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Rémi Klein debut studio album, Friend In Need will be released on June 20, 2025 by Tricatel.

Behind his keyboards, between the walls of his bedroom or in studio, Rémi Klein fashions music that is both intimate and generous, instinctive and precise. He is a craftsman who composes, arranges and produces with obsessive meticulousness. Playing with LORD$, Please and now Clara Luciani, he built up a collective experience before recording his own album.

Signed to Tricatel, his first album, Friend In Need, due 20 June, is a plunge into his cinematic universe, where the lush orchestrations of Hollywood's golden age rub shoulders with the best of songwriting. His music and songs, rooted in the present and the future, are visceral and innovative. It's the music of today and tomorrow at its most promising and audacious. There are a million new tracks a week on streaming platforms, no two albums like Friend in Need and no two artists like Rémi Klein.

The debut release on Caricia Records sees longtime collaborators VIL and CRAVO refine the language they've developed through years of joint work, both individually and as members of the Hayes collective. Between them, their output on labels like Monnom Black, Klockworks, Self Reflektion and the aforementioned Hayes Collective has consistently balanced precision with character, and this first chapter under their new imprint is no exception.

Opening with So Right, the record sets a distinct tone, with rolling percussion and a hypnotic vocal line threading through the mix with restraint and control. 420% FODA leans into classic swing and texture, tightly looped and built for movement without ever overreaching. On the B-side, CRAVO offers Future Detroit, a stripped-back piece with room to breathe, subtle in its shifts but firm in its intent. VIL rounds off the EP with Hard to Find, a playful closer that keeps things buoyant and dynamic, pushing forward without losing its shape.

Caricia 001 is about clarity of purpose. No filler, no theatrics, just four tracks that speak for themselves.

Soft Cell’s second long-player was the groundbreaking mini-LP ‘NonStop Ecstatic Dancing’… the world’s first remix album and a huge influence on subsequent generations of clubbers, DJs and remixers. Reissue of the original album, remastered, and bolstered by the inclusion of extended versions of its two related hit singles – ‘Torch’ and ‘What!’ – and bring it up to date with a second disc of unreleased mixes and highlights from 2007’s long-deleted ‘Heat – The Remixes’. The release will be laser-focussed to celebrate Soft Cell’s pioneering work in the clubs of Leeds, London, New York and Berlin and clear the decks for our next full deluxe edition ‘The Art Of Falling Apart’ in Q3 2025. Barring the super 6CD version would follow the formats that were so successful for ‘Non-Stop Erotic Cabaret’ reissue with a 2CD and 2LP coloured as the physical versions with a digital deluxe mirroring the 2CD set. We know this artist has a wide appeal AND a solid fanbase and this album is also legendary in DJ / club / electronic circles.

Hollie Cook, one of reggae’s most exciting voices, makes a return to the label that released her cherished debut album in 2011. Landing back on Mr Bongo, 'Night Night' is a stand-alone aperitif and taster of what to expect from the next era in Hollie's musical journey

Revisiting her roots, this latest single embraces the trademark reggae / tropical pop sound Hollie found fame with on her first two albums. With a career that has gone from strength to strength since those formative days, the buoyance, charisma, and confidence gained in those subsequent years are on show for all to see.

Recorded at Crosstown Studios in London with the General Roots band and produced, mixed and dubbed by Ben McKone, ‘Night Night’ documents the longing of a lonely lover. Grounded in a sound system rattling bass line, strutting guitars and shimmering keys provide a sunshine-infused contrast. Hollie’s smooth sultry tones radiate throughout, backed by the legendary Horseman on toasting duties - a collaboration that hasn’t been heard since Hollie’s first album. Trading verses, the warmth of Hollie's velvety vocals balances Horseman's raw explosive energy in an absorbing harmony.

In true reggae style, the 7" single is backed with a classic dub mix, adding spacey reverb and delays, whilst giving Hollie and Horseman a more spacious streamlined flow in the mix.

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)

Mustang Island, the third album from Austin-based band Little Mazarn, is a gentle force. Waves of grief crest like surf on the Texas coast. Wild horses break through long-shuttered gates, only to come back around. Lead songwriter, vocalist, and multi-instrumentalist Lindsey Verrill (she/her) joins bandmates jeff Johnston (he/him) and Carolina Chauffe (they/thern), The tensong, collection continues work with Dear Life Records. A full-throated romp through the capabilities of community-minded songcraft, Mustang Island is both naturalistic and futuristic, completely recasting Little Mazarn's origins in primitive folk. Instead, the band reaches towards sonic experimentation and spacious expansion. Lindsey's heart-opening vocals and jeff's singing saw, both trademarks of the project, mix with unexpected bombastic drums, dissonant synthesizers, and a chorus of orchestral oddities. This mid-career ode dances confidently in the creative liberties granted by decades in the game - more dazzlingly lively, and honestly somber, than ever before. The band's crossroads branch across prominent Southern outsider music: On cello, Lindsey has recorded with Patty Griffin and Dana Falconberry. The longtime side player wouldn't write her first song until age 34, Jeff has played in Bill Callahan's band, as well as with LIl Capin Travis and Orange Mothers. Carolina is known for prolific solo project hemlock, Little Mazarn has also collaborated with Lomelda to release their last EP, Honey Island General store (2023), following past LPs Texas River Song (2022) and lo (2019). Alongside silliness and reverence, including covers from Kate Wolf and Bob Wills * His Texas Playboys, griet directs much of Mustang Island. Lindsey left her job of seventeen years teaching cello at a local school, Recording also aligned with the passing of Jeff's facher, a career educator in Jeff and Lindsey's hometown of Dallas. "Grief, and the avoidance of grief, is a big part of being human," says Lindsey. "You make a choice, and then you grieve for the other choice. Or you finish a meal and literally grieve that it was so good. If you really befriend griet, you re like, 'Oh, it's here, in this pancake, which I loved so much that I ate the whole thing, and now it's gone.**

Jess Kerber aus Nashville nahm im Alter von 12 Jahren erstmals eine Gitarre in die Hand, um mit ihren frühreifen Stimmungen und Zupfstilen zu experimentieren - beeinflusst von Gleichgesinnten wie Joni Mitchell und Susan Tedeschi. Dies führte zur Entwicklung einer einzigartigen Klangpalette und zu einem authentischen, persönlichen Zugang zum Songwriting. Inspiriert wurde sie gleichermaßen von ihrer Erziehung in Louisiana und dem Studium am Bostoner Berklee College of Music. Ihr Debütalbum "From Way Down Here" zeigt die Dynamik und Tiefe ihrer großartigen Stimme und ihrer nachdenklichen, humanistischen Texte, sowie die raffinierte Komplexität ihres Gitarrenspiels. Während der Entwicklung vieler dieser Kompositionen, bei frühen Live Auftritten in und um Boston und Cambridge, lernte Kerber den Songwriter Will Orchard kennen, der schnell zu einem Partner und Kollaborateur in der Entstehungsphase ihrer Aufnahmen wurde. Orchards Fähigkeiten als Produzent und Multiinstrumentalist heben Kerbers Arrangements auf eine neue Ebene, mit einer entwaffnenden Reinheit und Emotion in einer Dynamik, die derjenigen von Gillian Welch und David Rawlings angelehnt ist. Mit den Traditionen der Americana erschaffen Kerber und Orchard zusammen mit Mischtechniker Charlie Dahlke von The Brazen Youth ihr eigenes Subgenre, das gleichzeitig intim und und universell, tröstlich und rau ist. Über das gesamte Album hinweg erhält Kerbers reicher, samtener Tenor eine tiefe Zärtlichkeit und Wärme, während unterschiedliche Elemente wie Pedal Steel, Wurlitzer, Schlagzeug und Ambient-Gitarre für den schimmernden Background sorgen. Der Einfluss ihrer Erziehung - und und das, was sie liebevoll als ,Abgehobenheit vom Rest der Welt Gefühl" des tiefen Südens nennt - zeigt sich in den ehrlichen, geradlinigen und zeitlosen Qualität ihrer Kompositionen. "From Way Down Here" ist das seltene Debüt, das alle Merkmale einer erfahrenen Songwriterin aufweist. Sie konstruiert eine fesselnde Welt von rauer Schönheit und Wahrheit, deren Bann lange nach dem Verklingen der letzten Töne anhält.

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

Makin’ Moves bring this archived studio gem to the fore as it was just too damn good to be left sitting on the drive! Rewind back to 2005 and a chance studio meeting in London between Bugz in the Attic producer Afronaught aka Orin Walters and Justin Chapman aka Kemeticjust who decided to work on some tracks. It was a time in London where there was a huge melting pot of new sounds in the broken beat era / scene and that sound was at the forefront of London’s club scene including night’s like Co-op at Plastic People in Shoreditch. However, these sounds still have stayed the test of time and very prominent still in clubland today.
Justin’s classy vocal tells a political story about our modern times in American and feeling of oppression with in the Black race.
Phil Asher (RIP) at the time loved the track and decided to do his own “Restless Soul Dub” remix version, adding his characteristic drums and stripping the vocal back while also keeping the soulfulness of Kemetic’s original.
Also featured on the package are two other mixes the excellent Blaktones Mix is must have for all the co-op broken beat heads, seeing Afronaught using those classic sounds to full effect to set the party off!

Father's Children waren eine Funkband, die sich Ende der 1960er aus der in Washington D.C. ansässigen Doo-Wop-Formation The Dreams entwickelte. 1979 nahmen sie als achtköpfige Band unter der Leitung von Wayne Henderson (The Crusaders) und Augie Johnson (Side Effect) ihr selbstbetiteltes Debütalbum auf, an dem auch Bobby Lyle (The Genie) und Dean Gant (Keni Burke) beteiligt waren. Die beiden Keytracks des Albums - der oft gesampelte, britische Rare-Groove "Hollywood Dreaming" und der Two-Stepper "Got To Get Away" - werden hier erstmals zusammen auf einer 7" präsentiert, dazu noch erstmals in den vollständigen Albumversionen.

Terry Callier war ein angesehener Singer/Songwriter/Gitarrist und Soulsänger aus Chicago, der mit Curtis Mayfield, Major Lance, Jerry Butler und den Doo-Wop-Bands der frühen 1960er aufwuchs. "Look At Me Now" war ursprünglich die B-Seite seiner 1968er Debütsingle auf Chess Records, "You Goin' Miss Your Candy Man". Doch gerade diese Northern Soul-Hymne wurde zu einem wesentlichen Teil seines Vermächtnisses und seines bis heute anhaltenden Platzes in der Northern-Soul-Szene. Damals wurde auch der "Alternative Take" aufgenommen, der erst jetzt exklusiv auf dieser Outta-Sight-Reissue erhältlich ist. Originalexemplare von 1968 werden derzeit für bis zu 650 Pfund gehandelt.

Reissue des Debütalbums der irischen Singer/Songwriterin Sorcha Richardson auf Powder Pink-Vinyl. Sorcha entwickelte sich von Schlagzeugerin zur Troubadourin. Die glänzende Produktion ihres Debüts "First Prize Bravery" (erschienen 2019 bei Faction Records), gepaart mit ehrlichem Storytelling, machten sie zum "Liebling von Dublin". Das Album ist mittlerweile wie ein edler Wein gereift, so dass Impressed Recordings sich veranlasst sah, es neu aufzulegen, aber nicht ohne die fantastische 2023er Single "Map Of Manhattan" als exklusiven Bonustrack erstmals auf Vinyl zu ergänzen.

- "Richardson erkundet kleine Anfänge und kolossale Enden, sammelt Erinnerungen und präsentiert sie wie Fotos: einen verspäteten Bus aus Dublin, ein kaputtes Klavier, leere Schlafzimmerwände und kalte Laken. Es ist diese Art von purer Nostalgie, die die Jugend verkörpert – ihre Besonderheit erinnert an Momente, die in der nicht allzu fernen Vergangenheit liegen." – Journal of Music

We are proud to present this solo-release by techno legend CJ Bolland on Flatlife Limited. It features 3 amazing techno electro acid tracks. We've seen some really big remixes from this man the last years, like the brilliant remix of LSG's classic "Netherworld"; but no solo release yet appeared - so we're extra proud on this one. In the past CJ Bolland created major albums like "Electronic Highway" & "The 5th Sign" which made a statement in the underground scene. We don't need to explain what this man has meant to the underground Techno Scene and still does. We still remember hits like "The Prophet" & offcourse "Camargue" which are legendary. For the Flatlife Labelgroup: a dream coming true to get this release out there !!

For the very first time on vinyl, Sextape brings back the iconic sound of Drixxxé’s cult mixtapes a fresh and exclusive blend revisiting the legendary series released between 2013 and 2018.


Spanning five volumes, these mixes dive deep into the sensual grooves of 1970s and '80s erotic and adult film soundtracks a bold and seductive journey through vintage soul, funk, and jazz.


Originally spreading like wildfire through word of mouth, they quickly caught the attention of tastemakers like Nova, OkayPlayer, Paper Mag, and Wax Poetics. Today, the combined plays of all five mixtapes are nearing the million mark.


Now pressed on vinyl for the first time, this collector’s edition captures the sultry, cinematic vibe of the originals a must-have for retro music lovers and connoisseurs of underground culture alike.

Grown through collaboration, Samuel Savenberg’s EP As Bright as a Burning Star stands for a music that evolves and becomes newly tangible in the very moment of performance.
The live EP captures a concert by Savenberg and his band, recorded at the 2024 B-Sides Festival on Sonnenberg near Lucerne. In this setting, the concert with his close musical companions takes on a life distinct from the studio recordings it draws upon, casting the music in a new light: more immediate, vibrant, and warmer.
As Bright as a Burning Star features newly interpreted pieces from Unsung—Savenberg’s 2023 album released via Präsens Editionen—alongside two new songs. The title track had existed in a similar form since 2016 but had never been released—until it was rediscovered by chance during preparations for the concert. The second new piece, "Expressions of Regret", features vocals by Remo Helfenstein, a longtime friend and fellow Präsens Editionen artist.
As Bright as a Burning Star is a labor of love—shaped by shared musical histories and lasting friendships. It is available on cassette tape, for streaming and as a digital release via Präsens Editionen.

Samuel Savenberg is a composer and producer based between Lucerne and Berlin. Following the release of Unsung in 2023, he has presented selected remixes and live performances—the latter mostly in a band setup—and collaborated with other artists, taking on a variety of roles.

Founded in 2011 in the process of launching zweikommasieben, Switzerland-based publishing house and music label Präsens Editionen has released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Audio releases include works by Anna Homler, Robert Turman, Belia Winnewisser, Samuel Reinhard, Martina Lussi, and Magda Drozd & Nicola Genovese’s Sopraterra.


* Edition of 66 professionally dubbed cassette tapes (colored)
* Special artwork by Denise Haeberli at INTR in custom snapbox
* Free DL

Moments of Solace is the introspective new EP from London-based artist, musical director, and producer Amane, released via Música Macondo.
Across six beautifully crafted tracks, Amane distills elements of ambient electronica, IDM, and jazz, creating music that evokes a deeply emotional journey through sound.

From the outset, Moments of Solace is contemplative and hypnotic, weaving together the pulse of electronic percussion, the glow of nocturnal pads, and the calming resonance of synths. Echoes fade and return like tides — forming ecstatic waves of sound that invite the listener into a space of reflection and emotional release.

For Amane, this collection serves as a creative response to a world that feels increasingly chaotic and dark — offering listeners a sonic refuge. The EP channels the ambient excursions of Boards of Canada, the rhythmic urgency of a Floating Points club set, and the cinematic sweep of night drives along the Pacific Coast Highway or meditative rides on Japan’s Shinkansen.

Despite an intense touring schedule, Amane found the time to craft this personal and globally resonant work. Moments of Solace mirrors his life experience as a nonstop traveling artist — soundtracking late nights, contemplative moments, and euphoric dance floors alike.

- Amane combines ambient textures, IDM structures, jazz influences, and club sonics into a cohesive sound.
- Inspired by artists like Boards of Canada and Floating Points.
- Reflects a global journey: from London nightlife to Pacific coastlines to Tokyo train rides.
- Released via Música Macondo, a label known for global, genre-blending innovation.

Amane is an East London-based musician, producer, and musical director whose career spans an eclectic range of genres and high-profile collaborations.

He has served as Musical Director for Little Simz, Jorja Smith, Amaarae, Ego Ella May, and Maverick Sabre; performed alongside global stars such as Ed Sheeran, Elton John, Anne-Marie, Sigrid, Dermot Kennedy, King Krule, and Ata Kak; and was a key member of the acclaimed London ensemble Maisha, whose debut was released via Gilles Peterson’s Brownswood label as part of the landmark We Out Here compilation.

In his solo work, Amane channels his deep musicality into soundscapes that reflect on the state of the world, offering listeners spaces for reflection, calmness, and emotional connection.

Different Rooms is the sophomore album by Jeremiah Chiu & Marta Sofia Honer. The followup to their critically acclaimed Recordings from the Aland Islands, this collection extends the path of pastiche forged by their debut: quietly multi-rhythmic, modular-trance-meets-processed-and-unprocessed-chamber strings, bewitching and bewildering field recordings-all knitted tightly, an LA patchwork.

It has been almost seven years since the release of Alpestres, the impressive debut by Matthias Puech on Hands in the Dark. While that first experience took us on a mystical journey through fascinating fictional landscapes, 'Cabanes' lets its narrative unfold in a confined space: eight pieces each resembling small structures or makeshift shelters that, while enveloping and isolating the listener, remain open to their surroundings. These are not merely interiors; they are handcrafted spaces through which we gain insights into the world. Yet they allow the light from the outside to seep in, reminding us of reality.

According to Puech, each composition has a distinctive two-part story that are both clear and intriguingly interconnected. The first one often revolves around the anecdotal and tangible aspects of instrumental "play," showcasing a technical exploration with his tools, the discovery of sounds in a library, and the serendipitous encounters that inspired them. The second part, however, delves into the more elusive yet profound state of existence that the French artist experienced while engaging with these sounds, reflecting on the moments he listened and re-listened to them, ultimately deeming them worthy life companions. These two narratives, perhaps reshaped over time like distant memories, interact in ways that can either clash or complement each other, creating a lasting impact on the listening experience.

A significant aspect of the compositional process involves distancing oneself from these connections to creation, allowing for the rediscovery of a state of listening that is free from prior emotional influences—what one might call "pure" listening. This method enables the transformation of a sequence of events into a narrative that is independent of its original intent, resulting in a universal object. After spending considerable time with the attached pieces and attempting to induce a form of amnesia to reconstruct an artificial narrative, Matthias Puech has ultimately chosen to relinquish this pursuit. Thus, the album is aptly termed “Cabanes” (“Huts”): fragile structures whose design clearly reflects the intention behind their creation, showcasing all the signs of considerate craftsmanship.

'This exclusive re-issue of “Brighter Side of Blue” is limited to only 300 copies on baby blue heavyweight vinyl, with an individually-numbered obi strip, and bespoke essay from Amy Campbell.

This was one of our albums of 2023 (Double J agreed, too making #16 in their Album Of The Year Countdown). Released in mid-January, it soundtracked our late Australian summer. It’s not a record that’s easily pigeon-holed. Is it alt-country, with a nod to Gillian Welch? Is it classic rock, mined from a similar vein that Chrissie Hynde has drawn from? Is it indie-folk, a lighter, brighter Jen Choler? You tell us.

‘Brighter Side of Blue’ was recorded in Bellambi in the Illawara throughout 2022. Featuring Cecil Coleman from Body Type on drums, and Russell Fitzgibbon (who also released Skeleten’s ‘Under Utopia’) on bass and co-production, it’s a beautiful shiny record that glistens like the sea in that part of Australia, a place where the waves meet ancient escarpment.