Search:guitar

A band that quit at the top... but now they're back! Sun-Rot was one of the most promising acts of the Hungarian indie scene with their floating, soulful, dreamy, yet psychedelic sound reaching it’s peak on their 2023 album, Mirage. Unfortunately, the band split up just after the album's release, however, after a two-year hiatus,

they have now reunited and are already working on new material. Budabeats Records is not letting Mirage be forgotten by releasing this little gem for the first time on vinyl, in the form it rightfully diserves: on 180 gram marbled vinyl, limited to 200 copies worldwide.

Credits:

Vocals: Míra Mészáros
Guitars: Péter Mónos, Gergo Balla
Bass: Gergo Dorozsmai,
Drums: Timár Benjámin
Music by Péter Mónos, Benjámin Timár, Péter Gál
Cover art by Máté Kováts, Péter Mónos
Sleeve layout: Miklós Fekete
Recorded, mixed and mastered at Tom-Tom Studios by Gergo Dorozsmai
Mastered by Anders Peterson (GS Mastering & Post)
A&R: Dj Gandharva & Von Yodi

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

agoya-based multi-instrumentalist and rising DJ Hiroyuki Kato returns to the ever-consistent Flexi Cuts with Life 今 (FLEX 031), a record that perfectly distills the artist’s layered approach to sound and the label’s instinct for unearthing voices that carry both groove and depth. Having built a relationship with the label over the past two years—already signing an EP and a single—Kato now delivers a project that feels like a culmination of that dialogue: four tracks on wax, complemented by an additional cut exclusive to the digital edition.

True to its title, Life 今 exudes immediacy and presence. Kato draws on his background as a polyrhythmic player, folding live instrumentation into supple house frameworks, always with a subtle melodic sensibility. The vinyl selections range from the quietly propulsive to the rhythmically expansive, each tune infused with that warm, unhurried Flexi aura. Basslines strut with understated confidence, chords shimmer with daylight energy, and the arrangements move with a natural, unforced flow.

What stands out across the EP is Kato’s ability to balance the organic and the synthetic, never leaning too far into polish or rawness but finding a fertile middle ground that feels both contemporary and timeless. It’s the sound of someone equally at home behind a guitar as in the DJ booth, someone who understands that club music gains power not just from rhythm but from emotional resonance.

Flexi Cuts has long been a home for thoughtful, groove-driven records, and Life 今 is no exception. It is music that doesn’t demand attention with force, but rewards close listening with detail and atmosphere. At once intimate and club-ready, grounded yet expansive, it’s a confident statement from Hiroyuki Kato, an artist steadily carving his space within Japan’s evolving electronic landscape and beyond.


~~~~*
Written and produced by Hiroyuki Kato in Seto City, Japan
Mastered by Francesco Brini at Spectrum, Bologna
Distributed by Rubadub, Glasgow.
Designed by Galluzzi
A&R Simone Guerra aka Relative

Flexi Cuts, Italy 2025.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.
The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.
Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.
Recorded Sep 2023 in Bristol, BS3, by:
Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

This expansive journey blends atmospheric and post- black metal with progressive rock, folk, and ambient textures. Unlike the previous album's medium- length tracks, this work unfolds in three sprawling suites, each flowing organically across genres, anchored by Bruno Augusto Ribeiro's lyrics and Caio Lemos's evocative vocals and instrumentation. The opening track, Legado, sets a primordial, threatened landscape, combining aggressive black metal riffs, driving percussion, and melodic interludes of flute and acoustic guitar, shifting between fury and melancholy. Os Cacadores ("The Hunters") balances dreamlike atmospheres and confrontational energy, contrasting Ribeiro's harsh vocals with Lemos's melodic delivery, weaving climactic guitar passages with contemplative ambient moments.

THE ART GRAY NOIZZ QUINTET is spearheaded by twisted Australian guitar legend STU-ART GRAY, most notoriously known as STU SPASM of LUBRICATED GOAT, CRUNT, SALAMANDER JIM, and THE BEASTS OF BOURBON. Adding another crazed chapter to an already solidly sordid musical history, THE ART GRAY NOIZZ QUINTET stars some of the finest scoundrels of the New York City underground scene - SKELETON BOY of WOMAN on two-string bass, NIKKI D'AGOSTINO on sax, and veteran drummer RICH HUTCHINS of LIVE SKULL providing the savage, swinging beat. A rotating roulette of characters swagger into the second guitar slot as needed, each showcasing their particular specialty - twang, treble, or atmosphere. Stuart Gray's wayward path through the flashpoints of noise, grunge, and swamp-rock history is well-represented in the Quintet's sound - chaos with a cinematic edge. Sharing stages with kindred spirits such as THE SCIENTISTS and MUDHONEY got the attention of audiences early on. Their recordings and incendiary gigs throughout the New York scene and beyond soon caught the eye of the infamous LYDIA LUNCH, and it was only a matter of time before a new collaboration was born . . . Now, THE ART GRAY NOIZZ QUINTET collide with the queen of no wave LYDIA LUNCH on a new two-fisted ten-inch single . . . Melting the MAGAZINE classic "PERMAFROST", and grinding out an apocalyptic version of IGGY POP's "MASS PRODUCTION". Only on IN THE RED RECORDS! "Speaking of noise, that’s kind of Stu Spasm’s thing — from LUBRICATED GOAT in the late 1980s, to his current project, THE ART GRAY NOIZZ QUINTET. This elder statesman of clamor hasn’t lost his touch." - THE NEW YORK TIMES

‘Pilot’ is the debut album from London quintet Miniseries. Channelling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread.

Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub – a musical nexus where burgeoning indie and Americana scenes collide – where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock, with their first single being an eight-minute jam called "Road".

When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland – one of the world's most breathtaking and idiosyncratic studio locations, adding unquantifiable magic to the proceedings.

For the closing track "May You Always", they headed to another studio imbued with tangible inspiration: Blueprint Studio in Salford with producer Craig Potter (Elbow) at the helm. For the song, Dermot drew cinematic inspiration from the Withnail & I line "I'll never play The Dane", the song is about realising that the things you aspired to in youth will never come to pass and being at peace with that realisation.

The recurring themes of youth and ageing are apparent in the resplendent lead track ‘You're Gold’ – a heartfelt call for young people to reject materialism and exploitative influencer culture in search of life's deeper meaning, with stylistic nods to The Pixies and early Stereolab.

On the opposite end of the spectrum, "Sepia" explores old age and fading memories through dementia, where the ending descends into chaos like a fragmenting mind. Elements of "Sepia" are foreshadowed in the album's opening track, the instrumental "Pilot Theme", which pays homage to TV theme music, invoking spy thrillers or perhaps something otherworldly from science fiction.

“Offcumdens” is a Calder Valley, Yorkshire term for people who live in the area but come from somewhere else. Hailing from Bury, Lancashire, Morch wrote the song while living in Hebden Bridge (and watching too much Happy Valley) and found himself being an offcumden. It’s a pop at the kind of local nativism which breeds intolerance and an illustration of the sinister rise of wider political populism.

Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless. As singer Doug Morch says, "It's the Miniseries Pilot episode. Like the TV episode a studio makes to test whether it's viable.” In the age of streaming and box-sets, this is an album to truly binge on. We can’t wait to hear what happens next.

With their 12th studio album, "Set The Dark On Fire," and their return to the Steamhammer/SPV label, Edenbridge explores new soundscapes without abandoning their tried-and-tested trademarks. This is primarily due to a significantly heavier basic sound, which harmonizes perfectly with the lyrical and visual direction of the Austrian quintet around singer Sabine Edelsbacher and composer/guitarist/keyboardist Lanvall.

OSI's classic album Fire Make Thunder reissued on vinyl for the first time in January Fire Make Thunder is the fourth and final studio album by American progressive rock band OSI. Originally released by Metal Blade Records in 2012, this cult album is now reissued on vinyl with new limited colorways on January 16th via Svart Records. OSI (Office of Strategic Influence) began as a supergroup pairing between Fates Warning guitarist Jim Matheos and Chroma Key / ex-Dream Theater keyboardist Kevin Moore in 2002. Known for their extremely solid songwriting, critically acclaimed albums, and for having a unique sound of their own, OSI truly perfected the formula of progressive metal- and rock. Fire Make Thunder is a grand, imaginative album that has been stated as the band's greatest work. OSI left a mark on not only progressive metal, but many genres on this album. Filled with stirring and pleasing sounds, Fire Make Thunder shows the exquisite songwriting duo of Moore and Matheos excelling themselves.

OSI's classic album Fire Make Thunder reissued on vinyl for the first time in January Fire Make Thunder is the fourth and final studio album by American progressive rock band OSI. Originally released by Metal Blade Records in 2012, this cult album is now reissued on vinyl with new limited colorways on January 16th via Svart Records. OSI (Office of Strategic Influence) began as a supergroup pairing between Fates Warning guitarist Jim Matheos and Chroma Key / ex-Dream Theater keyboardist Kevin Moore in 2002. Known for their extremely solid songwriting, critically acclaimed albums, and for having a unique sound of their own, OSI truly perfected the formula of progressive metal- and rock. Fire Make Thunder is a grand, imaginative album that has been stated as the band's greatest work. OSI left a mark on not only progressive metal, but many genres on this album. Filled with stirring and pleasing sounds, Fire Make Thunder shows the exquisite songwriting duo of Moore and Matheos excelling themselves.

Confessor's genre defying album Unraveled reissued in January Confessor is a progressive doom metal band from North Carolina that made its mark on the underground metal scene in the late 80's by combining some of the genre's essential elements in a way that no band had attempted before. Once dubbed "the world's most obstinately technical metal band", Confessor's technically complex interpretation of traditional doom gained them a reputation also within the progressive metal circles. Their grand sophomore album Unraveled from 2005 will finally be reissued after two decades on January 16th via Svart Records. Following the release of their 1991 debut album, Condemned, Confessor disbanded in 1994 while they were already planning a second album. Sadly, in 2002 the band's guitarist Ivan Colon passed away, and in tribute to Ivan, the band re-formed in order to play a benefit show for him. Things went so well, that they decided to continue after almost a decade apart. Their second full length Unraveled followed in 2005; an immensely satisfying and unique blend of majestic Doom Metal raised to the next level.

Confessor's genre defying album Unraveled reissued in January Confessor is a progressive doom metal band from North Carolina that made its mark on the underground metal scene in the late 80's by combining some of the genre's essential elements in a way that no band had attempted before. Once dubbed "the world's most obstinately technical metal band", Confessor's technically complex interpretation of traditional doom gained them a reputation also within the progressive metal circles. Their grand sophomore album Unraveled from 2005 will finally be reissued after two decades on January 16th via Svart Records. Following the release of their 1991 debut album, Condemned, Confessor disbanded in 1994 while they were already planning a second album. Sadly, in 2002 the band's guitarist Ivan Colon passed away, and in tribute to Ivan, the band re-formed in order to play a benefit show for him. Things went so well, that they decided to continue after almost a decade apart. Their second full length Unraveled followed in 2005; an immensely satisfying and unique blend of majestic Doom Metal raised to the next level.

Leave it to Langhorne Slim - a pioneer of raw, rule-breaking Americana for more than two decades - to reach far beyond the genre he helped inspire.

The Dreamin' Kind finds the Nashville transplant strapping on an electric guitar and embracing his longtime love of larger-than-life rock & roll. With it's chugging power chords, 1970s-sized riffs, and richly layered arrangements, The Dreamin' Kind is fueled not only by sheer amplification, but by the soul-baring songwriting that's become Slim's calling card, too. Tucked between those anthems are acoustic-driven songs that skirt the outer orbits of folk music, from the bare-boned heartbreak of ''Stealin' Time'' to the organic, orchestral sweep of ''Dance On Thru.'' The result is the more explorative and expansive album of Slim's career: a record made for rock clubs, campfires, and garages alike, produced by Greta Van Fleet's Sam Kiszka, and anchored by a lifelong desire to break down new walls.

''It felt like I was blowing some old shit up so I could plant some new flowers,'' Slim says of the creation process. ''I love acoustic music. I love folk music. But those aren't my only loves. Rock & roll has always tickled the same place in my soul as great singer-songwriter music, and I wanted to explore those influences. Raw songs that make you feel something: that's the stuff I'm after.''

WARNING celebrates 20 years of their groundbreaking album Watching from a Distance with a deluxe gatefold 2xLP/CD. Led by guitarist and vocalist Patrick Walker, every moment of WARNING's Watching from a Distance feels monumental; the album is widely considered to be one of the most emotionally-driven and profoundly Doom Metal records. From the onset, the album's eponymous opener crawls with a sombre melody that carries the emotional heft of WARNING's musings on love and longing. The band's classic track "Footprints" showcases Walker's ability to match his colossal riffs with a visceral, gut-wrenching vulnerability that was previously unheard of. Walker ruminates about his weakest moments; his vocal deliveries ranging from dejection to despair. The end result is truly "heavy" in every sense of the word - and a timeless take on the genre with thundering drums, lead-pipe backing bass, and swirling guitars. Fast-forward to the present day, and WARNING's introspective sensibilities resonate as hard as they ever have. Watching from a Distance showcases a band and moment in time that honed in on what "Doom" could really be. "I leave behind me the ruins Of the fortress I swore to defend I leave behind me foundations, I'll leave you a man I'll need you to mend And through all the battles around me I never believed I would fight, Yet here I stand a broken soldier, Shivering, naked, in your winter light" Short: WARNING celebrates 20 years of their groundbreaking album Watching from a Distance with a deluxe gatefold 2xLP/CD. FFO: Yob, My Dying Bride, Katatonia, Candlemass, Pallbearer, Pagan Altar, Khemmis

Greywind is an Irish emo/alternative rock duo from Killarney, formed by siblings Steph and Paul O’Sullivan. Known for their atmospheric soundscapes, soaring melodies, and deeply emotive lyrics, the band first gained attention with their critically acclaimed debut album Afterthoughts in 2017. Blending post-hardcore energy with cinematic grandeur, Greywind quickly earned a devoted following, praised for their anthemic choruses and powerful emotional honesty. Their long-awaited sophomore album, Severed Heart City, was recorded in Los Angeles with acclaimed producer Sam Guaiana and is set for release via Frontiers Label Group in September 2025. The record showcases the band’s continued growth both sonically and thematically — evolving their signature blend of brooding textures and explosive hooks into something even more dynamic and expressive. From the haunting opener Acid Rain to the cathartic closer Cope in the Coma, Severed Heart City is a visceral, emotionally resonant journey. Themes of mental health, inner conflict, and fragile hope run throughout, elevated by Steph’s impassioned vocal delivery and Paul’s gripping guitar work. With Severed Heart City, Greywind cements their place as one of the most compelling and authentic voices in modern alt-rock. This is a band that turns vulnerability into power — and pain into unforgettable songs

Five years after her bossa nova single "Tes petites fesses" and a notable appearance at the Colors studio in 2023, singer LYNN releases her debut album: La vie me va si bien. Comprising eleven tracks, it blends French neo-soul, smooth R&B, and minimalist pop, with a confident and sincere approach. For LYNN, each song explores the fragility of moments when tenderness shifts into doubt, expressing the fatigue of loving, the fear of losing oneself, and the beauty of longing. Her writing, precise and nuanced, focuses on detail and restraint. Accompanied by guitars, pianos, and layered voices, she tells stories between childhood and lucidity, in an organic and harmonious soundscape. The album exudes a controlled sincerity, meant to be listened to in calm, establishing LYNN as a distinctive voice, ready to mix gentleness with truth in a hurried world.

For 20 years Bart De Paepe has carved a distinctive trace in the realm of psychedelic underground and counterculture. With several outstanding solo albums on a.o. Astres d’Or, Ultra Eczema, No Basement Is Deep Enough and with many studio and concert ventures with Sylvester Anfang’s funeral folks, Louise Landes Levi, Timo van Luijk, Raymond Dijkstra to name a few, Bart De Paepe developed a wide and sharp spirit within the orbit of psychedelic improvisation. Since 2007, Bart also curates the Sloow Tapes and Sloowax labels with an impressive catalog of music and poetry by a wide range of resonating artists. Bart’s visual work (drawing and painting), parallel to his musical universe, has been used on many of these releases. He is a genuinely curious traveler, always discovering new dimensions, which is clearly to be heard on the four tracks of this album.

Zürahümnah is an immediate and immersive dive into solitary inner and outer worlds of light and darkness. Zürahümnah is a floating vibration of flickering twilight. Zürahümnah is a mysterious journey through detached time and space. Equipped with Hawaiian guitar, piano, organ and cymbal, Bart De Paepe sets the controls for the heart of the sun.