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In 2017, at Documenta Kassel (but in Athens), I invited José Jiménez Bobote, a remarkable gitano artist from the Tres Mil Viviendas neighbourhood in Seville, to record a series of actions in specific locations in the Greek capital. Ancient Greece and modern Greece. I wanted him to draw sound from the city, to strike it as only a flamenco artist can, with his feet. To hit the ground and make it moan, ring out with noises evoking significant moments in history: from Diogenes the Cynic and the Apostle Paul’s sermon at the Areopagus to Rosa Eskenazi’s resistance to the Nazi-German occupation, and the ups and downs of police Inspector Costas Haritos’s survival at the European Bank during the PIGS crisis. Bobote struck the ground and Athens responded, sending back echoes of the past, in an exceptional anachronistic exercise. In flamenco it is possible for several times to sound simultaneously.

We took seventeen hours of footage, and water from many wells.

I then shut away producer, musician, and friend Raül Refree with this material so that he could take the long titles and use them as scores, turning them into mere songs. It was very important to think in terms of songs. The tracks had to have the capacity to be songs, the kind of thing one whistles while absent-mindedly walking down the street. Generally speaking, the scores—that is, the texts—defended the use and abuse of the loose coins that people carry around in their pockets. Loose change as a kind of everyday fetishism against big financial capital. Pistis! Refree managed to coax that distinctive unity of songs, their bright catchiness, from the amalgamation of sounds that would, in other hands, end up being labelled concrete music. Peter Szendy would be pleased and grateful. Being able to sing under one’s breath something that others consider simply noise.

Seven songs, yes. And if you get the chance, take a stroll through Athens with them: the locations are clearly defined. If not, then let Athens fill your home with all its ancient wisdom, boring into your ears like worms, making holes in history.

Listen, and, as people used to say, turn up the volume!

Pedro G. Romero, Santa Marta, Colombia, November 2025

Comes with booklet with song lyrics written by Pedro G. Romero. Limited edition of 250 vinyl records.

"Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival.
"The Freedom Suite is an homage to jazz titan Duke Ellington — particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces — mostly brief — with a few extended tracks such as Free to Be Free and Cyborgs.
"For this recording, Novoa also steps in as a vocalist on several tracks, including Mainstream Media, Big Grande, Global, Free to Be Free, Dream, and Cyborgs. These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.
'Words are powerful,' says Novoa. 'They define who we are, where we come from, and who we hope to become. Without words, there is no conversation — and without conversation, there is no real sense of time, space, or connection.'
The Freedom Suite emerged from deep philosophical and creative conversations — spoken, written, and improvised — between Novoa, Carter, and Mela. In the studio, Novoa introduced printed texts that served as thematic foundations for spontaneous, in-the-moment musical interpretation. The result is an urgent and organic interplay, where instruments speak to one another in a language as fluid as it is fearless.
"Standout track Cyborgs begins with Novoa’s percussive piano, exemplifying the trio’s dynamic, conversational energy. Creative Destruction features Novoa on electric harpsichord in a wild, electric exchange. While Free to Be Free stands out as the album’s leading single, it also captures the essence and message of the entire Suite.
"Recorded in 2021 at New York City’s legendary Sear Sound Studio, the album captures a creative explosion of sound and spirit. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs — even whistle — showcasing her expansive sonic palette. Together, the trio embodies the power of free improvisation and emotional storytelling.
"Originally from Barcelona, Spain, Eva Novoa has been cultivating her distinctive voice since childhood. Now a staple of the New York creative music scene, she has performed across the globe and collaborated with some of the most adventurous voices in jazz and beyond."

Noctourniquet And then everything went black, at least for a while, at least for The Mars Volta. In the months and years following their fifth full-length, Octahedron, Omar kept on at his usual fearsome creative pace. In fact, he ramped up his output considerably, starting up his own Rodriguez Lopez Productions label and releasing a slew of solo albums. It was a practice he’d begun shortly after De-Loused’s release, with his solo debut A Manual Dexterity: Soundtrack Volume One, but as the decade reached its close, Omar grew to rely upon his solo recordings as an outlet for his prolific creativity, these albums often exploring musical pastures far beyond even The Mars Volta’s wide-ranging parameters. Before choosing to release music under his own name, Omar would always play it to Cedric first, to see if the frontman thought it had potential to become Mars Volta music. Shortly after Octahedron’s completion, Cedric flagged one batch of tracks Omar had cut with Deantoni Parks, a brilliant drummer and composer who’d briefly occupied the Mars Volta drumstool in-between Jon Theodore and Thomas Pridgen’s tenures, and whose volcanic creativity and unique, unpredictable approach to rhythm and composition had quickly made him one of Omar’s favourite artistic foils.

As with the music that made up Octahedron, the new tracks Cedric had optioned for The Mars Volta often veered far from the riotous, Grand Guignol visions of their earlier releases. It possessed the punchy, song-based focus of Octahedron, though this was a considerably darker, more menacing strain of pop, with synthesisers figuring heavily in the productions. Cedric took the tracks in 2009 and set about writing songs to the music. But no more new Mars Volta music would be heard until 2012. The years that passed in-between were nonetheless momentous, and busy, witnessing an unexpected reunion of the members of At The Drive-In, and Cedric joining his own side-project, Anywhere. But there wasn’t any sign of life within the Mars Volta until Omar, Cedric and their bandmates took to the road for a series of live shows in the spring of 2011, billed as The Omar Rodriguez-Lopez Group, debuting the songs that would become Noctourniquet. The album followed the next year, and it remains one of The Mars Volta’s finest, its electronic textures staking out unfamiliar but fertile new ground.

An unsettling, subtly turbulent listen, Noctourniquet found Cedric sketching out a story about “some sort of device that stops the darkness from bleeding”, drawing influence variously from the nursery rhyme Solomon Grundy, the Greek myth of Hyacinthus and the song Birth, School, Work, Death by British underground rockers The Godfathers. It was an album of dystopian futurism, signalled by the paranoid cyber-rock of opener The Whip Hand and its unnerving chorus, “That’s when I disconnect from you”. But it was also an album of inspired, unexpected moves and uncanny invention, like how Dyslexicon seemed to eerily evoke Blondie’s Rapture, before rushing headlong into its bruising chorus, tempos shifting restlessly throughout like quaking earth beneath the listener’s feet, or how Aegis put a brave new spin on The Mars Volta’s trademark rewiring of salsa’s overdriven passions, or how Cedric had never sounded as scary as he did on The Malkin Jewel’s mutant burlesque shuffle. Tracks like Molochwalker were sleek and concise in a way The Mars Volta had never really attempted before – which was all part of Omar’s plan.

“It had all been guitar, guitar, guitar, overdubs, everything fighting for space in the same frequency,” he explains. “So for Noctourniquet, it was all about subtracting elements, of sticking to how I made demos.” Deantoni’s presence helped revivify the group, playing against cliché and expectation, and taking each song in unexpected directions. “I’d beatbox a rhythm for him to play, to go with my guitar part, and he’d come back with three or four alternate options. It was so great.” Similarly, Cedric had never sung better than on Noctourniquet, staking out a fearsome spectrum from the chilling Tom Waitsian growl of The Malkin Jewel to the keening, beautiful vocalisation on Vedamalady, rising to match some of Omar’s most deft, most immediately effective and melodic songs yet. Indeed, Noctourniquet is the sound of a band discovering new ways to do familiar things, renewing their commitment to their mission, finding fresh inspiration a decade in, and shaking off any complacency that might have come with ten years of acclaim and success.

Two years have passed since haruka nakamura released the “Light years” series, a four-part project created in collaboration with THE NORTH FACE Sphere,
tracing the cycle of the seasons. During the two years that followed, he continued to produce beat-based sketches — melodies and fragments born in daily life,
films, and other creative projects — sampling and reworking his own material as an ongoing personal practice.

These works now come together as the culmination of his collaboration with THE NORTH FACE Sphere: the twin albums “ALL DAY” and “ALL RAY,” featuring
sixteen tracks in total.
Compared to his previous works, the melodies and rhythms here resonate more vividly and memorably. Both albums gaze toward the light of the seasons,
yet each expresses a distinct tone and atmosphere.

As a prelude to these albums, eight singles will be released consecutively over eight weeks.
The artwork combines photographs taken by haruka nakamura with watercolor-inspired designs by suzuki takahisa (16 design institute).
Together, the eight singles and two albums create a cohesive visual and sonic world through ten unified jacket artworks.

Rough Trade Records freut sich, das fantastische Debütalbum von Tyler Ballgame ankündigen zu dürfen: For the First Time, Again erscheint am 30. Januar 2026. Mit zwölf Songs, die zwischen Classic Rock, Indie und Americana oszillieren - Ballgame zeigt, wie große Stimmen und starke Melodien Herzen bewegen und Horizonte öffnen können. Die erste Single I Believe in Love, eine hymnische Mischung aus Lennon und Orbison, ist ab sofort mit Video erhältlich - gefilmt von engen Freunden in Ballgames WG. Entstanden am Küchentisch und inspiriert vom Rat seines Produzenten Jonathan Rado ("Schreib den größten Song der Welt"), wurde daraus eine Ode an die Liebe selbst - und an die Narren, die sie macht. Produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus) und Ryan Pollie (Los Angeles Police Department), bringt das Album analoge Wärme, akustische Energie und üppige Harmonien zurück - mit Unterstützung von Amy Aileen Wood (Fiona Apple) am Schlagzeug und Wayne Whitaker am Bass. Ballgames Weg hierhin war alles andere als geradlinig: Vom Kellergeschoss in New England über Coverband-Auftritte in Rhode Island bis hin zum mutigen Neustart in Los Angeles. Offenheit, Risiko und der Glaube an sich selbst prägen seine Songs - und werden live zur großen Bühne.

Rough Trade Records freut sich, das fantastische Debütalbum von Tyler Ballgame ankündigen zu dürfen: For the First Time, Again erscheint am 30. Januar 2026. Mit zwölf Songs, die zwischen Classic Rock, Indie und Americana oszillieren - Ballgame zeigt, wie große Stimmen und starke Melodien Herzen bewegen und Horizonte öffnen können. Die erste Single I Believe in Love, eine hymnische Mischung aus Lennon und Orbison, ist ab sofort mit Video erhältlich - gefilmt von engen Freunden in Ballgames WG. Entstanden am Küchentisch und inspiriert vom Rat seines Produzenten Jonathan Rado ("Schreib den größten Song der Welt"), wurde daraus eine Ode an die Liebe selbst - und an die Narren, die sie macht. Produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus) und Ryan Pollie (Los Angeles Police Department), bringt das Album analoge Wärme, akustische Energie und üppige Harmonien zurück - mit Unterstützung von Amy Aileen Wood (Fiona Apple) am Schlagzeug und Wayne Whitaker am Bass. Ballgames Weg hierhin war alles andere als geradlinig: Vom Kellergeschoss in New England über Coverband-Auftritte in Rhode Island bis hin zum mutigen Neustart in Los Angeles. Offenheit, Risiko und der Glaube an sich selbst prägen seine Songs - und werden live zur großen Bühne.

High Roller Records, Picture Disc, limitiert auf 500 Stück, handnummeriert, Deluxe-Plastiktüte, Kartoneinlage. Alle Titel wurden im September 2022 von Patrick W. Engel bei TEMPLE OF DISHARMONY gemastert. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen... Die ultimative audiophile Neuauflage dieses zeitlosen französischen Metal-Klassikers!

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Sacramento (CA) Heavyweight Crushers Return! Oromet presents atmospheric funeral doom with a melodic emphasis without surrendering the all-encompassing heaviness that is the genre's hallmark. Where some seek to immiserate and drown the listener, Oromet explores the complete nature of sorrow as the band weaves the choke of despair and the lightness of serenity. The Sinking Isle focuses on the inevitability of collapse and the cycles of ruin and rebirth. Adrift on cataclysmic seas, melody remains the compass—a hopeful light guiding the listener through themes of loss, nostalgia, and pessimism. For fans of Mournful Congregation, Bell Witch & Esoteric. Dan Aguilar: Guitar, Vocals Patrick Hills: Drums, Bass, Synth, Backing Vocals Recorded, Mixed, and Mastered by Patrick Hills at Earthtone Studios Cover Artwork: Ted Nasmith Design, Layout, Illustration: Dan Aguilar Additional Backing Vocals: Chris Lemos

The twin trombone frontline is an esoteric but noble tradition in jazz, harking back to the famed 1950s recordings of Kai Windings and JJ Johnson. While respecting the tradition, the internationally renowned trombonists Paul Dunlea (from Cork) and Trevor Mires (from London) are not traditionalists, and their collaborative project Silfra showcases their thoroughly contemporary skills as composers and arrangers to create a fascinatingly diverse set of trombone led music.

Strong one on Voyage Direct from Rotterdam's Benny Rodrigues...TIP!

The label say "Benny Rodrigues seems to delight in confounding critics. Since making his debut alongside Darko Esser with 2007's Underwater Records-­-released 'Paradox', the Rotterdam-­-based DJ has surprised and excited at every turn.

Variously delivering woozy tech-­-house, rave revivalism, stripped-­-back minimal, jackin' acid, wide-­-eyed deep house and, under his occasional ROD alias, shirts-­-off warehouse techno. Along the way, he's released music on some of Europe's most prestigious labels, including Desolat, Soma, EC Records, Be As One and Wolfskuil Records.

Here, he makes his debut for Tom Trago's Voyage Direct imprint with two undulating, hypnotic, heads-­-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough - like all of Rodrigues' best productions - both cuts are built around mesmerising late night grooves and intoxicating chords.

'Master French' kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-­-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. It's a simple, heads-­-down, 4am groove, but it's executed brilliantly.

'Z', on the other hand, is an altogether breezier affair, with repetitive, new age-­- inspired synthesizer melodies seemingly drifting over a rock solid house groove. Notable ride cymbals and warm beats proper the track forward, giving it a humid, tropical feel. This is music to move the body, mind and soul. "

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

Back in stock soon!

Dan Piu wrote this album during the "dark, dystopian times" of the last year. The record's themes take in nature, human life, sci-fi, cyborgs and plenty in between with opener 'Tru Confession' being a robust house track stacked with throwback breaks, futuristic synths and old school vocals. There is a real warmth and soul to the machine sounds of 'Un-X-Plored Exodus' while a certain sense of 90s New York house colours 'Upgrade System M59'. 'System Of Ethics' shows off a fine mastery of synth craft that brims with emotion and 'Asteroid Blues' is like a lost Kerri Chandler cut. Essential.

On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other.

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors.

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

Searows—aka Pacific Northwest singer-songwriter and guitarist Alec Duckart—is pleased to announce his new album Death in the Business of Whaling, set for release on Friday 23rd January 2026 via Last Recordings On Earth. Though Death in the Business of Whaling arrives as Searows’ second album, it’s the product of many firsts, including his first time recording outside the creative cocoon of his bedroom. His 2022 debut Guard Dog was written, recorded and self-produced in Duckart’s Portland home and independently released with little expectation as to how it would be received. The music soon found a passionate audience that were already sharing snippets of Duckart’s music via communities on TikTok and received co-signs from prominent artists such as Ethel Cain and Gracie Abrams, both of whom he went on to support on tour.

Holen Sie sich den Original-Soundtrack zu „Avatar: Fire and Ash“ auf Vinyl mit nach Hause, darunter
die Filmmusik von Simon Franglen sowie „Dream As One“ von Miley Cyrus. Mit „Avatar: Fire and Ash“
entführt James Cameron das Publikum zurück nach Pandora in ein neues, fesselndes Abenteuer mit dem
Marine Jake Sully (Sam Worthington), der zum Anführer der Na’vi wurde, der Na’vi-Kriegerin Neytiri (Zoe
Saldaña) und der Familie Sully.
Der Soundtrack zu AVATAR: Fire & Ash ist ab dem 23. Januar 2026 auf Vinyl erhältlich

Dan O'Farrell & The Difference Engine's fourth album (recorded and produced by Andy Lewis ) arrives at the start of 2026 like a cold, sharp bucket of water in the face. Bracing and troubling - like a tongue returning to a sore tooth - these songs probe life's dark waters: loss of family, faith, community & self- confidence - but also remains empathetic and rousing, ultimately cathartic. Once you've scraped the bottom, the only way is up. Creation is always an act of joyful defiance. Based in Southampton, and formed from the ashes of John Peel-endorsed indie-band Accrington Stanley , the band bring layers of warmth and subtlety to the uncompromisingly lyrical alt-folk songs of Dan O'Farrell, English-teacher by day and angry, leftist complainer by night.