The Fat Angel Sings

Greet Death have announced their third album titled “Die In Love” set for release on June 27th, 2025 via Deathwish Inc. True to the band’s name, death creeps into nearly all of Greet Death’s songs. And yet, through this ever-present certainty, the band finds the absolute core of what it means to be alive.

Greet Death’s music, drawing from shoegaze, doomgaze, indie rock and dream pop, explores themes of life and death with emotional depth and melodic sensibility. Returning six years later with what has been described as their third and best album, Greet Death have shown tremendous growth while expanding their sound into new territory, capturing the perfect balance of the breezy and dreamier elements of their sound with the loud, anthemic and noisier moments. 

“Die In Love” is a beautifully melancholic album by Greet Death. The band’s dizzying melodic nature shines throughout its nine tracks, featuring delicate acoustic shimmers, somber percussion, and high-volume post-everything fuzz.

The bands latest single “Country Girl” arrives with a brilliant music video by Chromatone Studios, written and produced by Harper Boyhtari and L Morgan / starring Greet Death‘s Harper Boyhtari and Logan Gaval.  Harper says the song is about “...identity, alienation, and detachment.

It’s like trying to solve a murder mystery and finding out you were the killer the whole time.” The single follows previously released single “Same But Different Now” both taken from the forthcoming LP.

released June 27th, 2025

Greet Death is: Logan Gaval, Harper Boyhtari, Jim Versluis, Jackie Kalmink, Eric Beck

The new release this week was ‘Bits’, the second single from No Joy’s forthcoming album “Bugland“, which is out on August 8th.

It’s a stunning song, which switches effortlessly between Lush dreampop and L7-style grunge. “The original demo was built around me blowing out my guitar distortion using the EarthQuaker Devices Bit Commander guitar pedal,” explains No Joy’s Jasamine White-Gluz. “Thematically, I wanted to capture the feeling of running through tall grass, playing hide and seek behind big trees.”

The spoken word towards the end of the song is excerpts from a letter Jasamine wrote to the music media as a child in 1994 defending Courtney Love and urging them to leave her alone.

It’s the Canadian shoegazers long-awaited fifth album “Bugland”. Now the solo project of Jasamine White-Gluz, it’s their first new material for five years and also their debut for Sonic Cathedral. “Bugland” finds Jasamine Gluz-White teaming up with producer Fire-Toolz (aka Angel Marcloid) to create the aural equivalent of a late-’80s i-D magazine front and back cover, with a non-problematic National Geographic hiding within. It was, at least in part, inspired by White-Gluz’s move to a more rustic area of Quebec, something which also explains the gap between albums.“The wait wasn’t intentional,” she explains, “but I think rural living made me tune out the noise of the music biz and focus more inwards, writing and taking my damn time.”

The hook-up with Fire-Toolz was inspired. The renowned future fusionist adds not only magical co-production, but other sonic additions/dances/noises/mysticism. “The collaboration really felt limitless,” she enthuses. “I could easily relate to it because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album.” Both spent days driving on empty rural highways listening to the mixes, and it reflects in the final product. With an open ear, many “influence eggs” can be detected by the listener. ‘Garbage Dream House’ is Zooropian without any of U2’s ego baggage. Epic closing track ‘Jelly Meadow Bright’ even manages to meld the out of control saxophone from The Stooges’ Fun House with the chill buoyancy of a high-end spa. Touching on respected, familiar genres and sounds while attempting to advance one’s own isn’t easy but “Bugland” manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is ‘yes’. What a lovely shelf it would be as well. “Bugland” is a testament to White-Gluz’s evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease. 

From the forthcoming album “No Joy” album “Bugland”, August 8th 2025 via Hand Drawn Dracula & Sonic Cathedral.

Impressed Recordings are proud to present Wednesday, the dynamic North Carolina-based band led by Karly Hartzman, captured live at Sydney’s Factory Theatre on February 29th, 2024, and committed only to highly limited edition vinyl.

Wednesday emerged from the vibrant North Carolina indie rock scene, quickly making waves with their genre-blending sound that combines elements of alt-rock, indie, and shoegaze. Led by the enigmatic Karly Hartzman, the band’s music has resonated with audiences thanks to their emotionally charged lyrics, dreamy yet driving instrumentals, and a powerful live presence that’s garnered critical acclaim. Their breakthrough album, “Rat Saw God” (sold out vinyl) released in 2023, solidified their place in the modern indie rock scene.

Featuring standout tracks like “Got Shocked” and “Bull Believer”, the band’s blend of introspective storytelling and gritty guitars creates a raw, captivating experience that speaks to fans of both vintage alt-rock and contemporary indie sounds.

Wednesday’s performances are known for their raw energy, vulnerability, and atmospheric presence that captivates audiences from the first note to the last. “Rat Saw God” was Pitchfork’s #4 Album of 2023, and Karly and the band embarked on a victory lap around the world. Which led us to The Factory Theatre in Sydney on February 29th 2024. Recorded live in front of a Sydney crowd, this 11-track record features a mix of their acclaimed tracks including “Got Shocked”, “Turkey Vultures”, and “Hot Rotten Grass Smell”. The show was a perfect blend of the band’s signature style, featuring moments of brilliance from each member, with Hartzman’s captivating presence leading the charge.

Wednesday, “Live at Factory Theatre” is presented on limited edition heavyweight multi-coloured splattered vinyl. Strictly limited to 500 copies only

Wednesday owes so much to our musical influences. The music we love is a big part of what brought us together. My bandmates Margo and Xandy both had infamous Asheville house show venues, Jake was in like a billion different bands which often played in their muggy basements and Alan was usually the one who brought the PA. Our immersion in music predated us trying to make songs together ourselves.

Our common interests in noisey ‘90s guitars, good lyrics, and country music was quickly what permeated into our voice as a band. Most decisions in our songs are made by an amalgamation of all five of our inputs, which happens pretty naturally because of this thread of influences that ties us together.

So when we got an opportunity for some recording time with Alli Rogers at Betty’s studio in Durham, NC we decided to record covers, and hopefully repay in part the huge debt we are in to the artists who contributed so much to the music we write ourselves. When I was thinking if there was anything that these songs have in common, the main thing I found recurring was the combination of sadness and humor. It’s effective as hell to combine the two emotions, making each other more intense by the contrast…”—Karly Hartzman. 

Features songs by Gary Stewart, Chris Bell, Roger Miller, Drive By Truckers, Hotline TNT, Greg Sage, Vic Chesnutt, Medicine, and Smashing Pumpkins.

Wednesday’s 2022 album full of covers is available now

Back in 2015, Ty Segall released “Mr. Face” EP, the fantastic gatefold 2×7″ was not only packed with four killer jams but was also quite possibly the world’s first playable pair of 3D glasses. Now Famous Class Records is thrilled to release a 10th anniversary 12” vinyl edition. All copies are pressed on split color translucent red and blue-coloured vinyl and come with special Mr. Face 3-D glasses to activate the supercharged 3D artwork.

“Mr. Face,” a four-song EP that’s a terrific showcase for Segall’s artfully ragged style. He plays everything on these recordings with the exception of one drum part on one song.

The Ty Segall – Mr. Face 10th Anniversary Edition records are out today

Kurt and Luke were admirers of one another after meeting on MySpace years ago, and this release highlights both of their distinctive musical styles. “classic love” was written by Luke, “hit of the highlife” by Kurt, “slow talkers ‘22” is a re-work from Kurt’s 2008 debut album and “wildflower” is a Beach House cover.

“I always thought ‘classic love’ was the epitome of a song that belonged on the radio. When I heard Luke and Kyle [Spence’s] recording of this (they even got Kyle’s old Harvey Milk bandmate, Creston Spiers to play some on it) it just floored me: like this could be old or new, just a timeless track… I figured the best way I could help it reach the masses was to just get myself up in that track as well and move ‘er through the kv / verve machine. I believe in Luke so much and, yeah, this song in general has been my and Kyle’s religion for some time. Luke is just a great songwriter, man. Now it can be immortalized in the canon of classic songs! The minute I heard this song I just wanted to be involved.” – KV

Luke Roberts: acoustic guitars, vocal Kyle Spence: drums, bass, percussion Creston Spiers: electric guitar, rhodes, percussion Kurt Vile: vocal

Written and produced by Luke Roberts & Kyle Spence

Jeanines return with their best album yet!, Over the course of a decade playing together as Jeanines, Alicia Jeanine and Jed Smith have charted a distinct course through the history of pop, variously taking in 60s folk, 80s DIY pop, sunshine/soft pop, and of course classic indiepop. Their new album “How Long Can It Last” finds Jeanines grappling with serious themes of personal and professional upheaval, adding weight to their finest set of songs yet, elevating these economical tunes and giving each the feeling of a lost classic.

Over the course of a decade playing together and making records as Jeanines, the duo have charted a distinctive course through the history of pop, evoking influences as varied as the 60s folk of early Fairport Convention and Vashti Bunyan, the sunshine pop of Margo Guryan and Laura Nyro, and of course indie-pop touchstones like Dear Nora, Marine Girls, Dolly Mixture, and the post-Black Tambourine projects of Pam Berry. Their new album “How Long Can It Last” finds Jeanines grappling with serious themes of personal and professional upheaval, adding weight to their finest set of songs yet. With lyrics that look deeply at time and its reverberations, connections and ruptures, songs like “Coaxed A Storm,” “What’s Done Is Done” and “On and On” combine richly melodic tunes and crisp arrangements to stellar effect. While the themes might be heavy, the melodies and harmonies are simply heavenly, elevating these economical songs and giving each the feeling of a lost classic.

With what must be the worst album sleeve In 1969, guitarist Buddy Guy got together with his old Chicago blues pal Junior Wells, added in jazz pianist Junior Mance, and cut a loose for an “unplugged” session for Blue Thumb Records that would become the now-legendary album, Buddy and the Juniors. Buddy and the two Juniors were relaxed, cutting familiar tunes like Willie Dixon’s “Hoochie Coochie Man” and their own off-the-cuff originals, including “Buddy’s Blues.” Additionally, two improvised tracks were recorded in a single burst of creative energy: “Riffin'” and “Talkin’ ‘Bout Women Obviously,” all making for a fresh, inviting and inspiring album.

The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining — and oddly satisfying — as the music itself. Released on Blue Thumb in 1970 on multi-coloured wax, this session, was it not for a very real economic necessity due to Buddy Guy’s feud with Vanguard Records, would never have happened. It appears that Vanguard wouldn’t pick up the tab for Guy to fly to New York to mix an album he’d cut with Junior Mance and Gary Bartz — also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow, who jumped at the chance.

The all-acoustic Buddy & the Juniors was recorded on December 18th of 1969, and on December 19th, they mixed this album and the Vanguard date! While an acoustic pairing between Guy and Wells is a natural one, adding jazz pianist Mance — a Chicago native whose early influences were the boogie-woogie recordings of Meade “Lux” Lewis and Albert Ammons — to the mix was risky in terms of interpersonal dynamics, but in retrospect, proved a brilliant idea.

The proceedings are informal and raw with plenty of fireworks. The first two tracks — “Talkin’ ‘Bout Women Obviously” and “Riffin’ (aka A Motif Is Just a Riff)” — were the last two recorded. They are blazing, hairy, on-the-spot improvisational duets between Wells and Guy: the former offers lyrics in a back-and-forth extemporaneous style; the latter develops in intensity as it goes on. The playing by Guy and Wells is inspirational. “Buddy’s Blues,” the first interplay of the trio, has Mance digging deeply into the Otis Spann tradition, just rolling inside it, accenting lines, punching chords, and offering beautiful tags to Wells’ harmonica lines.

Wells’ vocal on “(I’m Your) Hoochie Coochie Man” meets Guy’s six-string head-on, with Mance comping and popping a melodic fill underneath each sung phrase. He introduces “Five Long Years” as a piano blues that gets countered in exponential grit by Guy’s vocal and Wells’ punchy harp; he shuffles, fills, trills, and blows straight at the keyboard, creating a forceful gale of dialogue. On the slippery boogie-woogie set closer, Wells’ “Ain’t No Need,” the listener grasps the deep communication of this trio. Given how earthy, informal, and joyful this acoustic session is, it conveys everything right about Chicago blues.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.