Departing from the hypnotic, loop-based space-rock jams of their earlier work, the self-titled album from Portuguese/German duo Splitterzelle finds Pedro Pestana (10 000 Russos, Tren Go! Sound System) and Sidney Jaffe (Arcane Allies, Burnpilot, Parse, Ornamental) taking a much more produced approach driven primarily by drum machine and synths. Pounding sub-bass and dark electronic textures are at the forefront here, finding a middle ground between club-ready industrial techno heaviness and droning psychedelic noise. Following their solo projects' collaboration on 2021’s Tren Go! Sound System & Ornamental 'Assessment' LP and a few Portuguese and German tours, Sidney and Pedro soon came to realise a new band was bubbling away and officialised their partnership in 2023 with the emergence of Splitterzelle. Starting out as a guitar and drums duo, their time together and also perhaps the geographical circumstances of living in different countries allowed them the freedom to explore radically different creative approaches between 2024's live session album 'The Drumhard Sessions Vol. 1' and the full-throttle electronics of the the incoming 'Splitterzelle' LP:

"Out of several recording sessions came the collaborative Drumhard Sessions Vol. 1 and this self-titled LP. However, both of these couldn't be more further apart in approach. Where DHSV1 was performed and recorded live in the studio with no overdubs, the S/T LP is the exact opposite with overproduced layers of sound, sub bass and ear candy all the time. The modus operandi was pretty much to record and jam whenever a possibility arose when we were together on tour and then work on the material in our separate home studios once we returned."

TRACK LISTING

1. Golem
2. Disciple
3. Periphery
4. Resilience
5. Shield
6. Splitterzelle

MAQUINA. embody all the sweaty togetherness and euphoria a collective music experience has to offer. The buzzy Lisbon trio have been getting punks to dance and club kids to pogo – “making the bubbles connect a little bit” – with such fervour they routinely pack out venues and inspire multiple waves of crowdsurfing at any given live show, with over 250 gigs and numerous festival appearances across Europe already under their belt. Still on a high after their first tour of Brazil and KEXP performance as part of Trans Musicales 2025, the three-piece ring in a new chapter with their second LP 'BODY TRANSMISSION': a headbanging trip through high-energy noise-rock, motorik metal, and industrial punk that doesn’t stop moving.

TRACK LISTING

1. Dança (with Dame Area)
2. 4-To-The-Floor
3. Collapsing
4. Agony
5. Bizarro
6. Valve
7. Simulation
8. Step On Me
9. Out Of Fear
10. Pressure/Pleasure

'Green Hills’ is the sun-warped debut album from Cornish four-piece The Heavenly Bodes. Recorded on reel-to-reel in a friend’s living room between trips to the beach, it features a collection of lo-fi garage-psych numbers that vary in feel – sometimes twisting and erratic, sometimes sedated and meandering – but all drenched in tape hiss and left out on the pebbles to dry. These are salad-days dreams of escapism melting under the summer sun, evoking the clammy rooms from which they came.

Emerging from South Cornwall’s grassroots psych scene – through various chance encounters at Kernowbeat (formerly Kernow Psych Society) shows in Falmouth – The Heavenly Bodes channel a shared love of classic 60s acid-garage into something immediate and intimate, and specifically rooted in the here and now of the West Coast cornucopia they call home. Fully self-produced, it captures the band’s loose, unpolished spirit – landing somewhere between scrappy garage-rock abandon and woozy Velvets cool. It’s the sound of jangly surf riffs, hard-hitting bass grooves and hazy organ dissolving into the salty sea air.

On the record, the Heavenly Bodes write: “'Green Hills' was lovingly recorded during the infamous Swanpool heatwave of July 2025. Live tracked into an 8 (occasionally 7) track whilst clad in straw hats and tanning oils, the album is a testament to the clearly adequate cooling systems of the Fostex R-8. Recorded and mixed by our very own Fin Wilson, resident caretaker of central Penryn. With thanks to Eggland and neighbours, Jack & co. at Fuzz Club and countless others. Please enjoy responsibly.”

The Heavenly Bodes are Paul Ruskin (vocals/guitar), Alex Mantle (drums), Fin Wilson (vocals/guitar/organ) and Iolo Puleston (bass).

TRACK LISTING

1. De Groene Heuvels
2. Acting
3. Five Ways
4. Faux Pillars
5. Spitting The Pips Out
6. National Express
7. Sea Water
8. Edward's Allotment
9. The Heavenly Bodeinf

'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker - an epic double album. '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 runtime.

TRACK LISTING

1. Fliiim / Laliīmph
2. Gilded Meditations
3. Mystic Chords Of Memory
4. Oyob
5. In The Solstice Sun
6. Sound Mirrors
7. Mokushō
8. Old Sky, Wandering Clouds
9. Yuya
10. Baobab
11. Morning Temple

Toluca, Mexico trio Mirror Revelations return with 'Ígnea', a raw blast of heavy motorik drive and industrial psych intensity that's built to dance as it burns. Stripped to the core with the live show in mind, 'Ígnea' finds pedal-processed synthesisers and a relentless bass-and-drums backbone powering songs of resistance and ignition. "The name of the album refers to fire, which for us symbolises transformation and change", the band say: "Just as a spark can ignite a fire, Ígnea represents that ignition point, the beginning of something that burns, expands, and transforms."

Mirror Revelation's second full-length and first on their new label home Fuzz Club arrives following their debut album 'Aura', released in 2023 and supported by heavy gigging in Mexico and a UK and European tour the following year. Entirely written, recorded and produced by the band, the transformation heard on 'Ígnea' is something equally darker and more hedonistic, and all the more cathartic for it.

TRACK LISTING

1. Resistir
2. Incendiar
3. Defender
4. Revelar
5. Desafiar
6. Despertar
7. Liberar

Magic Castles are back with new album ‘Realized’, a set of lush psych-rock reveries from Minneapolis songwriter Jason Edmonds, blending late-60s folk-rock warmth with shoegaze shimmer. Newly signed to Fuzz Club, ‘Realized’ takes Magic Castles’ music to a newfound level of clarity, whilst still retaining that same, long-harboured analogue warmth only made possible through an array of vintage amps, guitars and transistor organs. ‘Realized’ consists of nine dreamlike, melody-led trips that unfold in waves. Equal parts hazy nostalgia and widescreen modern psychedelia, centring dreamy, heavily-layered arrangements and floating vocal harmonies.

TRACK LISTING

1. Hey Alright
2. Abandoned Mansions
3. Samata
4. Mary Anne
5. Space Manual
6. Got Me Waiting
7. Summertime Fingertips
8. Don't Go
9. Realized

Across its pulsing repetitions and shifting emotional landscapes, the record explores the tension between the eternal and the transient – a reflection of the contradictions shaping contemporary life. Progress and exhaustion, community and isolation, being overwhelmed and longing for rest. The band treats music as a space where opposites meet: euphoria and melancholy, healing and excess, closeness and distance. More than an album, 'immer für immer' is described by the band "as a ritual against the feeling of being lost", carrying within it moments of grief, anger, desperation and the everyday struggles that accumulate at the edges of modern existence.Sonically, the album occupies a world where motorik rhythms, experimental instincts and pop sensibility intertwine. Elements of krautrock, post-punk, shoegaze, ambient and electronica dissolve into one another, further refining the group’s distinctive sound – one that resists easy categorisation but remains entirely their own.

The six-piece – Atom Parks (vocals), Valentin Bringmann (guitar), Henrik Rohde (guitar), Sebastian Derksen (guitar/synth), Sascha Neubert (bass) and Timo Lexau (drums) – are based in Leipzig, Germany and known for generating moments of intensity, energy and communion through their performances. As the band describes it: “We make music to find stability in chaos, defining our own space within the dimensions. It’s new and different every time we enter.” 'immer für immer' emerged through the group’s intuitive, non-hierarchical process of live improvisation. Every song grew from moments created in real time, a method they also applied to their previous albums – their self-titled debut, written entirely on tour, and 'ZWEI', a concept record inspired by the children’s game 'telephone' and recorded in a church. For Flying Moon In Space, creativity is not about chasing perfect sounds but capturing flashes of meaning, those rare moments in which something unfamiliar and deeply felt appears. To create the new album, the band spent ten days at Kinett, a former cinema in Kusel that has evolved into an international hotspot for forward-thinking music. Its atmosphere, history and resonant acoustics played a decisive role in shaping the sound. Within this unusual space, Flying Moon In Space found the ideal environment to expand their sonic universe – a place where the eternal and the fleeting could finally meet.

TRACK LISTING

1. Barbarian
2. Drifter
3. All Thats Love
4. We Come In Peace
5. Where Are You
6. Each Moment Of Your Past
7. Again + Again
8. Zx473-A
9. -270°

A masterclass in cinematic psychedelia, ‘God Intentions’ is the third studio album from Glasgow outfit Helicon and is due out April 28 on Fuzz Club. Their most ambitious and collaborative album to date, it was recorded at Dystopia, Glasgow with producers Luigi Pasquini and Jason Shaw, mastered by RIDE’s Mark Gardener and includes contributions from the Rhona MacFarlane String Quartet, Lavinia Blackwall (Trembling Bells), Mark O’Donnell (Tomorrow Syndicate), Sotho Houle (French avant-garde violinist) and Anna McCracken. Talking about the new record, guitarist/vocalist John-Paul Hughes says:

“‘God Intentions’ is inspired by my brother Gary's story and a few other influences. It's a journey through regret, redemption and resurrection. Our familiar darkness is there, but the record carries a fresh and uplifting positivity. I had a clear idea of how I wanted it to sound and feel long before it began. We're so pleased we achieved it. We managed to hold true to the idea whilst allowing the string quartet, Sotho, Lavinia, Anna, Mark, Jason, Luigi and other collaborators the space to put their mark on it. The album art, by San Francisco-based collage artist Nina Theda Black, captures the depth and breadth of themes and sounds we brought together to create a kind of motion in your mind.”

TRACK LISTING

1. Dark Matter
2. Flume
3. Château H
4. Heliconia
5. Disobey
6. Zen Roller
7. Whiplash
8. God Intentions
9. Last Tango In Glasgow
10. Tae The Moon
11. Starlounger 

'Gone Down Meadowland' is the much-anticipated debut album release from Norwich, UK psych outfit Floral Image, via the renowned Fuzz Club. More than ever, the band wanted to produce a brand of East-Coast psychedelia that reflected the natural lusciousness and glorious solitude of the immediate world around them. Over 30 songs were conjured, considered and arranged before being whittled down to a final 10 that epitomise what they do best - ten tracks of vivid hue, harnessed live power, all laced together in fluid lyrical harmonies. Taking inspiration from band favourites Woods, KGLW, Stereolab, among many others, a string of at-home recording sessions commenced over a 6-week period across the summer of 2024.

TRACK LISTING

1. Meadowland
2. The Dream
3. Burning 305
4. Call Up The Doctor
5. The Score
6. Boogietown
7. Tiergarten
8. Howling Dog Song
9. Twist Of A Nerve
10. Sun For Hire

'Unholy Drum' is the long-awaited sixth album from Nottingham band Cult Of Dom Keller – not a ‘return’, for they were never really gone, but the product of five years spent evolving. In collaboration with Angus Andrew of LIARS on production duties, “Songs were cut apart, inverted, whispered to. Left alone long enough to twitch back to life. All while the fever dream of global instability seeped into the DNA of the record." The result finds a more expansive and left-field art-rock sound shining through the cracks in the Cult's dark psychedelic noise-rock.

TRACK LISTING

1. Live Without Life
2. Let Me Go, Satan
3. Disappear
4. B(o)ing
5. Leaders With Hooves
6. Void Horizon
7. Shoot My Mind
8. They Cut The Heart From Out Of The Sky
9. Galaxies SOS

Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavour since the release of his self-titled debut on Newcombe’s A Recordings a decade ago.

Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.”

‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

“First Light further solidifies The Third Sound’s position as fundamentals of the European post-punk and psych underground.” Bad Luck Magazine
“First Light drives home The Third Sound’s mix of post-punk, neo-psychedelia and new-wave.” Rolling Stone France
“The Berlin-based band looks to shoegaze and the gloomier trips of early Creation classics for inspiration– with some narcotic post-punk thrown in for good measure.” Shindig Magazine
“A great album from a band that have returned on top-form. ★★★★” Louder Than War
“A powerful and dynamic album… highly recommended for fans of hypnotic and ethereal music.” The Sleeping Shaman

TRACK LISTING

1. Tidal Wave
2. Your Love Is Evol
3. This Is The Only Way I Know
4. Ghosts Of Memphis
5. Dissociation
6. Hex
7. Stay For Another
8. Not Even Jesus
9. I Don't Need Anything Anymore

Glasgow's Helicon and Los Angeles-based producer and DJ Al Lover have joined forces on a bold new collaborative album, 'Arise', due for release February 13th 2026 on Fuzz Club. "Arise confronts a culture of individualism at the mercy of opportunistic grifters," says frontman John-Paul Hughes, "offering a reminder that empathy, compassion, and authenticity are still choices." Reflecting that tension, Helicon and Al Lover deliver a maximalist, uplifting sound with a baggy, hypnotic pulse — fusing Helicon’s trademark psychedelia with Al Lover’s genre-bending electronics. Produced by Tony Doogan (Mogwai, The Jesus & Mary Chain) at Castle Of Doom Studios in Glasgow, the result is a dense, hypnotic, and fiercely rhythmic record that layers trip-hop breaks, deep low-end and dub textures into "a visceral wake-up call to rise above the bullshit and reclaim meaning from the madness." The record's alchemical creative approach was built initially on a trans-Atlantic online back-and-forth of demos between Helicon and Lover. Once upwards of 20 demos had been bounced across the ether and eventually whittled down, the Helicon band (clocking in at eight members at the time of writing, with Belle & Sebastian's Chris Geddes also playing piano on 'Goodbye Cool World') headed into Castle Of Doom to lay down the bare-bones, ready for Lover to fly over and join them and work his magic on drum machine, synth and samplers. “For me, psychedelia is about breaking things open and seeing where it can go next", John-Paul says: "How far can it stretch and still feel vital? Working with Al Lover let us twist it into something new and prove it can still evolve, still surprise, and still mean something in a world of conformity where everything begins to look and sound the same.” With Lover adding: “The process of working with Helicon on this project has been nothing but a joy. It’s so nice to have music be the conduit for human connection. This is an ongoing theme with any creative endeavour that I’ve undertaken. I hope that connectivity reaches through the music to the listener, helping them feel like a participant in the music, not just passive observers.”

TRACK LISTING

1. Arise
2. Backbreaker
3. Tabula Rasa
4. Not A Thought
5. It Won't Stop
6. Adjust The Dosage
7. We Don't Belong
8. Midnight Mass
9. Goodbye Cool World

Golden Hours are Hákon Aõalsteinsson, Wim Janssens, Tobias Humble and Rodrigo Fuentealba Palavacino – an outfit of seasoned players who between them have performed as part of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and more. Based between Berlin and Brussels, Golden Hours first rumbled out of the shadows in 2023 with their self-titled debut and are now emerging once more with their sophomore album ‘Beyond Wires’, due for release February 6th 2026 via London-based independent Fuzz Club. Still sounding like a thunderous post-punk avalanche descending the mountain of confusion, or a well-aimed punch in the gut, ‘Beyond Wires’ was knit together in-between the tours and other obligations of its four members, written and recorded in rehearsal rooms in Berlin and an old mansion in Brussels. “The latter definitely put its stamp on the record with its noisy electric static bleeding into every song”, says bassist/vocalist Wim. But a band like Golden Hours never shies away from these things: they lean into it and welcome those ghostly appearances with open arms and just try to out-fuzz the buzz with layers of noise and strong melodic elements that cut through like a knife. With two lead singers, Hákon and Wim, taking on an equal amount of titles – divided up by odd and even track numbers, respectively – the album touches on topics widespread but delivered with the unity of Siamese twins sharing the same lungs and vocal range. As for instrumentation, ‘Beyond Wires’ sees the band suitably wired up: two lead guitars (Hakon and Rodrigo) are intertwined and coated in fuzz and noise, embracing the rhythm section (drums Tobias, bass Wim) like an octopus extending its tentacles deep into the listener’s ear. A rhythm section gracefully tight, yet occasionally flaring up like firecrackers randomly thrown at you from close range.

TRACK LISTING

1. Whatever Happens Today
2. Heading For The Moon
3. Artic Desert
4. The Letter
5. Book Of Lies
6. The Same Thing
7. Voices
8. Train I Ride
9. Pray For Darkness
10. The Water's Fine

'Un’altra Forma' is the third album from French krautrock project Ashinoa. Whilst still driven by the synthesised motorik beats and rhythms and experimental electronica of 2022's 'L'Orée', on its follow up Ashinoa move into new, dreamlike territory – assuming 'another form', as the title translates. Here, Matteo Fabbri, Stefan Chamolt and Mathias Chirpaz enlist a cast of players between Lyon, Venice and Beaujeu and expands the Ashinoa palette with clarinet, saxophone, flute and piano, weaving in hazy shades of psychedelic jazz and echoes of 1960s Brazilian music and lo-fi breakbeats. The result is a record that balances heavier head-down electronics and moments of breezy, downtempo bliss “Un’altra forma refers to that which differs from the known", Fabbri says, "and is a tribute to the reassuring confusion one can feel when discovering that something one thought was defined or finished can take on another form. The distortion of the senses, whether intentional or not, is the common thread running through the album, and variations on this concept can be found in several tracks, such as ‘Nudity and Salt Water’, ‘Keplerstrasse’ and ‘Room of Whispers’. The musical research that followed aimed to orchestrate this idea of alternating between the known (ordinary) and the new (extra-ordinary) in the best possible way." Although 'Un'altra Forma' finds Fabbri helming the songwriting solo following the departure of Jeremy Labarre, with whom he started the band in 2015, it's also Ashinoa's most collaborative record to date. Much of the album was written in Beaujeu, at a friend’s house among the Beaujolais vineyards. There he is joined by the rest of the band, Mathias Chirpaz and Lucien Chatin on drums and Stefan Chamolt on guitar. In two intense weeks, the band records 10 tracks: “We worked day and night to find the textures that best suited the project,” he recalls. The second phase continued in Venice and Lyon, where further layers were added by friends and collaborators. Andrea Vecchiato’s flute, Alberto Collodel’s clarinet, and Teresa Lo Greco’s vocals were recorded in Venice, adding an airy and cinematic dimension.

TRACK LISTING

1. Nudity And Salt Water
2. Un'altra Forma
3. Keplerstraße
4. Monstera
5. Feliz
6. Moon Of Feathers
7. Faart Intro
8. Faart
9. Fish In The Pool
10. Room Of Whispers

Since the release of their 2023 debut LP 'Good Time', Austin TX outfit DAIISTAR have spent the last couple of years touring relentlessly and spreading their baggy noise-pop good times across North America and Europe – be that headline runs of their own or tours supporting the likes of Brian Jonestown Massacre, The Black Angels, The Dandy Warhols and LA Witch. When over in the UK in September 2024, they holed up at London's Lightship 95 studio – a floating studio on the Thames – to record this Fuzz Club Session LP, which is set to be released digitally and on limited coloured vinyl on September 26th, alongside a series of videos from the session. DAIISTAR's ten-track Fuzz Club Session LP – number 21 in the series – perfectly captures the band’s road-hardened blend of shoegaze, neo-psychedelia and Madchester-inspired grooves, featuring standout tracks from 'Good Time' such as 'Star Starter', 'Tracemaker', 'Parallel' and 'Repeater'. It also includes their euphoric single 'Clear', a 'Good Time' outtake released on a limited 7" last year, as well as their cover of Primal Scream's 'Burning Wheel' which is now available on vinyl for the very first time.

TRACK LISTING

1. LMB BB LMN - Live
2. Star Starter - Live
3. Say It To Me - Live
4. Clear - Live
5. Parallel - Live
6. Repeater - Live
7. Tracemaker - Live
8. Burning Wheel - Live
9. Heathens Gate - Live
10. Speed Jesus - Live

The 2016 debut album from Geelong, Australia trio ORB gets a long-overdue reissue on Fuzz Club. Originally released on John Dwyer of OSEES' Castle Face label and King Gizz's Flightless Records, 'Birth' is a proggy but in the pocket head-trip where a heaping helping of stoned proto-metal chops meets paranoid sci fi fantastical ravings. Close mic’d to perfection by Mikey Young (Total Control, Eddy Current), these doomy heavy-psych epics swing with demonic swagger and crackle with the static of a menacing future, twisting and churning through loose-limbed riffery.

TRACK LISTING

1. Iron Mountain
2. Reflection
3. Birth Of A New Moon
4. First And Last Moon
5. Electric Blanket

From dimly lit dive bars to desolate desert highways, Adelaide, Australia outfit Los Palms deliver a soundtrack soaked in vintage fuzz. Their self-titled sophomore album leans further into their signature “desert jangle” sound, with ‘60s garage, spaghetti western and modern psych influences. The fuzzed fever dream 'Cryin’ Shame' channels the energy of garage rock, while 'Sorrows' and 'Eleven Thirty Three' move with moody, melodic swagger, soaked in reverb and cinematic twang. The driving rhythms of '65', 'Fooled Me', and 'Way Too Cold' propel the album’s momentum. This record perfectly captures the rawness of Los Palms, elevated by lush, full production that lets every tremolo-drenched guitar and reverb-loaded vocal shine. It’s an immersive journey and a bold step in the band’s evolution, released August 29th 2025 on Fuzz Club. This latest set arrives following their 2022 debut 'Skeleton Ranch' and the standalone 'From The Shadows' (2024) and 'Cruise' (2025) singles and videos, both premiering on ABC Rage. The Palms have shared stages with the likes of The Murlocs, Babe Rainbow, L7 and The Growlers to name a few, and also toured over in Europe for the first time in 2024.

TRACK LISTING

1. 65
2. Step Back
3. Fooled Me
4. Way Too Cold
5. Eleven Thirty Three
6. Sorrows
7. Catatonia Disco
8. Cryin' Shame
9. Holiday For Days
10. The Most Beautful Death

Ukrainian krautrock/experimental group Sherpa The Tiger return with ‘Promigña’, a new five-track EP released June 13 2025 on Fuzz Club that follows their 2022 full-length ‘Ithkuil’ and their 2018 debut ‘Great Vowel Shift’. “This EP is our attempt to reinterpret and reimagine the electronic ambient branch of krautrock of the 1970s,” the band explains. “We’ve drawn partial inspiration from listening to the music from that era of bands such as The Cosmic Jokers, Cluster, Cybotron, and others.” Built as a continuous suite, the EP reflects a conceptual cohesion at its core: “Initially, the material was conceived as a monolithic 20-minute composition, with its sections flowing seamlessly from one to the next. In this release, we experiment for the first time with non-input mixer synthesis, and it also marks our first studio release with the new drummer.” As the five-part piece evolves over its running time, each track finds a certain instrument brought to the fore – respectively, the Synth, Flute, Drums, Mixer and Guitar. Melding deep kosmische ambience with exploratory textures and evolving rhythmic structures, ‘Promigña’ is both a tribute to the krautrock’s early electronic pioneers and a step forward for Sherpa The Tiger’s ever-evolving sound. The EP is due for release on a coloured 12" vinyl, limited to only 250 copies.

TRACK LISTING

1. Synth Part
2. Flute Part
3. Drums Part
4. Mixer Part
5. Guitar Part

In a landscape where the term 'psych' often feels confined and predictable, MIEN stands out as a beacon of true sonic exploration. Comprising members of The Black Angels, Elephant Stone, The Earlies and Golden Dawn Arkestra, their long-awaited sophomore album ‘MIIEN’ marks a bold new chapter for a band whose alchemical approach to music has redefined the boundaries of psychedelia. Building upon the foundations of their critically acclaimed 2018 self-titled debut while venturing into uncharted territories, this new release pushes the group’s collaborative and exploratory ethos to thrilling new heights. Recorded between Montreal, Abilene and Austin, Texas, ‘MIIEN’ captures the band’s unique creative process. Most songs began as simple ideas—a loop, a vocal phrase, or a groove—passed between members and meticulously layered. John Mark Lapham, the band’s “musical alchemist,” transformed these sketches into fully realized compositions, adding bold textures and dynamic shifts. The Black Angels frontman Alex Maas’s hauntingly beautiful vocals bring a dark yet alluring dimension to the sound, elevating each track with his distinctive presence. “It’s an organic process,” notes Rishi Dhir. “A simple idea can become something monumental when we each put our stamp on it.” A tapestry of vivid third-eye visions and nocturnal serenades, ‘MIIEN’ represents the strength of the band’s collective vision. Each member brings their unique perspective to the table, creating music that is both deeply personal and universally resonant. With its richly textured soundscapes and fearless experimentation, the album bridges the golden age of ‘60s psychedelia with the cutting edge of modern music. The album is released April 18th 2025 through their new label home Fuzz Club. MIEN is: Rishi Dhir – bass, guitar, keyboards / Robb Kidd – drums / John Mark Lapham – keyboards, samples, programming / Alex Maas – vocals, bass, guitar

STAFF COMMENTS

Barry says: Off-kilter lysergic psychedelia that's both hypnotic and entrancing on the ever-reliable Fuzz Club. There are hints here of minimal ambient and Industrial, music concrete and classical but the whole lot remains as uncategorisable as it does spellbinding.

TRACK LISTING

1. Evil People
2. Counterbalance
3. Silent Golden
4. Mirror
5. How Could You Run
6. Empty Sun
7. Tungsten
8. Knocking On Your Door
9. Slipping Away
10. Morning Echo

Under the moniker of Night Beats, Texas native Danny Lee Blackwell has spent the last fifteen years exploring a nexus of vintage rhythm & blues, after-midnight soul, and sun-scorched psychedelia. On Night Beats’ latest offering, Blackwell presents two markedly different renditions of his song 'Behind the Green Door'.

Side A delivers a down-tempo, minor key track drenched in the haze of vice, as if an aspiring Motor City outfit had traveled down to Austin and snuck into the studio while The 13th Floor Elevators were on a smoke break—perhaps a meeting between Ray Charles, Skip Pence, and Link Wray, or Joe Tex grappling with Gram Parsons, or even Duane Eddy pairing up with Cedric Bixler-Zavala. Ultimately, it’s the culmination of years of Blackwell distilling and translating the sounds around him into his own concoction, an invitation to enter the kingdom and dwell in the garden while the shadow of doubt looms nearby, a subconscious journey into the delights and pitfalls of unknown territories.

Side B features the Rah John version of 'Behind the Green Door', an interpretation from an enigmatic artist Blackwell discovered on the island of Koh Khram Yai, off the coast of Pattaya in the Gulf of Thailand. Little is known about Rah John beyond his love for '70s Thai disco and dancehall tapes received from local sailors, but hearing a streak of revelry in Night Beats’ tune, he summoned a sunnier, breezier, and more exotic side to the rhythm and blues sway of the original.

TRACK LISTING

1. Behind The Green Door
2. Behind The Green Door (Rah John Version)

Berlin-based post-punk band The Underground Youth, led by Blackpool-born musician and author Craig Dyer, return with their twelfth studio album ‘Décollage’. Self-written, recorded and produced by Dyer, the album is an exercise in artistic deconstruction in both name and form, marking a decisive musical shift. “‘Décollage is the art of creating an image by ripping, tearing away or removing pieces of an original existing work’. My idea was to apply this technique to music”, he explains. “I built walls of static coated hip-hop drum samples, layers of Lee Hazlewood style string arrangements and Serge Gainsbourg inspired mellotron melodies, then I began tearing away at these beautiful, chaotic walls of noise, exposing a new sound for The Underground Youth.” The result, Dyer says, is “a trip-hop infused soundtrack to a collection of lyrics dealing with adoration, ancestry, originality, hallucinations of revolution and a hope that something better can be born from the ashes of the horror that exists in our world.” From moments of ghostly minimalism to sweeping crescendos of noise and melody, there is a shadowy, dreamlike quality to the songs here. If its predecessor ‘Nostalgia’s Glass’ (2023) mined a more introspective nostalgia, ‘Décollage’ feels more hauntological in nature – tearing apart and re-transforming what once was in search of a future left spinning from reel-to-reel on warped and distorted old tape. Alongside Dyer, The Underground Youth is comprised of drummer and visual artist Olya Dyer, guitarist Leonard Kaage (who also assisted with post-production on the record) and bassist Samira Zahidi. Initially formed as a solo project by Dyer in 2008, the band has sinced released 11 – now 12 – studio albums and 4 EPs, evolving a unique sound that has over the years ranged from cinematic lo-fi psychedelia and raw melancholic post-punk to gothic folk-noir. Throughout they have maintained a devoted global following continuously built upon by the band’s extensive touring through Europe, Asia and North America.

TRACK LISTING

1. You (The Feral Human Thunderstorm)
2. One Of The Dreamers
3. I Was There
4. From The Ashes Of Our Age
5. Father
6. Calliope
7. Your Beloved Hollywood
8. Believe In Something

‘Buyer Beware’ marks The Men’s fifth collaboration with recording engineer Travis Harrison (Guided by Voices, Built to Spill) who, at this point, is finely attuned to the nuances of the group’s dynamics - Nick Chiericozzi (guitar/vocals), Kevin Faulkner (bass), Mark Perro (guitar/vocals), and Rich Samis (drums). Recording direct to tape, Harrison captures the raw, confrontational fever of their stage shows without sacrificing their introspective undercurrents. The result is undoubtedly their most aggressive album since ‘Leave Home’ (2011), and their most psychedelic since ‘Immaculada’ (2010). But 'Buyer Beware' is no mere return to their roots - The Men have always moved forward while remaining true to themselves. A clarion call for troubled times signaled by its title, ‘Buyer Beware’ finds The Men tackling questions both personal and political, their sound and vision never more primal or apocalyptic.

TRACK LISTING

1. Pony
2. At The Movies
3. Buyer Beware
4. Fire Sermon
5. PO Box 96
6. Charm
7. Black Heart Blue
8. Nothing Wrong
9. Control
10. Dry Cycle
11. The Path
12. Tombstone
13. Get My Soul

‘Night Wobble’ is the sixth long-player from Saarbrücken, Germany duo Pretty Lightning and their second instrumental record following 2022’s ‘Dust Moves’. Due for release February 21st 2025 on Fuzz Club, it’s a set of downtempo, repetitive grooves that course through dusty spaghetti-western psychedelia, Tuareg-derived desert-blues, library music and '70s progressive. It’s always cinematic but shot through with trippy, off-kilter moments that bring a sense of alien to the widescreen panoramas here – this is an “oozy, woozy cowboy groove”, as they put it. If it was David Lynch who directed ‘Paris, Texas’ then Ry Cooder’s soundtrack might have sounded something like this. “With our previous and first fully instrumental album ‘Dust Moves’ we actually thought we’d only be only taking a little detour from our ‘Fuzz/Rock Duo’ path to explore slightly more experimental ideas”, Sebastian Haas (guitars/keys) and Christian Berghoff (drums/percussion) recall: “But as things came together surprisingly easy and the whole process of making the record just felt very fluid and effortless, we somehow came to appreciate making exclusively instrumental music more and more. It was like a door opening up to a new exciting territory, which we happily embraced. These kinds of tunes just hit a special spot and never bore us at all, quite the contrary, it´s rather inspiring.” Though ‘Dust Moves’ was both a musical and thematic excavation of the desert, its follow-up ‘Night Wobble’ wades through less arid surroundings: “Night Wobble can be perceived as the soundtrack accompanying an imaginary story of a journey into the forest after dark, conjuring all the arcane images and strange magic that can happen in the woods at night. The rhythm serves as a proposal for the pace in which one roams through the night, but it’s the moments of idle that invite you to hang out and have a deeper look around.”

TRACK LISTING

1. In Place Of Bees, Glow Worms
2. Spectre Crackle
3. Nightroamer
4. Yonder Holly Oak
5. Dingle Dangle Ditch
6. Glade Runner
7. Shadow Portal
8. Peek-A-Boo
9. Mellow Swirl
10. Owl Hour
11. (How To) Moonbow
12. Furrows
13. Sonic Broom

The aptly titled ‘Dirty Tracks For Clubbing’ is the 2023 debut album from fast-rising Lisbon trio MAQUINA. Across 40 minutes, it features four extended tracks driven by high-octane motorik beats, scuzzy floor-shaking basslines, noise-filled guitar riffs and screamed vocals immersed in delay and reverb. Wrapped in a lo-fi texture, it’s aggressive, danceable and totally hypnotic. This highly-anticipated vinyl release arrives February 7th 2025. MAQUINA.'s vital debut was originally released on CD and download in 2023 via Porto-based label Saliva Diva but it now will receive its first vinyl pressing via their new label home Fuzz Club, just in time for their 2025 touring plans to commence. Since the record's original release the band have toured extensively, building a devout fan-base across Europe and a notorious reputation for their carnal, hedonistic live shows. They released their debut full-length album 'prata' on Fuzz Club earlier in 2024, and now popular demand calls for their debut release to be finally stamped on wax too.

STAFF COMMENTS

Barry says: Motorik filth of the highest order. Gritty, driving, lysergic industrial business. Think Ministry vocals over Eat Lights Become lights synths and you're getting close. Superbly chaotic.

TRACK LISTING

1. .
2. ..
3. :.
4. ::

‘Dyp Tid’, the fifth album from Norwegian psych-rock group Electric Eye, is a contemplation of the unknown and the ineffable. Crafted in a landscape where time and space collapse, the record is Electric Eye's most ambitious and experimental project to date. Originally commissioned by Sildajazz – the Haugesund International Jazz Festival – and premiering there in 2022, ‘Dyp Tid’ (Norwegian for ‘Deep Time’) is both a meditative journey and an exploration of what it means to exist in a universe where time stretches far beyond humanity’s grasp. First performed live in Skåre Kirke, an octagonal wooden church in Haugesund, Norway that was built in 1858, these six atmospheric compositions centre church organs, synths and choral vocals over any traditional ‘rock’ instrumentation. Gradually winding through ambient minimalism, kosmische improvisations and experimental psych-jazz, ‘Dyp Tid’ isn’t just an album but a space; a mental landscape where sound and time intersect. Talking about the album, Electric Eye’s Øystein Braut says: “We have always been drawn to the cinematic, to the sense that something feels larger than life, and in Dyp Tid we wove these elements together into something both deeply personal and utterly elusive.” Setting up in Bergen´s Duper Studio, the recording space became a laboratory to further develop these new ideas and transform the ‘Dyp Tid’ piece into a fully-fledged studio album: “We delved into analogue technology, explored vintage machines, and experimented with what lay at the edge of our control. We sought the sound of time’s depths, something that felt infinite and uncontrollable. In an age where everything seems algorithmic and predictable, we aimed to create something that refused to be boxed in – something that lives and breathes by its own rules. The album intricately weaves together live recordings from the wooden church and studio sessions, often oscillating between the two in the course of a single track.”

TRACK LISTING

1. Pendelen Svinger
2. Octagon
3. Den Første Lysstråle
4. Clock Of The Long Now
5. Mycelium
6. Hvit Lotus

Longing. Heartbreak. Levity. Joy. Being filled with love for all things. All of these sensations flow at once through Canadian singer-songwriter Tess Parks’ new album, Pomegranate. Re-establishing Parks as the consummate artist-observer against a swirling nouveau-delic backdrop, her third solo album is released via Fuzz Club and was produced by multi-instrumentalist and close collaborator Ruari Meehan, who shared mixing duties with Grammy-nominated engineer Mikko Gordon (The Smile, Gaz Coombes, Arcade Fire).

Though Tess Parks first became widely known for her string of collaborations with Brian Jonestown Massacre mastermind Anton Newcombe, her 2022 solo offering And Those Who Were Seen Dancing left an unforgettable impression with its signature blend of weight, whimsy, and open-heartedness. The New York Times would praise its “confident, enchanting presence”, whilst Exclaim! proclaimed it as a record that “demands to be heard and felt”. Where Dancing retained a fair measure of bedroom-demo charm, this time the canvas is bigger, with Meehan’s arrangements stretching all the way to the horizon. This is the most ambitious and cinematic Parks’ music has ever sounded. Drawing on psychedelic elements in a way that sounds decidedly fresh, the dreamlike atmospheres feel oddly nostalgic and modern at the same time.

The pair are backed on most tracks by band members Francesco ‘Pearz’ Perini – whose piano and organs shine through gloriously on ‘Koalas’ and ‘California’s Dreaming’ respectively – and Marco Ninni, who provides the solid backbone throughout on drums. From a vocal perspective, it feels like Parks pushes her voice to new heights on this album too. Her lyrics are sharp, ever-present, and imbued with strength, depth, and poetic purpose, which shine particularly bright on tracks like ‘Koalas’ and ‘Charlie Potato’. They weave through her flurries of beautiful melodic hooks, featuring sublime choruses and complex, multi-layered harmonic structures, as showcased on ‘Crown Shy’ and ‘Bagpipe Blues’ especially.

On Pomegranate there are also plenty of new experiments and guests introduced. ‘Koalas’, for example, features the spellbinding whistling of Molly Lewis, lending a bittersweet Morricone-esque charm. ‘Crown Shy’ features soaring strings (arranged by Ninni and played by Joe Butler), and ‘Bagpipe Blues’ and ‘Charlie Potato’ are elevated by Kira Krempova’s ethereal flute playing – the latter also accompanied with Wurlitzer piano played by Oscar ‘SHOLTO’ Robertson. The euphoric ‘Running Home To Sing’ and album-closer ‘Surround’ centre the synthesiser for the first time, whilst the piano features more prominently across many of the tracks.

STAFF COMMENTS

Barry says: Tess Parks' work is the quintessential sound of classic 60's psychedelia that's seamlessly infused with modern indie music and shoegaze, all topped with Parks' unmistakeable vocal drawl. It's a beautifully conceived, perfectly narrated story.

TRACK LISTING

1 Bagpipe Blues
2 California's Dreaming
3 Koalas
4 Lemon Poppy
5 Charlie Potato
6 Crown Shy
7 Running Home To Sing
8 Sunnyside
9 Surround

Vinyl reissue of the debut album from Icelandic art-rock project Dead Skeletons. Originally released on 11/11/11 via Anton Newcombe’s A Recordings label, ‘Dead Magick’ has come to be seen as one of this generation’s definitive neo-psychedelic works and had an almost cult-like reverence attached to it. Tours around the UK, EU and USA, major international festival dates and critical acclaim soon followed the album’s release, and it also helped to catalyse a burgeoning underground psych scene to whom ‘Dead Magick’s occult sonic belligerence became a crucial and highly-lauded touchstone. A twelve-track masterclass in “transportative far-out guitar hymnals” (The Quietus) and "a psychedelic battle cry" (The Guardian), the ‘Dead Magick’ double album was an exercise in spiritual rock’n’roll drones shaped by primitive fuzzed-out guitars, repetitive vocal mantras, distorted organs and crashing percussion.

TRACK LISTING

1. Dead Mantra
2. Om Mani Peme Hung
3. Kingdom Of God
4. Psychodead
5. Get On The Train
6. Dead Magick I
7. Ask Seek Knock
8. Ljósberinn
9. Live!/Lifðu!
10. When The Sun Comes Up
11. Yama

‘Mount Elephant’ is organic psychedelia at its finest. These are drifting, pastoral meditations rooted in the “joy and rhythms” of Eastern music and one of the most precious luxuries of our time: doing things slowly. Italian multi-instrumentalist Alessio Ferarri’s third Upupuyāma record and first on Fuzz Club finds inspiration in traditional Bhutanese music, Thai disco and Anatolian psych, by way of the lysergic acid-folk, ‘70s kosmische and stoner-rock that has always coursed through the project – dream-like instrumentals always threatening to breakdown into blasts of fuzzed-out riffing.

“Mount Elephant was born out of a need to listen, to listen to silence”, Ferrari says: “Listening to the silence while observing flowers, while moving your hands in the wind, listening to your body while you are dancing. If in my first album (Upupayāma) I had travelled the length and breadth of a place, in the second (The Golden Pond) I had reached one and stopped there, in this third album I set out again, crossing a border and entering a long-dreamed place that I could finally ‘see with my own eyes’.”

A six-piece band live, where things take a more ever-evolving improvisation-based approach, on the recordings Ferrari writes, plays and records everything himself – guitars, keys, flute, sitar, erhu and an arsenal of percussion all feature. The recordings were laid down over time in Ferrari's home barn studio in a small mountain village overlooking the city of Parma, before being mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine).

TRACK LISTING

1. Moon Needs The Wolf
2. Thimpu
3. Fil Dağı
4. Moon Needs The Owl
5. Dabadaba
6. Mount Elephant

'Vomitorium' is the new album from ever-evolving Eindhoven band Radar Men From The Moon. Due out August 16th on Fuzz Club, it's an eight-track collection of abrasive experimental punk that unleashes their latest line-up and musical incarnation in typically confrontational form. Revelling in cathartic excess and a bludgeoning intensity, they power through 90s industrial electronics, discordant noise-rock and the darkest post-punk extremes. "The album features eight mental landscapes, all with an entrance and an exit, just like a vomitorium of a Roman theatre", Radar Men From The Moon write: "Power structures that are constantly aroused and working against each other." On this recording, the band is made up of founding members Glenn Peeters (guitar) and Tony Lathouwers (drums), alongside second drummer Joep Schmitz, Bram Van Zuijlen (guitar/synths), Niek Manders (bass) and new vocalist Niels Koster. 'Vomitorium' is the band's eighth full-length in an extensive, shape-shifting discography that has also seen collaborations with the likes of Gnod (as Temple ov BBV), The Cosmic Dead and 10 000 Russos.

TRACK LISTING

1. Speech Of The Hammer
2. Psychic Warfare Now!
3. Vomitorium
4. Liberation
5. Altered States
6. My Body Is An Event
7. Confusion
8. Open Door To Vices

A twelve-track collection of “cassette-ified” lo-fi psych-pop, ‘Wobble’ is the eleventh studio album from Black Market Karma and their first on Fuzz Club. Hailing from London and now residing on the South Coast, BMK’s prolific output is fuelled by band-leader and multi-instrumentalist Stanley Belton who writes, performs, records, produces and up until now self-released everything from his own live-in ‘Cocoon’ studio. Pooling influences from 60s pop and psychedelia, crunchy hip-hop break-beats and lo-fi electronica, ‘Wobble’ is the first of a two-part album series and is due for release July 26th 2024.

The album’s title is a reference to tape wobble / wow and flutter, subtle fluctuations in pitch characteristic of analogue recording equipment. Where once seen as a limitation by older generations, for others they evoke a welcome sense of nostalgia and that’s what Belton sought to excavate here: “Sonically, I wanted the album to feel like a collection of discarded and worse for wear instruments came to life, refurbished themselves and started to play. The sound is an attempt to give form to the often formless feeling that is nostalgia. With songs attempting to crystallise a feeling known as ‘fernweh’. A kind of longing for a place and time you’ve never experienced, be it in this world or another.”

“As formats evolved these characteristics were slowly phased out but with this album I was aiming to put them back in through different methods of sound degradation”, Belton says, “reaching for a sweet spot where the sound had a lo-fi flavour but with the punch of a higher quality recording.” Drums are recorded live, run back through guitar amps and pedals and sampled. Vintage guitars are totally warped by effects, with lead bass melodies being run through overloaded Vox guitar amps. All topped with heavily saturated vocals, mono synths, electronic flutes, mallet sounds and a bunch of other instruments and the sort of creative experiments that over a decade spent enjoying total freedom in your own ever-growing DIY studio allows for.

TRACK LISTING

1. Mushy Conscience
2. Oozer
3. Lead Laces
4. Waterbaby
5. Sonic Broth Soul Taster
6. Puddle Eyed Sponger
7. Going On Easy
8. Thin Wild Mercury
9. The Din Of An Ending
10. Olive
11. The Death Throes Of Nuance
12. Stepping Loose

It wasn’t meant to be six years between albums for ORB. The Geelong-forged trio last graced us with a studio offering in the form of 2018’s characteristically heady ‘The Space Between’, before touring Europe and America back-to-back supporting King Gizzard & The Lizard Wizard in 2019. But time rarely passes as expected, whether slowed by pandemics, side pursuits or other vagaries of daily life. What’s important is that a fourth album is finally here, with enough byways and trapdoors to keep us well occupied indeed. The long-awaited ‘Tailem Blend’ LP arrives July 12th 2024 on Fuzz Club in Europe and North America.

Saturated in vintage warmth and depth, ‘Tailem Bend’ showcases ORB’s knack for achieving tuneful hypnosis amidst a dank roominess. It snakes through big, brash riffing as often as it does sun-dappled psych pop, with memorable rhythmic runs and funky wah licks along the way. As signalled by the cover artwork from Parsnip’s Paris Richens – which depicts either a swan or a fish, depending on how you look at it – ORB have returned with an album that rewards taking it in from multiple angles. There’s plenty of the band we know and love, but there’s also enough of the new to prompt a healthy succession of double takes.

There are still the inevitable avalanches of fuzz, but also present now are mellower passages and a renewed focus on rhythm and space. It’s not a wholesale departure, but it’s distinctive enough to be reflected in the album title itself. The source? Tailem Bend is a quiet town in South Australia whose name was evocative enough to catch the band’s collective eye on tour. Conjuring images for them of some lost prog act, the name reportedly derives from the Ngarrindjeri word “thelim”, referring to a sharp bend in the nearby Murray River. That made it especially suited to a record that packs many dramatic turns of its own – all without breaking its natural flow.

TRACK LISTING

1. Tailem Bend
2. Karma Comes
3. Can't Do That
4. Golden Arch
5. Skyclock
6. You Do
7. Morph
8. Commandment

Arriving following 2021’s ‘Ungrateful Heart’ LP, ‘Bang!’ is the fifth studio album from the Milan-based band. “Like the sound of a single gunshot, straight to the heart”, the record is balanced between punchy, fast-paced punk songs and noisy experimentalism, perfectly distilling the strength and energy of their notoriously wild, feedback-blasted live shows.

Lead single 'Cade Giù', out everywhere now, is a two-minute blast of searing psych-punk noise. The Gluts say of the typically hedonistic new single: “Cade Giù (‘Falls Down’) is the first song we've ever written and recorded in Italian and speaks about the blurry reminiscences of the typical after party night during the tour, evoking one wild night spent with our friend and booking agent Gab.”

The Gluts is made up of Marco Campana (guitarist), Nicolò J. Campana (frontman), Claudia Cesana (bassist) and Dario Bruno Bassi (drummer). To this date, they have released four studio albums, one live album and contributed to a handful of compilations. Over the last few years they’ve toured heavily around Europe, performed shows in South Africa and USA and appeared at a number of independent festivals including New Colossus, The Great Escape, Eurosonic and more.

TRACK LISTING

1. Soybeans
2. Bang!
3. Fight
4. Self-Destruction
5. Vampire, A Walk At Midnight
6. Cade Giù
7. Sleep Demon
8. Marble Cats
9. Isabella
10. Born & Die

Liverpool's YOBS release their self-titled debut album on May 3rd 2024 via Fuzz Club, arriving off the back of their debut double single, 'Fortune Teller b/w Cemetery Man', which saw the four-piece burst on the scene n a gloriously scuzzy and hedonistic blaze. "All skull-crushing riffs and hallucinogenic effects", as Clash Magazine wrote, YOBS deal in primitive garage-punk/noise-rock salvos that race by with a bludgeoning intensity. Across the album's ten tracks and rapid 26-minute running time, the band revel in an abrasive, fun-as-hell rock'n'roll that will leave your bones rattling just as much as your speakers. Emerging out of the rubble of the now-defunct Liverpool bands Weird Sex and Ohmns, YOBS was kick-started in 2022 and is made up of Joey Ackland (Vocals), Alex Smith (Bass/Vocals), Michael Quinlan (Guitar/Vocals) and George Gebbie (Drums). Their debut full-length – recorded in four days at Hackney Road Studios with James Aparicio – arrives off the back of a 2023 spent playing rowdy, ear-ringing shows with the likes of A Place To Bury Strangers, Mark Sultan, C.O.F.F.I.N, Alien Nosejob and more.

TRACK LISTING

1. YOBS Theme
2. Cyanide
3. Wasted
4. Shitty Eye
5. Plastercine
6. Fortune Teller
7. Head The Ball
8. Cemetery Man
9. Tito Puente
10. Carpet Burns (On My Tongue)

‘Most Perfect Solitude’ is the sixth studio album from The Third Sound, due out May 17th on Fuzz Club. The follow-up to 2022' 'First Light' LP marks a new chapter, in terms of both sound and personnel, for the Berlin psych/post-punk band led by Icelandic musician and author Hakon Adalsteinsson. “After touring ‘First Light’ heavily and releasing our Fuzz Club Session LP last year – a career-spanning, retrospective document – this album feels like starting with a clean slate”, Haken says. Written and recorded in under two weeks, during a rare gap in his non-stop touring schedule as guitarist in The Brian Jonestown Massacre and new project Golden Hours at that time, ‘Most Perfect Solitude’ introduces a new Third Sound line-up: Hakon and long-time member Robin Hughes (Organ/Guitar) now joined by Frankie Broek (drums) and Wim Janssens (bass). As well as the line-up changes, Hakon reflects, “There is a certain warmth to some of the songs that has not been there before, but they still flicker between light and shadows, kind of like a slow motion audio version of Brion Gysin‘s Dreamachine.” On the one hand, jangly ‘60s 12-strings and breezy melodies shine on tracks like ‘Another Time, Another Place’ and ‘On Returning’, undoubtedly The Third Sound at their most radiant. Yet the record is not without its darker, heavier moments either – see the scuzzy psych-rock drone ‘Veiled’ or soon-to-be live favourite ‘Wasteland’, which sets a nightmarish vision of a city in ruins to the tune of heavy fuzz-guitar repetition and hypnotic drums. The album’s title is a phrase lifted from Mary Shelley’s Frankenstein and found by way of Werner Herzog’s journal writings in ‘Of Walking In Ice’, documenting the film-makers walk from Munich to Paris, which Hakon was reading whilst on the road himself: “Many of the songs touched on the theme of trips or some sort of travel, so I knew immediately that it was going to be the title. When you are travelling or touring you can find yourself in a weird sort of isolation, whilst also often looking for solitude to get away from everything. And, sometimes, it is best to listen to music in that most perfect solitude.”

TRACK LISTING

1. See You On The Other Side
2. On Returning
3. Don't Look Back
4. Catch Fire
5. Veiled
6. Another Time, Another Place
7. Shooting Star
8. Dots
9. Wasteland
10. Departure

As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell’s artistic philosophy while keeping that ever crucial air of mystery intact.

TRACK LISTING

1. Hot Ghee
2. Blue
3. Nightmare
4. Motion Picture
5. Anxious Mind
6. Thank You
7. Osaka (feat. Ambrose Kenny Smith)
8. Dusty Jungle
9. Cautionary Tale
10. 9 To 5
11. Morocco Blues

Arriving seven years on from their 2014 debut album ‘Ships Will Come’, Warm Graves (the moniker of Leipzig-based composer Jonas Wehner) return with their second studio album, ‘Ease’, on Fuzz Club Records. This seven-year gestation between the two albums brings with it a transformation in the creative process of Warm Graves, much like the human body exchanges its cells every seven years – our human bodies being both the same and wholly other. “For me, ‘Ease’ always comes back to the idea of transformation”, Wehner says: “In this case, from struggle to ease, choirs to whispers, rush to patience, light to dark. Those 7 years didn’t pass lightly. Life took a lot of turns and I had a lot to learn. It’s all in there compressed in 9 tracks.”

Where 2014’s ‘Ships Will Come’ dealt in ethereal, dream-like atmospherics guided by an operatic choir, ‘Ease’ offers a collection of harsher, more experimental electronic works touching on dark ambient drone, austere coldwave and synthesised kosmische musik. The transitions in this new album are more violent than before, expressing the difficult personal and social upheavals of its composition period. The choir is now absent and Wehner’s own voice assumes a more central, hypnotic stance. The soundscapes of the first album make way for something darker and a concentration of melody into a single voice – a voice no longer collective, but embodying both isolation and intimacy. "I've lit my own fate", Wehner sings in ‘Sun Escape’. A fate which he firmly places under the microscope across this album.

Warm Graves was brought to life by Jonas Marc Anton Wehner in 2012. In the years following the release of their epic 2014 debut ‘Ships Will Come’, Warm Graves soon found themselves touring with the likes of Exploded View and Moon Duo and sharing stages with The Soft Moon, Crystal Stilts, Efterklang and Moonface, among many others. As well as headline tours around Europe of their own, they’ve also appeared at such international festivals as The Great Escape, ATP, Iceland Airwaves, Roskilde and Eindhoven Psych Lab. Having spent the last few years quietly working on ‘Ease’ in the shadows, Warm Graves is now emerging once again as both a live and recording force – and doing so with a new live band, new album and reissue of ‘Ships Will Come’ (also released via their new label Fuzz Club Records) in tow.

TRACK LISTING

1) Atoria
2) Black Wine
3) Neon
4) Sun Escape
5) Cara
6) Deliria
7) Nightfall/Daylight
8) Ease
9) Sound Sleeper

Following the release of their self-titled debut album in December 2020, Flying Moon In Space – a Leipzig-based group that deal in an experimental melting pot of psychedelic pop, krautrock, techno and math-rock – are now releasing a new EP made up of remixes of tracks from the debut album by the likes of Xiu Xiu, Suuns, A Place To Bury Strangers, Minami Deutsch, Camera and Warm Graves.

On the new EP, which is released digitally and on 12" vinyl by London-based label Fuzz Club, Jamie Stewart of prolific American experimental group Xiu Xiu pushes the industrial 4/4 psych of 'Faces' to IDM extremes, Brooklyn noise-rock heavyweights A Place To Bury Strangers give 'The Observer' a feedback-blasted redux and Montreal art-rockers Suuns turn 'Steam Water Solid' into an 81-second assault on the senses. Elsewhere, German group Camera transform 'Where Lovers Meet' into a piece of hedonistic synthesised krautrock and Japanese band Minami Deutsch inject the sinister 'Ardor' with a motorik dark disco groove. Closing the EP is a beautifully slow-burning and atmospheric reworking of 'Baustelle' courtesy of fellow Leipzig experimentalists and Fuzz Club label-mates Warm Graves.

TRACK LISTING

1) Flying Moon In Space - Where Lovers Meet (Camera Remix)
2) Flying Moon In Space - Faces (Xiu Xiu Remix)
3) Flying Moon In Space - The Observer (A Place To Bury Strangers Remix)
4) Flying Moon In Space - Ardor (Minami Deutsch Remix)
5) Flying Moon In Space - Steam Water Solid (Suuns Remix)
6) Flying Moon In Space - Baustelle (Warm Graves Remix)

Fuzz Club Records are reissuing the ‘Beautiful & Damned’ EP from The Underground Youth, the Blackpool-born and now Berlin-based band led by musician, poet and author Craig Dyer. A homage to the F. Scott Fitzgerald book of the same name, the 4 track EP confirmed Dyer’s obsession for the darker side of literature and poetry of the last two centuries, as well as his early DIY approach. Rigorously recorded in the band’s home studio with the help of producer James Shillito in early 2014, ‘Beautiful & Damned’ acted as a preview to their 2015 ‘Haunted’ LP. It was the first TUY material featuring synth and electronic equipment and also represented a significant shift to a much darker sound and lyrical content, as anticipated by their first single/video ‘Naked’ – a fan-favourite to this day that exhibits a perfect encounter between the atmospheres of the Cocteau Twins and the early Creation Records sound. The 2021 reissue of the EP comes on a coloured 10” with remastered audio.

TRACK LISTING

1) Behind
2) Damned
3) Naked
4) Shadow

To celebrate its ten-year anniversary, Fuzz Club Records are reissuing The Underground Youth’s 2011 ‘Low Slow Needle’ EP on 10” vinyl with remastered audio. ‘Low Slow Needle’s hauntingly minimal, neo-psychedelic melancholy provides a more lo-fi snapshot of the now-Berlin-based band’s earlier days – when The Underground Youth was more of a DIY solo endeavour for Blackpool-born musician Craig Dyer, as opposed to the much-adored, full-band, international touring force that it is now. Looking back on ‘Low Slow Needle’, Dyer said: “The EP was recorded in September 2011, I had just returned to the UK from St. Petersburg where Olya [now drummer in The Underground Youth] and I had just got married.

Olya had to stay in Russia to finalise her paperwork before we would move into our first home together in Manchester. It was a difficult time, being apart after just getting married, and so I distracted myself by working on these songs that would become the Low Slow Needle EP. It was sort of my love letter to that period, looking back and also looking to the future. I worked closely with mine and Olya's friend in St. Petersburg, Daria Xenofontova, who gave her beautiful voice to my words and featured on three of the most popular songs on the EP, 'Midnight Lust', 'Addiction' and 'Blue'. These three songs still remain popular with our fans, who still request we play them live to this day.” When compared with the cinematic folk-noir heard on the band’s tenth album, the newly-released ‘The Falling’ (2021), what we find here captures a more stark and stripped-back The Underground Youth as the project was about to come out of its embryonic phase: “All five tracks were recorded in my bedroom and I really wanted to strip back the sound, to give a romantic feel of that period for me. To consider it 10 years on, it feels like the beginning to the next step of the journey, my life in Manchester with Olya, making contact with Casper at Fuzz Club and signing up with the label (this came just after the release of Low Slow Needle) and us putting together the first incarnation of TUY's live band (again this followed the release of the EP). So, in a way, this record marked the end of the first era of The Underground Youth, and in doing so, paved the way for the next.”

TRACK LISTING

1) Midnight Lust
2) On Your Screen
3) Addiction
4) Blue
5) Witchcraft

Both box sets include 62x62cm poster. Artwork and remaster exclusive to Fuzz Club Bootlegs. The live album was recorded when the prolific Australian psych-rock group descended on Thebarton Theatre in Adelaide, Australia on July 12th 2019. This career-spanning live album sees the band storm through tracks from ‘Chunky Shrapnel’, ‘Infest The Rats Nest’, ‘Fishing for Fishies’, ‘I’m In Your Mind Fuzz’, ‘Flying Microtonal Banana’, ‘Polygondwanaland’, and ‘Float Along - Fill Your Lungs’. This ‘Live In Adelaide 19’ bootleg is remastered by Brett Orrison (Jack White, The Black Angels, Roky Erickson) exclusively for Fuzz Club and arrives as a hand-numbered triple LP box-set with exclusive artwork.

TRACK LISTING

1) Evil Star
2) Planet B
3) Mars For The Rich
4) Venusian 1
5) Cyboogie
6) Real’s Not Real
7) Hot Water
8) Open Water
9) Sleep Drifter
10) Billabong Valley
11) The Bird Song
12) Inner Cell
13) Loyalty
14) Horology
15) Plastic Boogie
16) Organ Farmer
17) Self-Immolate
18) Head On/Pill

Cult of Dom Keller will release their fifth album, ‘They Carried The Dead In A U.F.O’, on May 21st via Fuzz Club Records. Since 2007 the British band have been leaving a trail of sonic fever dreams, dark psychedelia and experimentalism that beats with a heavy industrial heart and the forthcoming LP sees them conjuring their heaviest and most adventurous work to date. Channelling recent limitations and turning them to their advantage, Cult of Dom Keller found themselves radically altering their creative approach and morphing their sound into a whole new beast. On this LP the band hone in on an industrial noise-rock sound that is pushed to the brink. On 'They Carried The Dead In A UFO', the band said: “We managed to create our most experimental and exciting album to date without being in the same room together. U.F.O. was recorded, mixed and produced by ourselves, meaning we had total control over every noise on the record.

This was the exact record we wanted to make: Experimental and playful; moments of light and pure dark... we wanted to f*ck with the listener and pull them in with moments of beauty and chaos. We hope you enjoy the trip!” Cult of Dom Keller have long been at the forefront of the contemporary British psych scene but their notorious reputation also extends much further afield too. They’ve done several tours around the UK, Europe and US and shared the stage with greats like Roky Erickson, Spectrum, Silver Apples and The Sisters of Mercy, as well as contemporaries like The Black Angels, Fat White Family, Sleaford Mods and Temples.

TRACK LISTING

1) Run From The Gullskinna
2) Lyssa
3) Cage The Masters
4) She Turned Into A Serpent
5) Infernal Heads
6) Psychic Surgery
7) Amazing Enemy
8) Last King Of Hell

Reykjavík maverick Henrik Björnsson is due to release ‘Good Sick Fun’, his eleventh album under the Singapore Sling project. Inspired by goth-rock, dub and big-band jazz on top of the usual fuzzed-out rock’n’roll touchstones that are seared into Henrik’s work, the latest Singapore Sling full-length is as perversely hedonistic as they come – and that’s not without competition by any means. An invitation to “rejoice in doing wrong”, in Henrik’s own words, ‘Good Sick Fun’ is the latest morbid and characteristically-depraved addition to a back-catalogue spanning nearly two decades from the cult Icelandic band. Arriving off the back of the 2019 ‘Killer Classics’ LP, Henrik says of the new album: “Old rock´n´roll is the main influence on this record, as on most of my records. When I release a record it means rock´n´roll has saved my life, my mind and my soul once again. And it does that quite frequently. Sometimes I start running astray, getting sucked into pointless garbage and thinking it actually matters. Then I realize that it´s absolute garbage and that nothing matters but rock´n´roll so I go and make a record instead.” 

TRACK LISTING

1. Touch The Filth
2. Soul Kicks
3. Good Sick Fun
4. Summertime Blues
5. Love Sick Love Fuck
6. Vindication
7. Sick Fuck
8. Sickin Street
9. Like The Breeze
10. No Fire
11. Girl Inside Your Hand
12. Friday Bye Bye

RF Shannon takes a drastic shift from the long form, pensive desert meditations of their previous record. “The process was a drastic shift from the one we took with ‘Jaguar Palace’ and I was hooked. It was a blast all of the time. We kept a quick pace due to external circumstances via random or otherwise inevitable interruptions, so we learned to take what we could get. If a take was good, it was a keeper, we didn’t second guess it. In just four days we had demoed the majority of my new material and it just felt so right.’’ explains Shane Renfro, the mind behind RF Shannon.

The final product of the seize the moment approach behind the writing and recording process echoes the themes Trickster Blues attempts to dissect. “The lyrics are about acknowledging consequences and saying "so what", the reward is worth the risk, etc. It's about feeling a pull, a calling, and dedicating to it hell or high water, whatever that may be. Its the heart of it all.’’ Renfro continues. To be able to listen and say “That’s it, that's the song. It is what it is, and we like what it is” Sounds a little underwhelming in that sense, but that's what I wanted. I just wanted the songs to speak for themselves. Our old material is challenging and dense, and I love it. I love the spaces we have created. But I wanted to record songs that could just stand alone and be what they are.''

The Third Sound's new album Gospels of Degeneration shows a shift in style for the group, having toned down the shimmery psychedelia in favour of something a little cleaner. That’s not to say this is a barren sounding album at all, it’s still hypnotically layered with country-kissed reverb, and retains those itching guitar riffs that will keep whispering through your mind for hours after listening.

Founded by Icelandic frontman, Hakon Aðalsteinsson - an ex-member of Singapore Sling who are often hailed as founding members of the new psych sound - The Third Sound came into being in Rome in 2010 and have since relocated to Berlin. Since forming, The Third Sound have enjoyed the support of Anton Newcombe, who released their self-titled first album, on his label A Recordings, and chose the group to support his band The Brian Jonestown Massacre on tour in Europe. He also provided the studio for recording their second album The Third Sound of Destruction and Creation which was released on Fuzz Club in 2013. Most recently they’ve shared members with Anton Newcombe and Tess Parks’ band, which led to Parks’ appearance on the single “You Are Not Here” from this new album. What began as somewhat of a solo project by Aðalsteinsson, the new album sees The Third Sound stretching its definition with deeper levels of collaboration between band members and the influence of a new character in its story, the city of Berlin.

The group’s sound has been described as “ebbing between light and dark, dream and reality, pop and experimentalism” and “ranging from hypnotic soundscapes to tweaked out and fuzzed up numbers.” In a recent premiere on Clash Music they were described as "lynchpins of the psychedelic underground."