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Sweatmaster releases a new full-length album after a 15-year hiatus via Svart Records Sweatmaster, one of the aristocrats of Finnish garage rock, is making a big comeback with the release of their fifth album More! in January 2026. After the release of their 2010 album Dig Up the Knife, the band took a long break, which ended a few years ago with live performances both domestic and abroad. At the same time, new material began to emerge in the rehearsal room, and the band quickly found a common strategy for working on it. "We were unanimous about the strengths of our band and decided to get to the heart of the matter. The main idea was to make straightforward songs carried by the vocals. The kind that would work well live with our aggressive playing style," says the band's drummer Matti Kallio. Svart Records will release Sweatmaster's fifth album early next year. More! is a sharp package of fourteen songs that has not been polished to death. "We wanted a raw and electric sound for the new album, built tightly around the three of us playing. The aim was to stick to Sweatmaster's original energy and not spread ourselves too thin. However, despite our efforts, the intervening years brought some new tones with them," guitarist Mikko Luukko explains the background of the new album. The album's first single will be released on Friday, September 19th, and according to singer-bassist Sasu Mykkänen, Destroyer is the essence of Sweatmaster. "The drum fill draws you into the pull of the electric triangle. The guitar taps at the ballads and wants nothing more than to drive the rhythm until the passionate vocals take over. The song doesn't lead anywhere, it's already there. 2 minutes, 37 seconds. Wham bam. Here you go." More! is available for pre-order now at Svart’s webstore on Svart exclusive vinyl, limited coloured vinyl, classic black vinyl, and CD. Release date January 30th, 2026.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Biblische Motive macht Vibrafonist Joel Ross zum Thema seines fünften Blue-Note-Albums, mit einem
erweiterten Set-Up seiner Band Good Vibes, feat. Josh Johnson (Alto-Sax), Maria Grand (Tenor-Sax),
Jeremy Corren (Piano), Kanoa Mendenhall (Bass) und Jeremy Dutton (Drums). Die Botschaft von Liebe
und Hoffnung vermitteln sie mit spirituellem, groovendem Jazz.
Das Album vereint die Komplexität früherer Alben des Vibraphonisten mit der Direktheit und Zugänglichkeit
seiner späteren Werke und kreiert so einen neuen, unverkennbaren „Joel-Ross-Sound“. Es erscheint, nachdem er sich in den letzten Jahren intensiv mit den theologischen und historischen Dimensionen seines
Glaubens auseinandergesetzt hat. Indem er einige seiner älteren, unveröffentlichten Kompositionen neu
interpretiert und im Lichte neuer Erfahrungen betrachtet, schuf er ein Album, das mehr denn je von seiner
Persönlichkeit offenbart. „Dies ist wohl das bisher mutigste Beispiel dafür, wie ich versuche, die biblische
Botschaft zu verkünden und gleichzeitig meinen Wurzeln Tribut zu zollen“, erklärt er.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his debut from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on overcoming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.

Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re player, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.

All this brash, wry Redman-inspired storytelling continues on the new project. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rapper say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

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.

Purple vinyl. With Abyss Calls to Abyss, their third full-length album, Skulld bring to completion a path that began in 2019, a journey through old-school death metal, esoteric mysticism, and radical punk-rooted activism. Written and recorded in 2025, the album unfolds as an eight-track odyssey exploring the furthest edges of human and spiritual experience through a feminist, pagan, and anti-authoritarian lens. The abyss evoked by the album is not only an external, cosmic void, but also an inner, personal, and collective chasm, the place where death and rebirth collide, where wounds and healing, desire and destruction intertwine. Each song delves deep into the essence of being, merging ancestral ritualism, female mythology, social critique, and archetypal symbolism into a single, cohesive vision.

Earl Morgan and Barry Llewellyn joined by Naggo Morris in 1978, with the genius engineer Sylvan Morris and the mighty Niney the Observer at the controls, and a crack band featuring Sly Dunbar. Every Day Life and Mr. Do Over Man Song are crucial, tip-top Heptones.

The musical legacy of a night that will live on for years - Fermin Muguruza's 40th anniversary roar! Under the title "Akelarre Antifascista" (which literal translation would be "Anti-Fascist Witches' Coven", but loosely translated as Anti-Fascist Celebration), in a reference to the legendary Akelarre, a wild gathering of Basque witches, this album distils all the intensity, sweat and collective excitement of a night when thousands of voices joined together to celebrate not just a career, but a way of seeing art as resistance. On 15th February 2025, Madrid saw more than just a concert: it was a collective ritual, an anti-fascist demonstration in which thousands of voices came together as one to emphasize the tenacity of a voice that never surrendered. Four decades after lighting the fuse of combative rock in Euskal Herria, the Basque Country, Fermin Muguruza chose the capital of Spain, a city that closed its doors to him so many times and that he has described as "the heart of the beast", to make the definitive record of his 40th anniversary tour. The result is "Akelarre Antifascista", a live album that distils the history of a musical and political resistance that has spanned generations, languages and frontiers. The concert, sold out with 15,000 people, was an explosion of energy, memory and future. Right from the first chord, the Sports Palace of Madrid became an open setting, a free territory where bodies, rhythms, languages and flags mixed freely. Triple 180gr vinyl LP in trifold sleeve.

“The music of Season 2 of SEVERANCE is true to what came before in Season 1, while also developing new themes, new sounds, and new variations,” says Shapiro.

“The season's bold expansions into new storylines and new locations, along with the incredible filmmaking and performances, provided plenty of inspiration.”

“We are beyond thrilled to head back to Lumon with our Season 2 vinyl package,” says Mutant Co-Founder Spencer Hickman. “Working alongside Ben Stiller and his team, Fifth Season, and Apple has been an absolute honour and a joy.

Greg Ruth and I are obsessed with the show and the chance to play in this sandbox again. Creating original art alongside in-show ephemera is like receiving a gift. I couldn't be prouder of the package we have crafted for Season 2, blending the Innie and Outie worlds just as the season itself felt instinctual. I really hope fans feel we have done it justice. PRAISE KIER.”

Single LP with obi strip and a 16-page booklet featuring portraits of the main cast.

Jagged City unveils their debut instrumental EP, `There Are More of Us, Always`, a bold collection that moves between spacious, melodic guitar passages and raucous, swelling climbs. With heartfelt, melodious songwriting, a diverse range of eclectic touches buried within, and eruptions of dense, layered sound, this record delivers wonderfully balanced compositions through raw and personal production. The project began as a cross-continental art experiment between Jake Woodruff (Defeater) and Carlos Torres (former touring member of Explosions In The Sky). What started as a simple exchange of ideas quickly found real shape through collaborative composition and thoughtful arrangement. Early sessions with David Haik helped refine the songs' structures and drum frameworks, setting the groundwork for what would become Jagged City's striking debut. "We wrote with pure instinct, just tried to add something new to a genre that we love. As we traded ideas, we took some left turns and incorporated elements that may be unexpected." (Woodruff) The result feels immediate, deviously rough at the edges, and charged with a punk-minded intensity that keeps the momentum taut and the sound intimate. RIYL Mogwai, Do Make Say Think, Godspeed, Mono, Defeater, Explosions In The Sky

Jagged City unveils their debut instrumental EP, `There Are More of Us, Always`, a bold collection that moves between spacious, melodic guitar passages and raucous, swelling climbs. With heartfelt, melodious songwriting, a diverse range of eclectic touches buried within, and eruptions of dense, layered sound, this record delivers wonderfully balanced compositions through raw and personal production. The project began as a cross-continental art experiment between Jake Woodruff (Defeater) and Carlos Torres (former touring member of Explosions In The Sky). What started as a simple exchange of ideas quickly found real shape through collaborative composition and thoughtful arrangement. Early sessions with David Haik helped refine the songs' structures and drum frameworks, setting the groundwork for what would become Jagged City's striking debut. "We wrote with pure instinct, just tried to add something new to a genre that we love. As we traded ideas, we took some left turns and incorporated elements that may be unexpected." (Woodruff) The result feels immediate, deviously rough at the edges, and charged with a punk-minded intensity that keeps the momentum taut and the sound intimate. RIYL Mogwai, Do Make Say Think, Godspeed, Mono, Defeater, Explosions In The Sky

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.

Digital Dub from East France, very Jahtari influenced, with a Low-Fi texture and some bloody good featurings with Brother Culture and Charlie P ! Indie Prod ! Support !

Following their successful comeback, they dropped another album featuring a variety of country and pop songs, as well as covers of artists such as Jimmy Cliff and Randy Newman. The album is a stylistic follow- up to No Regrets , where the group blends their pop songs with romantic orchestral arrangements. The singles "Lines" and "We're All Alone" became firm favourites with fans, and the album is widely regarded as a hidden gem among fans of country pop and yacht rock

Gelbes Vinyl, limitiert auf 200 Exemplare. Exklusiv für den Indie-Handel. Kommt mit Texblatt und Downloadcode. Great Resignation! So wird das massenhafte Kündigen von Bullshitjobs während der Corona-Pandemie bezeichnet. Die Verweigerung die eigene Arbeitskraft zu den widrigsten Bedingungen zu verkaufen, wenn es nicht mal zum Leben reicht. Auch wenn man sowieso bald wieder ran muss - nur für einen Moment spüren, die Macht zu haben alles lahm zu legen, hörten einfach alle auf: Wertschöpfung, Broligarchie, Kaufland, Deutschland. pogendroblem haben sich also nochmal zusammengerauft und ein neues Album gemacht. Drei Jahre für ein neues Album? In der Tat: Great Resignation. Oder zu wenig die Brotjobs gekündigt? Und wenn sie die Arbeit so hassen, warum haben sich pogendroblem dann noch weiter in die Musikindustrie reinbegeben? Widersprüche schärfen und aushalten. Ambiguitätstoleranz. Nachdem AWINHSMK Ende 2022 bei Audiolith erschien, ging es für die Band wild hin- und her zwischen Pop-Festivals, Punkbühnen, Preisverleihungen und Solishows für selbstverwaltete Kulturzentren oder gegen die extreme Rechte. Nun der Nachfolger Great Resignation bei Kidnap. Das Schulterklopfen der Kulturförderung darf natürlich auch nicht fehlen. Zwölf Tracks auf 1:22 bis 2:30. Ästhetisch nochmal diversifiziert und dennoch aus einem Guss, entstanden unter Regie von Gregor Hennig im Studio Nord Bremen, gemischt von Daniel Roesberg und gemastert von Christian Bethge. Musikalisch klarer und pointierter als zuvor. Obviously (Post-)Punk, poppige Niedlichkeit, Garage Vibes, bisschen Hamburger Schule, bisschen Kraut, etwas düsterere Gitarren und natürlich Brotschneidemaschine durch FX geballert. Große Resignation! Die große Traurigkeit zieht sich durch die Platte hindurch, auch in den auf den ersten Blick lustigen Liedern. Denn hier sind sich pogendroblem treu geblieben, es geht um absurde Alltagsgeschichten, um Subjektivierung, die nicht mehr zu funktionieren scheint. Um Fragmentierung von Gesellschaft, Arbeitsbeziehungen, der Linken. Wie durch die Zeit der Monster (Antonio Gramsci) navigieren, fragen pogendroblem. Wie weiter machen gegen Faschisierung und Klimakrise? Klar ist: Es kann nicht immer so weitergehen.

Pelican war schon immer eine Band, die nicht nur aus Chicago kommt, sondern echt typisch für Chicago ist. Gegründet im Jahr 2000 von den Gitarristen Trevor Shelley de Brauw und Laurent Schroeder-Lebec zusammen mit den Brüdern Bryan und Larry Herweg am Bass und Schlagzeug, hat Pelican seine Wurzeln in der regel- und genreunabhängigen Szene, die man mit dem Fireside Bowl verbindet. Nachdem Schroeder-Lebec nach dem Weggang von Dallas Thomas im Jahr 2022 zur Band zurückgekehrt war, konnte Pelican in dieser wiedervereinigten Besetzung an den Geist ihrer Gründungszeit anknüpfen und mit ihrem 2025 erschienenen Album Flickering Resonance" etwas ganz Neues schaffen. Das Album ist bereits in der dritten Vinyl-Auflage. Sowohl neue als auch alte Fans stöbern wieder im Pelican-Katalog, was auch zu zusätzlichen Neupressungen und Wiederveröffentlichungen ihrer beliebtesten Titel geführt hat. Mit drei Vinyl-Neupressungen allein im ersten Jahr und mehreren Tourneen in den USA und Europa zur Unterstützung des Albums hat Pelican nun eine EP mit vier Titeln aus der Flickering Resonance"-Ära als neue 12"-EP Ascending" neu aufgelegt. Pelican-Fans werden die letzten beiden Tracks Adrift" und Tending the Embers" wiedererkennen, die 2024 digital selbst veröffentlicht wurden und nur auf einer limitierten Anzahl von Kassetten erhältlich waren. Diese 12"-Platte enthält auch eine Gesangsversion der Lead-Single Cascading Crescent" von Flickering Resonance mit Geoff Rickly von Thursday. Diese Version des Tracks war bisher nur auf einer limitierten Anzahl von 7"-Singles erhältlich, sodass sie nun zum ersten Mal digital veröffentlicht und auch in physischer Form allgemein verfügbar ist. Der Titeltrack der EP, Ascending", wurde etwa zur gleichen Zeit wie Flickering Resonance aufgenommen, aber nicht auf dem Album veröffentlicht, da er eher wie ein eigenständiges Werk wirkt. Die Zusammenführung dieser vier Tracks auf einer EP unterstreicht einmal mehr, dass Pelicans regelwidriger Ansatz der Kern dessen ist, was Pelican zu einer festen Größe in allen Genres macht, die sie erkunden.

Pelican war schon immer eine Band, die nicht nur aus Chicago kommt, sondern echt typisch für Chicago ist. Gegründet im Jahr 2000 von den Gitarristen Trevor Shelley de Brauw und Laurent Schroeder-Lebec zusammen mit den Brüdern Bryan und Larry Herweg am Bass und Schlagzeug, hat Pelican seine Wurzeln in der regel- und genreunabhängigen Szene, die man mit dem Fireside Bowl verbindet. Nachdem Schroeder-Lebec nach dem Weggang von Dallas Thomas im Jahr 2022 zur Band zurückgekehrt war, konnte Pelican in dieser wiedervereinigten Besetzung an den Geist ihrer Gründungszeit anknüpfen und mit ihrem 2025 erschienenen Album Flickering Resonance" etwas ganz Neues schaffen. Das Album ist bereits in der dritten Vinyl-Auflage. Sowohl neue als auch alte Fans stöbern wieder im Pelican-Katalog, was auch zu zusätzlichen Neupressungen und Wiederveröffentlichungen ihrer beliebtesten Titel geführt hat. Mit drei Vinyl-Neupressungen allein im ersten Jahr und mehreren Tourneen in den USA und Europa zur Unterstützung des Albums hat Pelican nun eine EP mit vier Titeln aus der Flickering Resonance"-Ära als neue 12"-EP Ascending" neu aufgelegt. Pelican-Fans werden die letzten beiden Tracks Adrift" und Tending the Embers" wiedererkennen, die 2024 digital selbst veröffentlicht wurden und nur auf einer limitierten Anzahl von Kassetten erhältlich waren. Diese 12"-Platte enthält auch eine Gesangsversion der Lead-Single Cascading Crescent" von Flickering Resonance mit Geoff Rickly von Thursday. Diese Version des Tracks war bisher nur auf einer limitierten Anzahl von 7"-Singles erhältlich, sodass sie nun zum ersten Mal digital veröffentlicht und auch in physischer Form allgemein verfügbar ist. Der Titeltrack der EP, Ascending", wurde etwa zur gleichen Zeit wie Flickering Resonance aufgenommen, aber nicht auf dem Album veröffentlicht, da er eher wie ein eigenständiges Werk wirkt. Die Zusammenführung dieser vier Tracks auf einer EP unterstreicht einmal mehr, dass Pelicans regelwidriger Ansatz der Kern dessen ist, was Pelican zu einer festen Größe in allen Genres macht, die sie erkunden.

36 Jahre nach dem Fall der Mauer, präsentieren Dirk Zöllner (Die Zöllner) und Manuel Schmid (Stern-Combo Meißen) die schönsten Balladen aus dem
Land vor unserer Zeit. Keine Nostalgie Show, sondern Pflege eines hochwertigen Kulturerbes. Ein opulentes klangliches Erlebnis mit zwei Sängern,
zwei Klavieren, Saxophon, Gitarre. Lieder von Lift, Karat, Biege, Bartzsch, Bicking und Lakomy. Sänger und Pianist Manuel Schmid sorgt auch mit
eigenen Alben in der deutschsprachigen Musikszene für Aufsehen und hat 2024 mit der EP „Die Himmelsscheibe von Nebra“ die Stern-Combo Meißen
wieder in aller Munde gebracht. Saxophonist Marek Arnold ist in der internationalen Progressive-Rock Szene längst eine feste Größe und hat
gemeinsame Alben mit Steve Hackett (GENESIS), Jon Anderson (YES) oder Derek Sherinian (DREAM THEATER) veröffentlicht. Das vorliegende
Konzertmitschnitt wurde von ihm bearbeitet und gemixt. Sänger Dirk Zöllner und der Pianist André Gensicke arbeiten seit November 1987 zusammen
und gründeten im Juni 1988 ihre Bigband „Die Zöllner“. Sechzehn Alben erschienen in den vergangenen 35 Jahren. Zöllner veröffentlichte außerdem
vier Bücher und engagiert sich als Kolumnist der „Freien Presse“ für einen friedvollen gesellschaftlichen Zusammenhalt. Das Raue und das Weiche,
das Improvisierte und das Klare – schon mehrfach kam es zur Symbiose der sehr unterschiedlichen Stimmen von Dirk Zöllner und Manuel Schmid. In
Zeiten von Corona veröffentlichten die beiden ein Wohnzimmerkonzert mit besagtem Liedgut. 2024 wurde die Symbiose nun live erlebbar und als
Mitschnittfestgehalten.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."