In the late 90s, 15-year-old Jay Lindsey, living right outside Memphis, played all of the instruments on a demo tape by his newly-minted performing moniker of “The Reatards”. This cassette was sent to Eric Friedl of the Oblivians, who had used the Goner Records imprint on a couple of releases. His next would be a 7” by The Reatards, followed shortly by a full length LP, "Teenage Hate" (Goner, 1998).
After quickly building a reputation for an anything-goes live set, and releasing another excellent full length "Grown Up, Fucked Up" (Empty, 1999), Jay Reatard shoved what was previously a side project to the forefront and started raising eyebrows with something other than live mayhem: Songwriting and an ear for breaking ground.
Jay’s first title under the solo “Jay Reatard” moniker, "Blood Visions" was released in early 2006 on In The Red, and it politely sat on the shelves for over six months until the live act brought up the rear and things started to happen. More singles for more labels, a handful of mind-bending SXSW performances, nonstop touring, a bidding war…that’s right, a bidding war…and the first quarter of 2008 found Jay Reatard on Matador Records.
"Blood Visions" is now re-released on legendary label Fat Possum and available at a new lower price.

It’s been eight years since Bondy last released a record, and his distaste for the present day has intensified. But rather than avoid popular sounds, on Enderness he gathers and subverts modern tools to construct his indictment of the modern world. With an arsenal of synthesizers, drum machine, sparse electric guitar, and a skeptic’s pen, he builds a plodding dystopian story of living death stoked by internet anti-reality, big pharma conspiracy, and environmental apocalypse—aka 2019.

It’s existential dread as mid-tempo cradlesong, the music of our worst sleepless nights. “Stranger if you come/Know that much is broken/I forget the way/Surrender is spoken,” he sings on album standout “Images of Love,” bass pulses driving the caustic groove. On “Diamond Skull,” Bondy strings tragic and worrying subjects of popular obsession into a stream-of-consciousness phantasmagoria over a simple guitar riff, like Nick Cave on “Higgs Boson Blues.” Observations about white nationalism, spiritual charlatans, and hollow celebrity worship spill into internet speak: “OMG sea to sea/L-M-F-A-O,” he sings with a knowing wink. Like so many who simultaneously bemoan and fuel the simulation—tweets and grams as a form of self-flagellation—Bondy is both in on and imprisoned by the joke.

STAFF COMMENTS

Barry says: A.A. Bondy have mastered the art of slow and simmeringly beautiful melodies. Warming saturated melodies and slowly unfurling progressive synthplay form a percussive but unhurried base to Bondy's haunting vocal drawl. Lovely stuff.

This is the debut EP from new Fat Possum signing Ellis. The six-track release presents an uncommonly fully-realized aesthetic to match the strength of Siggelkow's songwriting. Built from simple instrumentation, but deftly arranged to lend a grandeur and devastating scale to Siggelkow's skillfully rendered laments, the release is a resounding statement from a young artist who is poised for a reception that equals the scope of her remarkable gifts. Ellis, who, after generating buzz in her local scene on the back of opening stints with the likes of Soccer Mommy, Gabby's World, Chastity, Palehound, and Free Cake For Every Creature, garnered international acclaim with the release of a series of singles, earning comparisons to Mazzy Star, Alvvays and Slowdive from outlets like Pitchfork, Noisey and Stereogum, who marked her out as one of "a new generation of exciting songwriters."

Unknown Mortal Orchestra (U.M.O.) was conceived as a home recording project by Ruban Nielson after spending years playing and touring in an award-winning New Zealand punk band (on the legendary Flying Nun label). The band broke up after re-locating to Portland, OR and Ruban was ready to move away from his nomadic past. His recordings as U.M.O., mainly created for his personal amusement, have now taken on a life of their own. 

Ruban’s vision of creating “junkshop record collector pop” culminated in the creation of sprawling Beatles-esque guitar melodies over hammered out break-beats, spliced with an individual touch of gentle weirdness. The results deliver a surprisingly unified fusion of several influential elements - classic psychedelic rock, Krautrock rhythms and proto-hip hop beats – all interacting to create a cohesive album. 

Though the songs were never intended to be performed live, the last six months has seen the project gather pace behind a wave of critical acclaim. A sold-out limited edition EP lead Ruban to construct a live band consisting of skilled producer Jake Portrait on bass and a brilliant teenage drummer named Julien Ehrlich.

FORMAT INFORMATION

Coloured LP Info: Independent record store exclusive on Sky Blue vinyl. Limited to 1,500 units worldwide.

In case you don't know by now, Insecure Menare led by Saul Adamczewski (Fat White Family) and his schoolmate Ben Romans-Hopcraft. There debut album was a glorious mess of  exotica, easy listening, lounge and timeless pop music.They now return with this 10 track covers record, feat. takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

STAFF COMMENTS

Barry says: It's a completely bizarre but thoroughly brilliant re-working of some karaoke classics from Insecure Men here, including the Police, the Denny's and PETER BLOODY ANDRE. WTAF / This is brilliant. Special shout-out to the Pogues' 'A Rainy Night In Soho'.

Fat Possum and Julian Casablancas' Cult Records are partnering to release NY Punks Surfbort record, "Friendship Music". Surfbort, a four-piece punk band from Brooklyn, New York made up of David Head, Alex Kilgore, Sean Powell and led by Dani Miller, channels inspiration from the 80’s punk scene to produce rousing, explosive music. Surfbort’s live experience is visceral and confrontational. Their feedback-strafed, guitar-shredding punk music says no to a digital age full of intolerance; they radiate love and friendship. All are welcome in the SURFBORT FREAK FAMILY! In the last three years they have supported acts such as The Dickies, Thee Oh Sees, Fat White Family, White Fang, Martin Rev, The Garden, Tijuana Panthers, The Mystery Lights, Tomorrows Tulips, Sunflower Bean, DIIV, GOGGS, The Dune Rats, Leftover Crack etc, Meatbodies, Ex-Cult, Hinds among others…

“The newly signed, genre defying Kadhja Bonet has announced the release of her debut The Visitor. On the album, Kadhja – pronounced “kod-ya” – invites us into a world not wholly our own, where past and future meet in a parallel, yet far lovelier, present. In anticipation of the release, Gorilla vs. Bear has shared the first track “Honeycomb”. Now available for streaming and free download, the song drifts listeners into a timeless, unplaceable realm of Kadhja’s own making. Fat Possum and Fresh Selects, two respected labels from different genres, have joined forces to bring us this transcendent debut – available in full on October 21.

The Visitor opens with an awe you’d expect from the golden age of cinema. In its half-mythical atmosphere, “Earth Birth” offers keys and choirs science-fictionally echoing down from deep space. This overture fades and Kadhja’s voice velvetly emerges on “Honeycomb” with a timelessness sending listeners scrambling to find her nearest genre. After running through classical, jazz, soul, folk, and even psychedelia, you find it ultimately impossible to comfortably place her. This is all by Kadhja’s design. For if she were “folk” it would only be the folk of some future aeon, a thousand hears hence. If her rich instrumentation of strings and wind strikes us as a “classic,” it’s not because it harkens to any past era, but because Kadhja paints perennial imagery that could as much be now as then as any other time.

Kadhja stays pretty mum – if not a little mysterious – about her own life story. She insists that her audience convene with her on imaginative and musical planes, instead of through byword associations with any scene or venue, be it in Los Angeles or on the beaches of Rio De Janeiro. What we do learn and should know about Kadhja is her early and formal training in classical music quarters, where she mastered violin and viola, learned flute and guitar, and gained the sharp compositional talents that frame every note and curve of The Visitor.

All writing and arrangement— except for the Jaco Pastorius melody put to her words on Portrait of Tracy— is entirely of Kadhja’s creation. While calling in friends like Te’amir Yohannes Sweeney for drums, as well as Low Leaf, Peter Dyer, Randal Fisher, and Itai Shapira for harp, synth, flute, and bass, Bonet still plays a good half of the instruments herself, including guitar, violin, flute, and the backup vocals that fill up the skies of her music. Kadhja also produced The Visitor, though with much of its mixing and engineering handled by her assistant producer Itai Shapira, one of the few souls trusted behind the curtains of her musical process.

The Visitor is an opus unpolluted by the mixed advice or overproductions that plague other albums. It plays through like one individual’s lucid dream in what is sometimes an all-too-dreamless musical landscape. Once we hear it, we recognize it as something that’s been harder and harder to find in the last thirty or forty years, though so badly missed. Kadhja has humbly learned from her predecessors while following their signs ever forward.” 

THE PICCADILLY RECORDS ALBUM OF THE YEAR 2018.

PICCADILLY RECORDS EXCLUSIVE: 
For a limited period only, buy either the vinyl or CD of 'Childqueen' and get a free 3 track 'Outtakes' CD bonus disc. 

Kadhja Bonet’s second album, Childqueen is something of a Hero’s Quest. In the opening Procession, above a muted drummer’s march, an unseen oracle announces to you, the listener: “every morning is a chance to renew, a chance to renew.” This is your first clue, setting you upon a path not to treasure, nor a grail, nor even a long lost love, but highest of all, what Kadhja has christened the “childqueen,” that innermost self that you were truthfully and instinctively before the press of the world came crushing in.

As with her 2016 debut The Visitor, the songs on Childqueen are never casual, never ditties. Instead they invite us into a world not wholly our own, a half-mythical atmosphere where past and future meet in a parallel, yet faraway, present. The lyrics and melodic lines nudge us along a path of self-discovery— or act as breadcrumbs along her own path. Everything that you hear on Childqueen was written, played, produced, and even mixed by Kadhja, who has always produced all her own music, insisting on a total vision that is nearly as difficult to co-create as a dream. The result is a soundscape the listener sinks into, a sound that combines softer enchantments with an ever-listenable experimentalism, unplaceable in genre and decade from beginning to end.

STAFF COMMENTS

Millie says: This precious album ‘Childqueen’ is entirely created by Kadhja Bonet from start to finish. Her beautiful vocals are submersed in a lovely swoony softness. It’s unlike anything I’ve heard, her style is truly unique and a joy to listen to.

Patrick says: In an era of mass-information, instant gratification and branded identity, Kadhja Bonet is a glorious enigma. An artist who’d rather let the music do the talking, the LA-based multi-instrumentalist lives outside the spotlight, at her happiest when her hands are busy and her mind is active, striving to create something honest and beautiful. Harking back to the psychedelic soul of Minnie Ripperton and Terry Callier’s Woodstock jazz, Kadhja crafts deep and dreamy vignettes, evocative episodes which perfectly fuse the pastoral and the personal. Delicate chimes, swooning strings and airy flute drift atop woozy grooves, joining Bonet’s multi-tracked vocals to form a hazy sonic web. Warm timbres and analogue textures lend the LP a vintage feel, echoed in the faded rainbow of the sleeve.
Recommended if you like:
Minnie Ripperton, Solange, Laura Misch.

FORMAT INFORMATION

Coloured LP Info: Limited coloured vinyl.

Coloured LP includes MP3 Download Code.

Following on from last years compilation “Collection”, Nashville based Sophie Allison aka Soccer Mommy now brings us her debut album proper. Produced by Gabe Wax (Deerhunter, War On Drugs, Beirut), the new album is a huge step up from her earlier bedroom recordings. The fuller sound works perfectly with Sophie’s finely crafted, bitter-sweet pop songs that have a world weary quality beyond her 20 years.

In many ways Insecure Men - the band led by the fiercely talented songwriter and musician Saul Adamczewski and his schoolmate and stabilising influence, Ben Romans-Hopcraft - are the polar opposite of the Fat White Family. Whereas sleaze-mired, country-influenced, drug-crazed garage punks the Fat Whites are a “celebration of everything that is wrong in life”, Insecure Men, who blend together exotica, easy listening, lounge and timeless pop music, are, by comparison at least, the last word in wholesomeness.

The band originally formed in 2015 in the cramped confines of The Queens Head pub, Stockwell, in the Fat White Family’s notorious South London ‘practice space’. Saul recorded all of the songs he wrote at The Queens Head onto tape at Sean Lennon’s studio in upstate New York. This tape, recorded on his own in a corridor onto an ancient Tascam while in a foul mood with his mates, essentially became Insecure Men’s self-titled debut album as more layers were dubbed over the top until nothing of the original demos remained.

Saul lists some of the influences on their sound, mentioning the exotica of Arthur Lyman, the early electronic pop of Perrey and Kingsley, the supreme smoothness of The Carpenters, the songwriting chops of Harry Nilsson and the hypnagogic uncanniness conjured up by David Lynch, describing what they do as “pretty music with a dark underbelly to it”.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive yellow coloured vinyl.

Coloured LP includes MP3 Download Code.

The Districts are a band that never stops moving. Popular Manipulations is an accurate representation of how much Robby, Braden, Connor, and Pat have grown, individually and as one solid unit. They’ve fallen in love and had their hearts broken and put back together again. They’re not the young underage band anymore, they’ve stepped out of their comfort zone and have come face to face with things that are so much bigger than them.

Popular Manipulations is life in the present. The way Robby belts from the depths of his chest compliments Pat’s crooning guitar while Braden and Connor lock in with a rhythm section so thick you could slice it with a knife. The songs are so visceral and compelling they make you like you’re experiencing every emotion at once. You can wade through the lyrical themes of manipulation, possessiveness, and anxiety or float among their dark and dreamy arrangements. Each song stands alone on its own but the synergy between them as a whole is explosive

STAFF COMMENTS

Barry says: Soaring melancholic indie anthems are underpinned by a staggeringly precise rhythmic backbone of hammering percussion and rolling bass. Slightly grungy in places and brilliantly emotive and perfectly produced throughout. Brilliant stuff.

Communions are a four-piece from Copenhagen, made up of brothers Martin and Mads Rehof, Jacob van Deurs Formann and Frederik Lind Köppen.

‘Blue’ is Communions’ debut album, following a series of singles over the last two years. ‘Blue’ makes the most of everywhere Communions have been. Through all of this the stakes have changed but the sensitivity and craft with which the band takes risks has bloomed. An eloquence now shines through and you can take it or leave it.

Discarding some of the moodiness found in their previous recordings, ‘Blue’ tells us what was always natural to Communions. It’s about love and taking chances. It’s about trying something and it still doesn’t matter if there’s apprehension.

FORMAT INFORMATION

Coloured LP Info: Exclusive blue smoke coloured vinyl available to independent retailers.

‘Goodbye Terrible Youth’ is the second album from St Louis-by-way-of-Scotland songwriter, Gary McClure.

Performing under the name American Wrestlers, Gary’s second record sees him taking bedroom recordings onto a bigger stage without sacrificing the intimacy that makes them so attractive.

If his self-titled album showed Gary’s knack for stringing together addictive guitar lines - the shimmer of shoegaze mixed with the emotional fist pump of power pop, ‘Goodbye Terrible Youth’ amplifies that energy with a roadtested band. Literally breaking out of the home studio - the Tascam mixer McClure had been recording on has fallen apart from overuse - he’s embraced a bigger sound and stage on ‘Goodbye Terrible Youth’, his rueful yet propulsive songwriting only becoming sharper.

“This [‘Amazing Grace’] is, quite simply, one of the most beautiful songs I’ve heard in 2016. All swirling guitars and plinking pianos, the song builds to a real moment of triumph. ‘I am waiting for that moment to arrive,’ Gary McClure sings, and then they hit you with those crunchy, soaring guitars, and you know it has” - USA Today

KEXP named ‘Amazing Grace’ their Song Of The Day, saying “When the guitar solo kicks in towards the final minute, it’s almost enough to make you pick up that matchbook and light the edge of that ever-expanding todo list on fire.”

‘Pearls To Swine’ maps Adam Torres’ complicated history as a songwriter and musician: it’s the sound of someone who discovered the value in his own devotion to music and how songs and writing are extensions of his own journey. He embeds his own folklore within his high-lonesome sounding, deeply felt and moving brand of folk music.

‘Pearls To Swine’ was recorded over eight days in January at Austin’s Cacophony Recorders, which overlooks the Colorado River valley. Working alongside co-producer and mixer Erik Wofford (Bill Callahan, Black Angels, M. Ward, Okkervil River), Torres chose the analogue route, recording and mixing directly to tape to allow for more finality and less overthought. This method in turn lends a natural, warm and almost magical realism atmosphere to the songs - like a high stakes live show captured in a fantastical setting.

The core rhythm was captured live and augmented by a few overdubs and Torres is joined on the album by the players in his band: Thor Harris (of Swans; on conga drums, vibraphone and percussion), Aisha Burns (violin) and Dailey Tolliver (bass / piano), with drum kit performances by Matthew Shepherd and Rodolfo Villareal III.

Yung frontman Mikkel Holm Silkjær is a Danish DIY figurehead who has left a catalogue of cassettes and selfproduced songs in his wake. Since he began to record music as a teenager (his father put him behind a drum set when he was four), slow hasn’t been his preferred speed. Writing and performing songs filled with gritty guitar and driving rhythms that snap like a live wire, he’s been busy channelling the electric drive of youth, creating brief, flashing sonic portraits of his life in Aarhus, the country’s gritty, industrial second city.

That makes the music on the reflective ‘A Youthful Dream’, the debut album from Yung, such a revelation. Angst makes space for wisdom, youthful exuberance begins channelling road-tested experience and a blur of basement shows and self-produced bromides becomes something more. Silkjær showcases a new degree of songwriting craft and sonic experimentation and a new perspective on everyday life and young adulthood.

‘Get Gone’, the potent debut album by Shreveport, Louisiana natives Seratones, makes a strong case that this little-known corner of the state is fertile ground, musically speaking. AJ Haynes (vocals), Connor Davis (guitar), Adam Davis (bass) and Jesse Gabriel (drums) serve up a combination of Southern musicality, garage rock ferocity and general badassery.

Seratones’ music, created with collaborative songwriting and spontaneous creativity, is certainly their own, due perhaps in part to Shreveport’s unique sonic geography. The city sits at a nexus roughly equidistant from Memphis soul, Mississippi Delta Blues and New Orleans jazz, with Texas swing located just over the nearby state border. The band’s sound draws from those touch points and more, ranging from Black Sabbath’s ‘Paranoid’ to ‘Kind Of Blue’.

Sunflower Bean find magic within friction. The New York trio’s full-length debut album, Human Ceremony [Fat Possum Records], emerges at the intersection of dreamy modern psychedelica and urgent fuzzed-out bliss. That push-and-pull colours the aural tapestry of these three musicians—Jacob Faber [drums], Julia Cumming [vocals/bass], and Nick Kivlen [vocals/guitars].

“Everything comes from a conflicting interest,” affirms Nick. “We love dream pop, but we also really love rock ‘n’ roll. It’s those two spectrums.”

“You’re allowed to obsess over Black Sabbath as well as The Cure,” adds Julia. “It’d be boring if everything was just one way or the other.”

That diversity defined the group’s approach since Nick and Jacob started jamming back in high school. They would hole up in Jacob’s Long Island basement for hours on end, channelling this vast cadre of influences. Julia’s addition would only expand that creative palette further in 2013. Through constant gigging around New York, Sunflower Bean sprouted into a sonic enigma, boasting a fiery musical call-and-response that serves as a centrepiece, giving the music what Jacob refers to as a “lyrical aspect” between the guitars, drums, and bass.

They transferred this multi-headed energy into their 2015 Independent EP, Show Me Your Seven Secrets. At the same time, this distinct alchemy enchanted ever-growing audiences live. By the time, they entered the studio for Human Ceremony, Sunflower Bean had a lively aural cauldron from which to draw.

They took the summer of 2015 off and retreated to Jacob’s basement to write together. Taking the ideas out of the basement, they hit a Brooklyn studio with producer Matt Molnar [Friends] and tracked eleven tunes in just seven days. Whereas the EP was recorded after Sunflower Bean played 100 shows in one year, Human Ceremony showed the band’s studio side with richer soundscapes, overdubs, and music that had yet to be debuted live.

On the lead track “Easier Said,” Julia’s delicate vocals glide over a lilting clean guitar that spirals off into a vibrant hum.

Sunflower Bean’s spell is cast on Human Ceremony.

“When you’re in a band, you always dream about the first record,” Julia concludes. “It’s that moment where you explore everything that’s been inspiring you.”

Under the moniker Los Angeles Police Department, Ryan Pollie makes the kind of homespun bedroom pop that excels in its quiet intimacy, while retaining its emotional weight under sparse instrumentation and soft delivery.

On his 11-track self-titled debut album (released September 2014) Pollie wrote and recorded each song in a day, allowing for small imperfections and spurts of urgency found throughout the record. It’s a creative process Pollie has now become accustomed to: “This project really changed an important misconception for me. It was that music that I was making, which wasn’t recorded in a studio with a band, was illegitimate or not real for some reason.”

These 11 tracks, pared down from 30 and recorded in a house in Hollywood, became personal anecdotes to a specific time and place: following a burgeoning relationship until its untimely end. At times shaken and hazy and at others affront with exhaustion, Pollie is able to weave a tapestry of pop songs that is the perfect distillation of where the project is currently at and where it could be taken in the future.

“The album’s first half represents as strong a collection of songs as will appear on any debut LP in 2014, maybe the best of its variety since the debut Youth Lagoon record” - Impose Magazine

“Gloriously arranged with a late-summer-light country rock haze” - Pitchfork

Katie Monks and Liz Ball started Dilly Dally in 2010 while living in a cockroach-infested apartment near Toronto’s Kensington Market. The two shared a love for dreamy guitars, weed and karaoke. Turning to good friends Corey Marshall (drums) and Michael Guiliani (bass), the four piece spent the next three years playing any bar or basement with a PA, building a solid fan-base in Toronto and sharing the stage with notable bands such as Born Ruffians and Tokyo Police Club.

By 2014 the band had recorded their first full length record with producers Leon Taheny (Owen Pallett, Austra, Dusted) and Josh Korody (Fucked Up, Beliefs, Greys) at Candle Studios in Toronto, capturing a collection of songs that had been written over the course of three years. The track ‘Next Gold’ was released independently as a single: “Katie Monks sings the way drunk people do at weddings - loudly, messily, and with absolute conviction. You can make out about five words total on ‘Next Gold’, the first track from Dilly Dally’s forthcoming debut, but the Toronto four-piece’s Pixies-style grunge pop is no less riveting for being incomprehensible.” - Pitchfork, May 2014

Fat Possum are excited to announce the European release date of Jackson Scott’s debut album, ‘Melbourne’. The album is a refined bedroom pop record which pitches Jackson somewhere amidst the otherworldly stargazing of Sparklehorse and the determined singularity of Neutral Milk Hotel and Mellow Gold-era Beck.

Jackson Scott has developed out of a weird audacity; bending spoons with apocalyptic melodies, sugared with solipsistic textures. How did the world conceive this young cosmonaut? A college dropout with a 4-track and a one-track mind. A listener and a conceiver. His voice, whether pitched up or androgynous, speaks of a still life. But painting is meaningless, songs irrelevant, aura outdated if you are a revivalist. Jackson is not.

The upcoming debut ‘Melbourne’ - conspired it out of isolation, deprivation and hunger - shows we’re all alone together, sharing the same tragedies, ecstasies and phenomenon.

Mean Lady is the duo of Katie Dill and Sam Nobles from Delaware. They’ve written a bunch of songs about lust and innocence and vulnerability, coming out on Fat Possum Records as an album called ‘Love Now’.

Through bubbly synths and rhythmic production, Dill and Nobles have managed to cobble together a timeless, concise pop record. It’s a finished product that could only exist when kids from Delaware grew up, trashed all their soul records and then got high some time after DJ Shadow reached his peak but probably before J Dilla died.

‘Lonely’ chronicles the emotions behind loving someone and not being near - that nasty burn, the powerless, physical feeling, the one that makes you dry heave on a dirt road somewhere outside the city limits. It sucks, but Mean Lady makes it better with their music.

‘Love Now’ is deep and rich. The sound is Sam’s wonderfully abrupt sampling and skipping drum beats underneath the band’s live instruments. All of this is anchored by Katie’s songwriting and sharp, but sweet vocals. Take heed - this is an important debut for a young band.

For those not au fait with wrestling vernacular, the Swanton Bomb is a manoeuvre, popularized by the three-time world champion Jeff Hardy, that involves leaping off a top rope, flipping your body over and landing back-first upon your opponent. So what does it have to do with Swanton Bombs, the band? “Absolutely nothing,” concedes singer and guitarist Dominic McGuinness. “We just thought it was pretty cool.”
Their sound is a visceral, unvarnished blend of blues and punk, underpinned by rich narratives and resolute melodies, and informed by McGuinness and drummer Brendan Heaney’s admiration for The Clash, Television, The Ramones and Richard Hell along with the moody, blues-rock stylings of Randy Newman, Tom Waits and Nick Cave.
This limited edition two tracker on Fat Possum features "Wasteland", "Swanton Bombs Who's Asking".

STAFF COMMENTS

Laura says: Two more great slices of blues punk rock from this two piece. Limited edition on Fat Possum.

Blood Brothers may have betrayed their blood oath by breaking up, but the spirit of that raucous Seattle act lives on in Jaguar Love. Having already caught the eye of Queens Of The Stone Age, who took them on tour for a spell last year, Jaguar Love have since inspired the folks at Matador Records, who signed one album and an EP, as well as fat Possum, who have signed them to a worldwide deal.

Townes Van Zandt has written some of the biggest selling Country songs and has been covered by Plant & Krauss, Willie Nelson, Nanci Griffith, Steve Earle, Emmylou Harris, Lyle Lovett and Lucinda Williams, amongst others. This is one of seven reissues.