The Fat Angel Sings

“The Vipers are back. With their signature blend of ’60s pop hooks, garage grit and psychedelic edge, the New York City legends return with a newly remixed and remastered edition of their lost 1986 album “How About Some More”. Born from the same scene that made them kings of Irving Plaza, The Ritz and The Peppermint Lounge, this record captures The Vipers at full throttle — raw, melodic, timeless. Once buried, now revived: The sound that could’ve ruled the world.”

NYC’s Vipers saga can easily fill an entire book. Caught in the tumult of the early 80s garage scene, the band forged a solid reputation of delivering incredible live performances matched with some stellar song writing. A talent that not surprisingly brought them to the very brink of national recognition. However, in a moment the sudden passing of their manager set off a chain reaction that slowly ate away at the band. The Vipers limped along for a few more years, but disagreements, dissatisfaction, and a hard-living 80s lifestyle took a predictable toll. Eventually, the members all went their separate ways.

Teaming up with label owner (and former vocalist of 80s Long Island surf-punk band Immortal Primitives) Bob Cantillo, this year saw the release of the first 45 of “new” Vipers material in over 30 years. “Pretty Lies” (as well as the flip, “Find Another”) is a classic example of a hungry garage band at the height of their powers. Sounding closer to their rough live sound than the full-length platters, the single is an astounding reminder of the talent of the early band and makes an essential addition to The Vipers discography.

While The Vipers catalogue has always been available in some form or another, it was only in recent years that guitarist Paul Martin took it upon himself to remix and remaster much of the original material so that it better represented the band. Among one of his first projects was to properly release material from the sloppily mixed, cassette-only “Cryptic Vaults/Not So Pretty, Not So New.

TRACKS 00:00 You’re Doin’ It Well 02:29 Rules Of Love 06:02 Don’t Try To Mend It “10:17 That Ain’t Fair! 12:46 Need Some Lovin’ 15:20 Try Me 18:25 How About Somemore? 23:09 Too Bad 26:47 Silver Linings 30:02 Talking To Stone 33:11 She’s Comin’ Home

Once at the forefront of doomgaze, the heavy branch of shoegaze’s recent renaissance, Greet Death choose to re-imagine themselves on “Die in Love”, their first album in six years, by adding soft layers of optimism in songs about being miserable and depressed. There are pretty, tranquil moments from both co-leads Logan Gaval and Harper Boyhtari, as their light, floating voices and newfound hopefulness feel almost as seismic as their big, crushing guitars. “Die in Love’s” delightful sonic pivots between sludgy walls of sound, hushed acoustic ballads and rich storytelling have set Greet Death apart from their peers.

“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.

released June 27, 2025

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

Julianna Riolino considers her own growth on her sophomore record, ‘Echo In The Dust’. On these songs, the Southern Ontario musician is soft as she is tough; seeing the benefit of laying down armour and splitting her heart open so that we may get a glimpse of our own.

We’ve seen Canadian rock ‘n’ roll’s future, and its name is Julianna Riolino. Riolino has a history of taking to stages with such might, it’s as if she’s finally free of something that had prevented her from being herself. She’s no less spirited on “Echo in the Dust”, but her theatricality is more dynamic, digging into thoughtfully written songs exploring interpersonal transitions, almost like they’re scenes in a larger play that’s a memorably compelling emotional roller coaster. 

released October 24th, 2025

All songs written by Julianna Riolino

Having nearly disbanded before releasing their third studio album, as members moved into new stages of life and different parts of the world, Seattle-formed indie-emo/alt-country troupe Great Grandpa did eventually regroup for their follow-up to 2019’s “Four of Arrows“, and it’s their best record to date. They didn’t exactly pick up where they left off; now wiser and primed for experimentation, the band deliver a cornucopia of sound on “Patience, Moonbeam“, with bandleader Al Menne’s dynamic and HRT-fortified vocals backed by a collage of instruments including cello, banjo, clarinet and synths, flitting between folky holiness, distorted grungy breakdowns, and listing off contemporary references as casually as one would grocery items in the aisles of Trader Joe’s.

The quintet—who grew up in Seattle and have been making music together for a decade—were drawn back into one another’s orbits in 2023. They decided to scrap most of what they had previously recorded and start afresh, this time with the new perspective of their momentous years apart. The resulting album—the ambitious and deeply moving “Patience, Moonbeam“—is the sound of lifelong friends and collaborators growing up and growing together.

Gorgeous music, gorgeous album cover, absolutely love “Doom” and “Kid”. currently among my favourite album’s of 2025 

Perhaps most notable is how seamlessly all five members contributed to the creation of the album, showcasing their individual voices while still managing to create something cohesive and whole. While Pat was the main songwriter on Four of Arrows and wrote much of the bedrock for “Patience, Moonbeam“, the writing and recording process for this album saw a looser, more inclusive atmosphere overall, built on what the band calls an “open door policy.”

The O2, November 21st Radiohead Live the other big rock comeback of 2025 proves no less euphoric,

Arriving at The O2 for the opener of Radiohead’s London residency, we’re greeted by Stanley Donwood artwork along the walkway and the words from the band’s doomy modern mantra ‘Fitter Happier’ on an imposing banner hanging from the ceiling of the former Millennium Dome. This, the other big rock comeback of the year, comes with a different flavour of anticipation but no less palpable.

It’s hard to believe it’s been nine long years since Radiohead’s last album, the opulent but mournful ‘A Moon Shaped Pool’, with the band not touring since 2017. Since then, we’ve had side-projects – peaking with Ed O’Brien’s underrated solo turn as EOB and Thom Yorke and Jonny Greenwood almost seeming like Radiohead in all-but-name with the jagged jazz-rock of The Smile – and a dose of controversy.

The crowd surrounds the stage, set up in the round for a far more intimate and immersive experience than most corporate enormo-dome shows allow. A twitching vocoder builds and teases kick-off before the band arrive and get immediately old-school with the snotty guitar misery of ‘The Bends’ opener ‘Planet Telex’. It’s the first of many crowd-pleasing moves from a band not always known for them, as the packed-out room giddily howl back “everything is broken – why can’t you forget?”, united against the fuckery coming from all directions of society.

With a “busking approach” that has seen the band rehearse over 70 songs for the tour – airing around 43 of those so far – this ain’t the repeated banger machine of Oasis’ shows, and it’s a joy to be kept guessing. It’s a setlist weighted equally heavily towards the crown jewels of ‘OK Computer’ and ‘In Rainbows’ alongside the once-maligned but now rightfully reappraised ‘Hail To The Thief’; a hit-parade (in a Radiohead way, no ‘Creep’, obviously) punctuated with occasional glammed-up curios for breathing space.

You’ve got the roaring political paranoia of ‘2+2=5’, the widescreen, bittersweet ‘Lucky’, the pumping rave of ‘15 Step’ and glorious sing-along of ‘No Surprises’ at the top of the first act. It’s an opening chapter that’s also peppered with ‘Sit Down. Stand Up’’s new subtle happy hardcore outro, ‘Bloom’ from the brittle ‘The King Of Limbs’ – now with more of a neon pulse – and ‘The Gloaming’ into ‘Kid A’, allowing the set a needed collapse before shit really gets real.

There’s no room for a toilet break from then on out. From the tender ache of ‘Videotape’, the wig-out one-two-three punch of ‘Weird Fishes/Arpeggi’ into ‘Idioteque’ and ‘Everything In Its Right Place’, to the rocky ‘In Rainbows’ cuts and an almighty first set closer of ‘There There’, it’s all a Radiohead faithful would want and it looks quite stunning, to boot.

Then come the spoils of a seven-song encore that reads on paper like fan fiction – complete with the recently-viral ‘Let Down’, a cheeky turn from “a song we wrote on a freezing cold farm in 1994” (indie beast ‘Just’) and the almighty full-stop of ‘Karma Police’. This is the cinematic, arty yin to Oasis’ hedonistic yang: that dynamic of “standing on the edge” and taking it all in. What a show: a visceral energy, a tasteful spectacle, all delivered with a generosity of spirit, Yorke in full rockstar mode as the band trade places to tend to each corner of the venue. For a band once embarrassed by the notion of ‘arena rock’, nobody does it better. A new album and another night like this can’t come soon enough.

Radiohead played:

‘Planet Telex’
‘2 + 2 = 5’
‘Sit Down. Stand Up.’
‘Lucky’
‘Bloom’
‘15 Step’
‘The Gloaming’
‘Kid A’
‘No Surprises’
‘Videotape’
‘Weird Fishes/Arpeggi’
‘Idioteque’
‘Everything In Its Right Place’
‘The National Anthem’
‘Daydreaming’
‘Jigsaw Falling Into Place’
‘Bodysnatchers’
‘There There’
‘Fake Plastic Trees’
‘Let Down’
‘Paranoid Android’
‘You and Whose Army?’
‘A Wolf at the Door’
‘Just’
‘Karma Police’

After seven years away, Radiohead returned to the stage at Movistar Arena in Madrid, Spain, to kick off a 2025 European/U.K. Autumn tour. The night’s show saw Radiohead perform in the round in the middle of the arena, something the band has not done since opening for Ned’s Atomic Dustbin in 1993, (though offshoot The Smile has played in the round in the past few years). Thom York, Jonny Greenwood, Colin Greenwood, Ed O’Brien, Philip Selway, and new touring percussionist Chris Vatalaro started the show surrounded by a circle of billboard-sized translucent video screens wrapped around the stage. The screens projected distorted video feeds of the band members and obscured them from full view for the first 25 minutes of the show, before raising skyward at the start of “Ful Stop”, the sixth song of the 25-track show, functioning as live video monitors for the rest of the evening.

In an extensive pre-tour profile the band stated that each show will have a unique setlist, whittled down from a master list of 65 songs. Radiohead spanned practically its entire catalogue, skipping its 1993 debut “Pablo Honey” (and its smash hit, “Creep”), but touching on everything else, from 1995 follow-up “The Bends” (“Fake Plastic Trees”) to its last new album, “A Moon Shaped Pool” (“Daydreaming”, “Ful Stop”). The band also paid particular attention to 2003’s “Hail to the Thief” (“2 + 2 = 5”, “Sit Down. Stand Up.”, “The Gloaming”, “Myxomatosis”, “A Wolf at the Door”, “There There”), a few months after surprise-releasing an archival album with live performances of the album tracks recorded from 2003–2009.

Perhaps a nod to the band’s newfound popularity among a younger generation, Radiohead opened the show with “Let Down”. The “OK Computer” track recently saw a viral resurgence on TikTok, catapulting it to #1 on the U.K. Indie singles chart 28 years after the album came out. Shortly thereafter, the band also played the first version of “Hail to the Thief” “Sit Down. Stand Up. (Snakes & Ladders)” since Coachella 2004,

Radiohead | Movistar Arena | Madrid, Spain | 11/4/25

Setlist: Let Down, 2+2=5, Sit Down. Stand Up. (Snakes & Ladders.) [1], Bloom, Lucky, Ful Stop, The Gloaming. (Softly Open Our Mouths in the Cold.), Myxomatosis. (Judge, Jury & Executioner.), No Surprises, Videotape, Weird Fishes/Arpeggi, Everything in Its Right Place, 15 Step, The National Anthem, Daydreaming, A Wolf at the Door. (It Girl. Rag Doll.), Bodysnatchers, Idioteque
Encore: Fake Plastic Trees, Subterranean Homesick Alien, Paranoid Android, How to Disappear Completely, You and Whose Army?, There There. (The Boney King of Nowhere.), Karma Police

Previously unissued performance from 1988 by the Rock & Roll Hall of Fame inductee featuring tracks from across his storied career. Mac Rebennack, widely known as Dr. John, changed the course of popular music starting with his 1968 debut, “Gris Gris” and pushed it further with each new album, infusing his recordings with exciting new directions and influences while throwing off hits like “Right Place, Wrong Time” and “Such A Night” in his wake. We are fortunate that the music continued to pour out of him until the world lost him in 2019—five decades after we’d first been hoodoo-ed.

The Estate of Dr. John and Omnivore Recordings are pleased to present “Live At The Village Gate“, a previously unheard performance (unless you were lucky enough to be there), recorded on the evening of March 1988. The set features classics like “Mess Around,” “Georgia On My Mind,” and “Mardi Gras Day”—and even a crowd request for “Mama Roux” from his aforementioned debut album, “Gris Gris”—all, of course, played to perfection.

With mastering and restoration by multiple Grammy-winning engineer Michael Graves, “Live At The Village Gate” also includes new and informative line notes from The Second Disc’s Joe Marchese. It’s over 90 minutes of prime, live Dr. John, and as he says, “Let The Good Times Roll.”

Experience “Live At The Village Gate”.

Warren Zevon’s final concert, recorded August 9th, 2002 at the Edmonton Folk Music Festival, double LP available for the first time at your local indie store for Record Store Day/Black Friday. Luckily, 2025 Rock and Roll Hall of Fame inductee, Warren Zevon left us with a treasure trove of nearly four decades of incredible songs and performances. Neither Warren, nor his long-time band member, accompanist, and friend Matt Cartsonis, nor the 14,000 people in attendance at the Edmonton Folk Music Festival knew this would be Warren’s final concert—it was just another great performance from an exceptional songwriter and artist. “Epilogue: Live At The Edmonton Folk Music Festival” offers you the chance to experience it for the first time, or relive it if you were there.

Featuring Warren on guitar, harmonica, and piano, with Cartsonis adding guitar, dulcimer, fiddle, harmonies and more, the pair run through classics like “Werewolves Of London,” “Poor Poor Pitiful Me,” Lawyers, Guns And Money,” and “Play It All Night Long.” The set also features a performance of the song “Dirty Life And Times,” only ever played twice! The pair found room in the set to pay tribute to Canada with a cover of Joni Mitchell’s “A Case Of You” and the traditional, “Canadee-i-o.”

Available on double black Vinyl (with etched fourth side) for Record Store Day Black Friday 2025, Epilogue: Live At The Edmonton Folk Music Festival has been mastered and restored by multiple Grammy-winning engineer Michael Graves and Jordan McLeod of Osiris Studio with Matt Cartsonis. Cartsonis also adds poignant liner notes about the performance, and insight into his musical relationship and friendship with Zevon.

Luckily, 2025 Rock and Roll Hall of Fame inductee, Warren Zevon left us with a treasure trove of nearly four decades of incredible songs and performances. Neither Warren, nor his long-time band member, accompanist, and friend Matt Cartsonis, nor the 14,000 people in attendance at the Edmonton Folk Music Festival knew this would be Warren’s final concert—it was just another great performance from an exceptional songwriter and artist. “Epilogue: Live At The Edmonton Folk Music Festival” offers you the chance to experience it for the first time, or relive it if you were there.

“Epilogue: Live At The Edmonton Folk Music Festival” is a gift from a truly legendary singer and songwriter. Play it all night long, indeed.

“Once in a lifetime the power is ours, but we’d rather stare at our phones,” Grammy-Award winner Aoife O’Donovan sings on the first verse of her new single “Over The Finish Line.” Written by O’Donovan shortly after the murder of George Floyd, “Over The Finish Line” reflects on the state of the country and reminds listeners of our civic duty to vote and fight for positive change. The poignant, wistful track features Luke Reynolds on pedal steel and Tony and Grammy-Award winning musician Anaïs Mitchell, marking one of Mitchell’s first releases since the well-received opening of Hadestown in London’s West End. 

Aoife O’Donovan’s new solo album “All My Friends” is inspired by the evolving landscape of women’s rights in America over the past century. O’Donovan infuses the experiences of the Suffragettes, who fought for the passage of the 19th Amendment and paved the way for their daughters, with her own experiences as a modern woman who wants to build a future for her own daughter. The project – O’Donovan’s first self-produced album – features a number of special guests including Anaïs Mitchell, Sierra Hull, Noam Pikelny, Alan Hampton, Griffin Goldsmith and more.

Most of the songs on the album grew out of two commissions O’Donovan took on – from the Orlando Philharmonic where she now lives, and the FreshGrass Festival in her native Massachusetts. Following performances with both institutions, O’Donovan continued to explore the themes that would become “All My Friends” in full.

The legendary Young Fresh Fellows took one day off their hectic touring schedule to head to Wilco‘s Loft studio in Chicago. The band got Grammy winner Tom Schick behind the boards and some legendary guests across the album, including Neko Case, John Stirratt of Wilco, Morgan Fisher of Mott The Hoople, Jonathan Segel of Camper Van Beethoven, Jenny Conlee of The Decemberists (accordion, harmony vocals), Mark Greenberg of Eleventh Dream Day (vibraphone), Peter Buck of R.E.M. (12-string guitar), and Dave “Max” Crawford of Poi Dog Pondering (trumpet). This finished record, “Loft”, has never been released before and is finally seeing the light of day for the Young Fresh Fellows‘ 40th anniversary.”

Kurt Bloch – guitars Scott McCaughey – vocals Jim Sangster – bass John Perrin – drums Joe Adragna – saxophone