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As a composer Martijn Comes has a special interest in timbral music and various musical traditions, with an emphasis on the electro-acoustic history. His works for the carillon were performed live at festivals like Le Guess Who and Rewire. He also released several solo-albums and collaborated with a wide range of contemporary artists like Frans de Waard, Lukas Simonis, Nicoleta Chatzopoulou and Hessel Veldman, with whom he co-produced the album EPoX, published by Bedouin Records in 2020.

Veldman is a veteran of the Dutch musical avant-garde and published several legendary cassettes on his label EXART in the early 80’s. His experimental soundscapes are laced with industrial elements, creating a hypnotic, dark undercurrent of sounds. Besides operating under his moniker Y Create, he was a member of the improvisation group Gorgonzola Legs and kept working intensively with Fluxus artist and Dutch underground cult-figure Willem de Ridder. The home-taping era shaped his free approach to music. His diverse musical practices have been traversing several decades by now and he continues to play music according to his own insights and intuitions.

Because of the emotional and poetic weight of the pieces, reverend Tom de Haan was consulted for this collaborative album. It was the start of a musical exploration and a search for peace, balance and above all freedom. Reaching out to a distant world, a place to come to terms with ourselves. A journey full of obstacles and setbacks. Sometimes persistently moving forward, sometimes doubtful. 'Are there Gods among us or inside us?' The music as a manifest, the expression of an inner struggle.

Throughout the chapters of this album layers of sound and distant voices arise and seem to float on the surface before they disappear again. Swaying on the gentle waves, running ashore, we find ourselves in unknown places. Manifest Exodus is an album for deep listening in the vein of Lustmord, Lawrence English or Rafael Anton Irisarri. It contains 4 rich, immersive pieces with austere drones, ambience, intense sonic textures and an incredible sense of detail to create a multi-layered escape to a better world.

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen. Other Woes Are Yet To Come Edition (single colored (pink) vinyl, ltd to 220 copies ww)

For a few years Leo Robinson was the sort of hidden secret you sometimes come across in local music scenes. First in Manchester and now in Glasgow, he’d pop up regularly on DIY bills or as local support to a touring act, quietly blowing them off stage with his rich baritone vocal and homespun lo-fi tales of folklore and animism. With The Temple – his debut on PRAH Recordings – he looks set to cross over from being a cult concern.

“There's a spectrum within the album between fully mythologising or symbolising my lived experience, and just stating it in very matter of fact terms - that push and pull between the need to abstract and the need to break through the abstraction and have an honest moment with oneself” he explains. “This is one of the themes of the album as well as part of the process. The aim was to take all these anecdotal or symbolic elements and merge them into one narrative and one world, in a way that you can find your way through the record as if it were a landscape or language with its own logic.”

The record takes on a pastoral, slightly baroque nature that Robinson partly attributes to a friend screening a lot of ‘70s BBC material in his book shop that they used to hang out at. There are also elements of jazz, flickering to life in “The Spring”’s piano-led finale and coda.

Thematically, Robinson likens it to a Jungian ‘Hero's Journey’, his voice possessing a character who goes through several defined stages of consciousness. From conception and the beginning of an earthly life, the first half of the album recognises the development of the protagonist’s narrative and identity, before “The Pink Light”’s freeform departure from the hitherto more song-based suite devastatingly shatters this. The second half of the album then sees the protagonist witness “the uncontainable” water; learning that true divinity lies not in the individual self or lofty notions of gods and temples, but in the unremarkable nettles, insects and dogs on the roadside riverbank - referenced on tracks “The Cormorant” and “The Spring”.

Although now residing north of the border, The Temple was written while Robinson was finding his feet in Manchester, having moved there to go to art school as a teenager (as a visual artist, he has exhibited at the Tiwani Contemporary in London and Cardiff’s Chapter Arts Centre). As a result, many of the tracks bear out the shadows of his experiences in the northern city – at their most visible and explicit on the beautifully fragile storytelling of “The Pavement”. Written the day after the Manchester Arena Bombings, it recalls Robinson waking up to go to work on a hot summer’s day to discover that his street had been blocked off for terrorism investigations; it then progresses through the rest of his day, amidst the grimly surreal aftermath of the previous night.

Having written the chords, melodies and lyrics to the album, Robinson fleshed out the tunes by scoring out parts for the additional instrumentation, but it was only when a friend sent a demo to PRAH that he was able to fund its full recording. Guitars, vocals, piano and French Horn (the latter recorded by Lauren Reeve-Rawlings) were put down at Green Door Studios in Glasgow. Microphones were placed around the room and the sound of the musicians stepping on creaky floorboards and opening creaky doors were left audible to further the record’s live feel. The harpsichord heard on “The Serpent”, meanwhile, came from University of Glasgow lecturer David McGuinness. Strings were then recorded at PRAH Studios by Francesca Ter-Berg and Raven Bush, the Social Singing Choir adding their choral vocals to “Temple II”.

The result is an album that feels both luscious and yet intimately raw; as grand as Richard Dawson at his most panoramic but containing the rough edges and skeletal looseness of a Calvin Johnson work. At times Robinson lyrically moves towards the surreal, but ultimately this is a record grounded in reality; a true showcase of Robinson’s skill as a lyricist and songwriter.

Nothing But Thieves werden am 15. März die Deluxe-LP-Version ihres Albums "Dead Club City" veröffentlichen, das bei seiner Veröffentlichung in England die Spitze der Charts erreichte! Darauf zu finden sind ihre neue Single "Oh No: He Said What", zwei weitere unveröffentlichte Songs sowie Akustikversionen von "Overcome" und "Tomorrow Is Closed". Die Band wird am 19. Februar 2024 in Zürich (The Hall) live zu sehen sein.

Moor Mother is an American musician, poet, and interdisciplinary artist known for her avant-garde and experimental work. The Great Bailout is an expansive meditation that acts as a non-linear word map about colonialism, slavery, and commerce in Great Britain. Featuring guest contributions from Lonnie Holley, Angel Bat Dawid & Sistas of the Nitty Gritty, Vijay Iyer, Mary Lattimore, and more, it"s Moor Mother"s most uncompromising vision to date. Moor Mother has gained recognition for her unique blend of spoken word, noise, and electronic music, addressing themes of race, gender, and socio-political issues. She hails from Philadelphia and has been an influential figure in the city"s vibrant arts and music scene. She has received critical acclaim for her albums, with reviewers praising her fearless approach to sound and her thought-provoking lyrical content on albums like "Jazz Codes" and "Analog Fluids of Sonic Black Holes", showcasing her boundary-pushing sonic experiments.

Die in Montréal lebende schwedische Sängerin und Komponistin hat in den letzten 20 Jahren sechzehn unabhängig produzierte Alben vorzuweisen und ist zahllose Kollaborationen eingegangen. Sie ist eine poetische und kühne Kraft in der Musik, die sich dem Genre entzieht. Ihre Stimme wurde als "eine führende Präsenz" (Exclaim) beschrieben, die "den Unterschied zwischen dem Göttlichen und dem Dämonischen aufspaltet, gekonnt aus den Angeln hebt" (Under The Radar) und "neben den größten Indie-Künstlerinnen steht, die vor nichts Angst haben" (Le Devoir). Aufgewachsen auf einer Insel an der schwedischen Westküste, begann ihre musikalische Laufbahn, als sie 2004 nach Stockholm zog und Mitglied des renommierten Kollektiv-Labels und Veranstaltungsortes Fylkingen wurde (die älteste Organisation in Europa für experimentelle Musik und Kunst, gegründet 1933). Seit ihrem Umzug nach Montréal im Jahr 2012 erstreckt sich ihre Karriere über zwei Jahrzehnte und ist geprägt von einem unerschrockenen Streben nach Originalität, einem unerschöpflichen Wunsch, Genres zu überschreiten, und einem Engagement für künstlerische Zusammenarbeit. Angell verschmilzt musikalische Bereiche von Klassik, Folk, Rock und Pop bis hin zu Jazz, Elektronik, freier Improvisation und Avantgarde. Bekannt ist sie vor allem für ihr unkonventionelles künstlerisches Schaffen mit der gefeierten und für den Polaris nominierten Avant-Rock-Band Thus Owls, die sie seit 2007 gemeinsam mit ihrem Mann Simon Angell leitet. Zu ihren früheren Ensembles gehören das schwedische Vokal-Bass-Duo Josef & Erika und die elektronische Noise-Gruppe The Moth. Zur Unterstützung dieser und anderer Projekte unternahm sie ausgedehnte Welttourneen, bei denen Daníel Bjarnason (Ben Frost, Sigur Rós), Liam O'Neill (SUUNS), Karl Lemieux (Godspeed You! Black Emperor), Lisen Rylander Löve (Midaircondo) und Anders Jormin (ECM) zu ihren zahlreichen Partnern zählten. Ihre unverwechselbare und virtuose Stimme hat Aufnahmen und Live-Auftritte mit einem breiten Spektrum von Künstlern geziert, darunter Loney Dear, Patrick Watson, Leonard Cohen, Kim Myhr, Arve Henriksen, Land Of Kush, Wildbirds and Peacedrums, La Force und The Besnard Lakes, um nur einige zu nennen. Kürzlich gründete Angell zusammen mit Róisín Adams und Peggy Lee das Neue-Musik-Trio Beatings Are In The Body und vollendete ein Solo-Debütalbum mit uneingeschränkter stimmlicher Erkundung und expressionistischen avant-elektronischen Kompositionen, das Anfang 2024 auf Constellation erscheinen soll.

Die schöne Chrysantheme in ihrer Form mit schlichter, weißer Blütenfarbe wird auch Friedhofsblume genannt. Aufgrund ihrer Langlebigkeit wird sie gerne zur Dekoration von Gräbern verwendet. Für BLACK NAIL CABARET ebnet die Blüte der Chrysantheme den Weg für unser eigenes Porträt am Sterbebett. Der Sensenmann kommt zu uns allen. Die Aussicht auf das Ende verwandelt uns in angsterfüllte Gefäße. Wir könnten diese besser mit so vielen anderen Dingen füllen, aber die Furcht vor dem Tod durchdringt alles. Der Titel des sechsten Albums des ungarischen Pop Noire Duos, "Chrysanthemum", symbolisiert ein Aufbegehren gegen die Angst, aber auch Akzeptanz. BLACK NAIL CABARET bleiben durchaus auch ihrem Hang zur sexuell expliziten Provokation treu, doch die unterbewusste Angst vor dem Tod mit ihrer großen emotionalen Kraft, zieht sich metaphorisch als roter Faden durch "Chrysanthemum". Die Erotik der Ungarn bildet statt billiger Klischees ihre gelebte BDSM-Realität künstlerisch ab, die von hohen ästhetischen Ansprüchen geleitet wird. Musikalisch haben BLACK NAIL CABARET ihr herausragendes Songwriting auf "Chrysanthemum" weiter perfektioniert. Es gelingt dem Duo scheinbar mühelos, dunkle elektronische Klänge mit Elementen des Pop Noire zu vereinigen. Ihre Kompositionen stehen auf eigenen Beinen und benötigen keine elektronischen Spielereien, wodurch sich BLACK NAIL CABARET wohltuend abheben. Spätestens mit ihrem selbst veröffentlichten vierten Langspieler "Pseudopop" (2018) verschmolzen die Ungarn erfolgreich Kunst, Pop, dunkle Harmonien und kraftvolle Elektronik miteinander. Mit dem folgenden fünften Album "Gods Verging on Sanity" (2020) setzten BLACK NAIL CABARET ihren Siegeszug auch international fort. Der exzellente Ruf des Duos verbreitete sich rasch auch durch Mundpropaganda, und das trotz aller Einschränkungen durch die globale Pandemie. Endlich stehen die Sterne günstig, dass BLACK NAIL CABARET die Welt mit diesem dunklen Soundtrack über die Schönheit des Lebens erobern, was diese strahlend weiße Blume von scheinbarer Unschuld letztlich auch symbolisiert, deren Duft aber auch die ewige Macht des Todes verbreitet: "Chrysanthemum".

**Ltd First Pressing on Black/Red Splatter Vinyl** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”

The Mormones from Lillehammer, Norway had the reputation of being one of the best bands you could experience live, and for their debut album they went to Nashville and producer Mark Nevers (Lambchop, Calexico, Will Oldham) to transfer this energy and nerve to a record. The Mormones consists of Morten Lunde on bass/vocals and Simen Jeistad on drums/vocals, and we promise you've never heard anything like it from a duo before. This is straight-to-the-point garage punk that owes as much to Chuck Berry and The Sonics as it does to Motorhead and The Ramones.

"Guide To Good And Evil" by The Mormones includes the following tracks: "Fast Roads Fast Riffs", "GTO Society", "Roadburn ’68", "Private Affair" and more.

Left Eye Perspective Are A Riff-Based Metal Band From Gent, Belgium. The Four-Piece, Consisting Of Kristof (Vocals And Rhythm Guitar), Kim (Lead Guitar), Jelle (Bass) And Tony (Drums), Started As A Post Rock Band But In Recent Years They Have Created Their Own Dynamic And Versatile Sound, Combining Also Influences From Sludge, Stoner Rock, Prog Metal And Grunge.
 After Their Debut EP In 2019, The Band Traversed The Limits Of Their Trademark Sound: Riffing Hard And Fast In A Controlled Way And Exploring The Endless Boundaries Of Progressive Rhythms Until That Hell Of A Punch Drags You Into That Overwhelming Universe Of Crushing Grooves.
 Pressed On Yellow Vinyl.
 For Fans Of Mastodon, Cobra The Impaler, Tool, Baroness, Gojira, The Ocean, Korn, Psychonaut, Machine Head, Soundgarden, Corrosion Of Conformity, Lamb Of God.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Auf früheren Veröffentlichungen stellte Hulder ihre musikalische Vision in ursprünglicher Form vor, aber mit einem direkten Sinn für grimmig-melodische Motive. Doch erst auf ihrem Debütalbum "Godslastering: Hymns of a Forlorn Peasantry" begann sich Hulders ausgeprägte Vorliebe für raue Hymnen von mystischer, belebender Erhabenheit und abgrundtiefer Tiefe vollends zu entfalten.

Während des gesamten Albums verwebt Hulder die Fäden verschiedener Black Metal-Stränge miteinander und nimmt dabei Elemente heidnischer Folklore, ätherische symphonische Würde und kratzende, rauhe Melodik der unharmonischsten und grässlichsten Art auf. "Godslastering..." zeichnet ein lebendiges Bild mittelalterlicher Dunkelheit und längst vergessenen Ahnenreihen.

Im Jahr 2021 wurde Hulder zu einer Live-Band mit kompletter Besetzung. Und obwohl es Pläne gibt, mit der Band weit und breit in der ganzen Welt zu touren, bleibt Hulder musikalisch die alleinige Vision ihrer Schöpferin. Godslastering..." wurde bereits Ende 2020 veröffentlicht und erscheint nun zum ersten Mal in Deutschland - auf 20 Buck Spin, dem neuen Label der Band.

Top-Zusammenstellung von Tracks aus den Original-Soundtracks aller vier Staffeln der Netflix-Serie 'Sex Education', komponiert vom preisgekrönten RTS-Komponisten Oli Julian. Limitierte Auflage auf Baby-Pink-farbigem Vinyl.

STUDIO4℃×Osamu Tezuka

A story of the love and adventure of a woman who lived for 1300 years.

``Phoenix'' Nostalgia Arc has been made into two animated works with different endings!

Theatrical release of the movie “Firebird Eden no Hana” / Disney Plus “Firebird Eden no Sora” world exclusive distribution

Master Osamu Tezuka is hailed as the "God of Manga" and is still revered all over the world. Of the 12 stories in the timeless masterpiece "The Phoenix," which became his masterpiece and life's work, the "Nostalgia Chapter," which depicts the future of the earth and the universe in which we live, will finally be made into an animated film for the first time. STUDIO4°C, which continues to create artistic video works, was the one who completed the spectacular spectacle, which took seven years to create. The voice actors include Rie Miyazawa, who plays the main characters Romi, Yosuke Kubozuka, Issey Ogata, Honoka Yoshida, Shintaro Asanuma, and Ryohei Kimura. A gorgeous voice actor team gathers to make a timeless masterpiece into a movie. The person in charge of the music is Takatsugu Muramatsu, who is active in a wide range of areas including film music and providing music for numerous artists. The music, which has both a grand scale and a poetic feel, gently envelops the story.

Focus On Nature ist das neue Studioalbum des gefeierten Post-Psych/Independent Singer-Songwriters Nick Saloman und seiner Band The Bevis Frond. Fünfundsiebzig Minuten herrlicher Melodien, die sich zwischen 60er-Jahre-Psych, englischem Folk, den Seattle Art-Punks The Wipers, dem Buzzsaw-Pop von Dinosaur Jr. und Hendrix-esken Erkundungen bewegen. Ihre Musik hat immer etwas spielerisch Englisches an sich. Die Kult-Ikonen, die sicherlich The Lemonheads, Teenage Fanclub, Elliot Smith, Pavement und Dinosaur Jr. beeinflussten, haben eine weitere schräge Mischung aus melodischer, klaviergeführter Melancholie, akustischen Grübeleien, kratzigem Garagen-Rock mit punkigem Einschlag und voller Gitarren-Histrionik produziert. Wie der viel gelobte und äußerst erfolgreiche Vorgänger "Little Eden" befasst sich die neue Platte mit dem Überdruss der Welt, füllt aber eine größere Leinwand aus: Fast Food und globale Erwärmung, gebrochene Herzen und lange Nächte, alltägliche Unsterblichkeit und Gottes Geschenk - all das findet seinen Platz. Es ist wie Townshend in seiner thematischsten Phase; Big Star in all ihrer akustischen Pracht, perfekt ausbalanciert mit der punkigen Garage-Rock-Combo, die auf "Empty" mit Gilmour-Breaks endet, die das Ganze zur Größe erheben. "Sie mischen immer noch Pop, Punk und Psych mit schwindelerregender Wirkung. The Guardian "Selbstreflexion gepaart mit einer reumütigen Bestandsaufnahme des aktuellen Zustands der Nation." Uncut zu Little Eden - Erhältlich auf Ltd Double Purple Vinyl, DL-Karte und/oder als CD im Digisleeve -