Leeds, England’s Adult DVD reignite the ’90s rave bonfire on their 2026 eponymous debut. The group, lead by singer Harry Hanson and keyboardist Greg Lonsdale, has garnered buzz for their swaggeringly irreverent, throwback style of indie dance music. It’s a vibe that fits nicely next to more contemporaries like LCD Soundsystem and Soulwax (the band have intimated as much), but which cannily evokes the brash, Dayglo aesthetic of classic ’90s acts like 808 State, Happy Mondays, and Prodigy. Much of this is due to Hanson’s thick Yorkshire-accent and brash, rap-like delivery. He’s the perfect conduit for the kind of cocky, Madchester-esque, British two-finger salute energy Adult DVD bring in spades. It also doesn’t hurt that Lonsdale and the rest…
Tag Archive: Fat Possum
Over a decade into his career, Jake Xerxes Fussell remains peerless in the world of folk music. The North Carolinian’s interpretations of songs, both familiar and arcane, sound unlike anyone else’s, and more often than not, unlike themselves. There is plenty of blues, folk, and country in his fingerpicking style and his baritone voice radiates Southern warmth, but he doesn’t really come across as a roots artist, at least not in the ways people have come to expect. Fussell is too idiosyncratic and curious for so common a label. With a relaxed delivery completely devoid of striving, he circumvents both staunch traditionalism and the eager pathos of the indie folk crowd. Songs simply marinate in the fields of his imagination, then flow through his voice…
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…
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);…