresses the numb, pragmatic and far more immediate matter of surviving another day, an almost ineffable sentiment only justified by his distinct, poetic audaciousness.
Today Spike F*ck returns. He’s signed with Sacred Bones Records and has announced his long anticipated debut album evidence, due October 2. The album is a brazen proof of life statement. Convicted by the outlandish idea of evidencing a ‘you had to be there’ mentality, the record honors the presence in body, a record to be felt, never to be rationalized. evidence isn’t forthcoming in providing explanations of Spike’s absence. It isn’t a tell-all collection of songs about obsession, guilt, nor is it a document of the subsequent transformation, or enlightenment. Spike’s prior fixations on the questions of man or woman, drug addict or ascetic, trickster or rockstar, have driven an unmitigated pursuit of knowing a ‘true self’. This pursuit is no longer his chief concern, nor is he plagued by over conceptualization of who he is but simply, when he is. For this is Spike F*ck, and this is evidence.
Lead single “ALL BY MYSELF” is an expert fusion of new wave, glam and soul with a vocal performance that oscillates between being blasé, vulnerable and manic. With its feelgood, family-friendly punk doo-wop production, Spike is misleading on if his joy comes from the pride in solitude, or from loneliness and a ‘give me everything’ mentality in the act of shooting heroin. Of “ALL BY MYSELF” and its video, Spike tells –
“If someone asks: what does it mean? We’ve done the job.
As society has abandoned mythologies, we must create our own… that sounds trite and I’m not quite sure how to defend that statement really. We’re not existentialists. In any case, we also live in a completely schizophrenic society in this sense, so the idea to create a story of a war hero/criminal undergoing an absurdist spiritual transformation seemed almost obligatory. Purgatorial musings, heaven and hell, redemption, fantasy, a mushroom that talks so on and so forth.
People understand truth through analogy, moreover, parables. We sought to create something about redemption, forgiveness, faith, hope and charity that is available to whomever seeks it. I may not be the most reliable narrator, I admit that freely, yet the fantasy of it all is healthy. So is a dose of whimsy or even a small dash of grand delusion.
So this video, along with the entire record, is a series of clues, a collection of pieces of evidence… Hopefully this video raises more questions than it answers.”
While plans had been in motion to release his now-shelved, ‘original’ debut record, Pure O, Spike was gripped by an insatiable urge to complete and present evidence. Written and recorded in 3 months alongside producer Adam Hyde (Keli Holiday), the record is informed by the realization he could not think his way into a state of emotion, only graduate into it; a process outside his control. There was a desire to evidence the mix of frustration, confusion and resentment; all too familiar feelings Spike had tried in vain to repress.
As Spike says, “this record is carnal and confident. I wanted to approach songwriting in the same way a director shooting a slasher film does. Get to the point and make people feel it all. I want this record to cut like a sharp knife”. Citing Pere Ubu, New York Dolls, The Temptations and Bettye Swan as key influences, and inspired by the banned 1971 manual, The Anarchist Cookbook, Spike sought to create something unsettling and perplexing, yet simple. It’s a rush to listen to, as if tagging along on a particularly wild night out. At once it is fun and memorable, but also truly life-altering as if you hit a pedestrian in your car and fled the scene, left to grapple with the thrill, guilt and fear of being caught.
evidence is an album that lives outside the limits of discourse; its purpose is eponymous and self-evident. It is what it is, and is subject to interpretation. There is no point in interrogating attachments, virtue or value. The only rightful way to live is to be.
Oct 02: Sydney, AU – Oxford Art Factory Oct 03: Brisbane, AU – Crowbar Oct 04: Wollongong, AU – Yours & Owls Festival Oct 09: Perth, AU – Wyola Club Oct 10: Adelaide, AU – Jive Oct 18: Melbourne, AU – Thornbury Theatre Oct 23: Rotterdam, NL – Left of the DIal Oct 24: Rotterdam, NL – Left of the DIal Oct 27: Bruges, BE – Cactus Club Oct 29: Bristol, UK – The Croft Oct 30: Sheffield, UK – Hallamshire Hotel Oct 31: Newcastle, UK – Zerox Nov 01: Glasgow, UK – The Hug & Pint Nov 03: Manchester, UK – The Abbey Nov 04: Leeds, UK – Oporto Nov 06: London, UK – The Dome Nov 07: Athens, GR – Illion Plus Nov 08: Thessaloniki, GR – Eightball Club Nov 10: Skopje, MK – Cafe Kotur Nov 11: Zagreb, HR – Molotow Industrial Bar Nov 12: Munich, DE – Mills Nov 15: Berlin, DE – Urban Spree Nov 16: Hamburg, DE – Molotow Top Ten Bar Nov 17: Krakow, PL – Klub RE Nov 18: Ostrava, CZ – Barrak Club Nov 20: Bologna, IT – Freakout Club Nov 24: Dublin, IL – Whelan’s Nov 27: Paris, FR – Le Hasard Ludique Nov 29: Amsterdam, NL – Paradiso (Upstairs)
Keep your mind open.
[You can subscribe by yourself. It’s okay. No one else needs to know.]
Last month, Fat Dog announced second album Cancel Me (I’m Tired). The follow up to their breakout 2024 debut album WOOF., the album is due out October 2nd via Domino.
Announced with its title track last month, the album is an exhilarating, swaggering, panoramic, inventive, re-inventive, re-re-inventive electro-punk-art-pop-rock’n’roll-space-country triumph that deserves all the adjectives. Over ten mind-bending and melodic tracks, it blends electro-pop anthems, cascading rave bangers, bombastic strings, cowboy-tinged pitstops and swirling psychedelia.
Today, fresh off a run of stadium shows supporting Foo Fighters, Fat Dog are back to share another preview of the new album, a single called “Shit Love.” All stabbing synths, manic vocals and a beat that sounds like a rollercoaster trying to shake itself off the tracks, the track is, according to frontman Joe Love, about “two fucking insane people who argue constantly and they are world-enders every time.”
Toronto’s Wine Lips return with “Projector,” the first single from their newly announced fifth album TV Dinner, arriving August 28 on Stomp Records. Drawing from the blown-out spirit of ’90s garage punk while retaining the psychedelic chaos that has become the band’s calling card, “Projector” channels the urgency of Teengenerate, The Hives, New Bomb Turks, Frankie and the Witch Fingers, and Osees into a sharp blast of scorched guitars, pounding drums, and razor-wire attitude. The single also marks the first lead vocal appearance from drummer Aurora Evans, offering an electrifying introduction to the next chapter of one of modern rock’s most relentless bands. Over the last decade, Wine Lips have quietly become one of the most successful independent rock bands to emerge from Canada in a generation. Their records have accumulated more than 45 million streams, earned international acclaim, landed songs in film, television, and video games, and carried the band across North America, Europe, the UK, Hong Kong, and China. In the long and strange lineage of Canadian rock, somewhere between Rush, April Wine, and Tricky Woo, lurks Wine Lips: a fuzz-covered northern beast that keeps appearing in unexpected places, leaving blown speakers, sweaty clubs, and new converts in its wake.
“Projector” wastes no time making its intentions clear. Driven by Evans’ commanding vocal performance, the track takes aim at the kind of person who projects their insecurities, frustrations, and baggage onto everyone around them. Every sneering lyric lands with purpose while the band barrels forward behind her in a glorious racket of overdriven guitars and barely contained momentum. It’s direct, cathartic, and impossible to ignore. The song offers the first glimpse into TV Dinner, a thirteen-track collection shaped by the absurdities of contemporary life. Across the album, Wine Lips tackle burnout, addiction, doomscrolling, dead-end jobs, housing frustrations, and the low-grade anxiety humming beneath modern existence like fluorescent lights in a suburban strip mall. Rather than wallow in any of it, the band responds the only way they know how: louder, faster, and with zero interest in cleaning up the mess.
Recorded with longtime collaborator Simon Larochette at The Sugar Shack in London, Ontario, TV Dinner captures Wine Lips at their most immediate and instinctive. Embracing imperfections and leaving room for mistakes, strange moments, and happy accidents, the band deliberately resisted polishing away the record’s rough edges. The result is a collection of songs that feels alive, unpredictable, and wired directly to the energy that has made Wine Lips such a formidable live act, an energy they’ll carry back onto international highways this fall with a tour supporting Death From Above 1979 and another European run already on the horizon.
If previous Wine Lips records often felt like psychedelic escapes from reality, TV Dinner keeps its feet planted firmly on the cracked pavement outside. It’s a record built for an era of glowing phone screens, rising rents, information overload, and endless noise. “Projector” is the opening shot. Loud, urgent, and impossible to ignore. Warm up the microwave. TV Dinner is almost ready.
CEREMONY—the seminal California-based punk band of Ross Farrar, Anthony Anzaldo, Andy Nelson, Justin Davis, and Jake Casarotti—release the new single/video, “Dark Summer” from their seventh album, Tell Me Your Dream, out August 7th via Relapse. Following “Death Destruction Mayhem,” which Consequence says “tak[es] the band’s developed and matured post-punk sound and reappl[ies] it to the hardcore and punk rock that motivated their earliest work,” “Dark Summer” is a jet-black post-punk rumination.
On the track, Farrar says: “In Rock ‘n Roll music, feedback occurs when a guitar is purposely moved too close to an amplifier – like a dark summer – when dread finds you amid brilliant sunshine, it feels disorienting, confusing, and chaotic. What you’re left with is malaise, doldrums of sorts that are both beautiful and terrifying.”
Tell Me Your Dream reunites CEREMONY with producer John Reis, a punk lifer whose eclectic noisemaking in Rocket from the Crypt, Hot Snakes and other legendary bands runs in parallel to CEREMONY’s multitudes. After working on CEREMONY’s acclaimed 2015 album, The L-Shaped Man, Reis maintains a unique perspective on the quintet — as a hardcore punk band, as participants in the greater California rock-and-roll tradition, and as friends. “John sort of joined the band on this one,” says guitarist-keyboardist Anzaldo. “We could not respect him more as a guitarist, as a singer, as a songwriter. He understands what it’s like to be in every position. So we really gave him the keys.”
Tell Me Your Dream is a reflection of the enduring sense of trust forged within the band. This is no surprise considering CEREMONY’s roots date all the way back to a grade-school friendship between Anzaldo and Farrar. “We’re bound together like family,” says Anzaldo. “Our relationships are beyond the band. CEREMONY is going to live no matter what. We’ve shifted into this dynamic where the choice isn’t ours anymore.”
Deep connections in a shallow world. A clear sense of purpose in uncertain times. These are the reasons CEREMONY continues to grow, to expand, to adapt, to endure. This band can’t stop. And it won’t. To meet the moment, you have to be there for it.
On the heels of back to back weekends playing Coachella earlier this year, CEREMONY’s North American tour will kick off September9th inMontreal and includes stops in Chicago, New York, Los Angeles, San Francisco, and more throughout the fall. Tickets are now available here.
CEREMONY Tour Dates Wed. Sept. 9 – Montréal, QC @ Les Foufounes Électriques Thu. Sept. 10 – Toronto, ON @ East End United Basement Fri, Sept 11 – Detroit, MI @ Russell Industrial Center Lot (Supporting Turnstile) Sat. Sept. 12 – Chicago, IL @ Metro Sun. Sept. 13 – Minneapolis, MN @ Fine Line Thu. Sept. 24 – Portland, OR @ Wonder Ballroom Sat. Sept. 26 – Vancouver, BC @ The American Thu. Oct. 1 – Boston, MA @ The Sinclair Fri. Oct. 2 – New York, NY @ Warsaw Sat. Oct. 3 – Philadelphia, PA @ Union Transfer Sun. Oct. 4 – Washington, DC @ Black Cat Fri. Oct. 16 – Atlanta, GA @ The Masquerade – Hell Sat. Oct. 17 – Orlando, FL @ The Abbey Sun. Oct. 18 – Miami, FL @ Churchill’s Thu. Oct. 22 – Denver, CO @ Marquis Thu. Nov. 5 -San Antonio, TX @ Paper Tiger Fri. Nov. 6 – Austin, TX @ Mohawk Sat. Nov. 7 – Dallas, TX @ Trees Fri. Nov. 13 – San Francisco, CA @ The Fillmore Fri. Nov. 20 – Los Angeles, CA @ The Novo
Keep your mind open.
[It will feel like a dark summer if you don’t subscribe.]
Blending the rich traditions of ’60s psych, folk and soul, woven with strands of early American roots music, this is a stirring reminder of the enduring power of the human spirit and its endless emanation throughout the ages into the face of an ancient and unrelenting evil.
Steeped in the aura of the perennially mythologized psychedelic culture of Southern California, The Stevenson Ranch Davidians has revealed itself in shifting configurations, their sound balances spiritual yearning with earthy authenticity. While the lineup has continually coalesced around lead singer-songwriter Dwayne Seagraves and bassist Jessica Latiolait, the collective has always had a guiding vision and goal: to create music that seeks to simultaneously demystify and deify the human experience.
The other members bring a range of talent, experience, and inspiration, including producer and longtime Brian Jonestown Massacre member Rob Campanella on guitar and lap steel, British drummer Misha Bullock, and Sara Minsavage on keyboards, shakes and jangles. On the current single, Andy Campanella also contributes background vocals..
“This song is from a collection of material that was recorded in the spring of 2019, just over a year after the release of our last LP, ‘Amerikana’, and just under a year before the entire world was abruptly thrown into one of its darkest periods in modern history,” says Dwayne Seagraves.
“To say that the music felt relevant at the time is an understatement, yet, somehow the time was not quite right for its release. Now here we are some seven years later and the songs’ relevance hasn’t faded. Maybe that makes it timeless. Maybe that’s exactly what we intended it to be.”
Jessica Latiolait adds, “We will be releasing a series of brand-new singles over several months, each pulled from sessions we recorded back in 2019s. These songs have been waiting a long time to be heard, and we’re excited to finally share them with you. We can’t wait for you to hear what we’ve been holding onto all these years.”
Following the release of their acclaimed third album‘Amerikana’, the band embarked on two extensive European tours while also recording a full length collection of songs. The band began a monthly residency in the Bay Area until taking indefinite hiatus due to various governmental mandates during the Covid outbreak. In 2024, the band re-emerged to the live music circuit, touring with acts such as Micah Nelson and Particle Kid, Levitation Room and Habibi, while writing new material.
Most recently, The Stevenson Ranch Davidians have wrapped up recording their fourth full-length album at Rick Rubin’s Shangri-La Studio in Malibu, California, with its release planned for early-2027. 2026 also brings a string of performances, including three with Elephant Stone.
‘Love, Light, Beauty & Truth’ is available on streaming platforms, including Spotify, Apple Music and Bandcamp.
Keep your mind open.
[I’ll feel love, light, beauty, and truth if you subscribe.]
Singer, guitarist, and folk music interpreter Jake Xerxes Fussell announces his new album, The Old Beloved Path, out September 18th via Fat Possum Records and releases the lead single, “Rock Island Line.” Over six unique and very personal studio albums, Fussell has found his musical future by reimagining, reorchestrating, and reunifying the past. By combining different traditional music sources in a completely original way, he routinely creates fresh works of art that are at once rooted in history and ingeniously modern.
It’s Fussell’s inspired intuition that remakes a classic American folk song, like today’s “Rock Island Line,” into something that still rings with inherent wisdom but is completely his own. In the past, Fussell says he might have avoided a song like “Rock Island Line” because it seemed too commonplace to him— many folk singers had already done it. But after listening to a recording of the song by Lonnie Donegan, something about the incantation of the chorus struck a chord. In typical Fussell fashion, his remarkable ear and intellect took over.
“The song struck me as very beautiful, but just singing the verses wasn’t working for me. I couldn’t relate”, Fussell comments. “So, I wound up putting it together with an old English nursery rhyme that I had been kicking around. ‘Wire, briar, limberlock /How many geese is in our flock?’ and ‘If you want to ride you got to ride it like you’re flyin, get your ticket at the station on the Rock Island Line.’ Marrying those two things, I felt like something worked, it felt like a song to me.”
The son of two artists and documentarians in their own right, Fussell grew up in Georgia around a community of people who were documenting traditional culture and craftways like storytelling, log cabin building, and basketmaking. Imbued with this deep respect for the past as well as an unquenchable intellectual curiosity, he grew up appreciating the beauty in those supposed lost arts and remains privy to them in a unique way.
“For people in the folk music world, songs are their religion,” states Fussell. “But traditional music is not a bee stuck in amber. I tend to think of everyone who plays traditional music as being on a spectrum from conservative to wildly creative. I am somebody who tends to sit on the edge of those two worlds. I don’t always present these songs in a historical context. I have to relate to them personally. I approach these songs through my own worldview.”
Recorded in North Carolina, The Old Beloved Path was mixed by producer Ben Whiteley (The Weather Station), who has also played bass on tour with Fussell. Friends Dominic Billett, Isa Burke, Wayne Horvitz, and Ken Whiteley add their instrumental voices to Fussell’s singular musical amalgams. As producer, Whiteley fulfilled Fussell’s desire to make an album that was more a document of musicians playing live together in a room, dwelling less in atmospherics and musical elaboration. Working together, they intentionally limited their palette – focusing less on all the things a song could be, and honing in on the essential.
The songs Fussell chose for The Old Beloved Path are songs he has heard for years, but many of them felt newly illuminated – hitting different.
“Traditional music gets more intense the older I get. The way that I see the world is through these songs. The world of traditional music has been such a gift to me. If nothing else, a lifelong companion.”
Jean-Claude Vannier is considered one of the greatest French pop and orchestral composers ever, having created a mountain of music in his time – much of it “library” music used as incidental music in film. He also released two albums with fellow legend Serge Gainsbourg (Histoire De Melody Nelson and L’Enfant Assassin Des Mouches).
Electro-Rapide is full of short, weird, funky tracks, many of which were never released until this 2011 compilation album from Finders Keepers Records saw the light of day. “Bombarde Lamentation” is such a track to open the album, immediately making this collection a treat for Vannier’s fans.
“L’Ours Paresseux” is a showcase for Vannier’s rhythm section (Pierre Alain Dahan on drums and Bernard Lubat on percussion). “La Girafe Au Ballon” was originally recorded for children’s TV shows but has a bass groove from Tony Rubio that you could drop into any sexy spy movie from the late 1960s. “Claquez Klaxons” is another previously unreleased track original made for death penalty protests in France.
Believe it or not, “Saturnin et Le Vaca Vaca” is a theme song to a children’s show about a real-life baby duck. The short and sweet “L’Automne À Barbès Rochechouart” is Vannier’s tribute to a Metro station in an African community in Paris. “Qu’est-ce Qui Fait Courir Les Crocodiles?” is Vannier’s attempt to write a theme for a comedic film. It works, and I’m surprised it hasn’t been reused as a sitcom theme by now.
“La Douleur De L’Orchestre” is another previously unreleased track. It’s a weird, somewhat melancholy tune using a full orchestra he kept around after recording other tracks. “Thème 504” was released as TV and film library music in 1968, but not used for such a thing until 1989’s Comédie d’été. “Le Ballet Des Accoucheuses” is a vocal track using a choir of pregnant women to snap, tap, chant, and breathe beats throughout it.
“Road to Cuba” was written, according to the album’s liner notes, “…in the taxy that drove me to the studio. I’ve never been to Cuba.” Indeed, there isn’t a hint of Cuban, Caribbean, or Latin music in it, but it’s still fun. “Je M’appele Géraldine” was another TV theme Vannier wrote that was later re-recorded multiple times, including one version with lyrics.
“L’Éléphant Équilibriste” is another children’s TV show theme that playfully lumbers around your speakers. The album ends with a reprise of “Bombarde Lamentation” recorded in 1973 and not released until 2011.
This is a fun collection and a neat addition to your library music archive if you’re into that sort of thing. If you’re not, this might spark your interest in that vast, still mostly unknown genre.
Today, Fat Dog are announcing their second album Cancel Me (I’m Tired). The album is the follow up to their celebrated debut album WOOF., which was released in 2024 and saw them become one of the UK’s most exciting breakthrough bands in the process.
The South London seven-piece Fat Dog have a good reason to be tired. They’ve spent the period since WOOF.’s release spreading their raucous, infectious and irresistible bark around the world. But if Fat Dog are tired with the world, the world is not tired of them. In fact, the world can’t get enough of them. Wherever they went on the tour to support WOOF., new diehards emerged out of the carnage. “Show of the weekend,” raved The Times after they played four shows in 27 hours at Glastonbury last year. “Unserious, unhinged and sensational,” marvelled NME. Their message spread far and wide.
Due out on October 2nd, with Cancel Me (I’m Tired)Fat Dog have created an exhilarating, swaggering, panoramic, inventive, re-inventive, re-re-inventive electro-punk-art-pop-rock’n’roll-space-country triumph that deserves all the adjectives. Over ten mind-bending and melodic tracks, it blends electro-pop anthems, cascading rave bangers, bombastic strings, cowboy-tinged pitstops and swirling psychedelia.
The lead single was inspired by John Lennon’s “How Do You Sleep” combined with frontman/songwriter Joe Love imagining what Anatolian rock experimentalists Altın Gün would sound like if they were under siege from a thumping club beat. The title track begins with a riotous declaration. “If you wanna cancel me/Then go ahead and do it please,” It’s the sound of what happens when people push your buttons and your buttons start pushing back.
The video shot with director James Winstanley on the hottest day of the year, sees Fat Dog trying to avoid getting cancelled on an actual night out in London’s Soho.
“Cancel Me (I’m Tired)” follows the release of propulsive, jubilant electro-pop single “Go Fuck Urself” in May and the band’s storming support for Kneecap’s Crystal Palace gig last weekend – the only English band on the bill no less. This week, Fat Dog join Foo Fighters on a run of stadium shows and ahead of their headline UK & European tour starting late October.
When it was time to think about album 2, the band’s ringleader threw himself into recording sessions a day after landing home from a chaotic US tour in which each member of the band took turns in unravelling. “At some point on that tour, everyone had a small breakdown of some sort,” says Chris, who remembers losing his mind in LA, bashing his head against a wall whilst wearing an American Football helmet.
It wasn’t all nervous meltdowns. Romance was also in the air and, midway through the trek, Fat Dog’s frontman got married in Vegas after proposing to his girlfriend in San Francisco. “We played a gig to two people in Vegas,” Joe recalls, “and then the next day I got married.”
And so, it was with depressed Elvis ringing in his ears that Joe got home and began work on the second Fat Dog album. On their debut, Love had left the lyrics until last, letting the heady momentum of the music lead the way, but this time he felt he had much more to say. Into its lyrical orbit, the record pulls mentions of addiction, family ties, love, AI, ancestry, extra-terrestrials, Chris Tarrant, S&M, B&M, H&M and M&Ms. Cancel Me (I’m Tired) possesses all the rabid frenzy and electrifying excitement of their debut but now delivered on a grand and glorious scale. Big, big things are ahead. Fat Dog are only just getting going.
Cancel Me (I’m Tired) is available on DomMart exclusive picture disc vinyl in PVC sleeve, deluxe translucent green coloured vinyl, standard LP, CD and digitally. Pre-order: Fat Dog’s store | Digital
Today, Adult DVD are announcing their hugely anticipated self-titled debut album which will be released September 25th on Fat Possum Records. The Leeds-based sextet have carved a niche as one of the most talked-about live bands in the country and an irreverent new voice existing in the space between electronic euphoria and spiky hardcore energy.
Both unique in their approach and thrilling in impact, the band’s music has been shown love by Stereogum, Rolling Stone and The Line of Best Fit among others. Their breakout moment came with the single “Bill Murray,” an incessantly catchy distillation of people on the internet believing Tom Hanks and Bill Murray are the same person. More recently, the glitchy and anthemic “Real Tree Lee” was an A-list record at BBC 6Music and had support from BBC Radio 1.
At both Brighton’s The Great Escape and SXSW in Austin this year the band were championed as one of the buzziest acts of the festival with snaking queues of people waiting hours to see them perform . A relentless touring schedule in 2025 saw them hone their status as festival headliners in waiting, picking up a global army of new fans and playing to huge crowds at Glastonbury, Green Man, End Of The Road and more. The band recently toured Japan where they were greeted by fans in homemade Adult DVD merch, played a series of sold-out shows and saw posts about their performances go viral with millions of views.
To announce their debut, the band are sharing a new single entitled “Cowboy On Aisle Three.”
In the making of their exhilarating debut album, vocalist Harry Hanson and synth-player Greg Lonsdale, alongside Danny Blackburn (guitar/synth), Jake Williams (synth), Jonathan Newell (drums), and George Manson (bass), went harder on what was already working for them: witty observational songwriting based in real-life characters and a pulsating synth-punk sound perfect for both the rave and the mosh pit. Fusing together an intense musical workout with depictions of a motley crew of figures ranging from 5G conspiracy theorists to an existential cowboy, Adult DVD is the electrifying sound of a band exceeding their own expectations while going just as hard, if not harder than their adrenaline-fuelled live shows.
On Adult DVD Hanson and Lonsdale continue to take a screenwriter’s approach to songwriting, filling their lyrics with stories pulled from the outskirts of society yet painting a vivid and comic picture of modern Britain. “We don’t take things too seriously,” Lonsdale explains. “The lyrics have got sillier, the songs have got sillier. We make music for people to enjoy, so let them have a laugh.”
Produced by the band at The Nave Studios Leeds , the general theme of the album is to let go and take life a little less seriously. “Cowboy On Aisle Three” conjures an image of a wrangler swapping the rodeo for a supermarket over a swaggering synth riff . It’s an EQ-pushing beast that merges an existential crisis with the band’s playful spirit and relentless pursuit of bangers.
Speaking on the new single, the band’s frontman Harry Hanson says:
“I came up with the idea when I was in Lidl. I’m sure everyone has thought, ‘Imagine if I just went nuts now,’ to get out of doing the big shop.”
