ALAN VEGA Releases Unheard "Kung Foo Cowboy" Demo - Debut Solo Records To Be Reissued via Sacred Bones & The Vega Vault Project Jan 23

ALAN VEGA: Releases Unheard Demo of "Kung Foo Cowboy" + Newly Remastered Versions of "Magdalena 83" + "Kung Foo Cowboy" 

The Vega Vault Project and Sacred Bones To Reissue Alan Vega’s First Two Trailblazing Solo Albums: Alan Vega and Collision Drive
Alongside Companion Piece Alan Vega Deluxe Edition
All Available January 23 - Pre-Order / Pre-Save Here

Collection includes remastered audio from all original tapes, available across digital retailers for the first time ever, unheard demos, unseen photos and new artwork.

Alan Vega, Courtesy of Saturn Strip, LTD 

The Vega Vault Project and Sacred Bones Records continue to uncover Alan Vega’s robust collection of work left behind by the influential visual artist, musician and poet (see below for more about the Vega Vault Project). Today, they share three new tracks from the forthcoming reissues of Vega’s highly influential 1980 debut S/T solo album and follow up, Collision Drive. Now remastered from the original tapes, and available on streaming services for the first time ever, the two albums will be faithfully re-released by Sacred Bones Records on January 23rd, preserving the raw intensity of Vega’s original recordings while making them newly accessible to listeners worldwide. The Vega Vault Project and Sacred Bones have meticulously assembled these packages and will also offer a companion piece Alan Vega Deluxe Edition which will be available as a limited deluxe double LP and include unheard demos, unseen photos and new artwork. All three albums contain unseen photos and new album artwork (including Alan Vega's original track sheets from his 1978 Suicide / The Clash Tour Notebook).

The releases were announced late last year, along with the newly remastered version of S/T track "Ice Drummer" and an accompanying video created by Douglas Hart of The Jesus & Mary Chain, as well as the newly remastered version of "Outlaw" from Collision Drive.

Today three more tracks from the forthcoming releases have been made available - the remastered versions of Vega's twangy, guitar-driven "Kung Foo Cowboy" and his aching punk rockabilly "Magdalena 83", as well as a previously unheard demo of "Kung Foo Cowboy", which will be available as part of the Alan Vega Deluxe Edition release.

Listen to "Kung Foo Cowboy (demo)" + Remastered Version Here

Listen to "Magdalena 83" Remastered Version Here

More About Alan Vega and Collision Drive:

Alan Vega was released in 1980 at the same period Suicide released their second album, Suicide: Alan Vega and Martin Rev. Vega wanted to dig deeper into the roots of his own sonic identity, fueled by rockabilly, early rock n roll, and his enduring love for Elvis Presley. Filling the gaps between recording with Suicide, and fleshing out the songs he was writing on his own, Vega committed to producing his own songs and started performing solo shows live to develop his sound. 

At the time, Vega met Phil Hawk, a young Texan artist who had tracked him down at a party at the Drawing Center in New York, after seeing him perform with a boombox at Max’s Kansas City. Vega was immediately struck by Hawk’s look, and described him as a “blonde Elvis” and was intrigued by his raw, intuitive playing style. Vega had been experimenting with sound and tape manipulation for years but needed a guitar player. Vega instantly saw the potential that could match the vision he had for a stripped down, minimal is maximal rock n roll record.

As with his visual art, Vega layered sound in a minimalist, dynamic and intentional way. Vega deconstructed the drums. He recorded each drum part individually combining electronic and acoustic sounds played live. He directed Hawk on specific guitar riffs he wanted to hear until he got the sound he was looking for.  Vega arranged and produced all the music himself. The result was a fiercely singular album built from raw materials and deeply rooted in Vega’s artistic vision.

Alan Vega includes the timeless anthem “Jukebox Babe” with its jiving rhythm and minimalist swagger. “Kung Foo Cowboy” takes on a southern twist, strongly leaning into the blues, while the golden pop shine of “Ice Drummer” rings in melodic yet plaintive vocals, marching drums and a tasteful harmonica solo. 

Vega’s debut set off a ripple effect in New York’s music scene, carving a unique place in the underground canon from the 80s on. Mark Ronson, Jim Jarmusch, LCD Soundsystem, Trent Reznor, Bruce Springsteen, The Flaming Lips, Billy Idol and countless others have cited Vega and his solo work as an influence on their sound.  Read more about Alan Vega here.

In 1981 Vega followed his debut with Collision Drive which was recorded within the same year and in the same NYC studio as his self-titled. The album expands Vega’s palette with a grittier, more layered, and unfiltered energy. Here his lyrics channel universal themes deeply rooted in his fascination with street life, science fiction, politics, comics, love and the mysteries of the universe. It’s a record that pulses with feeling and rebellion, displaying the full spectrum of human experience and Vega’s evolving vision.

“Alan was always reinventing himself," says Jared Artaud, co-producer and creative director of The Vega Vault Project, "he was creating and refining his mastery of variation while maintaining his own unparalleled and identifiable aesthetic. Sonically, this album is more dynamic than his first, which is a minimalist masterpiece. Ditching drum machines for a live drummer, and enlisting a hard rock band to back him, ‘Collision Drive’ offered a different view of Vega’s artistic vision."

"Alan’s music thrived on interpretation. He believed the meaning of his songs belonged to the listener. His lyrics painted emotional and conceptual landscapes but he resisted explaining them. He always wanted the listener to bring their own experiences, imaginations, and emotions into what listening to his music and words meant to them, and ultimately that openness is part of its power,” recalls Vega's longtime collaborator, wife and The Vega Vault Project leader and co-producer, Liz Lamere. 

From the fiery political fury of “Viet Vet” to the proto punk mantra of “Ghost Rider,” Collision Drive pulses with tension, urgency, and uncompromising vision. The phrase “more more more, more for the poor” hits in full force on “Outlaw,” a classic Vega cry for justice, survival, and human spirit that is said to have inspired Billy Idol’s iconic “more more more” in “Rebel Yell.”

Alan Vega and Collision Drive are declarations of artistic independence and freedom from one of New York’s most influential and uncompromising artists. Vega was relentlessly innovative, continuously paving new ground. These updated editions recapture his raw, electrifying work as the two remain cult cornerstones of outsider rock and a touchstone in the evolution of art-punk and experimental pop. Read more about Collision Drive here.

Alan Vega and Collision Drive will be available across digital retailers and in stores on January 23 via Sacred Bones Records in addition to Alan Vega Deluxe Edition. Available as a limited deluxe double LP, Alan Vega Deluxe Edition is the definitive reissue of Vega’s solo album. The release pairs the newly remastered original album with a second disc of previously unheard early demos which were discovered in the Vega Vault by Liz Lamere and Jared Artaud. The tapes were then transferred by engineer Ted Young and mastered by Josh Bonati. These demos offer a rare glimpse into Vega’s creative process behind his cult classic. All three albums feature new album artwork designed by Jared Artaud and Michael Handis, exclusive to these pressings. The companion piece that sheds new light on Vega’s process and vision during this pivotal era, making it a must-have for collectors and longtime fans. See below for tracklists and formats.

To celebrate the release, The Vega Vault Project and Sacred Bones will be hosting listening events in Paris and Stockholm, with DJs spinning music from Vega's universe and exclusive giveaways. Details are:

January 23 - Riche Fenix, Stockholm, Sweden. 16h - 20h.
January 24 - Chair de Poule Bar, Paris, France. 19h - 1h.

Pre-Order / Pre-Save Alan Vega, Alan Vega Deluxe Edition, Collision Drive

Alan Vega Album Artwork Designed by Jared Artaud and Michael Handis 

Alan Vega Tracklist:

01 - Jukebox Babe
02 - Kung Foo Cowboy
03 - Fireball
04 - Love Cry
05 - Speedway
06 - Ice Drummer (Official Music Video)*
07 - Bye Bye Bayou
08 - Lonely

Physical Variants: Sacred Bones Exclusive Variant - Silver & Magenta Galaxy vinyl (BE), Black (LP), Indie Retail Variant - Magenta vinyl (C3), Rough Trade Exclusive - Silver & Magenta Half/Half vinyl (RT), 8 Track
 

Alan Vega Deluxe Edition Album Artwork Designed by Jared Artaud and Michael Handis

Alan Vega Deluxe Edition Tracklist:
 
01 - Jukebox Babe
02 - Kung Foo Cowboy
03 - Fireball
04 - Love Cry
05 - Speedway
06 - Ice Drummer
07 - Bye Bye Bayou
08 - Lonely
09 - Ice Drummer (Demo)
10 - Fireball (Demo)
11 - Speedway (Demo)
12 - Love Cry (Demo)
13 - Kung Foo Cowboy (Demo)
14 - Lonely (Demo)
15 - Bye Bye Bayou (Demo)

Physical Variants: Sacred Bones Exclusive Variant - Magenta w/ Black Splatter (BE), Indie Retail Variant - Ice blue (C3), CD
 

Collision Drive Album Artwork Designed by Jared Artaud and Michael Handis |

Collision Drive Tracklist: 

01 - Magdalena 82
02 - Be Bop A Lula
03 - Outlaw
04 - Raver
05 - Ghost Rider
06 - I Believe
07 - Magdalena 83
08 - Rebel
09 - Viet Vet

Physical Variants: Sacred Bones Exclusive Variant - Silver & Red Galaxy vinyl (BE), Black (LP), Indie Retail Variant - Red (C3), Rough Trade Exclusive - Silver & Red Half/Half vinyl (RT), CD, 8 Track
 

*ALAN VEGA - “ICE DRUMMER” VIDEO CREDITS:
DIRECTED BY DOUGLAS HART 
PHOTOGRAPHED BY DOUGLAS HART 
EDITED BY GULLY
STARRING: SARA KAANER AND FAYE FEARON
CREATIVE DIRECTOR: JARED ARTAUD 
PRODUCED BY DOUGLAS HART AND JARED ARTAUD 
THANKS TO GALERIE JOHN FERRÈRE AND LIZ LAMERE

Alan Vega : Instagram : Facebook : X

Andy Shauf's Foxwarren Shares Helado Negro Remix of "Yvonne"

ANDY SHAUF’S FOXWARREN SHARES HELADO NEGRO REMIX OF “YVONNE” 
 
LISTEN HERE 
 
‘2’ OUT NOW 

"A short, evocative new track [...] 'Yvonne' is a low-key, percussive track with at least a touch of bossa nova influence. It’s got all sorts of interesting touches in its orchestration." - Stereogum 
 
“ 'Yvonne' is an understated kind of gorgeous, a tarnished piece of jewelry glinting in the sun.” - AV Club 
 
“[2] trades traditional folk-rock for something stranger and more textural: hip-hop drums, fluttering flutes, dialogue clips, and chopped-up fragments that bloom into understated pop gems.” — Under The Radar

Sonically shimmering with a lilting vocal, electronic avant-pop artist Helado Negro adds a warm, beat-driven pulse to his remix of Foxwarren’s single “Yvonne.” Listen to it below. 
 
Listen to “Yvonne” (Helado Negro Remix): https://foxwarren.ffm.to/yvonneremix

Helado Negro aka Roberto Lange has shared this statement about working with Shauf and his music:  
 
“I saw Andy Shauf perform solo a year or so ago, and the music and performance absolutely blew my mind. When Foxwarren asked me to remix this song for his project, I was honored and excited to see where I could take it. Songs always feel like they can keep evolving. Whether you're listening to a song on your own headphones, the ambient sounds of your surroundings are constantly changing your experience of it. I wanted my approach to the remix to be like this—a new environment for this mysterious and beautiful tune. The name Yvonne and the way it's sung feels like a complete shape, a satisfying melody. I love how it's a name that could be someone from a long time ago or someone you long to see now. I wanted to create a sense of wistful dancing—a mellow bump of bouncing bass, subtle dissonance from the rearranging of the strings, and asymmetrical shapes in the phrases. A smoke screen of soft reverbs and hard-to-hold chords. Andy’s voice has a texture of its own, a beautiful landscape from a distance, and is full of delightful surprises as you listen closer.” 
 
"Yvonne” was originally released as part of Foxwarren’s sophomore album ‘2’ this past spring. The Canadian quintet - comprised of Andy Shauf, Avery and Darryl Kissick, Dallas Bryson, and Colin Nealis - built on 20 years of friendship, ostensibly plays folk music, where warm tones and cantering rhythms buoy songs of characters wrestling with existential quandaries inside of twilit vocals.  
 
But after touring their lauded 2018 self-titled debut, Foxwarren decided to do it all differently, eventually dropping the familiar band-in-a-room routine to instead plug those songs, and various other sounds into a sampler. The result is mesmerizing and uncanny, an album that traces two sides of a relationship through 37 minutes of collage art that aspires to “sound best blasting out your car window,” said Shauf.  
 
By himself, Shauf has already had a stellar career; his reputation built not only by the sweetness of his melodies and sharpness of his words but also his inability to rest with past success. Foxwarren, especially here, is a crucial part of that ongoing process, but ‘2’ represents something even more significant—five friends now nearing the end of their second decade making music together, pushing against what they’ve learned how to do to venture somewhere new.   
 
Declared the #1 album of 2025 by No Ripcord, their review astutely states: “Sequenced akin to GZA’s deconstructed classic Liquid Swords, ‘2’ sees Andy Shauf and his college friends splicing cinematic flourishes and spoken-word excerpts into a smooth meld of muted glam-rock (“Listen2me”), looped chamber pop (“Dance”), piano-driven disco (“Wings”), and breakbeat-informed musical scores (“Sleeping”) ... Come for the album’s immaculate flow and stay for its tragicomic story, which, in true Shauf fashion, requires time to reveal itself fully. One can hear how Foxwarren carries out ‘2’ without a shred of expectation, as they prove that changing the usual routine with some spontaneity can yield masterful results.” 
 

Foxwarren & Helado Negro

Foxwarren Online: 
Facebook | X | Bandcamp | ANTI- 

TENDERNESS shares new single "The Salt Flats". Debut album 'True' out March 13th via Amorphous Sounds & more UK tour dates announced.

TENDERNESS - Shares new single/video "The Salt Flats" - Debut album 'True' out March 13th via Amorphous Sounds - More tour dates announced

With debut album 'True' out March 13th via Amorphous Sounds, today Tenderness - the solo project of Katy Beth Young (Peggy Sue, Deep Throat Choir) - shares new single "The Salt Flats" - a bittersweet indie-pop song with open-hearted vocals, gently propulsive rhythms and Americana-infused production. Tenderness will be touring across the UK later this month with Jeffrey Martin and playing a headline London show on March 18th at St Pancras Old Church. On the new single Tenderness said "‘The Salt Flats’ is a song about trying to hold onto good moments, and how impossible that is. Joy, peace, adoration, they’re all very slippery emotions. The song lives in the moment of gentle panic – the good feeling, already leaving. We tried to build that into the music through the synths and the rhythms – a pulling forwards and backwards at once. A kind of nostalgia. I finished writing the song in my friend Martha Rose’s apartment in Berlin, so it was really perfect that she and my friend Benjamin Gregory could do the backing vocals – their voices are the melancholy cherry on top." "The Slat Flats" on YouTube: https://youtu.be/2XJhWloGoKU "The Salt Flats" on other streaming services: https://tenderness-songs.ffm.to/thesaltflats A walk across the salt flats. A pixelated moon on a touchscreen. A song set on the hottest day of the year. A song set on the final day on earth. A song you can’t send to someone, because they’re no longer there. True, the debut album from Tenderness — the solo project of Katy Beth Young (Peggy Sue, Deep Throat Choir) — leads you by the hand through scenes like these, on deceptively simple songs that shimmer with electric guitars and drones and licks of pedal steel. Songs that look sideways at romance and grief and technology. Songs that break hearts with their precise and thoughtful beauty as well as their sadness. Songs that are, by turns, tender like a touch, tender like a bruise. Tenderness was born out of a tough storm of circumstances: the pandemic, a cancelled tour, a break-up, and the loss of her father. Furloughed and with too much time on her hands, Young began to write new songs in her north London living room, windows wide open to the hot summer outside. “I was having a hard old time but it was also strangely beautiful,” she says. “There’s something about that space of grief that is very tender. There was a lot of sadness, but also a sweetness and openness to the world. You feel things deeply but you’re also gentle with people.” In August 2020, during that “weird window” of the pandemic where lockdown eased up enough for a trip to the seaside, or across London, Young visited producer Euan Hinshelwood (Younghusband, Cate Le Bon) at his Greenwich studio. In two days, the pair recorded eight demos with no pressure or plan. “It was like a day trip to the land of music,” she recalls. Over the next few years, around lockdowns and tours and day jobs, those demos quietly transformed into True. Across the ten songs, Young tries to untangle the supposed boundaries between fantasy and fact, romance and the real world. “We perform love in the same way that we perform love songs. And when you sing, performing makes the emotions real again,” she says. “That’s why ‘True’ became the album title. It’s all true, I think.”  Technology is a recurring lens – screens as connector and amplifier as well as barrier. Photos of the moon, video calls, streaming algorithms, and re-read text messages all mirror modern love and grief. Initially, Young considered naming the album Touchscreen for how it evokes both an intimacy and a distancing. “I love making a playlist for someone. I think it’s no less beautiful than a mixtape,” she says. “But if you’re training something to know your romantic buttons, it all gets a bit Her.” Lyrically, the video calls and databases sit alongside tidal pools, televisions and sugar levels, keeping the songs squarely in Young’s world, even as every track flickers with the influence of country music. While the influence of classic country artists like Patsy Cline and Kris Kristofferson is felt, so is that of Big Thief, Yo La Tengo, Wye Oak and Bill Callahan. “It turns out all of my favourite bands are at least a little bit country,” Young laughs. Producer Hinshelwood helped shape each song’s sonic world. The final recordings are sparse in that country way but layered with Hinshelwood’s textures: synths, drones, rich backing vocals, and Bonnie ‘Prince’ Billy–style guitar solos. A key ingredient came midway through recording: pedal steel by Scottish musician Harry Bohay (Aldous Harding, Sylvie), whom Young saw performing with Erin Rae. “He was just going to play on two songs in the beginning, but it lifted the music so perfectly that we ended up having pedal steel on almost every song,” she says.       True is a solo album in name, but a communal one in spirit. Longtime collaborators appear throughout: Peggy Sue’s Clay Slade and Olly Joyce, La Luz’s Marian Li-Pino, and members of Deep Throat Choir. Backing vocals come from Berlin musicians Martha Rose, Dandy Deniz and Benjamin Gregory, and the album's finishing touches - strings and synths -- were added by producer Chloe Kraemer. Young comments “One of the most joyful things about doing a solo record has been needing and wanting and being able to invite so many different people to play on it. It feels very beautiful to me that so many of the people I’ve made music with are on the album.” The result is an album that feels both deeply personal and quietly expansive - a collection of songs born from solitude but shaped by community, rooted in heartache yet reaching toward something hopeful. True doesn’t shout to be heard; instead, it lingers and glows. See Tenderness live: 20 Jan - Brighton, Hope & Ruin w/ Jeffrey Martin 21 Jan - London, Bush Hall w/ Jeffrey Martin 22 Jan - Manchester, YES w/ Jeffrey Martin 23 Jan - Birmingham, The Sunflower Lounge w/ Jeffrey Martin 24 Jan - York, Bluebird Bakery w/ Jeffrey Martin [SOLD OUT] 18 March - London, St Pancras Old Church  True artwork: True tracklist: 1. Saturday Morning 2. The Salt Flats 3. True 4. Touchscreen 5. We'll Always Have Paris 1919 (YouTube) 6. Peacetime 7. Database Blues (YouTube) 8. Day of Atonement 9. Heat Wave Love Song 10. Playing 'Country Roads' Links:  Instagram Website Substack

Felsmann + Tiley Share New Track "God Is Lonelier" || New Album 'Protomensch' Out 2/13 On Mute

FELSMANN + TILEY   SHARE NEW TRACK “GOD IS LONELIER” NEW ALBUM PROTOMENSCH  OUT 2/13 ON MUTE

Photo credit: Felsmann + Tiley   Ahead of their upcoming album Protomensch (out 2/13 on Mute), today German synth-duo Felsmann + Tiley (Dominik Felsmann and Patrick Tiley) return to welcome the New Year  with “God Is Lonelier” (ft. Laius), a cinematic and introspective track steeped in the notion of prophetic solitude. While the most immediately recent track “Reset” focused on pause and reflection, “God Is Lonelier” examines the quiet that follows once the spotlight fades. Listen to “God Is Lonelier” HERE. Pre-order Protomensch HERE.  The band elaborate on the track: “God Is Lonelier dives directly into the ‘Playing God’ side of our manifesto. It looks at our instinct to grow, optimise, conquer and dominate - all the ways in which we try to shape the world, and ourselves, into something more powerful and controlling. But we play God while being inherently human, and that tension sits at the heart of the song. The more control and power we gain, the more disconnected we become. Power and loneliness start rising in parallel, and the protagonist in the lyrics learns this the hard way. Once we reach our seemingly god-like ideal, we often realise we’re more isolated than before. Paradoxically, striving for greatness can quietly pull us away from the very connection we hoped it would bring.” “God Is Lonelier” follows the previous release of album tracks “Reset,” “OPIOID,” “Warnung,”  “Warum”, “Open Fields (Ft. The Kite String Tangle)” and “Gabriel”. About Felsmann + Tiley How long can an artist with instantly recognizable sound stay anonymous? For years, apparently. Take Felsmann + Tiley’s reinterpretation of M83’s “Solitude,” a track that has over 200 million streams to date. Very few of those listeners know the story of evolution behind the German producer-duo’s drumless synthwave melding Cliff Martinez-style maximum emotional impact with Nils Frahm’s neoclassical minimalism. Nor are they familiar with their body of work that has reached wider audiences after featuring on BAFTA-winning crime series “Top Boy” and Acne Studios fashion shows. Slated for release in February 2026, their upcoming album Protomensch is an audiovisual statement on the absurdity of modern existence.   Having met by happenstance in 2003 on a German music production forum called MyOwnMusic.de, Felsmann + Tiley soon discovered they shared a lot more than their hometown of Stuttgart. “We were attracted to the depth and melancholy of trance pads and breakdowns that always had a certain darkness to them.” Their 12-inch Ghosts under an alias Kamui was followed by a string of blistering belters by five other aliases released on different labels, all linked by thick and heavy club sound. “And then from 2006 onwards we also started touring and doing DJ gigs all around the world.” Where the visually-heightened sound reached wider audiences were sync placements for the reinterpretations of the songs by high-calibre artists: “The Most Beautiful Boy” by The Irrepressibles, the lead track on teen drama “Young Royals 2” and “Solitude” by M83 appeared on the gritty British crime series “Top Boy,” two tracks later released on Mute Records and Deutsche Grammophon that since then have racked up over 200 million streams. Felsmann + Tiley’s passion for putting their very own stamp on vocal driven tracks is evident on the standout moments of their upcoming concept album Protomensch (Engl. “proto-human”), where the darkest shades of shimmering synthwave, pounding trance and introspective IDM are lit up with synth-pop songs by guest vocalists including London-based alternative outfit Pet Deaths, Australian solo-artists The Kite String Tangle, Woodes and Laius. This juxtaposition between sentient beings and machines permeates the whole album, right from the Felsmann + Tiley manifesto introducing us to the highly-intelligent yet irrevocably-shortsighted and downright tragic character of Protomensch, to the cover artwork featuring a turtleneck wearing chimpanzee, futuristic music videos and stark social media aesthetics, to seated, next-level live-shows involving collaboration with dozens of visual artists. More to the point, the release of Protomensch marks the moment their full artistic vision – as they envisaged back in 2017 – will be brought to fruition for the first time. However, at the same time it also marks the moment of realization for Felsmann + Tiley. As the Stoic philosopher Seneca put it, “Every new beginning comes from some other beginning's end.”

Track listing:  1. Open Fields (ft. The Kite String Tangle) 2. Memory 3. OPIOID (ft. Pet Deaths) 4. Reset 5. Always You (ft. Woodes0 6. Seeker  7. Warnung 8. Gabriel 9. Kind 10. God Is Lonelier (ft. Laius) 11. Warum  12. Neuzeit   Pre-order Protomensch HERE. Watch the trailer for their live set, featuring “Gabriel” HERE. CONNECT WITH FELSMANN + TILEY: INSTAGRAM | WEB | SPOTIFY | TIK TOK CONNECT WITH MUTE: FACEBOOK | TWITTER | BLUESKY | INSTAGRAM | TIK TOK | WEB

Los Frankies Share "Dog City" New Single + Video | 'D.E.D. City' LP Due For Release March 6th, 2026

Los Frankies Share "Dog City" Single + Video via New Noise  Read SPILL and Amplify Music Mag Features D.E.D. City LP Due For Release March 6th, 2026 Photo by: Kalie Pontes

PRE-SAVE: Los Frankies - D.E.D. City Pre-Save LISTEN/WATCH & SHARE: Los Frankies - "Dog City" Listen | Watch LISTEN/WATCH & SHARE: Los Frankies - "I'm On Drugs" Listen | Watch PRAISE FOR LOS FRANKIES "We could use more bands like Los Frankies these days. The Los Angeles outfit is a feral, unflinching flashback to the days when rock’s underground was testing the limits of good taste in some outlandish ways, whether it was the New York Dolls’ trans-glam performance art or the all-in guitar-hero debauchery of Johnny Thunders’ Heartbreakers." -Magnet "alive in the way early punk was alive, fueled by danger, grime, and a chaotic pulse that makes you want to hit repeat." -Blurred Culture "Rather than simply revisiting punk’s golden age, Los Frankies detonate it, sounding like The New York Dolls or The Heartbreakers resurrected under the flicker of a Hollywood streetlight in 2025." -The Big Takeover "There’s no playing it safe with Los Frankies. They want to remind you that it’s ok for rock to still be dangerous and defiant, the way it used to be. But it takes special artists to be able to pull off that message. You either have it, or you don’t, and Los Frankies most certainly has it, swagger and all." -V13 Just as 2025 comes to a close, a new age of rock-and-roll debauchery has officially arrived. Hailing from Los Angeles, Los Frankies are at the center of the storm, and today they’re back for more with their second single, “Dog City.” Guitarist and vocalist Frankie Clarke (of Frankie and the Studs) brings the grit, glam, and guitar heroics — a full-throttle mix of Johnny Thunders swagger and no-bullshit attitude. Frontman and guitarist Frankie Salazar leads with unrelenting ferocity, with a voice big enough to tear down walls. Behind them, Miles Deiaco pounds the drums like he’s trying to break the world open, while Davide Cinci holds the low end steady — the calm anchor amid the firestorm. Together, they make a sound that’s filthy, fearless, and undeniably alive. After unveiling their debut album D.E.D. City last month — led by the 70s-style punk ripper “I’m on Drugs,” which earned comparisons to The New York Dolls and The Heartbreakers — Los Frankies are turning up the heat with “Dog City,” a fierce and biting punk banger decked out in black eyeliner, leather chokers and unbridled attitude.  The track rides a throbbing indie sleaze groove, pulling from the raw swagger of Queens of the Stone Age and the stripped-down punch of The White Stripes. It’s a track about sex, freedom, and surviving the grind of the dog-eat-dog city. The chorus explodes into a glam-soaked stomp, channeling T. Rex with a shout-along hook that dares you to sing it loud, haters be damned. Sweaty, swaggering, and built to be played loud, "Dog City" is a soundtrack for strutting through chaos like you own the pavement. With D.E.D. City, Los Frankies aren’t interested in playing it safe — they’re here to remind the world that rock music can still be dangerous, defiant, and deliriously alive.  "Dog City" is out January 7, 2026 on all DSPs. Los Frankies' debut album, D.E.D. City is due for release on March 6, 2026. Los Frankies - Dog City Single Artwork D.E.D. City - Tracklisting: 01. I’m On Drugs 02. Dog City 03. Sugar Town 04. Gunna Wanna 05. Snake Eyes  06. Kick The Stool 07. Company Man 08. Holy Games  09. Death To The King 10. Far Away (S.F.S.C.) Los Frankies Bio:  Let me tell you about a band that’s gonna knock your dirty socks off — Los Frankies, and their debut album, D.E.D. CITY. These lot hail from Hollywood, but don’t go thinking they’re just another bunch of pretty faces trying to cash in on the sunshine. Nah, this crew’s got something real. You’ve got Frankie Clarke — yeah, that Frankie from Frankie and the Studs — on guitar and vocals. She plays with all the attitude and grit you’d expect, a proper mix of Johnny Thunders swagger and full blown rock and roll chaos. The chick can make a guitar scream like it’s been possessed by something filthy, and she’s got the voice to match. Mean, melodic, and completely unbothered. Then there’s Frankie Salazar, frontman, lead guitar, and full on punk messiah. This lad’s a proper motherfucker — his voice is big enough to tear down walls, and when he shreds, it’s like he’s channeling every great punk icon that ever lived, only dirtier and louder. There’s a modern twist in there too, but make no mistake — this is a love letter to 70s punk, scrawled in blood and gasoline. On drums, you’ve got Miles Deiaco — this bloke plays like he’s on a mission to destroy everything in sight. Fast, wild, and with absolutely no time for subtlety. He’s the engine room, the thunder, the panic attack behind the kit. Keeps it from falling apart, but makes sure it never sounds tidy. A proper madman. And then there’s Davide Cinci on bass — the anchor in the storm. He’s the one holding it all together while the rest of the band tries to burn the place down. You can feel the low end rumble in your gut — it’s thick, nasty, and it grooves in just the right way. Controlled chaos, held steady by the calmest hands in the room. LOS FRANKIES LINKS Website | Instagram | YouTube | TikTok | Facebook | Bandcamp | Spotify | Apple Music | Soundcloud