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Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.

Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute

Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.

Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.

Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.

Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.

Live
31/10/2025 – Café Silverio, Gent (BE)
15/01/2026 – Kloosterkapel Diepenbeek (BE)
16/01/2026 – ‘t Ey, Belsele (BE)
17/01/2026 – Sint-Luciakerk (kerkconcerten Merode), Engsbergen (BE)
23/01/2026 – Muziekcentrum Dranouter (BE)

In 2019, a brutal epileptic seizure changed my life - the first of more to come. I was forced into solitude, and in that quiet, music became my lifeline. In the following years, I poured everything I had into creating between you and me: a raw, DIY album that is a distillation of my lived experience during this time. The album explores emotional authenticity, freedom of expression, and acceptance: not as abstract concepts, but through visceral experiences that have fundamentally reshaped my art and my sense of self. As a listener, I invite you to explore your vulnerability by joining me in mine. This album is truly between you and me.

Ozzy Jones is a Dutch-Australian interdisciplinary artist whose music blends electronica with indie. Drawing from personal struggles and raw emotion after his seizures started, his debut album between you and me explores vulnerability, male identity, and authentic self-expression. Rooted in Amsterdam's vibrant creative scene, Ozzy's work fuses sound, visuals, and storytelling to create a deeply immersive and honest artistic experience.

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

This exclusive repress comes as a special edition limited vinyl in red, yellow, and white splatter - the signature Peacemaker colours. The Cruel Intentions are finally re-issuing their long sold-out debut album No Sign of Relief! The band has gained massive international attention after being featured on the soundtrack of HBO Max's hit series Peacemaker, directed by James Gunn. On "No Sign of Relief" you'll find the tracks Jawbreaker, Borderline Crazy, Sick Adrenaline and Reckoning - four songs personally handpicked by Gunn for the series. This exclusive repress comes as a special edition limited vinyl in red, yellow, and white splatter - the signature Peacemaker colours. "No Sign of Relief" is an album bursting with confidence and energy that instantly rubs off on the listener. It's groovy, angry, cheeky, and fun - music that sparks emotions of rage, joy, confidence, and pure excitement.

Utilizing only guitar, bass and drums, Papir conjure vast and melodic soundscapes while still maintaining a krautrock drive. One of the most unique bands in the modern European psych rock scene, they continue to innovate as they refine their sound with each album. Copenhagen"s foremost aural travelers are back and bearing new music. True to their distinct sound, Papir return with another chapter in their ongoing sonic journey. Terms like post-rock, ambient rock, psychedelia, and krautrock may circle their sound, but none quite capture its shimmering, elusive magic. IX is a wide-open record in every sense. From the flowing compositions - which linger but never overstay, jam and unfold organically - to the wonderful airy production, you get the sense of being both in studio with the band and simultaneously on the beach with wind blowing through your hair. In addition to the ever free-flowing nature of the band"s live recordings, additions such as synthesizer or extra percussion appear always tastefully right when needed, adding the perfect seasoning on top.

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

led by guitarist seiji hano, the jazz group om released only one album — solar wind, a landmark work that stands as one of the greatest achievements in japanese ethnic jazz. now, this masterpiece is finally being reissued.

their sound, seemingly a response from japan to ecm artists such as oregon and codona active during the same period, is refined yet imbued with a distinctly japanese sense of wabi-sabi — melancholic, nostalgic, and deeply resonant.

from “windmill,” featured on studio mule’s compilation midnight in tokyo vol.2, to every other track, solar wind is a flawless album with not a single weak moment — a true masterpiece of japanese jazz.

I Am An Instrument Vol. 1 was recorded live in Copenhagen Denmark and what you hear is 100% improvised music. When the band performs there is nothing planned, except for which one of the members will start the song. After the initial note, it is everything goes. There were no edits in post production so what you hear is what you heard at the venue back in 2019.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Talk Show is a new duo collaboration featuring Steph Richards on trumpets and resonating surfaces and Qasim Naqvi on drums, almglocken bells and modular synthesizer. Having worked together on other projects for almost two decades, Miss America, released by We Jazz Records, marks their first, pure duo collaboration - a space to engage with a sonic language they"ve been cultivating together for years. The album was recorded live, with Qasim crafting real-time electronics and drum set work, and Steph using trumpets and resonating percussion to summon sympathetic vibrations and otherworldly sounds through timpani, snare and water. The trumpet sounds electronically processed, though every sound is acoustic. Both artists wanted to retain the live nature of their process, so what you hear is virtually untouched.

'Mauricio and Horns' by Bossa Nova legend and harmonica master Mauricio
Einhorn is produced by Jacques Muyal, with the Idriss Boudrioua Orechestra
arranged by Rafael Rocha and with guest artists Paquito D'Rivera and Lula
Galvao
In jazz, we all know the harmonica master, Mr. "Baron" Toots Thielemans, but we are
equaly fortunate to have our "Prince", Mauricio Einhorn. His early contributions in the
1950s to the birth of the Samba Jazz movement in Brazil played a pivotal role in the
creation of Bossa Nova, a genre that quickly became an integral part of the jazz world.
The influence of jazz on Brazilian music - exemplified by the great Carlos Lyra in
"Influencia Do Jazz" - was so profound that local musicians embraced it to forge a
new musical identity. Many of Einhorn's compositions have become timeless
standards performed worldwide since the early 1950s and '60s.
Together with another giant of the scene, alto saxophonist Idriss Boudrioua,
Mauricio's music gets an even grander presentation than ever before. This time, he
teamed up with an exceptionally talented young musician: a big band arranger and
trombonist named Rafael Rocha, who wrote all the arrangements and conducted the
recordings. Rafael's arrangements are nothing short of magical. They are never
overdone, always respecting the beauty of the original harmonies while infusing them
with his deep passion for jazz. His trombone solos recall the phrasing of Frank
Rosolino, and he modulates the pieces with swirling harmonies that evoke the very
roots of Brazilian jazz. In every track, Rafael enhances Mauricio's elegant and
expressive phrases without ever overpowering the artist, creating a "wall of sound"
that gracefully floats alongside Mauricio.

From the upcoming album 'Smoke & Fire', a meaningful collaboration with Ashanti Selah & Hark, merging message music styles in the heart of Bristol's vibrant scene!

'Let's Seek Love' is more than just a song - it's a reminder to seek out positivity and light, even when the world around us seems uncertain; we must keep the faith and know that unity is the strength that keeps us going on.

Big up to all the musicians that was apart of making & creating the visuals for this vibe to become a reality! Also a big shout out to all the staff at the Trinity Centre & Teachings in Dub for keeping the sound system culture that keeps our music alive for ones to gather in ️ & harmony every time!

Within the world of theatrical archives, there are the known, the unknown, the forgotten, and the lost. Demetrio Stratos' stage compositions for Teatro dell'Elfo's groundbreaking 1979 production Satyricon - directed by future Oscar winner Gabriele Salvatores - represents one such lost artifact now wondrously returned to life. This radical sonic work, integrating extended vocal techniques, Balinese instruments, and pioneering whale song recordings, stands as the final masterpiece of Italy's most visionary vocal experimenter, lost for over four decades until Die Schachtel's extraordinary recovery. As Stratos himself explained: "The musical operation performed on Satyricon is particular: the composer-musician here does not compose, but borrows ready-made music, vivisects it, melts it, intervenes and recomposes it on magnetic tape. The structure of the signifier, from a morphological point of view, presents itself as a conceptual collage." The music is obtained by utilizing compositions and musical elements from David Behrman, Joan La Barbara, Balinese Ketyak, Turkish Nay flute, Yugoslavian bagpipe, Pan flute, and whale song, with synthesizer interventions by Paolo Tofani. It began as part of something known - a wild, immersive theatrical event that inaugurated Teatro dell'Elfo's historic venue in 1979, was almost entirely forgotten, becoming lost and then unknown. The original production marked a radical departure for the company: no longer popular street theatre, but a dark, immersive, sophisticated spectacle that transformed their space into a rough wooden arena with a sand floor. Demetrio Stratos, working with Paolo Tofani (fellow Area member), created an entire sonic universe that subverted every conventional function of stage music. Their composition wasn't accompaniment, but autonomous sonic dramaturgy that integrated extended vocal techniques, archaic electronic elements, Nay flutes, Balinese instruments, and pioneering whale song recordings. The result was a three-dimensional soundscape that enveloped audiences, creating an otherworldly acoustic dimension. Stratos' score even intervened in the actors' vocal delivery, with the recordings capturing both the performance and his coaching sessions with the cast. The production featured young actors destined for fame - Elio De Capitani, Ferdinando Bruni, Cristina Crippa, Corinna Agustoni, Ida Marinelli - guided by Gabriele Salvatores in this adaptation of Petronius' ancient novel. Shortly after the Satyricon performances, Stratos was hospitalized for the condition that would lead to his death at just 33 years old. This work represents his final composition - a haunting farewell from one of Italy's most innovative sound artists. Die Schachtel presents this recovered work in collaboration with Teatro dell'Elfo, pulled from the original magnetic tape and carefully restored. Satyricon '79 is one of the great artifacts of 1970s Italian avant-garde - a wild, grinding sonic expose which sucks the ear into its depths, made in the spirit of collaboration and creative risk-taking. The edition includes critical apparatus with essays, testimonies from protagonists, and period photographic documentation, documenting an unrepeatable moment where theatre, vocal research and sonic experimentation converged. This release marks a poignant moment in experimental music history - Stratos' final work, now rescued from the archives and restored to its rightful place in the canon of Italian avant-garde masterpieces. A true wonder of towering historical importance. As essential as it gets for any fan of experimental music, or the history of the Italian avant-garde. Fully restored and newly mastered from the original analog tapes. Absolutely essential.

Originally released in Feb 2011, next year it will be 15 years young and like every teenager it wants to make a racket. So, in February 2026 the band will be doing just that, with some very special shows celebrating their debut album. Tour Dates for 2026 : Exeter Cavern 12/02/26, Cardiff Fuel 13/02/26, London Lexington 14/02/26, Edinburgh Bannermans 20/02/26, Nottingham Rescue Rooms 21/02/26
"The gauntlet for best album of 2011 is being thrown down early!" Metal Hammer. // “Black Spiders are pure genius, AND, they go onstage on time!” Duff McKagan (yeah, him off Guns n Roses)..// “Their apocalyptic three-man axe assault is awe-inspiring“ Rock Sound..// “Another monolithic slab of thunderous rock. This Sheffield-based quintet have managed to harness the powers of Angus Young and priapic death punks Turbonegro and distil it into a brew fit for Odin himself” KKKK Kerrang. SONS OF THE NORTH was the much anticipated debut album by the United Kingdoms very own rock juggernaut BLACK SPIDERS. Quite literally ten tracks of galloping rock and thunderous roll, heads down, no nonsense, ear splintering, gut wrenching organic, melodic goodness. Classic Rock and Metal Hammer Magazines hailed them as ‘Ones to Watch’, Kerrang, Rock Sound, Big Cheese Magazines, Subba Cultcha and Thrash Hits all reviewed.

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

LTD EDITION

"Kaidi Tatham maintains one of the most prolific artists from the UK, he's been releasing music for 30+ years and has reached some form of cult status amongst many musicians. Seen as one of the key players in the broken beat movement, he collaborated with everybody from Bugz In The Attic, Dego, IG Culture, Andrew Ashong, to DJ Jazzy Jeff, Patrick Gibin, Volcov and the likes. For this special release he remixed the young Amsterdam-based group RADIOHOP, who are a quartet playing groove-based jazz, with influences from hip-hop, funk, fusion, broken beat & more. In the past 4 years they've made noise all across the country by playing in many venues, at festivals like Super-Sonic Jazz, and their stellar debut album 'All We Do' got really well received in 2024."

Secretsundaze’s recently minted 9FINITY continues its stellar run of explorations into the outer regions of modern club music with an imprint debut from fast-rising talent Milès Borghese.

Borrowing elements from early Detroit techno, and Perlonized minimal, the ‘Antic Drive’ EP distills the German-born, Austria-based producer’s broad spectrum of influences into a highly functional, club-ready collection of tracks that perfectly fits the imprint’s modus operandi.

The A-side kicks off with ‘Do You Ever Fantasize’, a deep club tool built around the vocal sample of the title and punctuated by building drums, alien sonics at every turn, and a mean, highly danceable bassline to boot. The peak time worthy ‘Sustain’ follows an impressive opening, as an incessant mind-looping hypnotic groover aimed straight at the floor.

The EP’s title track ‘Antic Drive’ opens up the flip. Leaning on subtle textures and almost off kilter percussion, minimal broody deepness is the motive here. Borghese’s impressive first outing wraps up with ‘Mateo Does’, a driving rhythm-heavy track built for late nights and early mornings.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

Roy Ayers – Delfonic Reworked #1 A soulful rework story – from an edit to an official release Berlin’s own Delfonic kicks off a very special series of Roy Ayers reworks with this four-track EP on BBE Music. Originally sparked by a spontaneous edit of “What’s the T?”, which Delfonic shared with BBE’s Pete Adarkwah, the project quickly gained momentum. With listeners asking for a vinyl version, this initial idea soon grew into an official release – and the beginning of a larger tribute. Drawing from BBE’s 2004 compilation Virgin Ubiquity—a treasure trove of previously unreleased Roy Ayers recordings from 1976 to 1981—Roy Ayers – Delfonic Reworked #1 offers a fresh take on the legendary vibraphonist’s sound, rooted in soul, jazz and groove. The EP opens with Green and Gold, followed by the original spark What’s the T? featuring the incredible Merry Clayton.

Also featured are Sugar with Carla Vaughan and Oh What a Lonely Feeling, again showcasing Clayton’s emotive vocals—all reimagined with Delfonic’s signature flair for rhythmic depth and dancefloor flow. Known for his extensive output of remixes and EPs on respected disco and edit labels, Delfonic brings a deep understanding of groove and arrangement to these respectful yet forward-thinking versions. His connection to Roy Ayers’ musical universe is evident in every bar. Mastered by Frank Merritt at the Grammy-nominated The Carvery, Roy Ayers – Delfonic Reworked #1 is available on vinyl and digital download—a must for fans, collectors and groove connoisseurs alike.

Oots lands on Fragrance with his new EP ‘Often’ - following on from the introspective and emotional club focused single, the other 3 tracks Sacrifice My Love, With U and Sundown are cut from the same cloth but with different execution. Each track is unique, perfect for any moment on the dancefloor. Out everywhere digitally Vinyl pre-order available now too!

“9:30 PM” is the musical autobiography of Queralt Lahoz. An emotional and chronological journey where the artist explores her roots, memories, and deepest emotions. Through genres that blend tradition and modernity, Queralt speaks to us of grief, empowerment, desire, and struggle. An album born from her story and transformed into art, guided by family, resistance, and passion. Her voice, her truth, her origin: everything begins at 9:30 PM.

Our next Toolroom vinyl instalment comes from Sara Parker and Eats Everything with his reebeef on an absolute classic! Originally released in 1995 on the Sharp Boys own ‘Sharp Recordings’, ‘My Love Is Deep’ went on to achieve national chart success on ‘Manifesto’. Championed by the late, great Tony De Vit on the legendary dancefloor of ‘Trade’, Tony was the first DJ to play the ‘Sharp Dub’, after being handed an acetate by the boys. Eats Everything, off the back of his debut album ‘We Lost Ourselves and Found A Family’, delivers a blistering new ‘Reebeef’. Listing the ‘Sharp Dub’ in his ‘10 Best Hardbag Tracks of All Time’, Eat’s admiration of the original, Tony De Vit and the nuances and essence of Dance Music culture is evident with this essential rework, guaranteed to be a genuine highlight of the year. The package features both this great new rework and the timeless original!

Nach Ihrem letzten Projekt in 2022 meldet sich das australische Pop-Rock Phänomen 5 Seconds of Summer endlich mit ihrem neuen Album Everyone’s A Star! zurück, welches am 14. November erscheint! Die
mehrfach Platin-ausgezeichnete Band konnte in ihrer Karriere bereits mehrere Alben auf Platz #1 in den
Billboard 200 platzieren, und weckt somit hohe Erwartungen an ihr neues Projekt.
Für Everyone’s A Star! hat 5SOS mit Top-Produzenten und Songwritern wie Julian Bunetta, John Ryan
und Jason Evigan zusammengearbeitet. Das sind Namen, die auch hinter Hits von One Direction, Sabrina
Carpenter, Maroon 5 und Dua Lipa stehen. So gelingt es der Band ihren Sound neu zu erfinden, ohne
dabei die Essenz zu verlieren, die 5 Seconds of Summer zu einer der bedeutendsten Pop-Bands unserer Zeit
gemacht hat.
Everyone’s A Star! erscheint am 14. November digital wie auch physisch.

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

Mona Steinwidder (Museum of No Art) and Mitko Mitkov have spent years exchanging sounds and words across Hamburg's creative landscape - Swimming Pool Reflections is where those exchanges accumulated in Steinwidder's studio beneath the slanted roof of a former barracks. Premiered in November 2024 for Gesa Troch's exhibition "you say water is sweet", the work intertwines Mitkov’s texts (originally composed as emails to members of a swimming club, as imaginary as they are real) with Steinwidder’s clarinet and synthesizer, full of dubby resonance.

Swimming Pool Reflections isn't about swimming. It's about standing at the edge and watching - the way light fractures through water, how shadows play across tile, everything that forms and dissolves in the viewer's eye. The libretto moves through straits where bodies of water collide, small lakes with white slides, pools suspended in generic landscapes generated from uploaded photographs. Binary gods and transparent shadows. Sediment and cosmic hands weaving existence on overdimensional looms.

Across two uninterrupted sides, words float like those oil spots Mitkov describes: "swallowing light, drifting between the waves, forming a strange pattern". The music holds space for these reflections without trying to contain them. Everything stays permeable. Everything keeps moving.

Weißes Vinyl. Entstanden aus den vielfältigen Facetten der legendären Londoner Hardcore-Szene, verkörpert False Reality die Kernwerte des Genres: Verbundenheit, Stärke und das Durchbrechen von Oberflächlichkeit. Die vier Bandmitglieder, die aus verschiedenen Fraktionen des Szene-Ökosystems zusammengefunden haben, haben sich einen Ruf als eine der dominierendsten Live-Bands der Szene erarbeitet und bringen jahrelange, hart erarbeitete Bühnenpräsenz mit. Heute kündigt die Band FADED INTENTIONS an, ein Debütalbum, das weit mehr ist als nur ein Nachfolger der im letzten Jahr mit Begeisterung aufgenommenen EP Path of Self Destruct, sondern einen enormen klanglichen Fortschritt darstellt, mit dem eine der härtesten Hardcore-Bands Großbritanniens ihren Horizont erweitert und dabei die Vielfältigkeit der menschlichen Existenz aufdeckt.

Four years on from their landmark Grassroots, visionary half-time heavyweights The Untouchables return with their third album, Lost Knowledge. The duo of Kate McGill and Ajit 'Nitrox' Steyns have carved out a space in modern D&B all their own, building on a legacy that reaches back to the late 00s to keep pushing into unexplored terrain with an assured and deadly line in rhythmic intrigue and atmospheric immersion.

Lost Knowledge launches into action instantly with the high-pressure drum science and dubby splashes of 'Drunken Bells', capturing the loopy techno propulsion and rolling intensity that drives so much of the output on Samurai Music. Where The Untouchables excel is in finding variety and nuance in their relatively forbidding, pared down sound. The heads-down groove of 'Mafia Town' owes as much to dembow and dancehall as D&B, while 'Lost Knowledge' spirals out into psychoactive flurries of synth strafes and organic percussion slathered in tight-locked delay trails. There's no light relief from strident hooks or riffs, just a pure, unshakeable commitment to the power of the beat and deeply designed layers of sound shaping out the space around.

'Busy Bones' makes space for carefully deployed hints of pad tone while the snares snap out of the mix with a sharp set of teeth. 'Four Eared Demon' baits the gabber crowd with its rapid-fire 4/4 hats atop seasick creaks across the midrange, keeping subtlety and patience in the lower frequencies to maintain the signature elegance readily associated with The Untouchables. 'Phase Correlation' teases an artfully unhinged ripple of synth that stands out amongst the murky murmurs filling out the middle distance, but it's still exercised with brutal precision.

Nothing happens by accident or feels out of place - McGill and Steyns are in total control, and they demonstrate incredible range and inventive approaches within their focused style. The accent of the grooves shifts, and individual sounds carry all kinds of artefacts, yet everything gets folded into the exacting Untouchables sound with a liberal dubwise sensibility. Brimming with inspiration and immaculately produced, on Lost Knowledge their one-of-a-kind sound is stronger than ever.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Das fünfte Studioalbum von Goose und die zweite Veröffentlichung der Band im Jahr 2025 knüpft an den Erfolg von ,Everything Must Go" aus dem April an. ,Chain Yer Dragon" entführt die Zuhörer in eine reichhaltige, vollendete Welt aus Musik und vertrauten Charakteren und lädt sie ein, den Lichtern und Klängen durch schmuddelige Bars und lange Nächte auf der Straße zu folgen, die in der Klarheit eines frischen Morgengrauens verschwinden. ,Chain Yer Dragon" zeigt die Vielseitigkeit von Goose und präsentiert Rock-Songs im Stil der 70er Jahre, die sich vertraut anfühlen und durch Improvisation zum Leben erweckt werden. ,Chain Yer Dragon" spielt mit der Form und wird durch einen natürlichen Produktionsstil getragen, der dem Album das rohe, freizügige Gefühl der elektrisierenden Live-Shows der Band verleiht. Mit Titeln, die Gooses musikalische Karriere umspannen, dient ,Chain Yer Dragon" als Bindeglied zwischen einigen der frühesten, sehr beliebten Songs der Gruppe und ihrer aktuellen Entwicklung als Vierergruppe. Mit Live-Klassikern wie ,Echo of A Rose", ,Empress of Organos", ,Rockdale" und Fan-Favoriten wie ,Factory Fiction" greift ,Chain Yer Dragon" die Ursprünge der Band auf. Der Albumauftakt mit neuen Tracks wie ,Madalena" und ,Royal" konkretisiert das Universum der Night Rays Band und erweitert Ideen, die Gitarrist und Sänger Rick Mitarotonda und sein Songwriting-Partner Matt Campbell bereits 2011 entwickelt hatten. ,Es gibt eine Welt, die sich aufbaut und die sich wie die treibende Kraft dieses Albums anfühlt", sagte Mitarotonda. ,Viele dieser charakterorientierten Songs stammen aus einer Zeit und einem Ort, an dem wir unsere musikalische Stimme gefunden haben, und es ist sehr befriedigend, sie nicht nur aus der Perspektive unserer heutigen Identität und unseres heutigen Standorts wieder aufzugreifen, sondern auch weiterzuentwickeln. Diese Songs haben eine Reise hinter sich, und es fühlt sich richtig an, dass sie nun endlich ein Zuhause gefunden haben." ,Chain Yer Dragon" bietet Persönlichkeiten, Schauplätze und Musik, in denen man sich verlieren kann. Lyrische Rückgriffe und strukturiertes Storytelling erzählen eine Geschichte, die zwar nicht linear ist, sich aber dennoch zusammenhängend anfühlt. Das Album treibt den ständig wachsenden musikalischen Katalog von Goose voran und erinnert gleichzeitig daran, dass man manchmal, um voranzukommen, die Vergangenheit annehmen muss.

TX2, AKA Evan Thomas, prides himself on injecting authentic stories and experiences from his own life into his lyrics. As someone who is a member of the LGBTQIA+ community himself, he admits he hasn't always fit in. His songs document that experience, but really - his stories are about all of us, penned for anyone who has ever felt alone. Per usual - the singer is willing to cause a little chaos with his new track, if that's what it takes to draw attention to important societal issues. With his tracks, he's making his voice heard loud and clear. "10 years ago I started TX2, and when the project first started I was the joke of my hometown. I was bullied by my entire hometown, and told by family that I would never make it. Years later I am still the joke, but now a punching bag for the entire internet. I've practiced what I've preached and consistently talked about mental health awareness, safety, and LGBT rights just to be made fun of and seen as `one of the most hated artists'. This world is filled with vultures, and I'm sure everyone can relate." Six track debut EP available as CD & LP

Colemine Records freut sich, eine spezielle 10-Jahres-Jubiläumsausgabe von ,Sound of Sinning", dem bahnbrechenden Studioalbum von Monophonics, zu präsentieren. Seit ihrer Gründung im April 2015 tragen Monophonics stolz die Fackel der reichen Musikgeschichte und -kultur San Franciscos durch die Generationen bis in die heutige Musiklandschaft. Sie halten an Traditionen fest, sind aber keineswegs Puristen, sondern spielen ihre eigene Musikrichtung, die als ,Psychedelic Soul" bekannt ist. Auf ihrem vorherigen Album ,In Your Brain" ließ sich die Band von Acts wie den frühen Funkadelic, Sly and The Family Stone und den von Norman Whitfield produzierten Platten der Temptations beeinflussen. ,Sound of Sinning" markierte den Beginn des Wachstums der Band in allen Bereichen. Mit Einflüssen aus Northern Soul, Doo-Wop, Rock ,n` Roll, Psych Pop und Filmmusik zeigen Monophonics ihre Vielseitigkeit, bleiben aber ihren Wurzeln treu. Insgesamt ist es herzliche Musik mit Old-School-Vibes, ohne dabei die Gegenwart aus den Augen zu verlieren. Diese Musik ist geprägt von dem zeitlosen Gefühl, als man noch Songs schreiben und produzieren konnte, die man sich immer wieder anhören konnte. ,Sound of Sinning" wurde von Kelly Finnigan & Ian McDonald produziert und auf einem alten Tascam-Acht-Spur-1/4-Zoll-Bandgerät in den Transistor Sound Studios in San Rafael, Kalifornien, aufgenommen. Seit ,Sound of Sinning" hat die Gruppe das von Kritikern hochgelobte Album ,It's Only Us" (2020) und das Konzeptalbum ,Sage Motel" (2023) veröffentlicht, das sich über 10.000 Mal verkauft hat. Die Band tourt weiter, hat kürzlich eine Reihe von Shows mit dem legendären Lee Fields absolviert und steht vor einer internationalen Tournee für 2025.