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Black Doldrums’ set at the 2025 Fuzz Club Festival is being immortalised on wax with this super-limited live album release. The London-based band founded by Kevin Gibbard and Sophie Landers fall somewhere between dark neo-psych intensity and gothic post-punk melancholy that’s all the more powerful live on stage.
Their first appearance at the Fuzz Club Festival – which takes place every year at the Effenaar in Eindhoven, the Netherlands – was in support of their latest studio album ‘In Limerence’, released in late 2024. Their discography-spanning set comprised five tracks from the new album (‘Hideaway’, ‘In Silence’, ‘Dying For You’, ‘Tarantula’ and ‘Painting Smiles’), two from their 2022 debut full-length Dead Awake…

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Scott McCloud (Girls Against Boys, Soulside, Paramount Styles, AGRIO) release his debut solo LP Make It To Forever via God Unknown Records. Starting in the late Eighties Scott was the guitarist for Washington DC’s post-hardcore band Soulside (Dischord) before moving to NYC and co-founding Girls Against Boys (Touch & Go, DGC) in the Nineties.
The album was recorded by Dimitris Dimitriades at Zero Gravity studios in Athens, Greece and initially conceived as an experiment and time capsule, stripped down raw recordings on acoustic guitar and voice with minimal adornment. Over time, and several visits to Athens, the song sketches were fleshed out with a variety of musical guests with the intent of maintaining the vulnerable…

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Though little-known in America prior to 2000, Thee Michelle Gun Elephant formed in Japan back in 1991 and began playing raucous garage rock & roll inspired by the Stooges, Thee Headcoats, the Who, and MC5. Futoshi Abe’s thrashy guitar riffs propel the fast-paced, hard-hitting tunes over the driving rhythms of Kouji Ueno’s thick bass grooves and Kazuyuki Kuhara’s heavy backbeat. Yusuke Chiba’s mod, raspy vocals, alternately sung and screamed out mostly in Japanese, hold the whole thing together with a rough-as-rock-gets swagger.
Initially, Thee Michelle Gun Elephant’s sound was derived from British punk and blues. The band recorded their first EP, Wonder Style, in 1995. They soon followed up with their debut album, Cult Grass Stars, recorded in London with…

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In January 2021, unassuming clubbers looking for a Saturday night out at Taipei’s FINAL might’ve been surprised to encounter Taiwanese drone-doom duo Scattered Purgatory flooding the room with noise, in what was billed as their last performance. Yet the duo had already been toying with the boundary between the city’s rock and electronic scenes; guitarist Lu Jiachi, who cut his teeth in the stoner rock band Sleaze, dabbled in deconstructed club music throughout the late 2010s, eventually putting out tracks for local labels like JIN, OverMyBody, and Sea Cucumber. Five years after that cacophonous “farewell” show, the band is back with an album that builds on their foundation of Earth-esque guitar-and-bass rumbling, incorporating more bite-sized song…

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Portland-based duo Natural Magic’s II was the final vinyl release that Keith McIvor aka JD Twitch put into production before his untimely departure in late September ’25.
“Having been a long time lover of everything krautrock, space rock, experimental and psychedelic it seems more than fitting that he leaves us this LP as his parting gift; because this sublime album is all these things wrapped up into one and much more.
The album’s opening track “Galaxy Builder”, with its driving tempo, monolithic bass and screaming guitars might give the impression we’re about to hear a Neu for the 21st Century, but no, by the 2nd track we’re already on the first of several wild detours into uncharted territories…

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CBGB’s was the center of the N.Y.C. punk explosion, as well as a welcoming place to play for all the artists and bands who followed in the wake. CBGB: A New York City Soundtrack 1975-1986 is a four-disc set that seeks to paint a picture of the original scene as it burst out into the open as well as detailing the various sounds and movements, like no wave and hardcore, that were born in the ensuing years. All the groups one would hope for are here, represented by slightly deeper cuts — Talking Heads’ sprightly live version of “A Clean Break” for one — along with a ton of lesser-known bands and a healthy dose of super-obscure ones. It’s the kind of collection where even someone with a healthy knowledge of the scene will be constantly surprised. One surprise element…

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There are some notable firsts for UK singer/songwriter/guitarist Laurence Jones’ On My Own. It’s not only his debut on the blues-rocking artist’s own, recently established label (Ron Records), but the only instance in his eight title catalog recorded entirely in solo acoustic mode. It’s also his most personal statement.
Most of these changes to the once fully plugged-in, some might say over-amped, and roaring attack Jones typically favored are integral to continuing his career dealing with Crohn’s disease. It’s an ailment he has suffered from for years and has become a spokesman for. According to his notes, the physical toll of leading a band and constant touring was not something he could continue due to the illness sapping his energy.

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It’s been four-and-a-half years since hearing from Harlem-based vocalist and guitar slinger Solomon Hicks (no longer using “King” to precede his first name) on his album, Harlem. Now in his late twenties, Hicks’s sound continues to progress. When many of us were first introduced to him about a decade ago, we reveled in his clean, no pedals sound and pure, soulful Sam Cooke-like voice. He came across as an ‘old soul’ in a young man’s body, with a handsome smile, dressed to the nines. At that time, he was playing mostly covers, and many of us were projecting what he might sound like with original material.
That core of his sound and propensity to lean on covers remains intact, but his sound is now shrouded in electronica and a bit of gadgetry…

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Was it a matter of timing, or simply living in the shadow of giants, that has kept saxophonist Charles Tyler off most listeners’ radars? Born in Kentucky in 1941 and raised in Indianapolis, Tyler first gained recognition through his association with Albert Ayler. After relocating to Cleveland in the early ’60s, the two became fast friends, and Tyler’s fiery saxophone can be heard on Ayler’s early ESP-Disk recordings Bells (1965) and Spirits (1965). He soon stepped forward as a leader with Charles Tyler Ensemble (1966) and Eastern Man Alone (1967), two albums that have drifted in and out of print, perhaps casualties of a moment when Ayler and Ornette Coleman’s groundbreaking work dominated the conversation and left little room for similarly adventurous voices.

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Talk Show is a collaboration between two interesting figures in the underground NYC jazz scene. One half of the duo is Steph Richards, a trumpeter with a lengthy history in building multimedia performances combining disparate elements of art to create buzzy performance pieces. The other half is Qasim Naqvi, best known for being the drummer for Dawn of Midi, an acoustic group who opened a couple of dates for Radiohead on the 2016 A Moon Shaped Pool tour.
Richards’ work is characterized by providing a hook of some sort. There’s always something going on, be it choreography, experimental film or something else entirely. 2019’s Supersense, a collaboration with Jason Moran, Kenny Wollesen and Stomu Takeishi, was a live performance…

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kwaNTU feels less like an album and more like an encounter. It brings together Madala Kunene, a significant figure within the Zulu guitar tradition, and Sibusile Xaba, one of South Africa’s most visionary contemporary guitar voices, in a meeting shaped by trust, listening and shared history. There’s a quiet confidence to the music — unhurried, grounded and deeply attentive — as the two guitars speak to one another rather than compete. Kunene’s playing carries the weight of experience and lineage; Xaba responds with openness and warmth, and together they share a mutual sense of spiritual inquiry. The album breathes, allowing space for nuance, silences and gentle shifts in mood. True to its name, kwaNTU centres life force over spectacle.

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a nothing / a void is an album of “fragments, detours and half-formed ideas” that coalesce into a whole – even if this is not the composer’s intent. Asher Fusco (St. Catherine’s) is more interested in texture than in form, process than in result; yet the mind’s tendency toward pareidolia places the puzzle pieces together, from frame to interlocking fragment. The album is incredibly homespun, recorded on the banks of the Delaware River, on a porch in Saugerties, New York and at the artist’s home in Brooklyn. In deference to its title, a nothing / a void feels like a solid something, operating as a sonic diary of snapshots and intimate moments, occasionally reminiscent of Philadelphia’s Hour but touching on the pointillist leanings of ’80s micro-electronics as well.

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Caitlin & Brent don’t initially sound like a natural pairing. Singer-songwriter Caitlin Sherman released her debut, sure-to-be-breakthrough album Death to the Damsel in early 2020, just in time for the world to shut down and her career to go sideways. A dark, artsy record between pop and Americana, the album wasn’t fit for its time and didn’t get the attention it warranted.
Brent Amaker has been playing with his band, the Rodeo, for 20 years. He sings with a deep baritone, and it’s hard to tell just how much of the act is tongue-in-cheek. The band plays strong country & western music (heavy on the western), but the whole project has the feel of performance art. Amaker’s greatest strength might lie in merging his authentic country music with…

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Ty Segall’s 2016 Emotional Mugger Tour was a blistering assault of psychedelic surrealism. The power derived from the multiple-guitar, six person set-up of Mikal Cronin, King Tuff (Kyle Thomas), Emmett Kelly, and Wand’s Cory Hanson and Evan Burrows. The surrealism came in when Segall donned a baby’s mask, filtering his rock star persona through a shroud of carnivalesque disguise. When the band turned up at Mark Riley’s BBC recording studio, they had already logged 50 shows. It was mayhem — how could it not be? — but finely tuned.
This five song EP revisits the glorious abandon of that mid-teens iteration of Segall’s art. It delivers four songs from Emotional Mugger, plus a rabid but abbreviated run-through of…

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Kiss Big is an album about the end of a long-term relationship (classic, really) and the disorienting aftermath of losing the person you built a life around. It explores feeling untethered from them, yourself, who you thought you were and the world. As well as how, with time, everything rearranges and restarts. The cyclical nature of love and endings. The way we keep beginning again, regardless of how we say we won’t.
Ailbhe Reddy is a Dublin-born songwriter whose music captures the quiet intensity of life’s in-between moments. Her third album Kiss Big is a breakup record – but not in the traditional sense. It explores what happens after the fallout: the numbness, the confusion, the brief flashes of clarity. How identity slips, rearranges…

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A journey through the musical life of Gary Young, the subject of the SXSW-winning documentary Louder Than You Think and the wild polymath best known as the original drummer for indie royalty Pavement: from early hardcore punk and post-punk recordings to the merry chaos of Hospital, whose ‘Plant Man’ ended up being an improbable MTV favorite.
Original music created by Noah Georgeson and Edward W. Dahl is presented alongside ultra-rare Pavement live tracks and something quite special: a Gary Young-penned oddity that Gary’s old friend Scott ‘Spiral Stairs’ Kannberg turned into a suitably trippy musical track (spiced with some Stephen Malkmus feedback yowls), recorded for the movie shortly before Gary’s passing in August 2023.

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Puscifer, one of the music projects helmed by Tool/A Perfect Circle main man Maynard James Keenan, has big plans for 2026, with a new studio album and tour lined up for the months ahead. Titled Normal Isn’t, it is the group’s first record since 2020’s Existential Reckoning.
Written and recorded across Arizona, Los Angeles, and on the road during last year’s Sessanta tour, Normal Isn’t blends the dark electronics and sharp humor Puscifer is known for with a more spontaneous creative process. “From the outset, we had discussed an element of rawness and edge, which guitar brings,” shares Mitchell, who co-produced the album. “We got rid of the guard rails and made the music more aggressive.”
For Keenan, this release represents a new…

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Dave’s Picks Volume 57 contains the complete show recorded at the Uptown Theatre in Chicago on February 1, 1978, and also includes some songs from the previous night’s concert.
…The Uptown Theatre, originally a movie palace, opened in 1925. From 1978 to 1981, the Grateful Dead played 17 shows at the Uptown. The January 30 & 31, and February 1, 1978 shows comprised the band’s first concert run at the venue.
This very first Dead run at the Uptown is infused with bold exploration from the monster first set of classics (“Jack Straw, “Friend of the Devil,” “Me and My Uncle”) with a “Sugaree” reminiscent of May ’77 to close things out, from Bobby’s powerful delivery of “Samson and Delilah,” to the Rhythm Devils’ spacey psychedelic…

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