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Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.

The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.

everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.

The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”

Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.

Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.

After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.

Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.

Finally a repress of one of the most selling club records of the late 90s and early 00s! Timeless 12 minute long Nalin & Kane remix. Number one of the German Dance Charts. Supported by Joris Voorn, M.I.K.E. Push, Paul Oakenfold, John Digweed, Dave Angel, Umek, Mark Knight, Paul Thomas and many more.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

DISPLACES represents Fabris' most personal musical journey to date, inspired by the concept of hyperobjects and cartographic practices. The album sculpts a high-dimensional phased time-space composed of concrete materials and digital archetypes in a state of constant displacement. It delves into the symbolic and philosophical realms of mapping as one of the greatest sense-making mechanisms for life, in dialogue with object-oriented environments, superimposition and non-locality applied to cosmic, temporal, and emotional memory.

The sonic ecosystem expands on the image of navigating a path through a set of places, from the microcosm of quanta to the macro force of dark matter, from underwater depths to overland terrains, encapsulating the cyclical flow between birth and death, both in ecological and anthropological sense. The intersection of these shifting states is explored through the extensive processing of the langspil, Iceland's only traditional instrument, intertwined with manipulated field recordings of biophonies and geophonies captured across Icelandic and Venetian territories. These recordings form the backdrop for a meditative process that relocate familiar objects into unfamiliar realms, reflecting on the transformative power of self-reflection while encapsulating the fragmentation and entanglement found in nature and the human state. The record plunges the listener into a disconcerting and physical soundscape, as a “ghostly spectrality that comes in and out of phase with normalized human spacetime,” evoking sensations of suffocation and release as each layer continuously unfolds the palimpsest of the enclosed labyrinth.

“Extraction of the I” embodies a subatomic reaction—erupting as a molecular force that rises, only to re-submerge with a solitary exhale underwater. In this mutated dark space, beluga whales breathe into "Xanadu Phasing," creating a pulsating tension that releases only to unveil a frozen landscape.

In “Barricading the Ice Sheets” the glacial material morphs into a liquid tunnel of digital artifacts, building a wall of noise that shatters into scattered fragments of ice, resembling bird calls from another world.

A moment of stasis is offered with the appearance of an asymmetrical loop in Monolith I, evoking a primitive rite before an unknown force emerges.

The physical intensity of subsonic material in "A Quake in Being" interrupts the hieratic tone, detuning into polluted sonic matter sourced from relics of the First World War in the Venetian Prealps. The geography of this place reconciles with the original homeland in "The Map is the Territory," blending negative space with anthropogenic elements and exploited sounds of the langspil.

The burning density of "Wolf-Rayet" projects into the void, echoing the residual sounds of a local church as relics of fossilized religions. Wolf tones are the remains in Monolith II, introducing the final track, "Topography of Extinction," where evolving psilocin textures invite the listener to uncover deeper layers of meaning and dislocation.

COME ON Yé!
Spanish hero JAVI MULA is back on an amazing splatter 12”!

With a massive demand on Discogs and prices for ALL other pressings on ALL labels soaring (150 to over 400€), a repress is here!
Including the most-wanted version of this Spanish holiday club classic, the ORIGINAL, and as well with an amazing new remix by Belgian house hero Christopher Phonk, well-known from his classic underground house tracks “Marmalade Skies” and “Why Don’t You Love Me”.

Christopher Phonk has taken this track to the next level.
Also on this release, the acapella and the Robbie Moroder Remix.

MUST HAVE!

Various Artists - Collector IV (FURV4)

Future Romance returns with another V/A EP called „Collector IV“, the next chapter in its vinyl-only series dedicated to the label’s most in-demand releases. This edition brings together four standout tracks that move effortlessly between melodic house and techno, crafted by a handpicked selection of distinctive artists. Each track has already made its mark on dancefloors worldwide, earning strong DJ support and international recognition. Collector IV underlines Future Romance’s ongoing passion for curating timeless club music, pressed with care for true vinyl lovers. Featuring tracks by Solee, Microtrauma, SNYL & Berny, and Cyantist.

Die chinesisch-amerikanische Band Bear kehrt 2026 mit ihrem dritten Album ,Dim Sum & Then Some" zurück, das im Mai 2026 beim britischen Kultlabel Moshi Moshi erscheint. ,Dim Sum & Then Some entstand am Tag nach der Fertigstellung unseres Albums Wah!!! aus dem Jahr 2024. Wir hatten viel Freude und waren noch immer sehr inspiriert. Das Album beschäftigt sich mit Themen, die uns am Herzen liegen - Essen, kleine Freuden, unbeschwerter Spaß, China, Liebe, Hymnen und Märchen. Es ist eine Collage unseres Lebens, destilliert zu Positivität und Unbeschwertheit." Sie werden oft so beschrieben, als hätten The Flaming Lips, Dusty Springfield und The Beach Boys ein Kind mit Care Bear gezeugt. Das Album ist voller Humor, Groove, Skurrilität und Niedlichkeit, mit melodisch reichhaltiger Instrumentierung, einem Hauch von Psychedelia, einer Prise Funk und vielen Texten darüber, sich den Bauch mit Essen zu füllen.

Much like the duo’s music, the story of Rural France is both mundane and magical. Tom Brown (also of transatlantic janglepunks Teenage Tom Petties) and Rob Fawkes moved to London in their mid-twenties. Despite living under the same roof, they never picked up a guitar – except for one drunken, failed attempt at writing a Spoon song (“Big Chops” …don’t ask). It was only after both separately relocating to Wiltshire and starting families that they began assembling songs as a way of meeting up. Tom had amassed a pile of sprightly slacker jams that were calling out for Fawkes’ messily melodic guitar lines. Rural France was born.

After a debut album on their hero, ex-Lemonhead Nic Dalton’s Half-a-Cow Records, they retreated to a garage to record their next two albums: RF (2021) and Exacamondo! (2024), both released on much-respected jangle label Meritorio Records. Despite being lo-fi in the truest GbV sense, both records were warmly received by the DIY indie blogosphere, with their short, scrappy, but supremely melodic songs landing on numerous AOTY lists. RF even won Album of the Year at Janglepop Hub.

Raven Sings The Blues probably summed up the sound best: “With drunken visions of Beach Boys harmonies playing in the back of their heads and hooks that consume Teenage Fanclub cheeriness with the same beautiful brevity that drives Tony Molina, the pair have knocked out eleven rumpled classics.” Album four, SLOTHS, arrives via Meritorio Records and Safe Suburban Home Records on 08/05, and is a slightly different beast. For one, it’s been mixed by a professional – Rob Slater (Westside Cowboy, Yard Act, Thank) – giving the guitars and drums room to breathe. It’s easily their most high-fidelity record to date. It’s also their jangliest, most baroque and thoughtful album yet. But alongside added organ, horns and mellotron – and drums from Tom’s Teenage Tom Petties bandmate Jeff Hamm – it still retains the buzzes, hums and little freak-outs that stick to the duo’s original “Pavement playing Teenage Fanclub” mission statement. “Rob and I both wanted to do something a little slower and a little more melancholy,” says Tom. “We resisted our usual urge to hit the distortion pedal and made something that fitted where we are now and celebrates how we still listen to Meatloaf when we get drunk.”

SLOTHS is also the most thematically consistent Rural France record to date. While it wouldn’t be right to call it grown-up, it definitely has homeowners’ insurance. From the Silver Jews-esque Americana of “Slab” and mid-life rallying cry of “Thirty Seven Forever”, to the horn-embossed loser anthem “Lonely Heart Pyramid Scheme,” the songs celebrate (and rail against) the absurdities of getting older, forming a band in your thirties, and the strange phenomenon of time passing. Because no matter how slow you move, everything else goes fast. SLOTHS.

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.

Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

DJ Support: Joseph capriati, Joris Delacroix, A-Trak, Eliza Rose, Damian Lazarus, Laurence guy, TSHA, Ame, Maslow Unknown, Malugi, DJ Heartstring, Anna Lunoe, Mera Bhai, Mat.Joe, Swoosh, Tyson, THELMA, Speaking Minds, Cole Knight, Joris Voorn, Peggy Gou, Eden Prince, Tony and many more

SHEE is a Dublin born house music producer and DJ whose sound bridges deep, soulful club music with a distinctly Irish identity. Built on years of consistent releases, relentless touring, and grassroots community, SHEE has established himself as one of Ireland's most exciting house music exports. The Rosebud EP anchored by lead single 'The Groove' in collaboration with New York legend A-Trak and Dub Katz is the most significant release of his career to date.

It is often in times of crisis and upheaval that the most fascinating music emerges. It is clear that times are grim, not only but particularly in the USA. On the ‘Numb Denial EP’, Orlando Voorn reflects on the emotional climate in his adopted home and conveys his uncertainty, his pain and also his anger. He impressively expresses his emotional states musically through the instrumentarium of timeless Detroit-style technosoul. These tracks are among the most moving, immediate and beautiful he has created in his decades-long career. To quote Roxy Music: “Dance away the heartache, dance away the pain.”

Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you.

By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn’t stop there. He has continued recording fabulous albums over the following decades, right up to the present day.

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs.

The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle’s compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel of tracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’

First vinyl reissue in over 50 years!

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Swedish alt-pop icon Lykke Li, whose career spans the haunting intimacy of Youth Novels to the widescreen ambition of So Sad So Sexy, returns with her most uncompromising statement yet. Signed to Crush Management and already confirmed for Coachella 2026 and a run of South American festivals, her forthcoming album The Afterparty strips things back to raw truth and artist dogma. Built on a shoestring budget but led by high-fashion meets candid, meme-ready visuals, the world of The Afterparty channels early Tumblr and i-D magazine energy—real, raw, and distinctly Lykke Li.

Swedish alt-pop icon Lykke Li, whose career spans the haunting intimacy of Youth Novels to the widescreen ambition of So Sad So Sexy, returns with her most uncompromising statement yet. Signed to Crush Management and already confirmed for Coachella 2026 and a run of South American festivals, her forthcoming album The Afterparty strips things back to raw truth and artist dogma. Built on a shoestring budget but led by high-fashion meets candid, meme-ready visuals, the world of The Afterparty channels early Tumblr and i-D magazine energy—real, raw, and distinctly Lykke Li.

Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties

Swedish artists pbeatgirl and Joakim Åhlund & Jockum Nordström feature on one track each
Axel Boman has brought playful charm to the underground for nearly two decades. His colourful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. The Studio Barnhus co-founder is an artist who can make you laugh and cry at the same time, as continually shown across more than 20 EPs and four full-length albums on a tasteful array of labels. He strides into 2026 with a first EP for Aus that embodies everything that makes him easy to love and hard to pin down.

First up is 'Night Blooming' feat pbeatgirl - a provocative figure in Sweden's post-pop underground. The sensual late-night lullaby has soft drums and even softer spoken words whispered in your ear. Add in the dreamy synths, and you have perfect house hypnosis. 'Someone Stop Me' slows the tempo but ups the texture with raw, tumbling drum loops, incidental guitar licks and sustained pads that help you zone out and gaze into the distance on a summer's afternoon.

'Svalor Radiosignal (Axel's Dub)' features Joakim Åhlund, who is currently on tour of Australia with his band Les Big Byrd, and is also a guitarist and lead singer in the Caesars band he founded, as well as being a prolific producer. World-renowned multi-disciplinary artist Jockum Nordström works across painting, sculpture and collage and also features. There's a signature Boman innocence and charming naivety to the melodies here. They leave wispy, painterly trails above the smooth, dubby groove and fill you with warmth and comfort. Closer 'Spooky' journeys later into the night with a more rickety, edgy mood, but beautiful, shape-shifting synths are like a tender hand guiding you into darkness.

This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.

For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience.
Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge.
On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange.
Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence.
The band’s current lineup reflects both longevity and openness. Sharp and Keith remain the band’s primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album.
Musically, the album expands the band’s palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages.
Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production’s spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.