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Mellowmaker – new Black Market Karma album on Fuzz Club records
The Black Market Karma journey continues….it seems like Stanley Belton, who writes and records all the sounds on this album, is currently firing out these nuggets at will and each time takes us further into his world, revealing more of his vision. ‘Mellowmaker’ is a close relation and perfect companion to last years ‘Wobble’ also …
The Black Market Karma journey continues….it seems like Stanley Belton, who writes and records all the sounds on this album, is currently firing out these nuggets at will and each time takes us further into his world, revealing more of his vision. ‘Mellowmaker’ is a close relation and perfect companion to last years ‘Wobble’ also on Fuzz Club – liquid grooves over rattling drum loops, vocals beamed in from another time and place; still hovering in a liminal zone somewhere between realism and escapism – evoking strong memories and flashbacks that I can never quite put my finger on or pin down The title track lays the course for the rest of the album; warped chugging guitars clattering drums and those distinctive dreamlike faraway vocals spinning out shimmering memories from a parallel universe – so many ideas, vibes and different instruments packed into just over 6 minutes but still coherent and organic feeling. ‘Soft & Heavy’ takes us even further into the mystery…the rhythm section weaves and tumbles and the keyboards bring out the beauty of everyday life that sometimes only music can reveal – the soul and substance underneath the grey dull surface layers. It really is a beautiful piece of music, transporting and uplifting. Later in the album ‘Nautodelia’ has a similar feel – slower paced and dripping with wistful sweet nostalgia; timelessly transporting you to idyllic golden hazy times. Even though it all feels like there’s a unifying concept behind this, something intangible that only Stanley himself understands fully, there’s still plenty of variety on the record’ – ‘Jellylegger’ is pure and poppy and upbeat, ‘Lagging Through The Soup Of Yesterday’ has a grumbling bassline propelling an elastic Madchester dance groove and surreal electronics, and neatly leads into recent single ‘Adoration’ which might just hint at new directions – it sounds totally contemporary. The ghosts of psychedelia past are long gone; hip hop drums, electronic quirks and some epic sounding guitar give a more urban and much darker feel and bring the record to a grand cinematic end and leave us waiting for the next episode in the Black Market Karma story. <img decoding="async" class="alignnone size-medium wp-image-16511" src="https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16511" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-2048x2048.jpg 2048w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/BMK-Mellowmaker-Packshot-1200x1200.jpg 1200w" sizes="(max-width: 300px) 100vw, 300px" /> ‘Mellowmaker’ is out there on the borderlands, a mystic transition zone where classic psychedelic pop textures meet bang up to date drum loops and enough reverb and fuzz to keep the psych heads happy. It’s all slightly lo-fi, raw and earthy in feel but full of texture; quirky English psychedelia, melancholic but with a yearning, inspired flavour- the everyday world seen through kaleidoscope eyes. It seems like the band pull bigger crowd in Europe than they do over here in the UK which I really hope can change soon, they deserve a wider audience . Stanley Belton should be seen as a songwriting national treasure and the current live lineup of Black Market Karma make a wonderful noise on stage as they proved recently at the Eindhoven Fuzz Club festival. If you get the chance catch them in action, get yourself experienced… Gary Powell, June 2025
Totally wired – ‘Monkeypunch’ by The Dirt
‘Are you angry?’ asks Jack Horner shortly after The Dirt launch into ‘End Game’ the second track on their second album ‘Monkeypunch’. He clearly is and so should we be too – if we’re not angry at the state of the country and the world at this point in history we may as well all …
‘Are you angry?’ asks Jack Horner shortly after The Dirt launch into ‘End Game’ the second track on their second album ‘Monkeypunch’. He clearly is and so should we be too – if we’re not angry at the state of the country and the world at this point in history we may as well all give up now. The scene has already been set during the intro – these are dark times requiring resistance and togetherness. What follows is a bizarrely life affirming stomp through modern times, portraying a real darkness, a rough guide to the decaying urban jungle but at the same time projecting hope. It’s a rallying cry and a call to arms but much more than that, it’s also a blistering guitar overload assault on the senses and an album that will propel The Dirt on to great things. The husband and wife duo (Jack on words/vocals, percussion and Sachiko Wakizaka casting spells with guitars and pedals) have been building real momentum over the last 18 months or so, spreading the word via regular gigging up and down the country, tirelessly promoting themselves and other DIY acts, promoters, writers and venues on social media and just generally being out there and visible in and around the grass roots music scene. This record feels like the culmination of all that effort, a fitting end to a period of development and the start of the next bout of frantic activity. With this searing, adrenalin rush of an album behind them things will really start happening around this band… If you’ve seen them live you’ll have a good idea of what to expect – Jack is a force of nature, wired and full of pent up barely controlled energy, spewing out words, bursting at the seams to…let it all out, exorcise the demons, purge the frustration, reveal the scabrous state of society and it’s injustices. While he leaps around the stage Sachiko cooly works her magic, the calm directing the storm, seemingly effortlessly firing out the warped and fuzzed up carnage. Whatever alchemy she works produces sounds with real bite and intensity, a hint of menace and a big dose of cool. There is an equal amount of force coming from both sides of the stage and the two very different components fit together perfectly. That’s true for the album as well – this is equally about the music, feel and vibe as it is the words and messages. The combination of the two elements is the key here – this is not just poems set to backing music or hastily chucked together lyrics; this feels like a plan. ‘Monkeypunch’ surpasses any expectation I had of it; the sound is rich and deep (no surprise as it was recorded at Jason Shaw’s Fuzzface studio), a punchy psych-punk blast of fuzzed up rock ‘n’ roll. The beats are propulsive, straightforward and dancey and the guitar sound is blistering – at times a searing future punk snarl at others sleazy alien surf riffs with a twisted rockabilly edge. There’s some dark visions here – especially the triptych of ‘Darwins Law’ ‘Demon Seed’ and ‘Oak’ – hellish landscapes, brooding and earthy guitars, claustrophobic horror set to a defiant scathing guitar, Sachiko gleefully firing out electrostatic bursts of fuzz and reverb backed by thumping lo-fi drums. ‘Oak’ is a stunning composition, taking us even deeper into the underworld, a darkly poetic rumbling nightmare of decaying horror – a redemption song of sorts; you’d struggle to find anything as chillingly, authentically gothic sounding as this. The dystopian future is not a sci-fi nightmare, we’re living it now and The Dirt are providing the soundtrack. <img loading="lazy" decoding="async" class="alignnone size-medium wp-image-16499" src="https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16499" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover-1200x1200.jpg 1200w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/06/cover.jpg 1600w" sizes="auto, (max-width: 300px) 100vw, 300px" /> Although loosely aligned with the current psych scene in the UK – they’ve shared the stage with many of the bands involved – The Dirt don’t really sit neatly in that category; this feels new, a different take, a future shock sci-fi punk with a grinding rock n roll swagger that the Mary Chain would be proud of – more a politicised grittier version of The Cramps than a strung out BJM. Twisted surf guitar and angry ranting haven’t gone so well together since the Dead Kennedys! ‘Monkeypunch’ feels to me like exactly what we need right now – a rightfully agitated antidote to the poison we feel around us every day, a reminder that music can make a statement and take a stand without needing to be pious and miserable – because this album kicks arse musically and will get audiences bouncing and revelling in the infectious energy and joy. A welcome, rousing assault on the senses and the imagination. Are you angry? – you should be. Are you dancing? – you will be. Protest and survive with a grin on your face! Welcome to the ‘Monkeypunch’ Released August on Sister 9 Recordings Gary Powell, May 2025
I have to confess to not being aware of The Men until Fuzz Club released their ‘New York City’ record in 2023 and the album length ‘Sessions’ shortly after. Turns out they’ve been around for a good while and released a wealth of music; listening back to older productions they’ve got a distinctive sound, but …
I have to confess to not being aware of The Men until Fuzz Club released their ‘New York City’ record in 2023 and the album length ‘Sessions’ shortly after. Turns out they’ve been around for a good while and released a wealth of music; listening back to older productions they’ve got a distinctive sound, but it never seems to stay the same and that’s evident here as this isn’t like recent outings at all and it seems they get even more direct and focussed with time. We blast off with the furious ‘Pony’ and following that you get another 12 short sharp shocks of high voltage rock ‘n’ roll, all of it electrifying, raw and primal. The spirit of early proto punk is evident throughout, back when the emphasis was on dirty grinding rock ‘n’ roll with catchy tunes – think Heartbreakers, MC5 and Stooges. <img loading="lazy" decoding="async" width="1024" height="1024" src="https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-1024x1024.jpeg" alt="" class="wp-image-16451" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-1024x1024.jpeg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-300x300.jpeg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-150x150.jpeg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-768x768.jpeg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-1536x1536.jpeg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/ARTWORK-2048x2048.jpeg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> It feels like a much-needed release of pent-up frustration; chunky guitar riffs, short spiky solos and a manic rhythm section, drums furious and explosive (almost D-beat on ‘Control’). The gravelly vocals give a strong feel of strangled desperation, weatherbeaten and damaged. There’s spectral boogie rock piano buried in a couple of tracks, and some rich saxophone in the title track and everything is infused with a ragged bluesy undercurrent. The New Yorkers hardly let up the pummelling pace except for on the menacing 70s satanic doom riffing of ‘The Path’ and ‘Get My Soul’ and on the slightly more chilled scuzzy psych pop of ‘Charm’ with guest vocals from Jessica Poplawski and a hint of keyboards that cut through the primitive thunder. ‘Buyer Beware’ captures the sound and feel of a dark sweaty underground gig; pure, authentic and direct; an unpretentious classic take on having a good time while the world turns to shit around us. Full speed sonic violence, kicking against the pricks, kicking out the jams. This is a garage rock album loud and proud, a gritty and abrasive snarly animal of a record – skull wrecking mind warping goodness! Gary Powell, February 2025
Bristol’s Stolen Body Records have a real knack for unearthing a range of disparate bands and bringing them to our attention, with no genre shackles holding them down – early champions of acts like Al Lover and Ivan The Tolerable and in recent years being a big part of the rise of the likes of …
Bristol’s Stolen Body Records have a real knack for unearthing a range of disparate bands and bringing them to our attention, with no genre shackles holding them down – early champions of acts like Al Lover and Ivan The Tolerable and in recent years being a big part of the rise of the likes of Karkara and, most obviously, Slift. Add another French band, the 6-piece Stuffed Foxes, to that list! This isn’t their first release but they’re new to me and definitely warrant attention.. It’s impossible to pin the album down as it constantly shifts styles and song structures – from the weighty shoegazey implosions of opener ‘Biting The Dawn’ and the title track, to the jerky twitching guitars of ‘Merry Xmas’ and ‘Pretend To Be A Dog’, and quite a few tracks that defy description and occupy a number of zones at once. The band seem to inhabit the same headspace as current noise makers such as Spectres and Sex Swing but also seminal post punk legends Wire and Gang Of Four but you can’t really define the record on that as there is also the occasional descent into crushing shoegaze soundscapes and on a number of tracks the ghosts of Steve Harley and ‘Hunky Dory’ era Bowie seem to pay a fleeting visit. ‘Standardized’ is an eclectic record, fresh and full of ideas; an agitated art punk experiment; a new wave of no wave… Stuffed Foxes sound cerebral, weird and ever so slightly Wired and have got me intrigued…luckily they are heading to the UK for a handful of live dates in February 2025 so we’ll soon be able to see what they’re about! <img loading="lazy" decoding="async" width="819" height="1024" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/467479162_18285093265243388_2589542846679364803_n-819x1024.jpg" alt="" class="wp-image-16444" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/467479162_18285093265243388_2589542846679364803_n-819x1024.jpg 819w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/467479162_18285093265243388_2589542846679364803_n-240x300.jpg 240w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/467479162_18285093265243388_2589542846679364803_n-768x960.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/467479162_18285093265243388_2589542846679364803_n-1229x1536.jpg 1229w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/467479162_18285093265243388_2589542846679364803_n.jpg 1350w" sizes="auto, (max-width: 819px) 100vw, 819px" /> Gary Powell December 2025 <img loading="lazy" decoding="async" width="1024" height="1024" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/1-Stuffed-Foxes-Standardized-Digital-Cover-1-1024x1024.png" alt="" class="wp-image-16443 size-full" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/1-Stuffed-Foxes-Standardized-Digital-Cover-1-1024x1024.png 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/1-Stuffed-Foxes-Standardized-Digital-Cover-1-300x300.png 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/1-Stuffed-Foxes-Standardized-Digital-Cover-1-150x150.png 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/1-Stuffed-Foxes-Standardized-Digital-Cover-1-768x768.png 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/12/1-Stuffed-Foxes-Standardized-Digital-Cover-1.png 1103w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> Standardized Stolen Body Records December 6th 2024
Diminished Responsibility: My Life as a U.K Sub and other strange stories Volume III, by Alvin Gibbs
Chances are if you’ve read this far you’re already familiar with the legendary U.K. Subs and their place in punk rock history. Their debut album was the first punk record I ever bought (and probably only the third of any sort) so they’ve been part of my life for a very long time, and I …
Chances are if you’ve read this far you’re already familiar with the legendary U.K. Subs and their place in punk rock history. Their debut album was the first punk record I ever bought (and probably only the third of any sort) so they’ve been part of my life for a very long time, and I know they are held in high esteem by many in the punk scene and beyond. We’re familiar with their ‘on tour forever’ status, their A-Z of album releases over the years and of course the legend that is Charlie Harper (it may well be illegal to utter his name without the word ‘legend’ in the same sentence!) but what most of us won’t be aware of is the detailed background story of the band; multiple line-up changes, personnel rifts, money issues and just how totally chaotic things were at times! That’s where long standing Subs bassist Alvin Gibbs steps in…and he pulls no punches in telling us about both the highs and lows of being a touring and recording punk musician. Volume 1 of Alvin’s memoirs told us about his early years and his initial entry into the world of music including his first stint as a U.K. Sub starting in 1980 and his first appearance on album – with ‘Diminished Responsibility’. Volume 2 dealt with a period of time spent between LA, London and many other parts of the globe and included his time playing with Iggy Pop and Cheap & Nasty. <img loading="lazy" decoding="async" width="683" height="1024" data-id="16430" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Jez-Keefe-to-be-credited-1-683x1024.jpg" alt="" class="wp-image-16430" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Jez-Keefe-to-be-credited-1-683x1024.jpg 683w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Jez-Keefe-to-be-credited-1-200x300.jpg 200w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Jez-Keefe-to-be-credited-1-768x1152.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Jez-Keefe-to-be-credited-1-1024x1536.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Jez-Keefe-to-be-credited-1.jpg 1200w" sizes="auto, (max-width: 683px) 100vw, 683px" /> Photo: Jez Keefe I’d been looking forward to Volume 3 (as with the first volumes, published by Tome & Metre) for some time as it promised to bring Alvin’s story right up to date and I knew it was going to be talking about the period during which I’ve seen the U.K Subs quite a few times and in which they’ve released a recent run of albums that was as solid as anything they’ve done for some considerable time. He does this in fine style and really gets over the buzz of being up on stage each night dishing out rock ‘n’ roll to rabid audience of punks young and old, and all the excitement and temptations that go with the territory. While reinforcing what we all know and love about live music he also makes sure we get the not always so pleasant flip side to the glamour and thrills – thousands of miles on the road, tensions within and around the band, ever present worries about money and the generally odd and unreal dynamics of tour life. As with the previous two volumes of ‘Diminished Responsibility’ there are many very entertaining tales of rock ‘n’ roll excess told, and I suspect there are plenty more kept back for safekeeping! While making sure the reality of the situation is presented, he never tries to hide away from the fact that he is having an immense amount of fun, his passion for playing music and in particular his love of and loyalty to the U.K Subs. I’ve always adored the sound and tone of a bass guitar so a talented player like Alvin is always going to be in the big league for me but there are a couple of other things that can’t help but make me rate him even him even more highly….firstly, he is a long standing (and like the rest of us at this particular point in time, suffering) fan of Crystal Palace F.C., which clearly marks him out as a top bloke! Secondly, he has also studied extensively with the Open University which from my own experience takes a lot of drive and self-discipline to do well while juggling commitments elsewhere; I did it around work and family while Alvin achieved a full Degree whilst touring around the known universe with the U.K Subs! Hats off to the man! He has shown the same determination in doing this as he seemingly has in keeping the Subs on the straight and narrow for so long (as well as the low-end sound duties he has often taken the tour manager role). Alvin Gibbs doesn’t dumb anything down which is refreshing as that is not always the case with music books – don’t worry there’s plenty of tales of on the road debauchery and rock ‘n’ roll excess, but also his thoughts on Brexit, his passion for history, his love of France, dedication to the Labour party and his vigorous defence of the ethics and beliefs behind the U.K Subs when they were unfortunately dragged into a sorry accusation of racism by brainless keyboard warriors. There are plenty of insights into the U.K. Subs recording process especially on the most recent set of albums that brought their recording of original material to a close (or has it…?). <img loading="lazy" decoding="async" width="691" height="1024" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-691x1024.jpg" alt="" class="wp-image-16432" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-691x1024.jpg 691w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-202x300.jpg 202w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-768x1138.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-1037x1536.jpg 1037w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-1382x2048.jpg 1382w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/11/Alvin-Book-3-Front-cover-1-scaled.jpg 1728w" sizes="auto, (max-width: 691px) 100vw, 691px" /> They may be slowing down (a bit!) but they’re going out on a high playing in packed venues each night to an audience who clearly love them. They’re well known for their longevity and relentless tour schedule, but it shouldn’t be overlooked that they are a fucking great rock ‘n’ roll band and this twilight of their career may just be them at their strongest. Once Alvin’s time as a U.K Sub is over he still has his own Disobedient Servants band that he fronts so you’ll still get the opportunity to see him prowling the stage, bass slung low, delivering the goods. So buckle up for some rip roaring tales of decades on the road and punk rock in action with the indomitable U.K Subs – a tour guide full of thrills ‘n’ spills, booze and glory and white hot rock ‘n’ roll! With Alvin as a guide you can experience the drama and energy of the punk rock lifestyle and get the low down on the recording of many crucial albums in the extensive U.K. Subs catalogue. Propelled by his ever present bass and imbued with his palpable lust for life Alvin Gibbs delivers the goods and dishes the dirt with equal measure; this is a great entertaining read that certainly gets the adrenalin flowing and has really whetted the appetite for the upcoming run of U.K Subs dates! On tour forever! All three volumes plus loads of other goodies available from Time & Matter Recordings For anything and everything U.K Subs related head to the Time & Matter website and archive here Gary Powell, November 2024
Nothingheads debut album punches it’s way out of your speakers from the beginning of ‘Private Pyle’ and doesn’t let up until ‘More Minutes Please’ ends some 35 minutes later. It’s an explosive, furious record that spans the gap between scathing post punk and riff heavy modern garage rock but quite rightly pays no real regard …
Nothingheads debut album punches it’s way out of your speakers from the beginning of ‘Private Pyle’ and doesn’t let up until ‘More Minutes Please’ ends some 35 minutes later. It’s an explosive, furious record that spans the gap between scathing post punk and riff heavy modern garage rock but quite rightly pays no real regard to genre boundaries. The overall feel seems to be a horror and bemusement at the current state of the world, an irreverent and fairly stark take on modern life. The guitar sound ranges from sharp Keith Levene inspired spidery metallic barbs, discordant and abrasive, to big scuzzy garage punk riffs. The sardonic vocals are propelled along by a bone rattling bass sound and brutal kick in the balls whiplash drums. It’s a full sound but lean and aggressive. Although there’s a fairly frenetic pace throughout, typified by the sneering ‘Cabaret’ and current single ‘Salt’ with it’s spat out vocals and low-end rumble there are a few that burn a bit slower like the smouldering ‘Crumbs Of Pleasure’ and the slightly more detached grind of ‘Down The Doomhole’. <img loading="lazy" decoding="async" width="1024" height="622" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Sod-1-1024x622.jpeg" alt="" class="wp-image-16422" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Sod-1-1024x622.jpeg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Sod-1-300x182.jpeg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Sod-1-768x467.jpeg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Sod-1-1536x933.jpeg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Sod-1-2048x1244.jpeg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> This is the more in your face end of the broad post punk spectrum. Escapism this isn’t, savage and uncompromising and full of spiky disaffected anger it is. Find the album on Sister 9 Recordings here. Gary Powell, October 2024
Something is coming your way psych lovers, fuzz lovers, drone lovers and general noise lovers….and its name is Skloss! This band seems to have crawled out of the ether (or Texas and Scotland…), already fully formed and ready to blow a hole in the universe to give us an album that is going to be …
Something is coming your way psych lovers, fuzz lovers, drone lovers and general noise lovers….and its name is Skloss! This band seems to have crawled out of the ether (or Texas and Scotland…), already fully formed and ready to blow a hole in the universe to give us an album that is going to be talked about for some time. There’s only two of them – Karen Skloss on drums and vocals and Sandy Carson on guitars- but they make a sound like some colossal galactic implosion! <img loading="lazy" decoding="async" width="1024" height="1024" src="https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-1024x1024.jpg" alt="" class="wp-image-16456" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2025/02/SKLOSS_TPS_final-digital_cover-2048x2048.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /> ‘The Pattern Speaks’, out very soon on Fuzz Club Records, is a sustained fuzz blast of corrosive guitars, subterranean riffs and deep heavy drones; the sound of space folding in on itself, powerful and huge. At times it just DROPS with a bone crushing density, the combined weight of guitars, thumping earthy drums and warped effects; slightly distorted and bent out of shape but beautifully wholesome somehow. There are some quieter more reflective passages within the storm and Karen’s voice, slightly disembodied and spectral weaves through like vapour trails. The whole album sounds impossibly grand in scale, vast towering expanses of sound, organic and evolving with a heat and life all of its own. It’s a beautiful holy noise, channelled, powerful and full of lift and drive so that despite the sheer density it has a mind expanding tripped out feel as well. A guaranteed psych classic, this one will feature heavily in album of the year polls. I can confidently predict that when Skloss hit Europe later in the year, including a set at Fuzz Club 2025 in Eindhoven, they are going to hit like an asteroid – I can’t wait to get caught in the blast! Gary Powell, February 2025
Black Doldrums have been growing in stature over the last few years with their live shows sounding bigger and more assured and the audiences growing and with the release of their second full length album, again on Fuzz Club, they’ve reached new heights. In hindsight previous album ‘Dead Awake’ feels like the end of a …
Black Doldrums have been growing in stature over the last few years with their live shows sounding bigger and more assured and the audiences growing and with the release of their second full length album, again on Fuzz Club, they’ve reached new heights. In hindsight previous album ‘Dead Awake’ feels like the end of a chapter and it now feels like the transition from the old Black Doldrums is complete and this was where they were heading, the evolution over the last few years has brought us to this. One of the remarkable things about this record is that the quality never lets up throughout and just how much the identity of the band dominates despite there being some obvious reference points. It would be easy enough to name apparent influences as there are echoes and fragments and glimmers that feel like they originated back in the days before goth was called goth but the sound is distinctive and unmistakeably their own. Within a totally coherent sounding album they have managed to add a huge variety of sounds and styles. The first five tracks are a great example; each one different in pace and style but with an all-pervading feel and mood. It crackles into life with ‘Hideaway’; furious drums, searing metallic guitar, pumping bass and vocals deeper and darker than ever. It’s fast and punchy and the perfect opener. The pace drops for ‘Dying For You’ with wintery layers of synths, twanging guitar and a misty dark romantic feel. This is followed by ‘Summer Breeze’ which is the perfect dark electro pop song, ridiculously catchy and deserving to be played on radio stations across the globe. After that another change; ‘Dwell Or Depart’ is dense and rich, beautiful guitar lines cutting through the swampy psychedelic murk, claustrophobic and dreamlike. ‘Painted Smile’ is a tribal post punk stomp ideal for maximum smoke and strobe effect, a goth dance floor filler that for me sums up the current Black Doldrums sound and is a killer live track. And that’s just side one, the journey continues across another 6 tracks and if your musical tastes lean towards the darker side this album is a must listen. They have a clearer sharper sound these days and have revealed a real pop sensibility albeit with dark tones and an ever present mood of longing and edginess. This is more accessible than previous releases but never lightweight or shallow, it’s loaded with tunes and devilishly catchy. The multiple layers of guitar found on the old EPs is long gone, replaced by a much crisper and more defined style allowing melodies and lead lines to sparkle through. There is an abundance of those chord sequences that somehow trigger emotions and feelings; those elements that stir the emotions and add depth. As well as guitar Kevin Gibbard is also the vocalist and his voice is stronger and more commanding now, no longer buried in the mix. The bass sound, from new(ish) recruit Daniel Armstrong – fluid and looping and nimble at times, punchy and driving at others – is a real feature of the album. Underpinning it all is Sophie Landers’ distinctive drum sound, bigger now but retaining the familiar tribal thrust and relentless controlled energy. <img loading="lazy" decoding="async" class="alignnone size-medium wp-image-16406" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16406" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-2048x2048.jpg 2048w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/10/Black-Doldrums-In-Limerence-Packshot-1200x1200.jpg 1200w" sizes="auto, (max-width: 300px) 100vw, 300px" /> ‘In Limerence’ is dark and icy cool but at the same time feels positive and uplifting, evoking that resilience and pride and slightly nostalgic melancholy and mystery that the most atmospheric post punk and gothic music gives. It is surely destined for cult classic status! The ideal album for a strange day, a cold night or a dark smoky club….which is where you’ll be able to find them soon as they head out on an extensive run of dates to support the album release. Details here. Gary Powell, black October, 2024
The ‘Mount Elephant’ journey flutters into being with ‘Moon Needs The Wolf’; acoustic guitar, flute and voice immediately transporting you to a different plane of existence; a near 8 minute glide through varied textures and sounds that, like the rest of the album, never stays in one place for too long. The gentle intro morphs …
The ‘Mount Elephant’ journey flutters into being with ‘Moon Needs The Wolf’; acoustic guitar, flute and voice immediately transporting you to a different plane of existence; a near 8 minute glide through varied textures and sounds that, like the rest of the album, never stays in one place for too long. The gentle intro morphs into plaintive eastern faraway vibes and then shifts to an insistent bass and drum section that ups the tempo and adds more guitars before dropping back to bass and bongos and heading off into yet another direction…anything goes here and you just have to drop preconceptions and go with it. ‘Thimpu’ to me sounds like a dreamy hymn to fertility gods of old, ancient and playful, a slowly building dervish dance. And then ‘Fil Dagi’; a hypnotic fireside chat with Lucifer, seductive and mystical and somehow knowing . But those are just my interpretations and I don’t suppose for a second they reflect anyone else’s which is the beauty of the album. Some music leads you to a certain feeling or imposes its own mood and meaning; Upupayáma seem to give you the textures and sounds to work with and then let you get on with it. For that reason there seems little point describing each track; suffice to say the whole trip is fertile global psychedelia, rich and intoxicating with a folky, rustic and mystical feel, blending many different instruments (including flutes…I do love a flute!) and employing multiple shifts and jumps in timing and pace. If that makes you think over-serious muso noodlings don’t fear; there’s a mischievous and devilish lightness which sits strangely and fittingly with the rich tones and exotic sounds.<img loading="lazy" decoding="async" class="size-medium wp-image-16397 aligncenter" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16397" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-2048x2048.jpg 2048w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/09/UPUPAYAMA-MOUNT-ELEPHANT-FINAL-PACKSHOT-1200x1200.jpg 1200w" sizes="auto, (max-width: 300px) 100vw, 300px" /> There are voices (for some reason ‘vocals’ doesn’t feel quite right) scattered throughout but just as with the first 2 Upupayáma albums (the self-titled debut and ‘The Golden Pond’, both on Cardinal Fuzz records) I have no idea what is being said or what it means and I haven’t really tried to work it out…it is another texture and an instrument in its own right. Upupayama is Alessio Ferrari who plays and records everything himself but live has a full band that naturally comes across in a different way to the recorded work. Having witnessed them on stage at this years Fuzz Club festival in Eindhoven I’m definitely looking forward to them hopefully hitting the UK at some point in 2025. ‘Mount Elephant’ is a musical guide to a trip through your own imagination; a surreal fantasy world where the meanings are yours. One to immerse and lose yourself in… Available soon from Fuzz Club records Gary Powell September 2024
If 2024 ever does serve up a summer of any note you have the soundtrack to it right here…. ‘Wobble’, Black Market Karma’s third album in recent years (after ‘Aped Flair & Hijacked Ideas’ in 2022 and ‘Friends In Noise’ in 23, both on Flower Power Records and both essential) exists in its own time …
If 2024 ever does serve up a summer of any note you have the soundtrack to it right here…. ‘Wobble’, Black Market Karma’s third album in recent years (after ‘Aped Flair & Hijacked Ideas’ in 2022 and ‘Friends In Noise’ in 23, both on Flower Power Records and both essential) exists in its own time and space, equally ideal to transport you to another place on a melancholic rainy suburban day or during a sparkling lysergic sun trip. It’s uniquely British sounding, dated but bang up to date, from grainy black and white to glorious colour. Out any day now on Fuzz Club, this is authentic, organic and uplifting, literally a dream of a record. Kind of lo-fi but at the same time lush and packed with hooks and melodies; looped drum beats, vocals run through miles of effects, weird electronica and organic layers of guitar…it’s a quirky pop record that vibrates with a 60s feel but nothing is forced or false, this genuinely feels psychedelic in a peculiar understated way and captures a strange childlike innocence and optimism. It doesn’t rely on just a druggy haze of tropes and doesn’t need to resort to cliches. Totally authentic and seems to be effortless, hitting peak psychedelic pop perfection on a regular basis. It’s one of those records that conjures up childhood memories from idealised times and situations that probably never happened, that weird nostalgic ache that makes no sense but can be found in certain tunes and sounds. <img loading="lazy" decoding="async" class="alignnone size-medium wp-image-16385" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16385" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-2048x2048.jpg 2048w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/07/Wobble-1200x1200.jpg 1200w" sizes="auto, (max-width: 300px) 100vw, 300px" /> For the duration of twelve tracks nothing else matters, you’re free to drift and dream. It may be (deliberately) lo-fi but it’s finely and carefully crafted as such. The whole record is varied in sound but it feels like there’s a theme buried just out of reach in your subconscious, running through the 4 instrumental and 8 vocal tracks. At times it sounds like the best record the Beatles ever made but forgot to release (such as opener ‘Mushy Conscience’, at other times fragile and shimmering pop (‘Puddle Eyed Sponger’, brilliant song title as well!)), fuzzy tripped out psych (‘The Death Throes Of Nuance’) and with closing track ‘Stepping Loose’ (see video above) like a supremely laid back and ultra-cool film soundtrack. Quality tunes and blissful beats, give it three listens and you’ll be hooked. Hats off to you Mr Stanley Belton, that’s some righteous vision you’ve shared with us here. Gary Powell July 2024
Bang!, very aptly titled, is a total attack on the senses, an immense sound, ragged and desperate. It explodes from the first moments of ‘Soy Beans’ with it’s searing, howling guitar effects and never lets up for 35 glorious, riotous minutes. It’s the Milan based bands 5th full length album and the 4th on Fuzz …
Bang!, very aptly titled, is a total attack on the senses, an immense sound, ragged and desperate. It explodes from the first moments of ‘Soy Beans’ with it’s searing, howling guitar effects and never lets up for 35 glorious, riotous minutes. It’s the Milan based bands 5th full length album and the 4th on Fuzz Club records, their natural home (for the sake of completion there is also a Fuzz Club Sessions release). So what does it sound like? Punk rock. Psych punk. Hardcore psych. Post punk. All of those. Check out the swampy bass and scathing guitar of ‘Fight’ or the militant title track for a fiery jolt to the brain. It’s an exorcism, a purge, with rousing choruses and an ecstatic buzz, deranged but life affirming. But its not ‘just’ punk, its not ‘just’ anything; The Gluts don’t do average and they can create wide open expanses of space and crackling energy in 4 minutes of punk rock revolution, gleefully murdering song structure and changing tempo at will. There are subtler touches though in the blizzard of sound – when they slow it down (a bit) it can sound like space imploding and reality cracking. ‘Vampire, A Walk At Midnight’ is The Gluts in giallo cinema mode, it starts at a menacing pace with a looping monstrous bass and lots of reverb but half way through they can’t help themselves and let it all go and the track verges on the edge of disintegration. ‘Marble Cats’ also has a gothic feel, glacial and throbbing to start with, beautifully seductive, before exploding into a barrage of noise; a mind melting psych burn out. The album includes ‘Cade Gui?’ – the first song they’ve sung in Italian (video below) – a thumping street punk track and like all of this record destined to be a hectic live experience that I can’t wait to see! They’ve always been visceral but now they’ve taken things up a few levels – drums more powerful and weighty, bass lower darker and dirtier, guitar and effects fuller fuzzier and more coruscating, guttural howled vocals full of venom and passion. Each track is a killer, an animal howl releasing pent up angst, so if you need to burn off some energy and expel your demons this will be the album for you. Sometimes bands come along that make a sound that resonates deeply with you, that create a noise that feels like it’s been ripped from your own brain; for me there are a few of those around at the moment and The Gluts are right up there with the best. They serve up a mix of righteous fury and twisted surrealism that gets the heart beating faster and the hairs on the neck standing on end, leaving you purged and cleansed. For the third time they are about to blow the roof off the Efenaar at the Eindhoven Fuzz Club festival 2024. It will be a beautiful noisy celebration that anyone attending will be swept away by. Hey! Ho! Lets Go! The album is set free into the world by Fuzz Club on May 31st get it here Gary Powell, May 24 <img loading="lazy" decoding="async" class="size-medium wp-image-16370" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16370" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-768x767.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1-1200x1200.jpg 1200w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/05/Bang-COVER-1.jpg 1473w" sizes="auto, (max-width: 300px) 100vw, 300px" /> Screenshot
Hakon Adalsteinsson has been pursuing his musical vision over a number of years via a number of different bands and central to it has been The Third Sound, who have released 6 albums so far and created a unique and recognisable sound and style. Latest album ‘Most Perfect Solitude’, again on Fuzz Club records, fits …
Hakon Adalsteinsson has been pursuing his musical vision over a number of years via a number of different bands and central to it has been The Third Sound, who have released 6 albums so far and created a unique and recognisable sound and style. Latest album ‘Most Perfect Solitude’, again on Fuzz Club records, fits perfectly within that sonic vision but at the same time introduces new dimensions to the sound and feel. This album casts a much brighter shadow and at times feels more upbeat …but never fear there are still deep dark moments… Current single ‘On Returning’ typifies the more radiant touch, still misted with a slight melancholy but shimmering and more positive in feel, an inspiring dreamy wash of sound. ‘Another Time Another Place’ complements it, jangly kaleidoscopic dream pop full of hope and dreams. On tracks like these they are at their most exuberant and energised. ‘Catch Fire’ and ‘Veiled’ sit well together; both are timeless stirring epics, doomed love songs with a cinematic edge that can transport you to another place. There are of course darker, more traditionally post punk elements but even they have a new twist; ‘Don’t Look Back’ is a mid-paced bass driven keyboard infused burner, wounded but uplifting with an almost mid-80s velvet and paisley goth pop feel. ‘Shooting Star’ goes even further into that territory and takes the soaring psychedelia down to another place, buried in shadows and dominated by a heroic bass line and searing ascending guitar. ‘Wasteland’ wallows in more familiar decadent Third Sound territory, grinding guitars and pounding drums; a narcotic claustrophobic haze… <img loading="lazy" decoding="async" class="alignnone size-medium wp-image-16362" src="https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-300x300.jpg" alt="" width="300" height="300" data-wp-pid="16362" srcset="https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-300x300.jpg 300w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-1024x1024.jpg 1024w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-150x150.jpg 150w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-768x768.jpg 768w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-1536x1536.jpg 1536w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-2048x2048.jpg 2048w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-600x600.jpg 600w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-100x100.jpg 100w, https://www.eyeplug.net/magazine/wp-content/uploads/2024/04/Cover-3000x3000px-1200x1200.jpg 1200w" sizes="auto, (max-width: 300px) 100vw, 300px" /> The band seem to have emerged from the depths into a (slightly!) brighter place; there’s a real variety on this album – from trademark evocative post punk to flourishing psychedelic pop and rousing goth pop but also faint whispers of country and folk floating almost out of reach. That might all sound a bit too eclectic, but with Hakon’s distinctive baritone vocal style it is all unmistakeably The Third Sound, and all hangs together beautifully. It is drenched in that special grandeur that they seem to bring to every album, a unique downbeat melancholy that somehow gives strength and feels purifying. They’ve put out a lot of great music over the last decade and a half, but for me this is the best one yet… and it almost sounds like they’re having fun. Almost! Lots of tour dates coming up in Europe soon – time to head for Fuzz Club Eindhoven right now! – and the UK later in the year. Gary Powell, May 2024