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The Bug Club sind mit einem neuen Album zurück. Seit ihrem letzten Album sind ganze sieben Monate vergangen. Wo waren sie denn? Every Single Muscle, das fünfte Album der Band, ist das dritte, das von Sub Pop, dem angesehenen Label des walisischen Duos aus Seattle, veröffentlicht wird. Seit Very Human Features, das im Juni 2025 rauskam, sind die Lieblinge von BBC 6 Music und KEXP auf ihrer Nonstop-Tour quer über den Atlantik geflitzt, wie sie es früher auf der Severn Bridge gemacht haben. Verschiedene Festivalauftritte im Sommer haben sie davon abgehalten, Urlaub zu machen - wer braucht schon Urlaub, wenn man in Wales lebt? - bis es Zeit war, wieder ins Songwriting-Studio zu gehen. Das ist wahrscheinlich immer noch ein Schlafzimmer in Caldicott, das von einem Windhund namens Ted frequentiert wird (aufgepasst - er taucht in einem der Songs auf). Die Songwriter Sam (Gitarre, Gesang) und Tilly (Bass, Gesang) sind immer bescheiden und behaupten sogar, dass sie während des Songs ,It's Our Manager David" nur ,herumsassen und nichts taten". Das ist eindeutig eine Lüge. Every Single Muscle startet mit ,Miss Wales 2012" voll durch und bezieht sich dabei auf einen Wettbewerb, den sowohl Tilly als auch Sam tatsächlich gewonnen haben. Es ist der erste von vielen Tracks auf dem Album, die weniger als zwei Minuten lang sind, und gibt den Ton für das bisher punkigste Album von The Bug Club an, das sowohl an die kurzen, knackigen Snaps ihrer allerersten Singles als auch an das Grunzen ihrer jüngsten Veröffentlichungen erinnert. Das Album ist so vollgepackt mit Riffs und eingängigen Hooks, dass Sam tatsächlich um Erlaubnis bittet, im zweiten Track ,A Good Day For Dying" ein Solo einbauen zu dürfen. Er bekommt zwei Sekunden Zeit. Glücklicherweise fragt Sam später noch einmal und bekommt mehr Zeit. Auf achtzehn Songs gibt's genug klassisches Gitarrenspiel von Sam und Tilly, um selbst die lautstärksten Bug Club-Fans zufrieden zu stellen und die Behauptung der Band, sie seien ,nur technisch versiert auf ihren Instrumenten", klar zu widerlegen. Dieses Album ist ein Beispiel für effizienten Maximalismus - so wie wenn dein Vater das Auto für den Urlaub vollpackt. Bring mit, was du willst; der Platz ist knapp, aber sie kriegen es irgendwie rein. Zu den Texten: Während ,Very Human Features" hervorragend alltägliche Dinge aufzeigte und ihre Absurdität hervorhob, schauen The Bug Club auf ,Every Single Muscle" genauer auf sich selbst. Allerdings nicht so sehr auf introspektive Weise, sondern eher so, wie ein Außerirdischer ein gefangenes Exemplar auf einer intergalaktischen Trage untersuchen würde. Horrorfilme haben ihr ,Body"-Subgenre, jetzt bekommen auch Garage-Rock-Alben ihres. In einem völlig neuen Sinne des Wortes selbstbezogen, wird die menschliche Form und Verfassung im Laufe des Albums aus jedem Blickwinkel beleuchtet und untersucht. Wir spüren eine surreale Distanz zum Selbst, die den allgegenwärtigen, von Langeweile geprägten Humor hervorbringt; im letzten Song verkündet Sam, dass er ,es satt hat, ein Mensch zu sein". The Bug Club scheinen dem Konzept, ein Mensch zu sein, fast misstrauisch gegenüberzustehen - als wären sie in einem Kostüm aufgewacht, das sie nicht anziehen wollten und nicht ausziehen können. Ist drei die magische Zahl? Wahrscheinlich nicht. Aber Every Single Muscle - das dritte Sub-Pop-Album von The Bug Club - kommt dieser Vorstellung nahe genug, um den durchschnittlichen seltsamen Menschen davon zu überzeugen, dass es so sein könnte.

Two decades into their existence, Elder remain an anomaly in the heavy underground - a band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their identity. Their new album Through Zero is a reaffirmation of their commitment to pushing boundaries and cements their status as leaders in heavy psychedelic rock. Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmosphere along their path of music-making in the past twenty years. On Through Zero, Elder takes these years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find familiar elements of new textures, sequences, and sounds alongside Elder"s iconic take on heavy rock. As always, every spin reveals new details. Recorded in Berlin across several months between tours in 2025, Through Zero is the first album which the band not only produced but also comixed together with longtime collaborator Richard Behrens. The album sounds more like a full extension of the band"s creative intentions than ever before.

FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!

Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.

With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.

Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




[d] B1: Visions of Light -

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker. An epic double album set due for release May 29th 2026 on Fuzz Club, 'Honesty Flowers' finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy minute run time. A six-piece band live, where things take a more ever-evolving improvisation-based approach (see their recent 'Live At Fuzz Club Festival '25' LP), on the recordings Ferarri writes, plays and records everything himself – guitars, keys, flute, sitar, and an arsenal of percussion all feature. Never not working on new music, Ferarri started laying down these new tracks in his home barn studio in a small mountain village overlooking the city of Parma before its 2024 predecessor 'Mount Elephant' even hit the racks. The result was mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine) and mastered by Joseph Carra (King Gizzard, Babe Rainbow, ORB) On the new record, Ferarri says: "Honesty Flowers was born from listening to lots of funk music from all over the world, lots and lots of African music, and from listening to myself as I spent whole nights playing all kinds of percussion instruments. I would fall into a sort of trance and play the same rhythm for hours on congas or on a djembe. It's an album that was born above all from the beauty of being able to narrate the unknown and recognise yourself in it, which could translate into telling stories and bringing them to life.

For well over a decade, MONOLORD have caused mass riff hypnosis with longform epics steeped in repetition, volume, and heaviness. One of heavy music’s most consistent and beloved bands, MONOLORD are gearing up for their next chapter with a new album titled Neverending. In looking for a new take on the genre, MONOLORD approached the legendary producer Sylvia Massy, known for her work with Tool, System of a Down, and Johnny Cash, among many more. The payoff from this new process is undeniable. Neverending feels like the culmination of 13 years of heavy, molten music, with a keen eye towards creating a sharper album. “The recording of this album is an example of the spirit of MONOLORD’s camaraderie,” says bassist Mika Häkki. “We’ve looked back and seen for the first time how much we have done as a band collectively, and realized what an intense 13 years it has been.” "The lyrics on this album are more personal than before because I went through some major life changes in the last couple of years,” guitarist/vocalist Thomas Jäger says. “I usually write about religion and how people are superstitious, but this record is more about relationships between people. But it’s not all about me. Sometimes I’m writing from another person’s perspective.” Neverending’s lead single “You Bastard” offers listeners a sharp contrast: A propulsive groove offset by lyrics about suicide. There’s two sides to suicide,” Jäger points out. “There’s the person who commits suicide and the people who gets left behind...The choruses represent the person left behind, and that person is calling the other a bastard—but it’s not pointing fingers or saying, ‘You suck.’ It’s more like, ‘You left me here with all the bullshit.’ It’s an understanding that life is not easy." Though it might not be immediately obvious, album opener “Iodine” was inspired by 70's rock epics like Lynyrd Skynyrd’s “Free Bird,” The Eagles’ “Hotel California,” and Led Zeppelin’s “No Quarter." Elsewhere, album closer “It’s Neverending” is the first MONOLORD song that Jäger doesn’t sing on. Instead, the death-metal style vocals are performed by former Entombed bassist Jörgen Sandström, (also of Grave, Domedagen and Firespawn.) 13 years on, MONOLORD’s path takes a new turn, and Neverending becomes the band’s most befitting album title. “It's been a wild ride and still is,” says drummer Esben Willems. “I've spent a quarter of my life in this band. Looking back, I'm incredibly proud of what we've accomplished along the way, and in many ways, this album feels like the essence of everything we've done so far. My mindset is the same it's always been, to be the absolute best the three of us can be.”

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Roots & Wings marks the electrifying debut of 20-year-old blues-rock sensation Amani Burnham, who has captivated millions on social media with his raw talent and magnetic presence. Released on the acclaimed Blind Pig Records, this 12-track collection showcases Amani's remarkable guitar work—played uniquely with his right-hand thumb rather than a pick—alongside soulful vocals and introspective songwriting. From the turbo-charged instrumental "Fastlane" to the deeply personal title track reflecting on his Ethiopian roots, the album crackles with groovy blues-rock riffs, cosmic solos, and stinging vibrato. Recorded at the renowned Carriage House Studios with a classic power-trio setup, Roots & Wings honors the legacy of blues-rock giants while heralding a bold new voice for a new generation.

San Francisco artist Ross Hogg has been grafting away on his grooves for many years. He has plenty of styles in his arsenal and here digs into some sun-baked reggae and lovers' rock. Up first, he reworks 'Rose Inna Di Dark', the title cut from the debut album by British soul singer Cleo Sol. Her angelic vocal rides a clean reggae rhythm with sleek melodies reflecting rays outwards. On the flip is 'Come Around & Kick It', a deep cut groove with an r&b vocal and classic reggae guitar riffs. It's a steamy combination that's designated to get plenty of backyard parties and beefy sound systems ablaze as we head into the warmer months.

Secret Vault is a new and already essential edit label from what is rumoured to be a group of Far Eastern otakus - a collective term in Japanese for obsessive interests in niche hobbies, in this case, disco. This second drop kicks off with the impossibly joyous and uplifting A-side, with trilling strings that just go up and up and up as the funky drums and elastic male vocals match that energy. Flip it over for an equally euphoric B-side with funky, knotted bass riffs, instrumental grooves and a steamy female vocal. Both are no-brainers for anyone looking to inject big heart into their sets.

Das untote Quintett GRAVETY ist aus seinen Gräbern auferstanden. Angetrieben von der Kraft des mächtigen Cryptor haben sie neue epische Hymnen geschaffen, die diesmal düsterer und heavier sind. Auf ihrem dritten Album "Of Cults And Chaos" entführen sie ihre Children of the Grave in die verdammten Reiche des kosmischen Horrors. Inspiriert von H.P. Lovecraft und John Carpenters Apokalypse-Trilogie verbinden die Songs die Markenzeichen der Band wie treibende Riffs, eindringliche Parts, eingängige Refrains und dramatische Dual-Gitarren-Leads mit atmosphärischen Elementen und spannendem Songwriting. Tritt dem Kult bei!

The Dwarves return to their punk roots with a fun, energetic record. Standout tracks include: Damned If I Do, We Are The Scene, Psychosis Tripping. Jenkem finds The Dwarves returning to the raw, confrontational energy that defined their early work, delivering a fast, irreverent blast of punk rock that blends melody, aggression, and their trademark shock humor. Packed with short, high-impact tracks like "We Are The Scene," "Damned If I Do," and "Psychosis Tripping," the album balances tight songwriting with the band's chaotic, anything-goes attitude, moving effortlessly between hardcore punk bursts and hook-driven rock moments. Formed in the mid-1980s and long led by founding member Blag Dahlia, The Dwarves have built a reputation as one of punk's most provocative and unpredictable acts. Emerging from the underground with releases like Blood Guts & Pussy, they became notorious for their explicit artwork, confrontational lyrics, and myth-making persona that blurred fact and fiction. Over decades, the band has shifted fluidly between garage rock, hardcore punk, and pop-inflected punk, while maintaining a consistent identity rooted in speed, satire, and rebellion. Their ever-changing lineup has included notable musicians such as HeWhoCannotBeNamed and members connected to acts like The Queers and Zeke, reinforcing their deep ties within the punk scene. With Jenkem, The Dwarves reaffirm their core strengths--brevity, intensity, and attitude--while delivering a record that feels both nostalgic and immediate. The songs hit quickly and leave an impression, driven by sharp riffs, pounding rhythms, and Dahlia's biting vocal delivery. As a continuation of their long-standing ethos, the album stands as a reminder of the band's enduring ability to provoke, entertain, and channel punk's most unfiltered spirit.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

Mike Gordon's debut album as Mk.gee, "Two Star & the Dream Police," is a groundbreaking fusion of pop, rock, and soul. Hailing from New Jersey, the 26-year-old musician redefines familiar genres with his unique approach to sound, incorporating unconventional tones, tempos, and textures. His distorted guitar riffs and soulful vocals, reminiscent of Prince, cut through murky, experimental mixes, creating a captivating sonic landscape that refuses to conform to traditional boundaries.

Despite his experimental tendencies, Gordon demonstrates a mastery of melody, crafting intricate and engaging pop songs from seemingly chaotic compositions. "Two Star" is both innovative and accessible, offering a fresh take on contemporary music while retaining a timeless quality.

While Gordon has been releasing EPs and mixtapes since 2017, it was his collaboration with Dijon on the latter's debut album, "Absolutely," that introduced him to a wider audience in 2021. Their dynamic live performances, characterized by Gordon's frenetic guitar playing and Dijon's charismatic stage presence, exemplify the creative synergy between the two artists. Dijon credits Gordon with pushing him to new creative heights, infusing his music with a newfound rhythm and freedom. "Absolutely" marked a significant evolution for Dijon's sound, with Gordon's influence recognized as invaluable to the project's success.

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top dates without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out top perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.