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Lately, it feels like the world is one endless bad news cycle. Joshua Idehen isn’t here to pretend otherwise – but on the spoken word artist’s new album, I Know You’re Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try, he provides a phenomenal sonic, poetic space. Made with his creative partner, musician Ludvig Parment, the album (out 6 March 2026) is an urgent but transcendent collection that holds you through it all, filled with grief, euphoria and hope.

I Know You’re Hurting… comes after the virality of Idehen’s track Mum Does The Washing, a wry and whipsmart poem examining how the world works (which started life as a Twitter thread), set to Parment’s spacious beats. The song has seen the pair propelled beyond Idehen’s wildest dreams this past year.

Across the album, that means uplifting choirs, cozy samples and exuberant, sometimes house-tinged beats. “I am personally drawn to music that transports you to a place, or scene or mindset,” says Parment. This is topped with ruminative musings on morality and human connection; about the longer loves in life – like friendships, family – that sustain us. These come from Idehen and Parment, along with a host of friends and collaborators, including writers Leone Ross and Charlotte Manning, and vocalist Amanda Bergman, to help expand on the topics of the record without sounding preachy. Similarly, there are musical guests including saxophonist Pete Fraser and Shabaka Hutchings on flute, each helping to imbue the album with a rich warmth.

Soul legend Gwen McCrae’s All This Love gets a fresh dancefloor reinterpretation from Tokapi Disco Team, the German production duo known for their work with million-selling act Sash!. Ben Liebrand adds his signature touch with extended groove-driven edits, crafted with DJs firmly in mind. Tokapi Disco Team blends a warm, rounded kick with subtle percussion and a light shuffle that keeps the rhythm flowing effortlessly. A rolling, funk-inflected bassline locks in with Chic-inspired piano chords, while tasteful disco strings lift the arrangement throughout. Gwen’s unmistakable vocal remains the emotional centerpiece — rich, soulful and timeless.

The result is a seamless nu-disco and disco-house crossover that bridges classic soul heritage with contemporary club energy.

THIS is Gwen—this is ESSENTIAL.

After standout collaborations with Christophe Honoré and Bertrand Mandico, Calypso has signed with Pop Noire for the original soundtrack of Caroline Deruas’ film Les Immortelles. She unveils her new single, L’Homme Poisson, a gem of magnetic pop. With this ultra-catchy track, she reinvents 70s synth-pop with her signature poetry—both modern and timeless.


With Les Immortelles, Calypso Valois does more than accompany the film: she becomes its sonic soul. Each track—from enchanting choruses to rich instrumentation (piano, synths, strings, brass)—immerses the listener in a dreamlike universe, where music weaves the emotional thread. A singular cinematic experience, infused with mystery and magic. Whether you’re a fan of sophisticated pop, evocative soundtracks, or simply seeking an enchanting musical journey, this album transcends the boundaries of genre and era.
The film opened the Venice Film Festival and continues to make waves at festivals before its release a on Wednesday, February 11, 2026.

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources - fingerpicked guitar, plaintive banjo, muted accordion tones - subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album’s title.

Tracks such as “Pattern For a Pillow” and “Amidst Things Uncontrolled” articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity - fluttering guitar lines, reedy accordion tones - briefly break the surface before being absorbed back into the field.

Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia - a reminder that electronic music’s most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

With 'Tangkoa II', Belgian producer and multi-instrumentalist Dijf Sanders invites listeners into a vibrant and immersive sonic world shaped by travel, collaboration and instinct. Released via Unday Records, the album grew out of field recordings captured during a journey through Vietnam, later transformed into rhythmic, colourful compositions that feel both intimate and expansive.

Rather than building tracks piece by piece on a screen, Sanders approaches music as something alive and unfolding. Sounds are performed and reshaped in real time, giving the album a spontaneous energy, as if the music is discovering itself while you listen. Together with drummer and producer Simon Segers, he creates a fluid dialogue between electronic sounds and human rhythm, balancing precision with freedom.

Improvisation lies at the heart of 'Tangkoa II'. Contributions from Vitja Pauwels (guitar), Viktor Perdieus (saxophone) and Louise van den Heuvel (bass) bring a subtle jazz sensibility to the music, pushing it toward hypnotic grooves and unexpected turns.

The result is an album that feels warm, physical and constantly in motion. Electronic music that breathes, pulses and draws you fully into its atmosphere.

Pioneering in the 80' and 90's and an absolute spearhead in the world of post-punk, cold and new wave, EBM, electro... a series of albums and compilations from the extensive Antler Records archives are now being released again.

The first compilations 'Early Years Vol. 1, Vol 2 and Vol 3” were received with great enthusiasm and flew out the door. Now there is Vol. 4 with again carefully chosen gems from the rich Antler archives with carefully selected recordings of influential bands such as Snowy Red, Poësie Noire, Sigmund und sein Freund and Vomito Negro, a.o.

Again a great compilation of the best what the Belgian synth-wave/EBM scene had to offer in the eighties of the 20th century.

VINDICATE, Black Veil Bride’s seventh album, casts a brilliant symbolic signal across the darkened skies. It’s a living will and testament to the band’s storied past, triumphant present, and unwritten future. VINDICATE harnesses the blend of grandeur and intimacy at the heart of the band’s melodic and metallic sound. Across timeless songs, VINDICATE conjures enduring archetypes, interwoven with themes of revolt and vengeance, and shades of John Milton’s epic 1677 poem Paradise Lost.

Guitarists Jake Pitts and Jinxx, drummer Christian Coma, bassist Lonny Eagleton, and frontman/vocalist Andy Biersack celebrated several milestones in recent years, including massive shows in London and Mexico City. “Bleeders” was a Top 10 hit at Active Rock radio and a several-month-long mainstay on YouTube’s Hard Rock & Metal chart (which tracks both current and catalog music videos) in 2024 and 2025.

VINDICATE is the first new Black Veil Brides full-length produced by Pitts and Biersack, exercising complete creative control while synthesizing the best of what they’ve learned from A-list producers. The album was mixed by Zakk Cervini (Bring Me The Horizon,
Evanescence, Bad Omens).

VINDICATE ushers in Black Veil Brides' most visceral, creative, thrilling, and uncompromising era yet, as the band continues to defy expectations and misconceptions held by casual onlookers. Black Veil Brides forever champions the isolated and the dismissed.
They’re an object of devotion and obsession for those who sing their anthems in unison, a diverse BVB Army that never surrenders.

This 7-inch singles features a previously unreleased cover of Bob Marley's iconic "Sun Is Shining," performed by the prolific Jamaican singer Ronnie Davis of The Itals and The Tennors. The multi-track tape was famously mixed by Prince Jammy into the popular "Jammys A Shine" dub, without any vocals. More recently, Prince Fatty mixed his version "Dub Is Shining" for the acclaimed Prince Fatty Meets The Gorgon album (VP4246) in 2023. The vocal was never mixed or issued, for reasons unknown, but with Prince Fatty's usual magic touch, it finally finds its way to the public after nearly five decades. Ronnie Davis, 1950-2017, was one of Jamaica's beloved voices during his long career. He was better known as a member of the rocksteady group The Tennors, and later with The Itals, but during the 1970s he was on of Bunny Striker Lee's top vocalists.

VINDICATE, Black Veil Bride’s seventh album, casts a brilliant symbolic signal across the darkened skies. It’s a living will and testament to the band’s storied past, triumphant present, and unwritten future. VINDICATE harnesses the blend of grandeur and intimacy at the heart of the band’s melodic and metallic sound.
Across timeless songs, VINDICATE conjures enduring archetypes, interwoven with themes of revolt and vengeance, and shades of John Milton’s epic 1677 poem Paradise Lost.

Guitarists Jake Pitts and Jinxx, drummer Christian Coma, bassist Lonny Eagleton, and frontman/vocalist Andy Biersack celebrated several milestones in recent years, including massive shows in London and Mexico City. “Bleeders” was a Top 10 hit at Active Rock radio and a several-month-long mainstay on YouTube’s Hard Rock & Metal chart (which tracks both current and catalog music videos) in 2024 and 2025.

VINDICATE is the first new Black Veil Brides full-length produced by Pitts and Biersack, exercising complete creative control while synthesizing the best of what they’ve learned from A-list producers. The album was mixed by Zakk Cervini (Bring Me The Horizon, Evanescence, Bad Omens).

VINDICATE ushers in Black Veil Brides' most visceral, creative, thrilling, and uncompromising era yet, as the band continues to defy expectations and misconceptions held by casual onlookers. Black Veil Brides forever champions the isolated and the dismissed.

They’re an object of devotion and obsession for those who sing their anthems in unison, a diverse BVB Army that never surrenders.

Resonant Duality is an album built around Kyouzon, the Japanese idea of coexistence, where duality and togetherness are always present. The tracks move between light and dark, soft and loud, tension and release, but always come back to a feeling of sharing the same space. So Takahashi, originally from Yokohama, Japan, is a multidisciplinary artist who studied visual communication in New York. Since the late 1990s, he has been active as a composer and performer within electronic music, noted for his minimalistic melodies, sample manipulation, and unique sense of composition. Having released nine releases since 1999, he has lived and worked in Oslo, Norway in recent years, where "Resonant Reality" marks his tenth release. Charles Lynch, born in Tours, France, began his musical journey with classical piano at an early age before expanding his studies to art, visual communication, and design in Paris. Under the artist name A Saner Lynch, he has released two classical music albums, blending his background in classical performance with a contemporary artistic sensibility. The two musicians met in Oslo, Norway, a decade ago. Their shared interests in both classical and electronic music led them to collaborate, merging their distinct backgrounds and creative visions. Together, they compose music that reflects their combined influences, bridging the worlds of classical tradition and electronic innovation.

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

"Listening back now, I hear an artist still figuring things out, but with a clear instinct for where I wanted to go. It was a period defined by freedom - no rules, no expectations." - Hans-Peter Lindstrøm

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.

After their last album six years ago, "Primal Forms," the new album by Phantom Horse, finally arrives. The German duo of Ulf Schütte and Niklas Dommaschk have long established a reputation for expertly crafted, hypnotically slow-burning electronic music, and we do not hesitate to say that "Primal Forms" stands among the epitomes of their discography.

The sequencing of "Primal Forms" cannot be underestimated. It is an album in the classic sense. It demands to be listened to in its entirety, which also points to a closer affinity with Krautrock. Likewise, a touch of dub is perceptible, wafting around the songs, which, as usual, bear clandestine titles. It is not unreasonable to see in these compact compositions a clear statement against multitasking.

Phantom Horse are not trumpeters of dystopia. They present themselves resolutely, almost stoically, turned away from the world. This turning away is clearly a statement that can be contemplated in the Mariana Trench as well as in comet belts. In any case, it is best experienced in a space without any human beings. This does not mean that grumpy hermits are tinkering with synths behind closed shutters, armed with wooden walking sticks. This is still open minded music with a connection to current developments. The approach itself is what is audible, and with it, Phantom Horse proves once again that their main connection to time is timelessness.

In an age of all-encompassing distraction on every sensory, thematic, and semantic level, Phantom Horse explores the possibilities of reduction, searching for simplified melodic arcs without resorting to the vocabulary of classical minimalism. The overall impression is more electronic; the slowly shifting, polyrhythmic compositions repeatedly lead to a peculiar danceability. However, these are perhaps the dances of mechanical birds, undeterred by anything.

Written and produced in Hamburg, Nijmegen and Ojén by Niklas Dommaschk & Ulf Schütte
Mastering by Rafael Anton Irisarri at Black Knoll
Artwork by Daniel Castrejón

Isle Of Men is the band led by guitarist Dirk Fryns, featuring Gunther Verspecht (Stash) and all-round keyboard maestro Tom Van der Schueren, Herman Temmerman (bass and production), Niels Delvaux (drums) and Sara De Smedt (backing vocals). They made an impressive debut in 2015 with the album ‘Voluntary Blindness’.

Here is what the press had to say at the time:
De Morgen ****: “Subtle night music that inhabits the same world as David Sylvian, The Blue Nile, Ray Lamontagne… an excellent debut.
Focus: *** “A fine Belgian debut with an album that willingly lets itself be enveloped by the quiet twilight of the night.
Het Nieuwsblad/GVA ***: “Refined, intimate songs carried by the deep voice of Gunter Verspecht”.
RifRaf: “An impressive nocturnal record for fans of, say, Talk Talk, Tindersticks, Nick Cave or Nick Drake. Welcome to the fragile world of Homo Melancholicus”.
Now, at last, there is an equally atmospheric and impressive follow-up with the album “The Soul Of Kindness”.

On the day of Eid al-Fitr (Sugar Feast), Sonhouse Records released Grond, a brand new record, produced by Faisal Chatar and 'Yong' Yello Staelens.

Grond (soil) tells the tragicomic story of a Moroccan brother and sister who take over their father's funeral business and want to modernise it. Instead of repatriating Belgian Muslims to their country of origin and burying them there according to Muslim traditions, they decide to import the holy soil.

Western and Arabic sounds, combined with hip-hop beats are mixed in a refined way. Faisal and Yello produced twenty songs that immediately make you long for summer. In Brussels, Tangier or simply elsewhere.

Faisal Chatar and Yello Staelens:
"Grond is about the clash between traditional Moroccan values and Brussels city culture. We tried to translate that by combining Moroccan instruments like Krakebs and Qanuns with thick hip-hop beats. It sounds as if Timbaland is eating a merguez sandwich in a Molenbeek snack bar while Aznavour sounds through a distorted FM radio."

In this context Jeroen Swinnen and David Martijn needed to find a musical concept to go hand in hand with the story. They opted for a string quartet and an arsenal of old analogue synths (of the series’ era). Thé perfect match as it turned out. Emphasize the beauty, hope and respect on one hand. Translate the elusive, unjust feeling that is addressed in the series on the other. Apart from these 2 central instruments, an old muted upright piano, played by Jeroen, and a guitar, played by David, were also used to express emotion even more.

A movie directed by Veerle Baetens, based on a novel by Lize Spit.

Many years after a sweltering summer that spun out of control, Eva returns to the village she grew up in, with an ice block in the back of her car. In the dead of winter, she confronts her past and faces up to her tormentors.

This soundtrack is composed by Bjorn Eriksson (known for his work on "The Broken Circle Breakdown" and "Zita Swoon") featuring two beautiful tracks with Blanche.

Rosita is a cheerful, well-liked woman with a fiery desire to have children. Those around her find it irresponsible because she can barely take care of herself. When Rosita does manage to become pregnant, she chooses to keep her pregnancy a secret.

David Martijn, guitarist and synth player in the electro-rock band GOOSE, wrote the music for the full-length album 'Holy Rosita'. His experience as a composer for projects such as 'De Dag', 'War of the Worlds', 'De Twaalf', and '1985' contributed to Martijn's desire to challenge himself again to come up with a fresh, distinctive sound, as he does with every project.

"My initial feeling was that I would have to step far out of my comfort zone to let the music tell this delicate story. I soon felt that the music needed to be light and open, in contrast to the uncertain and complex reality in which Rosita finds herself. Therefore, it seemed like a good plan to keep the score very close to Rosita and much less focused on her surroundings or reality. The music had to be, as it were, a reflection of the thoughts and feelings playing out in Rosita's mind. That is often hopeful, determined, lively, sometimes a bit naive, and at other times very lonely, sad, and uncertain." - David Martijn

The second season of the funny and heartfelt fiction series by Flo Van Deuren and Kato De Boeck takes us along as Bibi and Ama move on to the next chapter of their lives and into their new, unexpected home: an old daycare building. With school no longer providing structure and their wallets running on empty, they dive headfirst into adulthood.

This results in eight new episodes that, like the main characters, have grown up, yet remain just as hilarious and moving as ever.

With the second season of Roomies, the show’s award-winning music makes its return. This time with a powerful soundtrack featuring Eefje de Visser, Ategha (Ahlaam Teghadouini) & Mickael Karkousse (Goose), Maria Iskariot, and Porcelain ID.

“(Tijdbom) Tikkend” is a dark, electronic track that feels like a constant run: sometimes away from the other, sometimes right toward them. It captures the feeling of running out of time, losing each other, and wanting to reconnect. That push-and-pull dynamic felt like a perfect fit for Roomies, where relationships, drama, and fun are always intertwined. - Eefje de Visser

“Whatever Happens” came together in a very organic way, and you can hear that in the track. Raw, genuine, and effortless. What’s unique is that we hadn’t even met until a few days before. Ahlaam walked into the studio and said, “I’ve prepared something.” That opening line alone was fantastic and immediately showed confidence and courage. “Perfect,” I thought. Then we turned the volume up to maximum, and I listened as Ahlaam sang right by my ear. Instant goosebumps! - Mickael Karkousse

The series, written and directed by Flo Van Deuren and Kato De Boeck, tells the story of Bibi and Ama, two lesbian girlfriends in their twenties.

Hoping to become a better version of themselves, they move in together at a flat in Brussels. Each in their own way, but under the same roof, they come to new insights: life has no manual, love even less and themselves even less so. The result is an intimate series full of humour and familiarity.

Musically the series is coloured by an exclusive soundtrack and homegrown songs: 7 female or non-binary artists from Belgium were asked to write a song. Lara Chedraoui & Patrix, Juicy, Miss Angel, Tessa Dixson, Oriana Ikoma, Ana Diaz, SPACEBABYMADCHA and Mick Lemaire crept into their musical pen. The series also features existing songs by artists such as Martha Da’ro, Aili, B1980 and Fatal Error to showcase a maximum of local musical talent.

Lander Gyselinck and Adriaan Van de Velde created the soundtracks for the Dries Van Noten autumn/winter 2023-2024 runway shows. The result is a double live performance recorded during the shows in Paris.

The release, exactly 1 year after the presentation of last season's men's collection, is available from January 19th on a 180 gram vinyl and on all digital streaming platforms. On one side you will find the music for the men's collection by Lander & Adriaan, on the other the music for the women's collection, Lander Gyselinck solo.

"The women's collection is all about construct:deconstruct, intimacy, botanical figurative elements and gold in its raw form. Dries asked me to try to translate these elements into a drum piece performed live. I decided to focus on detailed intimate sounds, acoustic elements and improvisation. Besides this piece, there is a second composition that I brought together with Adriaan for the men's show where we mainly took into account the venue, Dries' collection, certain keywords we were given, our world of 90s music, rave and improvisation and we tried to make a nice blend of that." - Lander

Comeback tells the story of Ava, a 14-year-old girl trying to navigate the complex relationship between her divorced parents. Her mother, Naomi, a former successful techno DJ, is determined to revive her career and make an international comeback. Ava's father, Dominique, has withdrawn from the hectic nightlife and now leads a quieter life. As Ava becomes increasingly drawn into her mother's vibrant nightlife, she finds herself entangled in the expectations and dreams of her parents.

With a musical score by Raf Keunen and techno tracks by Jeroen De Pessemier (One Track Brain) – founder of the Belgian electro band The Subs – and the visually stunning cinematography of Sander Vandenbroucke, Comeback, shot on 16mm film, combines intimate family conflicts with the energetic, pulsating rhythm of techno.

“Oui Ou Non” by One Track Brain ft. Omani (aka Veerle Baetens) is one of the tracks from the movie "Comeback", now available on 7-inch.

Das erste Album mit Originalmusik von den englischen Künstlern Flying Mojito Bros., die total auf Americana und Dance-Musik stehen. FMB hat dank seines einzigartigen Stils, der als Desert Disco und Outlaw House bezeichnet wird - ein neu definierter Americana-Sound, der von Poolside-Vibes bis zur Tanzfläche reicht -, eine wachsende Fangemeinde in den USA gewonnen. Das Album bietet eine hochkarätige Besetzung mit Künstlern wie Scott Hirsch, Will Worden und Rob Chaney (weitere werden noch bekannt gegeben!) und hat die Unterstützung von einflussreichen Persönlichkeiten wie Diplo, Phish, Pretty Lights, BBC 6 Music und KEXP erhalten. Just Passing Through zeigt die Entwicklung von FMB und kombiniert ihre charakteristischen Re-Edits und Remixe mit Live-Band-Aufnahmen. Es ist ein mutiger Schritt in ihrer Karriere, bei dem sie von den 1970er Jahren inspirierten Rock und elektronische Rhythmen mit Kollaborationen von Top-Musikern wie Shawn Lee (Young Gun Silver Fox), Joe Harvey-Whyte (The Hanging Stars) und Joe Stoddart (ABBA Voyage) verbinden. Dieses Album markiert ein neues Kapitel in der kreativen Reise von FMB und fängt ihre Erkundung der neu definierten Americana und den interkulturellen Rock-Austausch zwischen den USA und Großbritannien ein.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

Das erste Album mit Originalmusik von den englischen Künstlern Flying Mojito Bros., die total auf Americana und Dance-Musik stehen. FMB hat dank seines einzigartigen Stils, der als Desert Disco und Outlaw House bezeichnet wird - ein neu definierter Americana-Sound, der von Poolside-Vibes bis zur Tanzfläche reicht -, eine wachsende Fangemeinde in den USA gewonnen. Das Album bietet eine hochkarätige Besetzung mit Künstlern wie Scott Hirsch, Will Worden und Rob Chaney (weitere werden noch bekannt gegeben!) und hat die Unterstützung von einflussreichen Persönlichkeiten wie Diplo, Phish, Pretty Lights, BBC 6 Music und KEXP erhalten. Just Passing Through zeigt die Entwicklung von FMB und kombiniert ihre charakteristischen Re-Edits und Remixe mit Live-Band-Aufnahmen. Es ist ein mutiger Schritt in ihrer Karriere, bei dem sie von den 1970er Jahren inspirierten Rock und elektronische Rhythmen mit Kollaborationen von Top-Musikern wie Shawn Lee (Young Gun Silver Fox), Joe Harvey-Whyte (The Hanging Stars) und Joe Stoddart (ABBA Voyage) verbinden. Dieses Album markiert ein neues Kapitel in der kreativen Reise von FMB und fängt ihre Erkundung der neu definierten Americana und den interkulturellen Rock-Austausch zwischen den USA und Großbritannien ein.

With one exception, this disc is a recording of a concert given at the Ateliers Claus in Brussels in March 2024. It was preceded by three short hours of improvisation the day before and the day before that, during which ErikM and I made a series of careful observations of each other's playing. It must be said that neither of us had skimped on transporting a few cases, the contents of which would have allowed us to play several concerts in a row without ever repeating ourselves. Erik had brought his turntables to Brussels, as well as sophisticated electronic machines, accompanied by a virtually infinite sound bank. For my part, I had both a mechanical orchestra and a range of acoustic instruments at my disposal. In two sessions, we eliminated the superfluous and the ineffective. On the evening of the concert, it was through close observation-of each sound, each direction taken by one or the other, each intention, each break-that we composed this record in the moment: vigilant and scrutinising, like the pairs of eyes on the cover of this album.