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In these shaky times we find ourselves in, A Relaxed Blur invites us to take deep breath in and switch to positive vibes. Dive into a world of serene soundscapes, where deep space reverbs and expansive echoes float freely, creating a sense of calm disorientation. Drawing from a blend of dub, psychill, and psychedelic electronic textures, this album guides you through atmospheric journeys that range from smooth, laid-back grooves to vast, hypnotic sound waves. Each track drifts between the tranquil and the transcendental, blurring the line between relaxation and introspection.

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.

On the occasion of their 50th anniversary, the Australian Chamber Orchestra presents a landmark new album that celebrates the orchestra’s remarkable legacy while also honouring Artistic Director Richard Tognetti’s extraordinary 35 years of leadership: the violin concertos of Beethoven and Brahms, with Tognetti himself as soloist. These works, now pillars of the repertoire, were once radical and new; this recording invites us to reconnect with that sense of first hearing – to imagine being present at the premiere, when the ink was still fresh and the ideas still raw.

Brazilian producer Pedro Zopelar, who joined D3 Elements to celebrate the label’s 10th anniversary in 2023, returns with Just Like Heaven. The EP opens with A World With No War, a track that stands out for its deep, reflective atmosphere. This ambient piece invites introspection, offering a moment to pause and reflect on society's complexities. Patrice Scott’s remix takes this thoughtful vibe and adds layers of atmospheric depth, stripping away rhythm to create a meditative space. Heaven House brings a sensual, 90s- inspired house groove, perfect for the dancefloor. The closing Spiritual Moment starts with broken beats before evolving into a Balearic anthem, evoking beachside tranquility. Zopelar delivers yet another stunning release that blends depth, soul, and rhythm.

'Bite The Hand That Feeds You' is the debut EP from Amsterdam-based DJ and producer Jasmín. Blending genres, moods, and eras, it draws on her Dutch-Argentinian roots while channeling the nostalgia of teenage discovery: "that formative era of girlhood where you're growing up online and building your world digitally." Across three tracks, Jasmín explores the tension between this lasting inner world and the harsher realities outside, weaving techno, bass, and dub into percussion-driven music defined by both force and introspection.

Two tracks feature London-born, Lisbon-based artist Older Brother, whose vocals move between meditation and proclamation. 'Overdriven' was built on Jasmín's original instrumental, while 'The Ride' emerged from reworking a fragment of its vocal. Together, they highlight her ability to transform personal dialogue into public expression – music that invites both reflection and release, as much to ponder as it is to dance to.

Monolith 45 series I

A new chapter emerges within Organic Signs.Conceived as a vessel dedicated to a single frequency, Monolith 45 is born to trace the lineage of progressive trance — that tribal, hypnotic, and ceremonial sound that carved its path during the early 2000s, and which today we reclaim with reverence.

Each release stands as a stone marker along this continuum: timeless signals that resonate equally with memory and vision. As with the broader work of Organic Signs, this new line will follow a dual path: rescuing forgotten gems from the past while also curating new music that embodies the same spirit.

Monolith 45 becomes the place where past and present intertwine, shaping a narrative that honors tradition while opening new doors for exploration.

The first monolith in the series carries with it two totems of the genre:
On the A-side, Magnetrixx – Intraferences, originally released in the year 2000 on the legendary Tatsu Records. Behind this moniker stands Stefan Lewin, not only a key architect of the progressive trance sound but also the mind behind ACL (Audiophile Circuits League), one of the most special modular synthesizer brands..

His work bridges eras: from shaping the trancefloor at the turn of the millennium to designing instruments that define modern electronic creation.On the B-side, Ticon – Lo Mi Hi, a track that saw the light in 2001 on Digital Structures, one of the most influential labels of that era.

Ticon are nothing short of mythical within this universe — pioneers whose sound blurred borders between deep grooves, psychedelic textures, and progressive structures, leaving an indelible mark that still resonates with dancers and producers worldwide.

With Monolith 45, we seek not only to preserve these transmissions but to project them into the present: to reawaken a sound that was always more than music, a tribal pulse, a ritual language that invited bodies and minds into collective trance.
This is our homage, our offering, and our way of extending the path forward.

Delsin invites you to submerge into the prismatic electronica of Xenia Reaper. Across nine tracks of exquisitely rendered sonics, the shadowy producer engages in the time-honoured craft of introspective sound manipulation, folding gaseous pads into dissected breaks and running heavyweight machine pulses through achingly beautiful synthesis. The sound is sharply realised, modernist music that revels in the finegrain detail afforded by technology, but never at the expense of warmth and charm. It's nuanced electronica for deep listening, but it also hits on an instinctive, physical level.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

Debut solo album from guitar player of Calicos. The result is a record that balances melancholy and raw intensity, where vulnerability is never far from power.Aäron Koch's voice cuts straight through, while the band builds a sound that feels both timeless and urgent, echoing The Veils, My Morning Jacket and Strand of Oaks.



For years, Aäron Koch was the guitarist in other people's bands. Writing intricate riffs and odd time signatures came naturally, but the thought of writing a simple song, a verse, a chorus, a melody that could stand on its own, felt out of reach. He tried and failed, discarded demos, and pushed himself through the humbling exercise of writing "bad songs" just to learn the craft.

'For Once', his debut album (out via Unday Records), is the unexpected outcome of that long struggle. What began as an exercise became a set of songs that refused to stay in the drawer. Months after recording rough sketches, Koch listened back and realized they weren't throwaways after all. With a small heart, he shared them with friends, musicians from bands like Calicos, Uma Chine and Tin Fingers, who immediately heard their potential and joined the project.



The result is a record that balances melancholy and raw intensity, where vulnerability is never far from power. Koch's voice cuts straight through, while the band builds a sound that feels both timeless and urgent, echoing The Veils, My Morning Jacket and Strand of Oaks.

"This music is about weaknesses and vulnerability," Koch says. "Autobiographical really, something I only realized once the album took shape."



That honesty struck a chord. In 2024, after only a handful of shows, Aäron Koch reached the finals of Humo's Rock Rally and was invited to open for Belle & Sebastian at a sold-out Ancienne Belgique. Now 'For Once' shows why: it's the sound of someone learning to write songs the hard way, and discovering in the process that he has something entirely his own to say.

Lukah’s unprecedented trajectory shatters new heights with A Lost Language Found, his most thoughtful, sonically-diverse record yet. With the multiplatinum OG Statik Selektah on production duties, Lukah’s by now iconic, razor-sharp pen-game goes toe-to-toe with some of the best. Trading verses with Houston innovator Bun B, Memphis legend 8 Ball, and the larger than life Killer Mike, all parties involved operate at the peak of their skill. The first of what will be multiple collaborations with heavyweight hip-hop producers, this new LP establishes what we already knew in our hearts: Lukah is here to take over.

The stage set to deliver this latest opus is intensely personal: in the heart of his community, Lukah holds court with his trusted fellows at his great grandmother’s house in French Fort, Memphis, a historically black neighborhood long rec-ognized as a stately, proud vision of Black suburbia in a city still healing from deep racial trauma. Recently laid to rest in Elmwood Cemetery, the pain and strength of mourning her influence is present in the deep lyrics of A Lost Lan-guage Found, where Lukah traces not just his own legacy, but that of the linguistically rich and diverse dialects of his people. The cover image depicts the game room of the house, a place that once hosted civil rights leaders and revolu-tionaries, now a monument both to a history of leadership and to its future. For the first time, Lukah himself appears on the album art to mark this significant occasion, flanked by his partners, the symbolic source of knowledge in his hand. Listening to Lukah spit has always been a privilege and a revelation. His artistic power lies in uncovering secrets thru torrents of lucid, poetic rhymes. The listener is invited to share in this bountiful feast. Witness the real god expansion.

The album is available as a limited edition vinyl release of 500 copies in gatefold jacket.

First chapter of a futuristic dub experiment series by The 18th Parallel. Geneva based collective invites engineer extraordinaire Roberto Sánchez to revisit 10 scorcher riddims from the Fruits Records vault to craft this inventive modern classic. Reminiscent of the greatest dub albums by King Tubby, Scientist, Prince Jammy, or Lee ‘Scratch’ Perry.

Fruits Records presents the first volume of a series of dub albums by Swiss collective The 18th Parallel. Following in the tradition of Jamaican producers who revisited their catalogues in dub versions, such as Bunny Lee and his Aggrovators with King Tubby, Junjo Lawes or Linval Thompson teaming up with Roots Radics and Scientist, or Joe Gibbs and his Professionals with Errol Thompson, Fruits Records is launching a series of dub albums produced by the label's studio band, The 18th Parallel, which will invite different sound engineers to (re)mix the tracks throughout the albums: DUB AVALANCHE. This first volume offers a deep dive into the label's catalogue through ten classic or unreleased riddims revisited by Fruits Records' long-time partner, Spanish sound engineer extraordinaire Roberto Sánchez. The instrumentals are brilliantly performed by The 18th Parallel and punctuated by the voices of legendary artists such as The Viceroys, Lone Ranger, Cornell Campbell, and Dennis Walks, who appear fleetingly before disappearing into clouds of echo. Roberto Sánchez performs ten explosive, creative sound deconstructions, playing with stylistic codes to stimulate our memory and offer a timeless sensory experience.
Like the classics of the genre, the cover art evokes a quirky retro-futuristic imaginary space where, breaking with convention, the talent of Mexican artist Melissa Santamaría is expressed through a striking metaphor of a sonic avalanche.

DUB AVALANCHE VOL. 1 is already establishing itself as a future must-have for fans of uncompromising reggae and dub!

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

Samo Records celebrates its 20th release with a special vinyl from Sintex Bortexx. The Argentinian duo present three original tracks, crafting a distinctive sound that fuses elements of New Beat, EBM, Acid, Dark Wave, and more.

For the occasion, Samo Records has invited three heavyweights to complete the package, with remixes from Tutto Vetro (aka Curses), DC Salas, and Charlie.

"Deeply tied to the composer’s own life, the narrative of Lacrimosa invites reflection in the face of loss. This sonic work draws inspiration from Alice Coltrane’s spiritual Eternity (1976) as well as the traditional structure of the Requiem, a mass for the dead. One of its sections, the Dies Irae, evokes Judgment Day and concludes with the Lacrimosa (literally, “full of tears”), depicting the weeping of souls in search of salvation.

In Lacrimosa, Low Jack transforms autobiographical elements into a messianic, polyglot form, unfolding across eight movements that chart the storms and serenity of grief. The piece unfolds from dawn to dusk, as the eyes open and then close. An initiatory solar cycle, from which one returns like Dante in his Divine Comedy, transcendent yet grief-stricken by the loss of a guiding presence.

Low Jack crafts one of his most intimate compositions, weaving together musical archetypes and universal narrative structures, drawing from both classical lyrical music and pop standards."

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

Limited edition Gatefold LP version on 180g Red/Black Marble Vinyl with 16-page lyrics booklet. El Pez Que Volo (The Fish who Flew) is a musical quest to unearth the divine gem hidden within oneself. A cartoonish collection of desires, phobias, pathologies and virtues which are funnelled to create an ambivalent moral mishmash of East and West traditions. This zoomorphic, naïve & messianic hero's journey is infused with a psychedelic aura that invites us to dream the impossible... Act II - The Cave: After leaving the nest, Teezûck feels he's ready to fly, but in his premature attempt he hits a bump and fails, falling back to the bottom of the sea and plunging into the darkest and most terrifying cavern of all: the subconscious mind. Reality, fiction, memories, myths and legends intertwine in this dark, acidic mirrored circus where Teezûck will have to learn to meditate and master his psyche. The El Pez Que Voló series feature a capricious, free mixture of musical styles, genres, production values and aesthetics, which serve as narrative devices to highlight moments, characters & emotions across this highly unconventional sonic expedition.

Enter the world of Stereocolor, the long-awaited new album from Dutch singer-songwriter Mercy John. On October 31, 2025,
Mercy John invites you to escape the grayness of everyday life and immerse yourself in a spectrum of vibrant emotions,
melodies, and colors. Songs about love, loss, and self-discovery—all wrapped in a captivating musical package that is both
intimate and grand. Expect an unmistakable blend of warm vocals, catchy choruses, and a sound that exudes authenticity. This
is music that will make you see colors—sometimes soft and whispering, sometimes powerful and starkly contrasting.

After returning from Australia, Brian Baker has wasted no time in making an impact on the NZ scene with much heralded and reviewed singles and film clips, and in particular his solo show which has seen him perform at gigs and Festivals across the country. Now he"s joined two local Whanganui Musicians, Stu Duncan and pro drummer Brad MacMillan, both seasoned performers. The act is called BB and The Bullets and has a focus on the blues, doing tracks by Albert King, BB King, Muddy Waters plus some Stevie Ray Vaughan and other blues classics. They also feature some of Brian"s excellent releases and have a few of their own recorded. These tracks make up their debut LP which will soon be released on vinyl, CD and digital through Nixon Street Recordings, Whanganui"s own international record label. Yes, the guitaring that made Brian"s solo show stand out is heavily on display here, now backed by a tight, live rhythm section. Their shows have been very well received wherever they have performed, getting standing ovations at the recent Bay Of Islands Jazz and Blues Festival where they played six standout shows over three days ! They are drawing crowds wherever they appear, have been invited back to the Capital Blues Inc in Wellington after a knock em dead show there, and were a solid crowd pleaser at Snells Beach this summer for Auckland city council"s Music In Parks series. They are delighting audiences with rock solid, emotive performances of classic blues tracks underlined by undoubtedly one of the finest guitarists New Zealand has produced !