The Fat Angel Sings

“En Plein Air” is the new single from Queens, New York band Patio available digitally on Fire Talk Records. The trio have “an instinct for scrappy, empathetic song writing” (Pitchfork), continuing along the off-kilter post punk the band has perfected and balancing eloquence and acerbity in equal form. Filled with wry observations and sharp punctuations of melody, the song is a refinement of the sound that Patio were early purveyors of.

released May 30th, 2023

It is with immense pleasure and delight that we can finally say our new album ‘Red Sun Titans’ is OUT NOW!, This week is a special week, we have put something into the world that was created from nothing by a group of beautiful, talented humans that I am fortunate enough to call friends.

It is made almost entirely of creativity, cooperation and love, and I couldn’t be more excited to share it with you all.

Thank you so much to all of our fans, family and friends for their continued support and everyone who has parted with their hard-earned cash to buy a copy of the record already. Without these small acts of kindness and charity, we would not be able to make the music. So this is for you.

It’s been one hell of a journey getting to this point and we couldn’t be prouder of the record we’ve made. We would like to thank everyone who has been a part of this epic adventure and all of those who have parted with their hard earned money to support us in buying the album.

“Transcending styles and genre, Mac Rebennack (aka “Dr. John”), is captured here in a collection of appearances at Montreux Jazz Festival 1986-2011 and you won’t be able to tell any sense of progression or regression; you get a New Orleans gumbo and stride that is timeless” – “Jazz Weekly” on “Dr. John: The Montreux Years” double vinyl, CD & streaming album

The Six time Grammy Award winner and Rock and Roll Hall of Fame inductee, Dr. John performed at Montreux 10 times between 1973 and 2014.

‘Stack-a-Lee’ is his iconic live performance of the American folk song, originally recorded in 1923 by Waring’s Pennsylvanians. It’s been re-recorded numerous times with alternative titles by legendary musicians since then, including Lloyd Price who hit the Billboard number 1 with it in 1959. Dr.John’s lively, energetic performance of the song is a Montreux Festival classic and will be featured on the upcoming album, ‘Dr. John – The Montreux Years’ which will be released on June 2nd on CD and LP

Ty Segall & Freedom Band rip through a discography spanning set filmed at Occidental College’s Remsen Bird Hillside Theater, a Greek amphitheatre in the hills of Los Angeles.
 
The Freedom Band’s first stream was recorded by their 6th member, live sound engineer and sonic guru, Matthew Littlejohn and fellow head, Mike Kriebel.  They teamed up with director Joshua Erkman to film the band in the round.  The film was co-produced by LA’s Sid The Cat, with audio mixed by Mike Kriebel.
 
The film and album features artwork by Robbie Simon, available on screen printed posters signed by the band, limited edition cassettes and t-shirts, and tie dye tees.

Ben Boye (Keyboards)
Charles Moothart (Drums)
Emmett Kelly (Guitar)
Mikal Cronin (Bass)
Ty Segall (Vocals/Guitar)

Film Produced at Occidental College by Sid the Cat Presents.

* What is overrun? We ordered an exact amount of vinyl to be produced for the Splatter & Black Stream Editions. When an order is made the pressing plant tells us there can be + or – 10% made for our order, in the case of overrun we list them for sale after all shipments have been made for a release. These are the last copies available.

While Nicholas Allbrook can seem larger than life when fronting kaleidoscopic psych-pop band Pond, his fourth album trades aplomb for honesty. Slow burners like Carla Geneve-assisted closer ‘The Night Before You Flew’ are starkly intimate, beautiful while feeling like they may break at any moment.

‘Commodore’ and the devastating, elegiac ‘Jackie’ take sonic cues from Oz rock’s dalliance with new wave in the ’80s, Allbrook pairing meditations on love and grief above retro synths and sparse drum machines. As with the classics of that era, those songs have a painful desperation in them, reaching a hand out for connection.

it’s interesting to hear a record from Allbrook as unhurried and focused on raw emotion as his fourth solo album, ‘Manganese’. The songs here, most of which move slowly, feel big and lush though they’re made up of relatively few distinct parts at any given time. Anchored by prominent basslines, the textures on ‘Manganese’ have a patchwork quality, as gently strummed chords, bubbling keys and flute unfurl around each other, each in their own time.

‘Commodore’ taken from the new album ‘Manganese’ out now on Spinning Top Records.

Canberra based grunge band Teen Jesus And The Jean Teasers have announced their debut album, ‘I Love You’.  the band took to social media to announce the album, confirming that it is scheduled for release on September 8th via Domestic La La. “We have put blood, sweat and literal tearz into this album and we are so fkn excited for you all to hear it,” the band wrote on Instagram.

Apart from announcing the album, Teen Jesus And The Jean Teasers have also released a vulnerable new single, ‘Never Saw It Coming’, which comes with its own music video.

An acoustic cut, ‘Never Saw It Coming’ was written and performed by drummer Neve van Boxsel. The emotional track sees Boxsel sing about getting through tough times with her best friends by her side.

“‘Never Saw It Coming’ took me over a year to finish writing. It’s about a very difficult topic that unfortunately is not just my story but many others. It’s one of the first songs I brought to the band and the first song I’ve ever sung lead on so having Anna, Jaida and Scarlett support me so much with such a personal song made something that was really difficult, a lot easier,” Boxsel said via a press statement.

Teen Jesus And The Jean Teasers have also shared the cover art and track list for ‘I Love You’, confirming that previously released singles ‘AHHHH!’ and ‘Lights Out’ will be included on their debut album.

Earlier this week, the band also announced that they are set to provide support for Foo Fighters’ Naarm/Melbourne concert 

On their 2020 debut album, ‘God I’m Such A Mess’, Cry Club proved themselves worthy of their self-affixed “bubblegum punk” tag, glazing hooky pop songs with a snarky bite. But as its bold title and eye-catching artwork tease, ‘Spite Will Save Me’ flips the script, flicking glittery pop sensibilities over sharp and snarling punk tunes (think a whole album of cuts like ‘Robert Smith’).

The paradigm shift proves crucial with the album’s loose narrative – it’s a concept album of sorts, diving deep into themes of “queer wrath” and trans liberation in the face of mounting oppression. It’s brash, dramatic and camp, but also beautiful and empowering – it’s the album 2023 needs.

Cry Club is: Heather Riley (they/them) Jonathon Tooke (he/him)

Cable Ties just keep getting better. ‘All Her Plans’ finds the post-punk trio’s musical chemistry at both its tightest and most adventurous. The urgent, incendiary ‘Perfect Client’ and ‘Silos’ are classic Cable Ties, searing condemnations of the way capitalist, neoliberal structures keep people from getting the help they deserve. But raw fury isn’t everything. “All Her Plans”, the third album from Melbourne, Australia’s Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut “Far Enough” remains, but McKechnie’s lyrics invite the listener closer than ever before.

‘Time For You’ sees guitarist and vocalist Jenny McKechnie reflect on finding a safe home in one’s partner, while ‘Mum’s Caravan’ is a deeply personal song about her mother making personal sacrifices to care for others. This is a record about calling out injustice, trying to find some joy despite it, and knowing that at the end of the day, all we have is each other. Cable Ties have also just announced a run of EU/ UK supports in August w/ Amyl & The Sniffers

The urgency and fury that have marked Cable Ties’ output thus far is more nuanced on “All Her Plans”. The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women while holding space for gratitude, love, and acceptance.

“All Her Plans“ is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own. 

“All Her Plans” is out June 23rd on Merge Records

Though it arrives just over a year on from the release of its predecessor, ‘Everything Is Dangerous But Nothing’s Surprising’, Body Type’s second album came together slowly over the span of three years, and shows a side of the band that their rough and raw debut shied away from.

Your new favourite Australian underground gems, Body Type are back with their hotly anticipated second album “Expired Candy” via Poison City Records. Body Type assert there’s no time like the present and reveal “Expired Candy” is filled with hope, love, and danger, dancing with delicious uncertainty. In pursuit of joy they dreamed up songs about mothers, sisters, dogs, nans; family tantrums, forward motion, falling in love, platonic or romantic, with someone or self. 

‘Expired Candy’ is very aptly titled: it’s much sweeter and more approachable than the bands first album, but stands out with a distinct pang of sourness. It sounds like a DIY punk band’s take on a power-pop record – precisely because it is – and with every jagged harmony and bent hook they use to command your full attention, it becomes clearer and clearer just how well Body Type nailed the brief.

Following recent national tours supporting Fontaines D.C and the Pixies, the first peek of “Expired Candy” arrived with ‘Miss The World’. Born out of their time during COVID, ‘Miss the World’ is a pummelling lament, concerned with citizens’ unquestioning compliance and the ascent of tyrants, told through pre-teen anarchists, bichon frises, and a drum beat based on a Gwen Stefani song. Acting less as a commentary on the pandemic but rather the realisations, both personal and collective that occurred during that time.  ‘Miss The World’ is the first taste of new music from the band since the release of their independently released, Australian Music Prize-nominated debut album “Everything Is Dangerous But Nothing’s Surprising”. Featuring tracks like ‘Buoyancy’ ‘The Charm’ and ‘Sex and Rage’, the 11-track record is a sharp, and invigorating listen packed with gentle contemplation and righteous fury.

‘Miss The World’ single taken from forthcoming album ‘Expired Candy’ (Out June 2nd). Preorder now via Poison City Records

English rock trio Dream Wife are back with their third studio album “Social Lubrication”, a delightfully pissed-off directory of band members Rakel Mjöll, Alice Go and Bella Podpadec’s experience with the patriarchy, sexuality and the intricacies of the music industry’s steep social ladders. Think Sleater-Kinney meets Wet Leg meets new wave meets pop-punk, and then give it is a smokey eye and a fuck-you (but maybe you can fuck me) smirk. That’s Dream Wife’s latest Lp in all its glory, and it’s slick and louche and perfect. 

In between head-bopping to the album’s lead singles, we caught up with the powerhouses behind “Social Lubrication” to dance through this album and confirm the underlying emotions with which we ought to scream-sing the lyrics. Listen along as you go, and keep an eye out for upcoming tour dates: “The live show is the truth of the band,” says guitarist Alice Go. “That’s at the heart of what we do and of the statements we’re making.”

Social Lubrication Statement:
Sticky motions dripping with hard hitting emotions, “Social Lubrication” is an album wall-to-wall with hot ‘n’ heavy dirty rockers, sultry, dangerous, vulnerable, lustful, untamed, feral, political statements with a healthy dose of silliness.

The album was produced by Dream Wife’s guitarist Alice. The sound of the record is citing the wild joyful energy of the live show; raw power, elevated.

Building from solid foundations of trust, honesty and friendship developed over years of making music, experiencing life together, love and rocking out together we wanted to make a hyper lusty gut punching high kick rock record with strong political statements. Exploring the alchemy of attraction; lust for life; importance of community; calling out the patriarchal structures in our societies and having a hot party while we’re at it! Horny at the end of the world

“Kick in the Teeth”

Self defense, what does it mean to defend yourself? What is protection, how can we keep each other safe, what is safety; physically, emotionally, energetically. Reflections, smoke and mirrors, searching for meaning. How much is it worth? REVENGE! Is it self defense or revenge? What are the lines? Who keeps you safe? Growing into your power…”I’ve spent so much of this youth questioning my value”—being fed up with all the lies you’ve told yourself through the lenses of capitalism and others. The limits you’ve made for yourself come shattering down when really nothing matters. We’re only on this earth for a short while and pissed off about the times when we doubted ourselves but bringing anger into the mix helps us let go and break the shackles to roam free. With cutting riffs and unapologetic, assertive vocals, this song is a shameless rocker that will literally kick you in the teeth.

“Who Do You Wanna Be?”

This song is about running on the capitalist treadmill and falling face flat on the pavement. Moving from hyper individualized narrative to collective action. The individual within the collective. Capitalism consumes everything… Hollow slogans, social media activism without action, leftist infighting, monetizing feminism, soul crushing, girlboss, nonsense. Fuck the monarchy, the social structures that define us. Tear down the unreachable anxiety filled idea of perfectionism. Taking action, hopeful, rebellious, collective, systems of care. A call to arms for change.

“Hot (Don’t Date a Musician)”

Dating musicians is a nightmare. Silly, sexy dig in our own ribs… you gotta laugh at yourself, your friends and also their choices of lovers sometimes. Having a laugh together and being able to poke fun at ourselves is very much at the heart of this band. It is okay and also vital to have fun as well as being a band who wants to make statements and provoke change. This song encapsulates our shared sense of humor. Sonically it is the lovechild of the B52’s and Motorhead. It has our hard, live, rock edge combined with cheeky and playful vocals.

“Social Lubrication”

Exhausted. Done with being polite, done with sugar coating, placating and pandering to patriarchal bullshit. Wanting to just exist, in this body without being pigeon holed or judged for the bodies we exist in. Do the job well. Show up. Not play other people games. Systemic, structural injustice, pretense. “What’s it like to be a woman in music dear. You’d never ask me that if you regarded me as your peer.” You can’t fix something rotten to the core-we need revolution not reform. The lyrics move from unsolicited advice regarding behaviour, presentation and skills to gendered violence. “Your womb is a ticking time bomb”-limiting a person with a womb to a one-dimensional human fit to produce and then be disregarded. A product. To control. We also talk about date rape drugs in the lyrics-another attempt
to numb and control—”push him away say this wasn’t a meeting this wasn’t a date, you ain’t my mate this ain’t confusing, that’s the rear view mirror for fucks sake.”

“Mascara”

A love song to London and romanticizing the little mundane moments in between of time spent in the city. The mythologies we weave of our own lives. Locating ourselves in the space between the past and the future and the dance bringing us back, connecting us. Romanticizing it all. Smoggy London skies with no stars. Mascara bar at 3Am. Gum under shoe. Outline of your lover’s spine. Life is a dance and it’s happening right now in front of us. So we can in that moment let it just be, just dance to the tempo of our liking. Life is to be romanticized. The poetry that exists in between us.

“Leech”

“Just have some fucking empathy.” “Leech” is an anthem for empathy. For solidarity. Musically tense and withheld, erupting to angry cathartic crescendos. The push and pull of the song lyrically and musically expands and contracts, stating and calling out the double standards of systems of power. Nobody wins in a patriarchal society. We all lose. We could all use some more empathy.

“I Want You”

Lust. Hyper lust. A snappy short sharp song about sex. And badly wanting to be bodily entangled with the object of your affection. Being direct is hot. Consent is hot. Agency, sweat, visceral, feral, hot and heavy down to the floor.”Twisted parts and all of your divine.” Harking back to the likes of “Let’s Make Out” and “So When You Gonna” (singles from our first and second albums), this short, dirty, lusty rocker is a lot of fun. Encapsulating the energy, instrumentation and dynamism of Dream Wife’s live show, this song is for sexual empowerment, directness, letting loose and going wild in the sack.

“Curious”

The bisexual, polyamorous anthem we’ve all wanted to write, it’s the one. “I feel too sexy to listen to my friends.” Getting dressed up in silk with your friends and going in search of unexpected encounters at the sex party. Avoiding cotton underwear. Premature confetti bombs. Playful, open to connections and the freedom of being present instead of letting controlling thoughts of a society’s structures overtake your own path of self-discovery. Exploration, self-acceptance, play and being a horny little minx. How sex and connections gets better and better the older you get and the more you learn about your body and what you want and don’t want and how much more there is always to learn. Staying curious in all facets of life is important, to close yourself off from new experiences and continuous learning is a sad way to live. We want to embrace our own curiosity. To live curiously is to fully live. Well that’s what grandma says. We are all constantly growing and changing all the time. Stay curious. Explore. Play. Live. Love.

“Honestly”

We wrote a heavy rock song and then said to each other. “Now let’s do the opposite,” and “Honestly” was born. Heavy tension, foreplay, seduction and the uncanny feeling that we’ve been here before…Deja vu. There’s no rush. Each breathe, each cymbal crash, stroke of the guitar is alluding to each other. Sensual present-ness. Sonically different to other songs on the record, this track shows a more reflective, dark and simmering side of the band. Taking inspiration from Blondie’s “Picture This” (“I will give you my finest hour, the one spent watching you shower”) and Portishead’s “Matchbox.” “Honestly”broods on the female gaze, and enjoys every minute of it.

“Orbit”

Lyrically inspired by a post lockdown London coming back to communal life and sharing a space together through friendship and community. Hot summer nights. Excitement behind turning strangers into friends, lovers or drifters in the night. About how each day you never know what’s in store for you or how a stranger you meet on that day can become someone close to you—be it for a day, a heartbeat, a phase or a lifetime. The beauty of connection and honouring the curiosity we have for each other as strangers—that might have met before in another life. So what do you we have in store now for this one? The entrainment of oscillating objects, synchronization of celestial bodies, magnetic energies. I recognize you… did we meet before? Does it matter? Feeling a connection and deciding to figure it out as you go.