One of the defining characteristics of Moneyball, Dutch Interior‘s Fat Possum label debut, was its eclectic, shape-shifting nature as it drifted between slowcore, livelier lo-fi rock, harmonic country-rock, and more, including spacy, experimental drone music. Whether or not it served as a justification for this or actually worked (it somehow did), that trait was largely explained by the group’s sizeable six-member lineup, their varied musical backgrounds, and the fact that they all contributed music, lead vocals, and lyrics to the record.
The follow-up EP, It’s Glass, acts more like an extension of that album than a sequel in that it meanders into additional adjacent territories. The EP opens with the rustic “Ground Scores,” a minimalist alt-country love song with…
Tag Archive: Fat Possum
Yeah, mostly is a new collection of 11 songs resembling a collection of short stories traversing a person’s relationship with their dishwasher, a grandparent’s funeral, an ungodly cold night in Los Angeles and other scenes that float in and around the rhythms of daily life.
It is the most personal and self-assured album yet from Will Epstein – also known for his work under the moniker High Water, in addition to collaborations with Nicolás Jaar and Dave Harrington (Darkside) – as well as the most seemingly effortless application of his songwriting talents. His work composing for movies, like his recent IDA Documentary Award-nominated score for Nam June Paik: Moon Is the Oldest TV, bleeds into his recent, more accessible work.
What of Our Nature brings together idiosyncratic American indie folk singer/songwriters Haley Heynderickx and Max García Conover, who were inspired to write it after a deep dive into the life and writings of folk legend Woody Guthrie (who, as a reminder, initially rose to fame in the 1930s). It’s not the first time they’ve worked together: the two paired up for the six-song Among Horses III in 2018. Here, again, Heynderickx’s warm, eloquent observations both complement and contrast García Conover’s more angular, outspoken style. Both can be said to have a way with words. In Guthrie, the friends found conspicuous commonalities with not only present-day politics but with their own experiences at the intersection of the political and personal. The resulting album…
Rebuilding is a poignant new film about recovery and resilience from American director Max Walker-Silverman and starring hot property Josh O’Connor as a stoic rancher looking to rebuild his life after a wildfire destroys his land. A quiet and sensitive picture, the makers decided the artist to bring its musical side to life was folklore forager and discerning composer Jake Xerxes Fussell, who in turn enlisted the services of producer and musician James Elkington to share the load.
This power couple have plenty of proof of their productivity, most recently with Jake’s lovely When I’m Called album, which James produced and played on, plus 2022’s Good and Green Again, with James in the chair again. For this project, the pair collaborated remotely until…
Saul Adamczewski, co-founder of Fat White Family and frontman of Insecure Men, endured a harrowing personal collapse in 2024, spending months in a cupboard in Tulse Hill amid severe psychosis and opioid addiction. After calling his mother and undergoing withdrawal, he began rebuilding his life, reconnecting with family and bandmates. This recovery led to A Man For All Seasons, the second Insecure Men album and a creative rebirth.
Recorded in the spring of 2025, at Ray Davis’ Konk Studios in Hornsey, North London with producer Raf Rundell, the album reflects Adamczewski’s shift toward collaboration, with a band lineup including Marley Mackay, Victor Jakeman, Fat White Family’s Alex White and Steely Dan Monte.
If Meg Duffy’s Hand Habits project has become known for two things, it’s personal, self-aware expression and shapeshifting, layered timbres and textures that span the intricate and the atmospheric. With their albums growing more and more collaborative over time, Hand Habits’ fourth album, Blue Reminder, welcomes a host of in-person contributors in sessions that were largely tracked live. As a major development from Duffy’s early, solitary bedroom recordings, it might be reasonable to expect a bit less of that meticulous complexity here, but Duffy manages to retain that sensibility and arguably bring it to new levels by including the participation of instrumentalists like Blake Mills; Daniel Aged (Frank Ocean, FKA Twigs); Tim Carr (Perfume Genius);…