Buscar:t power

Sophia Kennedy, the Baltimore-born, Hamburg-based artist, returns with her new album in May. Known for her genre-blending innovation and distinct vocal style, she has collaborated with DJ Koze and earned praise from The Guardian, Iggy Pop, and Resident Advisor.

Following her self-titled debut (2017, Pampa Records), a radiant dance between the glamour of the Great American Songbook, electronic textures, and clubland influences, earning her international acclaim, Kennedy released her second album, Monsters (2021, City Slang), and delved deeper into surrealism and transcendence. Now, on Squeeze Me, Kennedy and her long-time musical collaborator and co-writer Mense Reents sketch a more disillusioned commentary on the status quo of the world at large. The complexity of interpersonal relationships, questions of power dynamics, and the quest for self-determination—longstanding themes for Kennedy—run as a cohesive narrative throughout the album.
More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues. The first single, "Rodeo," features hypnotic piano chords, shimmering synth basses, and glimmering choirs. 2025 will see Kennedy back on tour in Europe, supported by an international PR campaign to expand her global presence.

Drone legends Earth, the Seattle group led by Dylan Carlson, ready their first release on Fire Records. Deluxe Ltd edition 'Dark Star' effect vinyl with matte and spot UV sleeve, DL card. Unreleased live recording taken from their show at London's KOKO in 2016. Includes live renditions of fan favourites 'The Bees Made Honey In The Lion's Skull' and 'High Command'. For fans of: Sunn O))), Sleep, Boris, OM, Spacemen 3, Witch, Hawkwind, Boris, Melvins. Seattle drone-rock titans Earth release their latest live document, WEM Dominator (Live in London NW1, 2016), an unrelenting display of the band's seismic force, recorded during their performance at London's KOKO in 2016. Sharing the bill with legendary heavyweights Neurosis, Earth delivered a set of hypnotic intensity, crushing volume, and towering, glacial beauty. For over three decades, Dylan Carlson and his ever-evolving ensemble have been crafting tectonic soundscapes that defy convention, forging a path between meditative drone and colossal doom-laden riffs. WEM Dominator is an album of mesmeric modal patterns, it's a recording that captures the trio's intricate, slowly evolving euphoria in a period when their experimentation swerved through endless possibilities. From the creeping grandeur of "The Bees Made Honey In The Lion's Skull" to the ominous crawl of "Even Hell Has Its Heroes," the album presents Earth at their most immersive and powerful. This record reasserts Earth's mastery of atmosphere and weight, where every note feels tectonic, and silence itself becomes an instrument of crushing tension. It is a hypnotic, stripped down sonic symphony embracing influences as wide ranging as the Velvet Underground, Terry Riley and La Monte Young, a visceral slow-motion reading of the original sound that inspired Sun O))) and the generation that followed. The lineup of this performance was Dylan Carson (guitar), Jodie Cox (baritone guitar) and Adrienne Davis (drums), it was recorded live at KOKO, London on November 7th 2016 and is mixed and mastered by Mell Dettmer at Studio Soli in Seattle.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

Dune: Prophecy is an HBO original series based on the
best-selling books by Frank Herbert and Brian Herbert, and a spin-off to the blockbuster movies of Dune.

The music for the series was composed by Academy Award-winning composer Volker Bertelmann (All Quiet on
the Western Front, Conclave, Lion), whose evocative, futuris- tic ambience, meets bold, powerful orchestral tracks on this score, accompanying the story.

Set 10,000 years before the ascension of Paul Atreides, Dune: Prophecy follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fa- bled sect that will become known as the Bene Gesserit. Dune: Prophecy is inspired by the novel “Sisterhood of Dune”, writ- ten by Brian Herbert and Kevin J. Anderson.

The soundtrack of Dune: Prophecy is available as a limited edition of 1000 numbered copies on orange “Spice” marbled vinyl and includes a 4-page booklet with pictures from the series.

Hailing from Naarm/Melbourne, punk trio CLAMM—comprising Jack Summers, Miles Harding, and Stella Rennex—delve into the tumultuous experience of youth striving to lead an authentic and principled life in an increasingly chaotic world. Their music confronts the challenges of navigating entrenched systems of power and oppression while striving to preserve mental well-being and a strong sense of self. Through their raw and visceral sound, CLAMM aspires to foster community, ignite creativity, and provide a channel for catharsis.



Serious Acts continues the band’s signature raw intensity, with frontman Summer’s commanding vocals and incisive lyricism delving deep into the highs and lows of human existence.

As on their first EP "Mokili Na Poche" on Seismographic Records, ATELIER KAMIKAZI'S collaborative lyrics are dedicated to their spectrum of life as street kids. They struggle with the exhausting and dangerous beauty of life in Kinshasa by encouraging themselves and promising never to give up. Neither in the face of lying politics, nor in the face of a religion whose representative they call "Priest Cat's Heart", nor in the face of that great power to which they dedicate several songs, the drug called "Bomb", made from car catalyst deposits mixed with a wild cocktail of ingredients. They warn against using this drug to see "the nakedness of the turtle", because the only thing that could really be seen would be the ridiculousness of those consuming the drug. They counter that they are on a mission to conquer the future with their weapons: the weapons of speech, their knowledge and Loketo, the hip swing of dance.

Co-led by pianist Nina Gat and drummer Ananda Brandão, Ninanda fuses modern jazz and soft folk through magical compositions, showcasing powerful rhythms and dreamy vocals over rich, intricate harmonies.

Record is limited to 100 copies, numbered on sleeve

Spectrums Data Forces returns to New Flesh Records 15 years after his debut on the french label. Following the "Exodus"(NF02) and "Reencarnacion" (NFLTD05) releases, Granada based Jose Maria Moreno Vega proudly presents the "Trinity EP", a collection of groundbreaking mayhems characterized by powerful basslines, intricate drum programming, and dystopian atmospheres.
Pounding electro "form900" opens A side with a captivating track where arpeggiated melodies fuse into retro modern vibes in SDF typical signature. The invasion has begun!!
This well-crafted tune comes with a devastating remix from NF mastermind. Umwelt unveils of pure distinctive and instinctive analog beast, merging techno to electro-driven rhythms. Merciless!
B side kicks off with outstanding "Mind restore". Written under SDF techno side project C-System, this 4/4 monster of a track alternates between eerie atmosphere, IDM touches and futuristic sororities.
Last but not the least "7H3 F4M1LY" from 7053M4R14 (another Spectrum Data Forces moniker) reveals subtle and crystal clear stabs over groovy yet dancefloor broken rhythms.
Rarely has a release ever stuck so much to the world of New Flesh Records. Rush on it!

Im Französischen sagt man oft, dass man in alten Töpfen die besten Suppen kocht. Dieses Sprichwort trifft auf Rash Panzer idealer Weise zu. Anfang Dezember erst veröffentlichte die Genfer Power-Rock-Combo ihr neues, fünftes Studio Album, und das mehr als 40 Jahre nach der Gründung der Band! Nach dem Erfolg bedankt sich die Band jetzt bei ihren Fans, mit einer remastered Version des im Jahr 2013 veröffentlichten Albums Back On The Rocks.

Die großartige Zusammenarbeit mit Producer Serge Morattel bei den letzten beiden Alben, inspirierte die Band dazu ihr früheres Werk nochmals mit stärkerem und frischerem Sound zu veröffentlichen. Es wurde nicht nur remastered, sondern auch auf drei Tracks geremixed und Band-Leader JJay Guerchakoff hatte das Vergnügen, einige Vocals neu aufzunehmen. Ein must have für alle Fans der Band und guten Hard Rocks.

Deraps's sophomore album ''Viva Rock N' Roll'' is a trip back to the greatest years of Classic Rock music. The album features a nostalgic but unique sound & vibe, with dominant guitar riffs & solos, angelic vocal harmonies, deep & emotional, as well as fun lyrics, catchy musical hooks and choruses, and a variety of songs & styles that will keep you excited from beginning to end. With it's raw feel & mix, Deraps bring back authenticity, liveness & groove to Rock N' Roll, topped with a fully hand drawn cover artwork that delivers a powerful message. A breath of fresh air in the Rock genre, and in today's music.

Beat Revolution is the new 14-song album by MUCK AND THE MIRES available April 25 from Dirty Water Records (London), featuring their smash radio singles “Cool Imposter” and “Beat Revolution” + 12 brand new revolutionary tracks.
On BEAT REVOLUTION, their 7th full-length album, we find the band marching forward into the sounds of Powerpop (“Overnight Delivery”), Punk Rock (“Julia’s Got a Boyfriend”), and pure Nuggets-era Garage Rock (“She’s Too Good For You”).
“With a blend of ‘50s kitsch, late ‘60s garage rock guitar and one of the most repetitious hooks ever, ‘Cool Imposter’ quickly marked out a place as one of their strongest tracks to date.”- Real Gone
“Now here's a political campaign we can all get behind! “ ‘Beat Revolution’ features the signature Muck sound — recalling '64 era Beatles if they'd somehow time travelled into the future and heard the Ramones. Be sure to volunteer today! Faster and Louder
“’Beat Revolution’ is pure classic early garage rock 'n' roll, and who doesn't need that sound more often? - If It’s Too Loud
Boston's Muck and the Mires, have been described as a blend of the HAMBURG era BEATLES and the CBGBs era RAMONES. They have built a worldwide following through relentless touring, radio and satellite airplay and a string of recordings (considered by many to be cult classics) produced by Kim Fowley and Jim Diamond. The band gained worldwide recognition when they were featured on MTV as the winners of Little Steven Van Zandt's (E-Street Band/Underground Garage) national battle of the garage bands contest. Beat Revolution is the followup to their highly successful album, Greetings From Muckingham Palace, which earned a Coolest Song in the World (“I’m Your Man”) on the Underground Garage SIRIUS XM show.

Proudly presenting Maravilhosamente Bem the powerful, female-centred third album by Brazilian singer, songwriter, actress, and creative director, Julia Mestre.
Alongside being a member of the Latin Grammy-winning Brazilian supergroup, Bala Desejo, Julia has been steadily building a solo career where her unique vision and alluring soft, sultry voice take centre stage. Drawing inspiration from ‘80s ballads, MPB, pop and disco productions, each song on this third album finds Julia creatively exploring different characters and tones.

A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.

Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.

Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars.

Released on Mr. Bongo (ROW) and Altafonte (Brazil).

Twelve years on from the release of their debut album This Life, Dublin indierap trio The Original Rudeboys are back to play a sold-out show in the 3Olympia Theatre in April 2025, coupled with a limited edition run of first time vinyl pressings of debut album "This Life" One could say that indie- rap trio "The Original Rudeboys" were ahead of their time. Once sniffed upon, a strong Irish accent is prominent in most breakout Irish acts at the moment (Fontaines DC, Kneecap, Gurriers, LYRA, Curtisy). The Original Rudeboys were doing this 15 years ago, and their stand-out hit 'Stars In My Eyes' was met by thousands of fans across Europe when they supported The Script, or headlined their own arena tours. The Original Rudeboys: Reunion Show in the 3Olympia this April sold out straight away which is a testament to the staying power their music still has in Ireland.

Speaking on the incredible feat, the band said; "We never thought a show was ever going to happen for us again nevermind at somewhere as prestigious as the Olympia theatre. We have played 5 of our own headline shows there but to add 1 more to the history books over 10 years on is truly a blessing and we are very grateful to everyone who made it happen, we can't wait to do it again." With the reunion show being in such high demand that it was an instant sellout, the band also wanted to give back to the fans another way. They are releasing a limited vinyl pressing of their debut album "This Life". This album was never released on vinyl before and will contain one extra bonus track - a new release from the band, hinting at what's to come. "We started in the music industry on the backend of the physical media decline but to see it come full circle and the rise in fans buying vinyl records is very promising. The magic of having something tangible as fans ourselves is not lost on us and to be able to listen back to this album with the crackle of the needle gives it an extra bit of magic we didn't know it needed.

'Heartstrings' is the fourth album from London-based Snowpoet, led by the creative partnership of Lauren Kinsella and Chris Hyson Since their debut EP in 2014, the band has built a devoted audience drawn to their emotionally rich songwriting, intricate production, and distinct sonic identity. With 'Heartstrings', they take a bold step forward, writing and recording in the studio as a collective for the first time, capturing the raw immediacy of live performance while expanding their sound with lush textures, layered harmonies, and deeply personal storytelling. "We wanted to capture the moment to create something that feels real, unfiltered, and alive," says Chris Hyson.

This album marks an evolution in Snowpoet's approach. Instead of the fragmented process of previous records, 'Heartstrings' was born in the moment, with the full band improvising, shaping, and refining ideas together in real time. The result is an album that feels alive - organic, immersive, and deeply human. Sonically, the group leans into rich, analogue synth tones, intricate drum textures, and a dynamic push- and- pull between electronic and acoustic elements. Lyrically, it is their most personal work to date, weaving themes of life, loss, and renewal with poetic honesty. "The sound of this record is richer, bigger, more expansive, representative of the culmination of everything we've done so far," reflects Lauren Kinsella. At the heart of 'Heartstrings' is a powerful contrast - moments of deep emotional weight balanced with luminous joy. Songs like "Host" dive into themes of grief and the body as a vessel for experience, while tracks like "New Tree" radiate warmth and rebirth. The band's signature harmonies and layered production give the album a three- dimensional quality, pulling the listener into a space where vulnerability and beauty coexist. With 'Heartstrings', Snowpoet solidifies their position as one of the most innovative and emotionally resonant bands in the UK's jazz- adjacent and electronic-acoustic crossover scene. This is an album for listeners who crave depth, sonic richness, and lyrical honesty.

THEE ALLYRGIC REACTION are a fuzz'n'Farfisa-powered 60's garage punk outfit from San Diego, CA USA! While they specialize in fuzz stompahs that will move your feet, they will also melt yer mynd with minor key psych madness! They are also leaders in the emerging "protest garage" scene, with songs that address the import topics of today's over aged teen scene!They have a maraca-breaking wyld live set, but also managed to sit still long enough to record their debut LP for Soundflat Records As every band does, they argued over the title for the LP, and finally settled on one that NO ONE likes, simply, "Thee Allyrgic Reaction"! All four lads grew up in the 80s Charmkin Scene, witnessing first-hand groups like the Unclaimed, The Primates, The Miracle Workers, The Tell- Tale Hearts, The Cynics, The Gruesome, Lyres, The Chesterfield Kings, The Fleshtones and The Brood! (and about a 100 more not named here!) The boys are THRILLED with their new LP on Soundflat, which was recorded over a two day period, and required nine California burritos, three pizzas, two cases of beer, and several cans of wine.

The record features 11 original compositions, as well as their own version of their favourite UNCLAIMED-song. One of the originals is an ode to Peter Maniette of the Crimson Shadows and Wylde Mammoths. So what do they sound like? They certainly pull from the farfisa'n'fuzz blasters of the past, but also employ some 12 string, harpsichord, harp and a few other surprises. They are a little folk, a little psych and LOT of garage punk! The group records at Earthling Studios in the San Diego area, which features an array of vintage gear, including an 8- track from Sunset Sound that was used on Forever Changes. That's how you say "MO-JO"!!!

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

Das zweite Album des irischen Bluesrock-Trio jetzt auf Vinyl! 2014 stieg es auf Position 12 in die irischen Albumcharts ein und ist eine brillante Reise voller Blues-Rock Power! Als Nachfolger zu dem 2012 veröffentlichten und von Kritikern vielbeachteten Debüt "Electric Soup"baut das zweite Album der Band, "Rumble Shake" auf diesem Erfolg auf und liefert 10 Bluesrock-Songs aus dem tiefen Süden Irlands. Wahre Geschichten und sündhaft gute Musik mit Gästen wie zum Beispiel der texanischen Legende RAY WYLIE HUBBARD. Aufgenommen wurde das Album in den Westland Studios in Dublin, während das Trio die Historie des Ortes in sich einsog - denn in diesem Studio haben schon Größen wie BOB DYLAN, HORSLIPS und THIN LIZZY ihre Platten machen lassen - und abgemischt in Texas von George Reiff (TEDESCHI TRUCKS BAND, THE BAND OF HEATHENS, RAY WYLIE HUBBARD). Christy O'Hanlon (Gitarre, Vocals), Stephen McGrath (Bass) und Gev Barrett (Drums, Background-Gesang, Perkussion) schrieben bis auf "Jessie Mae" (RAY WYLIE HUBBARD) alle Songs selbst und lassen den Bluesrock weiter Unvergänglichkeit atmen, ohne ihn dabei verstaubt klingen zu lassen.