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ENVY OF NONE IS THE NEW BAND & DEBUT ALBUM FROM ALEX
LIFESON (RUSH), ANDY CURRAN (CONEY HATCH), ALFIO ANNIBALINI &
SINGER MAIAH WYNNE
The ambient, cinematic darkness that the collective creates evokes a
powerful atmosphere that will excite superfans & new audiences alike
Lifeson & Curran's long-time friendship was the catalyst for the band's inception -
but Envy Of None is not defined by its members resumes - they aren't Rush or
Coney Hatch & far more than the sum of its collective parts.
Above the beautiful cacophony of guitars, synths, bass & drums sits the fragile
melodies of 24- year old vocalist Maiah Wynne - the newest name in Envy Of
None's impressive personnel. Hearing Mariah's voice intertwined with the music
will bring back memories of when you heard Shirley Manson of Garbage or Amy
Lee of Evanescence for the first time. Wynne brings charm & beauty to these
recordings in spades - with floating hooks & emotive lyrics transcending the
oftentimes textural aesthetic.
The Storm Thorgerson- esque visuals that grace the cover may remind fans of
Lifeson's earlier work - Andy Curran explains: "the Hypnosis style artwork of
albums like Pink Floyd & Led Zeppelin & others were so eye catching, surreal &
attention grabbing & we wanted to scratch that itch. We were instantly drawn to
Lebanese photographer Eli Rezkallah at Plastik's photography & design work. We
fell in love with a bunch of his work - we had a hard time choosing something
because he had so many great images". However, the 70s prog/ Rush
comparisons may end with the artwork - the music that this ensemble creates
treads new ground with each track throughout their 42- minute debut, from
industrial/electronic influences to post-progressive soundscapes. Envy Of None
create a sound that will haunt, comfort & ignite.
"If you can picture maybe Massive Attack with a little bit of some electronic stuff
with Nine Inch Nails influences, with this beautiful, fragile, sweet voice & some
very, very dark heavy sounds" - Andy Curran (Envy Of None)

Third full-length from Kentuckiana studio chiselers EQUIPMENT POINTED ANKH. Seven tracks of Great Lake inspired genre transgressions sure to make the cover of Modern Hocketing Magazine. Mono minded drumming, superstitious Clavinet, Siege style guitar, cod-turntablism, billowing Serge and Russ' crotales collide at FAO Schwartz in a rush to return the instruments before the 30 days are up. Recorded at Electrical Audio in Chicago, IL and End of an Ear in Louisville, KY Fall of 2021. Engineered & mixed by Taylor Hales at Electrical Audio. Produced by The Barney Rubble Trio. Mastered by Seth Manchester at Machines With Magnets in Providence, R

'Day-Glo (Based on a True Story)' ist ein unverhofftes Album mit brandneuen Tracks, deren Basis aus dem Klangkosmos ihres letzten Albums 'The Neon' stammt - und doch einen improvisatorischen Charakter behält. Das Album ist eine Art Collage des Erfolgsduos Vince Clark und Andy Bell, die sich zu einem schlüssigen Album formt, das nur wenig Ähnlichkeit mit dem Originalmaterial hat - obwohl von Zeit zu Zeit fraglos Anklänge an 'The Neon' zu hören sind.

Zugleich markiert die Veröffentlichung den Abschluss des langen Kapitels von 'The Neon' im Gesamtwerk Erasures und zeigt als Reflexion ihrer Kernthemen Liebe, Verständnis und Positivität doch zwei gänzlich unterschiedliche Seiten der Band. Es ist, wenn man so will, ein alternativer Blick auf die Welt von Erasure.

'The Neon Live' ist ein 24-Track-Erasure-Live-Album, aufgenommen bei zwei Shows im O2 Apollo in Manchester während der ausverkauften Tournee des achtzehnten Studioalbums des Synthpop-Erfolgsduos aus Vince Clarke und Andy Bell: 'The Neon', ein Album, das es in Deutschland auf Platz 11 in die Charts, in UK sogar bis auf Platz 4 gebracht hat.


a A1. Intro (Joe 90) Live

c A3. Hey Now (Think I Got A Feeling) [Live]

[a] A1. Intro (Joe 90) [Live]

[c] A3. Hey Now (Think I Got A Feeling) [Live]

FIRST E.P FROM THE VOODOO MAN / INCLUDING INSERT WITH PIC / INCLUDING TIM CURRY cover: Ain’t No Love On The Street. Eric McFadden is back with his first 4-track vinyl, ahead of his new album in autumn/winter 2023 and has taken advantage of this release to complete a frenzied summer tour of France (Avignon, Cavalaire, Saint Cyr Sur Mer…) that he has a secret for. His recent acoustic tributes to AC/DC and Alice Cooper have introduced him to a much rockier audience, and his performance at Patrimonio (Corsica) in July 2019 and 2023 with Pat McManus did not go unnoticed. On the menu for this new opus: blues and rock and a cover of a Tim Curry song (No Love On The Street), all wrapped up in a dark, Tom Waits-style voice and a unique guitar style with high flights of fancy. Thrills guaranteed!

It's a cohesive song cycle purpose-built for pit stops at points beyond along the California country corridor. Sonically, Stay In It feels equally at home in 2022 as it might in 1972, evidenced by nods to "After The Gold Rush"- era Neil Young, Jonathan Wilson,and The War on Drugs.
The singer-songwriter trucked Jerry Garcia's old console to the desert to embrace the analog. The kind where if you want to rip a guitar solo at 3am with the windows open, you go for it, cowboy. A flurry of calls reverberated back and forth until Eric and his producer Damien Lewis (Kevin Parker, JamesBay), crash-landed in the tiny high desert outpost of Landers, California...in August.

"Stay In It" is a way of saying be present, it's "Be Here Now" says Silverman, an accomplished veteran of the Bay Area live music scene (with appearances at festivals such as Outside Lands and Noise Pop under his belt). "So the record is really about just finding that moment where it all locks in and flows. Get there and stay there."

This is music that picks up influences and imagery and shapes and colors as it encounters them on Interstate 62, before dropping them off as they turn into specks of dust on the horizon. There's the two-step lilt of "Better Days", where we start awash in melancholy synths but end up hopeful for possibility. There's the synthesizer summoning courtesy of first- call session keyboardist Adam MacDougall (Black Crowes, Circles Around The Sun) on "All In My Head" where
things get fully cosmic.

But no matter the track, there's something bigger happening here.

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.

Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop.

At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far.

This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

Erin LeCount returns with the release of EP PAREIDOLIA, now on limited edition transparent glitter vinyl and with the addition of hotly-anticipated track THE CINEMA.

Available for pre-order on the 1st July at 5PM BST and set for release on 11th September 2026.

Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop. At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

Less of Everything was released on April 3rd 2020 on Upset The Rhythm and sold out quickly. This limited repress on sun-yellow vinyl sees the album finally available on vinyl again, around the release of the group's new EP and upcoming tour plans.


Less of Everything. The title of Es’ first full length LP could be interpreted as a manifesto pledge, an outright demand or a purely literal sonic descriptor of the London quartet’s glacial form of punk rock music. This tension between intent and interpretation has been a fundamental element of the group’s output from their formation.

Es is Maria Cecilia Tedemalm (vocals), Katy Cotterell (bass), Tamsin M. Leach (drums) and Flora Watters (keyboards). Their 2016 debut EP, Object Relations, released on influential London punk label La Vida Es Un Mus, was described as “mutant synth-punk for our dystopian present” (Jess Skolnik, Bandcamp, Pitchfork). The band has since become a vital presence in London’s underground DIY music scene, as well as having toured the UK with the Thurston Moore Group in 2017.
After a period with members split between Glasgow and London, Es recorded Less of Everything with Lindsay Corstorphine (Sauna Youth, Primitive Parts) in Tottenham in 2019. As in Object Relations, the dynamic between Cotterell’s bass and Watters’ keyboard is at the heart of Less of Everything’s sound: intertwining sub-zero melodies, gothic anarcho-punk influences (think KUKL, MALARIA, X-MAL DEUTSCHLAND) and some kind of entirely unlocatable aquatic component. When combined with Murray Leach’s precise drumming, the outcome is original and immediately recognisable. Es are a group who know how to leave space, how to strive for minimalism without sacrificing aggression or dynamism. This dynamic provides the perfect backdrop for Tedemalm’s relentless, pointed vocal style. While comparable ‘cold’ sounding groups might affect an impersonal, safer mode of lyrical or vocal detachment, Tedemalm’s strategy is to “push the lyrics as far as I can thematically until they become absurd … overly dramatic ... while still being sincere in the feeling they’re trying to invoke. I try to apply as much emotion as I can.” The result is something intense but nuanced, confrontational but complex. Owen Williams, 2020

'Hold Sacred' ist für das amerikanisch-britisch-deutsche Trio Esben And The Witch ein mehrfacher Neustart. Die Songs entstanden an einem Rückzugsort bei Rom und sind atmosphärisch, fast spirituell, grüblerisch und sanft, fast Ambient, ohne Live-Schlagzeug, während die Instrumentals aus einfachen, spärlichen Gitarren und Tasten bestehen. Aufgenommen ohne externe Produzenten und Tontechniker ist es eine Reminiszenz an frühe Tage, als E&TW ihre Songs im Schlafzimmer aufnahmen. Nach dem Ausflug zum französischen Metal-Label Season Of Mist mit schweren Post-Punk- und Metal-Texturen erscheint das neue Werk wieder auf dem eigenen Imprint Nostromo Records.

Nach einer Handvoll selbst veröffentlichter Singles, EPs und einem Album 'Wardrove' im Februar 2023 kehrt Eterna - das Projekt des in Südlondon lebenden und in Barcelona geborenen Musikers Guillem Peeters - mit seinem neuen Album 'Debunker' zurück, das am 31. Januar 2025 erscheint und sein erstes mit section1 ist. Debunker vertieft die auf 'Wardrove' aufgeworfenen Fragen und dringt in neue Bereiche vor, die gleichzeitig vertraut und völlig neu sind.

‘B. Sides & Rarities Volume One’ is an expanded version of Ethan P. Flynn’s debut compilation and career retrospective.
 Originally released via Bandcamp, this project is an evolving body of work featuring a collection of songs recorded between 2015 and 2018.
 Showcasing a deft songwriting flair and touching on musical inspirations that run the gamut from Sparklehorse to Madlib, Julia Holter to Danny Brown and Tom Waits, the collection first appeared
in 2019.
 Now expanded to include four new songs - ‘Everybody’s Dying To Meet You’, ‘Are You Doing This To Hurt Me’, ‘What You Do To Me’ and ‘When I Taste The Pavement’

Euros Childs returns with his fifteenth album Gingerbread House Explosion released on his own label National Elf. Recorded by Stephen Black (aka Sweet Baboo) at Gus' Dungeon II studios Cardiff, it features Stuart Kidd (Kidd, The Wellgreen, Dr Cosmo's Tape Lab) on drums and Stephen Black on saxophone, clarinet and guitars.
Following last year's all instrumental Olion, Gingerbread House Explosion sees Euros singing once more and returning to the more familiar melodic pop songwriting that he is perhaps best known for. It's an album brimming with memorable hooks and choruses, with songs tackling subjects such as Richard Branson acquiring the moon ( Virgin Moon) somebody's bits falling off in the bath ( Bits of me (Falling off) a couple bonding over a love of bombs ( Cuddle Up to the Bomb ) a man developing an unhealthy obsession with someone else's bins( Bin Night )and screwing things up (Screw It Up ).
Gingerbread House Explosion is an album that will make you laugh, cry and tap your toes - possibly all at the same time.

Beehive Beach sees Euros’ melodic and lyrical flair undimmed on this, his 20th solo album.
The album features a stellar band: Stephen Black (aka Sweet Baboo) on bass & clarinet, Stuart Kidd on drums & vocals and Georgia Ruth on vocals & recorder. Recorded at Studiowz in Pembrokeshire by Owain Fleetwood Jenkins.
Euros’ previous four albums have been wholly solo affairs, but Beehive Beach sees Euros taking a different approach - playing and singing live in the studio with a band. “There's something special about capturing a song live in the studio,” says Euros, “it sets the song in a time and place, like capturing an image. It's also a lot of fun”.
Richly melodic, with an undercurrent of melancholia running throughout, Beehive Beach features ruminations on childhood - Black & White Dinner, Ursula's Crow - an ode to 1950s T.V & radio personality Isobell Barnett - Isobell – and celebrations of music and creativity - My Companion, Elspeth on the Shore - as well as self-reflection - A Different Kind of Blue, See-Saw.

Consuming you in one swoop, through 10 tracks of poetic electronic-pop odyssey’s, Evadney’s sensational voice acts as the guiding force, weaving between piano, strings, harp, driving electronic elements, and almost beatless moody textures.

Following the release of 3 eps on Black Acre, being remixed by I.JORDAN, inclusion on Jamz Supernova’s BBCRadio ‘Ones To Watch’ list, the Glastonbury Emerging talent list and creating an audiovisual live show performed in the UK and Shanghai, Evadney’s debut album ‘It’s Dreaming’ looks set to solidify him as a bold new voice on the UK music scene, bringing with him a new world of melancholy, narrative-driven pop.

The subjects of sexuality, love, family and a yearning for the divine are played out across this cinematic piece of work. “I’m asking myself and everyone to consider; Where is your love? What does it mean for you? What are your boundaries around it and why?” - Evadney.  On ‘Plie’ Evadney’s vivid storytelling flows effortlessly in a surreal conversation with an angel who teaches him how to dance. ‘Qualia’’ is a harp laden ode to his parents and their enslaved ancestors, whilst ‘Leathered & Laced’ and ‘Good Lord’ are devastatingly beautiful and honest stories of Evadney pulling himself out of his darkest moments of lost direction and substance abuse.

The debut album on RCA, from 'Everyone You Know', is a document of a big night out; from the anticipation that drags you through the working week up to the euphoria found under nightclub lights and straight through until the bittersweet comedown the morning after. It's a heart on sleeve collection of boundary-pushing songs that burst with emotion, establishing siblings Rhys and Harvey as songwriters with a unique ability to distil the chaos and adventure of a Saturday night into a body of work built to last the test of time. With references that range from Moby to Kendrick Lamar's classic Good Kid Maad City via the '90s cult movie 'Human Traffic', 'Ain't Smiled In Ages' is an uncompromising vision of inner-city hedonism and the beating hearts of those living for the weekend. Clear LP Vinyl & x11 trk standard CD. Marketing.

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

Preston’s unholiest sons Evil Blizzard return with their most furious, compelling and diverse album to date, released on their own Crackedankles label, (which has recently branched out into releasing the likes of Hotwax, Thank, Bad Guys and TV Face.) Following the critical and commercial success of their last album ‘The Worst Show On Earth’ the band took a year off after that tour to recoup. And then got back together in March 2020, just in time for… another enforced year off. They did, however, release ‘The Very Best Of Evil Blizzard’ on vinyl, which was completely blank. And sold out in less than a day. The new album, their fifth, was written during and post lockdown and ‘reflects the claustrophobia, fear and paranoia of those days’ according to guitarist (not bassist!) Filthydirty. ‘The band has changed. One of our 4 bassists Kav left and we were joined by Fleshcrawl (aka Mr. Dibs, Hawkwind’s vocalist and bassist for over 12 years). Kav was inimitable as a musician, so it never crossed our minds to try and ‘replace’ him, so when Fleshcrawl scurried in he brought a whole new range of sounds and toys to the sandpit. Also, we’d run out of sonic space to play with, having just the basses, and everything had got a bit stale - so I switched to lead guitar which brought a whole new range of possibilities. 'The new album is much more representational of the band’s record collections: it retains the ‘Sabbath-meets PiL-meets Killing Joke’ sound found on the band’s earlier albums, but now encompasses dub, goth and electronica in its 8 tracks, with clear nods in the general direction of Sonic Youth, Jane’s Addiction, Leftfield and The Mission. As opposed to all previous albums which were recorded live in one or two takes, this album took over three months with the band meticulously de-structuring songs ‘that sounded too much like pop songs’ resulting in an album that is uncomfortable yet still accessible. Featuring cover art by the legendary Nick Blinko or Rudimentary Peni, the album is released in gatefold sleeve on black vinyl, compact disc and DL.

With multiple bass players (at one point eight of them) and an array of rubber masks that give both children and adults sleepless nights, somehow, against all the odds, Evil Blizzard are set to release their fifth studio album of nightmare inducing noise and visuals. Titled, the new album sees Evil Blizzard pushing the boundaries further afield from their early sound of 'multiple bass psych', seeing elements of dub, krautrock and goth to provide a much more Post Punk vibe than previous work. Reference points were 'Metal Box', 'Ritual De Lo Habitual', Can and Discharge (whose singer JJ joins the band on the track 'Wake The Dead In Bedlam') as well as the omnipresent Hawkwind, Stooges and Sabbath vibes. By far the band's most stylistically varied and challenging album and yet their most cohesive body of work since their critically acclaimed second album 'Everybody Come To Church'. As well as their trademark 'multi bass onslaught', this album sees sequencing, sampling and even the use of string instruments made from bone.

Recorded between September and November 2025 at Rock Hard Studios, Blackpool, improvised sessions were edited down into more 'song' structures, then reworked into the final pieces. "Recording this was the hardest work we've done," claims Filthydirty. "Previously, we'd just turn up, turn up louder, press record and sieve through the debris and call it 'an album'. On this album we only had two, maybe three tracks that were finished when we went in, and the rest were worked out in reverse; ploughing through improvisations and jams and seeing what actually had any bones or gristle to work with. “Consequently, we had the time and focus to reappraise what we'd done in the past, highlight what we'd done right and realise where perhaps self-indulgence or lack of focus were overlooked instead of time or budget restraints, he continues. “The result is an album that reflects all our record collections. Lyrically it's been impossible to not absorb the chaos and anger transmitting on every news channel recently, and while we'd never write specifically about a certain issue or matter, the shitshow that is the 2020's definitely made its mark or our thinking.

Exclusive - fünf Freunde, die sich schon seit dem Kindergarten kennen, gibt es nunmehr schon gut 10 Jahre.

Angefangen von ihrer Entstehungszeit in der Hochphase des Brit-Pop, als sie auf Englisch sangen und sich in der Münchner Musikszene rund um das Atomic Café etablierten, entwickelte sich die Band ab 2012 in eine vollkommen andere Richtung. Sie erfand sich neu. Es wurde deutsch gesungen und die Musik wandelte sich von Brit-Pop zu einer neuartigen Mischung aus elektronischen-dubigen Elementen und echter Rockband mit Schlagzeug, Bass und Gitarre.

Gleich die erste deutschsprachige Single »Nachtmensch« war ein Achtungserfolg und Ausrufezeichen. Das gleichnamige Album folgte kurz darauf. »Nachtmensch« fungierte dabei als Türöffner: Von Touren und Festivals wie Rock am Ring oder Deichbrand bis zum Gewinn des New Music Awards 2013 erlebte das Quintett in wenigen Monaten fast alles, was man sich als junge Musiker erträumt. Auf das Nachfolgealbum »Neuer Mensch« folgte 2015 eine weitere ausgedehnte Festivaltour mit anschließenden Headline-Shows in Deutschland und Österreich.

Nach diesen ereignisreichen vier Jahren nahm sich die Band eine Pause und begann 2018 mit der Arbeit für ihr drittes Album. Neue Instrumente und Stilrichtungen wurden ausprobiert. Diese kreative Energie vereinigte sich Ende 2018 auf der neuen Platte »Lieder für die Autobahn«. Ein Aufbruch. Nach vorn.

Bei Exclusive sollte man auf jeden Fall einsteigen – und während der Fahrt laut aufdrehen.

Exit North are: Japan co-founder, solo artist Steve Jansen, Swedish singer songwriter Thomas Feiner, pianist Ulf Jansson, and renowned Swedish producer/multi-instrumentalist Charlie Storm. Their 2nd studio album 'Anyway, Still' continues the quartet's appetite for exploring provocative song structures. Weaving classic elements such as piano and strings into the layered threads of the bands material. Where intimacy and atmospherics give way to powerful dynamics, animated rhythms and grooves, driving distortions and crescendos in cinematic scale. Like excavators with uncompromising autonomy, Exit North relish the exploration of every nuance and detail of the recorded performance. Artwork contains full lyrics. " Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen's instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. LP limited to 500 copies on 180gm black vinyl with a gatefold sleeve (release date is later in July).

Prepare to delve into the transcendental realm of experimental soundscapes with the re-release of Experimental Audio Research's "The Köner Experiment". Featuring Sonic Boom (Spacemen 3), Thomas Köner, Kevin Shields (My Bloody Valentine) and others. Iconic album pressed on 180g Heavyweight white vinyl. The artwork stays true to the original. Thomas Köner's visionary work invites you to embark on an introspective journey where boundaries dissolve, and music becomes a profound experience. Each track is a portal to a world where sound is sculpted into something ethereal and thought-provoking. The echoes and glacial reveries of "The Koner Experiment" have been meticulously revitalized, with each track remastered for vinyl by the legendary John Rivers at Woodbine Street Studios. This release stands the test of time within the world of experimental music. Whether you're a seasoned enthusiast or a curious newcomer, this release is a captivating entry point into a universe of sound that defies convention.

No one album could ever capture the claustrophobia-to-catharsis of an Eyehategod show, but this compilation of live tracks and demos comes as close as it gets. Giving you an idea of Eyehategod’s uncompromising, single minded purity of expression and exertion of raw nerve, “10 Year Of Abuse” is a monumental document all the way from the demo era to their later, legendary relentless live tour set. Many other bands have tried unsuccessfully to emulate Eyehategod and have never quite captured their dynamic. Formed in 1988 in New Orleans they have become one of the most well known bands to emerge from the NOLA metal scene. Eyehategod note bands like Melvins, The Obsessed, Discharge, Black Flag, Black Sabbath and Saint Vitus as major influences, but are often mentioned in the same breath as any of these legendary bands. Drawing comparisons to Grindcore, Crust Punk and Sludge Metal, their heavy bluesy, detuned rock and roll has been a lynchpin for the misanthropic and disenfranchised. Eyehategod has released five studio albums to date with a sixth in the works and have toured all over the world in a career spanning over thirty years. Though the band has never released a live album, we are left with “10 Years” as the only official witnessing document to decades of decimating live sonic abuse. Released on May 29, 2001, “10 Years” spans seven live tracks from their European tour in 2000, a live radio show from August 1994 and four songs from an early 1990 demo. The result is a feedback-laced window into that wonderful, brutal Eyehategod “sound”, that addictive, lower-than-low note that nestles somewhere in the pit of your burning, alcohol-soaked, nauseated stomach. The booklet alone is a delight for anyone who worships at the altar of Eyehategod’s oppressively heavy, crushing riffs.

Eyelids' new album, A Colossal Waste of Light, does an excellent job of
framing the quintet as one of today's most compelling purveyors of
lopsided guitar pop workouts and earworm-laden vocal melodies
It also proves that great guitar pop can still evoke favorites from a glorious past -
the penetrating moodiness of XTC's Black Sea, or R.E.M.'s Fables of the
Reconstruction, comes to mind - while refusing to waste time on idle nostalgia.
On their 4th full-length album (but 17th vinyl offering if you include previous EPs)
the Portland, OR band also rediscover the beauty of firsts. A Colossal Waste of
Light marks the first time the band wrote songs remotely (it ended up being fun &
weird to send out a very simple version of a song and see who came back first
with another part for it,John Moen looks back), their first reunion at the
Destination: Universe studio post-isolation, and their first batch of melodious new
tunes since The Accidental Falls, the band's 2020 project with poet, lyricist and
Tim Buckley collaborator Larry Beckett (an extra- ordinary pairing that allowed
Eyelids' two frontmen/ tunesmiths, Chris Slusarenko and John Moen, to find a
new, multilayered appreciation for the art of songcraft)

Please take the five stars not as a statement that this is the best record of 2013, but as a delighted endorsement of a genre classic. With his fifth record (3 with Harpoons, and 2 solo) Ezra Furman has made an album of classicist rock'n'roll that never feels like an exercise, but a living, breathing piece of self-expression. The foundations are obvious, but the simple touches that adorn them are what elevates Day of the Dog. Been So Strange, for example, is the Velvet Underground's chugging R&B reincarnated, but with the delicious addition of a horn section. It leaves you wondering why Lou Reed never thought to do the same, so well does it work. Slacker/Adria is nervy, jittery powerpop until two minutes in, when the bottom drops out of the song and it turns into a doomy riff over which Furman appears to be telling us his nightmares: "I see white crosses burning across a dark landscape." He's seen his critics coming, too: the liner notes contain an index so you can check off the references. Clever, funny, sharp and tuneful – a great rock'n'roll record.” Michael Hann (The Guardian).

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

Der senegalesische Sänger Faada Freddy veröffentlicht nach siebenjähriger Pause sein neues Album. Mit einem sehr organischen Ansatz nutzt er hauptsächlich seine Stimme / Acapella, Handclaps und Bodypercussion. Das Album spiegelt sein kritisches, aber wohlwollendes Denken wieder und thematisiert die Standardisierung des Denkens, mangelnde Reflexion und Entmenschlichung in der heutigen Gesellschaft.

Faada Freddy verteidigt die Idee der Freiheit, indem sie Gewissen und Emotion, Reflexion und Staunen verbindet. Das Album zelebriert außerdem die afrikanischen Wurzeln des Sängers und bringt seine Verbundenheit zu seinem Land und Kontinent zum Ausdruck.

'The Room' ist eine Sammlung folkloristischer Stücke aus verschiedenen Regionen Südamerikas, die von dem in Rio de Janeiro geborenen und in Los Angeles lebenden Gitarristen, Komponisten und Produzenten Fabiano do Nascimento und dem kalifornische Saxophonisten und Ambient-Jazz-Musiker Sam Gendel auf der 7-saitigen Nylongitarre bzw. dem Sopransaxophon interpretiert werden. Das Album ist eine einzigartige Reise durch weniger bekannte musikalische Landschaften und Traditionen, die sich von Argentinien bis zum Amazonas erstrecken.