NoMeansNo: From Obscurity to Oblivion is the fully authorized oral and visual history of this highly influential and enigmatic band which has never been told before now. Author Jason Lamb obtained exclusive access to all four former members and interviewed hundreds of people in their orbit, from managers and roadies to fellow musicians, friends, and family members. The result is their complete story, from the band’s inception in 1979 to their retirement in 2016, along with hundreds of photos, posters, and memorabilia, much of which has never been seen publicly before.

For established fans, this book serves as a “love letter” to their favorite group and provides many details previously unknown. For those curious about the story and influence of NoMeansNo, it reveals an eye-opening tale of how a punk band could be world class musicians while truly “doing it themselves.” Their impact and importance cannot be overstated, and NoMeansNo: From Obscurity to Oblivion is the essential archive.

Praise

“With From Obscurity to Oblivion, Jason has documented every part big and small associated with the story of NomeansNo, isolating them into a book filled with an explosion of posters, clippings, and interviews. Yes, what he has created is worthy of a run on sentence! This is it! The definitive tome! From Obscurity to Oblivion has so many sub plots and stories I don’t know how Jason edited it! A fascinating read and look (did I mention all the tidbits and pictures?) into the legendary Victoria, BC band.”
—Nardwuar The Human Serviette

“Out of the blue, NoMeansNo showed up in San Francisco. Playing to a tiny crowd at a tiny dive bar. Blew the roof off several buildings in a matter of minutes. The drums and the bass were so tight and so intense, it was almost like they were one person. Could they be brothers? Ruth Schwartz of Mordam and I smiled warily at each other, thinking, ‘Ok, which one of us gets this one…?’ And that wonderful era we will always treasure began…”
—Jello Biafra

“I don’t understand how the hell all these punks remember everything that made them the legends they are, but after reading NoMeansNo: From Obscurity to Oblivion, I’m grateful they do! The often forgotten third point of the Canadian trifecta (Rush, Voivod, and NoMeansNo), this incredibly thorough oral history is a necessary read for any punk.”
—Shawna Potter, singer for War On Women, author of Making Spaces Safer A Guide to Giving Harassment the Boot Wherever You Work, Play, and Gather

“NoMeansNo mashed all the best in hard rock, metal, punk, and the art of politics in throughout their eleven albums, and Jason Lamb’s book is just as important to the understanding of Canadian music and the band’s astonishing place in it. We might not have the band around anymore, but this book will make you wish they were.”
—Eric Alper, ThatEricAlper.com

“Jason Lamb has birthed into the world a stunning work of punk rock scholarship. Mirroring the complexity of the NoMeansNo story and the array of bands Rob and John inspired and influenced, there could be no other way to present the tale other than oral history. It reads like a panoramic—but at each stop, reverent—a celebration of this Canadian progressive punk treasure, and one feels the love with every speaker. But Lamb also interjects with necessary action points just to make sure we understand the near indescribable. Along the way as well, elucidating pictures help tell the story. The end effect is saga told in granular detail, yet made swiftly readable due to the format.”
—Martin Popoff, author of The Clash: All the Albums, All the Songs and Ramones at 40

“If you’ve never heard NoMeansNo, shame on you. If you have, then you’re in the know. Either way, they’re one of the most important underground bands of all-time, and this book is for you.”
—Sam Dunn, Banger Films

“Consider this book THEE definitive history of one of Canada’s all-time greatest bands. A must-read for music fans, musicians, and punks the world over. NoMeansNo and author Jason Lamb shows you how to GET IT DONE.”
—Grant Lawrence, CBC Music and bestselling author of Dirty Windshields

“NoMeansNo were, in fact, the greatest punk rock group that ever existed; of that I am absolutely sure. In this snappy, fabulously readable oral history, writer Jason Lamb has done an admirable job in tracking down all of the main players plus a gratifying array of musicians from bands such as Fugazi, Soundgarden, Faith No More, Foo Fighters, and Black Flag, who turn out to be staunch fans. Their incredible back catalogue is just waiting to be discovered by a younger audience and hopefully this book will be picked up by young souls who will be inspired to do something unique and audacious themselves. Probably the greatest gift NoMeansNo have left us fans is the idea that we have to work it out for ourselves; to do it for ourselves.”
—John Doran, the Quietus UK

Recorded over two nights at London’s Royal Albert Hall and supplemented with songs from performances in San Diego, Chicago, New York, and Mexico City, the album presents Karen O, Nick Zinner, and Brian Chase revisiting songs from every era of the band’s career in a new light.

Created as part of the band’s Hidden In Pieces tour and featuring arrangements by musical director, arranger, and conductor Jherek Bischoff, the collection ranges from classics such as “Maps,” “Gold Lion,” and “Zero” to more recent highlights including “Blacktop” and “Spitting Off the Edge of the World.”

Recorded over two nights at London’s Royal Albert Hall and supplemented with songs from performances in San Diego, Chicago, New York, and Mexico City, the album presents Karen O, Nick Zinner, and Brian Chase revisiting songs from every era of the band’s career in a new light.

Created as part of the band’s Hidden In Pieces tour and featuring arrangements by musical director, arranger, and conductor Jherek Bischoff, the collection ranges from classics such as “Maps,” “Gold Lion,” and “Zero” to more recent highlights including “Blacktop” and “Spitting Off the Edge of the World.”

Originally released in 1976, Sad Wings of Destiny is regarded as one of the most influential albums in heavy metal history and played a major role in shaping the genre, with classics such as “Victim of Changes,” “The Ripper,” and “Tyrant.”

Produced in collaboration with Judas Priest, this edition was specially mastered for vinyl using the half-speed mastering process. The technique preserves the power and dynamic range of the original analog recordings while also delivering exceptional clarity and depth.

The album is presented in the sequence originally intended by the band, beginning with “Prelude,” thereby restoring the original listening experience. The LP comes in the iconic original artwork and is pressed on Galaxy Yellow/Orange Mix vinyl. It is also once again available as a great-sounding CD.

“Sad Wings of Destiny […] simultaneously took heavy metal to new depths of darkness and new heights of technical precision. […] Three songs rank as all-time metal classics, starting with the epic ‘Victim of Changes,’ which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. ‘The Ripper’ and ‘Tyrant,’ with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement.” — AllMusic.com

Originally released in 1976, Sad Wings of Destiny is regarded as one of the most influential albums in heavy metal history and played a major role in shaping the genre, with classics such as “Victim of Changes,” “The Ripper,” and “Tyrant.”

Produced in collaboration with Judas Priest, this edition was specially mastered for vinyl using the half-speed mastering process. The technique preserves the power and dynamic range of the original analog recordings while also delivering exceptional clarity and depth.

The album is presented in the sequence originally intended by the band, beginning with “Prelude,” thereby restoring the original listening experience. The LP comes in the iconic original artwork and is pressed on Galaxy Yellow/Orange Mix vinyl. It is also once again available as a great-sounding CD.

“Sad Wings of Destiny […] simultaneously took heavy metal to new depths of darkness and new heights of technical precision. […] Three songs rank as all-time metal classics, starting with the epic ‘Victim of Changes,’ which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. ‘The Ripper’ and ‘Tyrant,’ with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement.” — AllMusic.com

Featuring newly commissioned artwork by Randy Ortiz, this anniversary edition pairs the original album on limited-edition “Violet Sunrise” vinyl with a bonus 7-inch single featuring “Real Xeno” — now available on vinyl for the first time outside its original limited Sacred Bones Society release. The B-side features an exclusive etched design created especially for this edition.

The Lost Themes series has become one of the defining chapters of Carpenter’s career. Freed from the constraints of the screen, these compositions have taken on a life of their own, expanding Carpenter’s legacy beyond film scores. Released in 2016, Lost Themes II broadened the sonic world of its predecessor, combining Carpenter’s unmistakable sense of atmosphere and tension with his signature minimal synth sound, richer arrangements, and both electric and acoustic guitars.

A decade later, Lost Themes II remains a landmark in a series that has grown far beyond the idea of imaginary soundtracks and now stands as an essential body of work within Carpenter’s catalogue — a testament to his musical vision and his remarkable ability to create worlds that extend far beyond film.

The album combines introspective lyrics with energetic indie rock and explores themes such as self-discovery, anxiety, isolation, and youth culture. Songs like “Fill in the Blank,” “Drunk Drivers/Killer Whales,” and “Destroyed by Hippie Powers” quickly became fan favorites and helped the band reach a much larger audience.

Teen Of Denial: (Joe’s Story) is now a complete remake of this 10-year-old classic. Toledo, who enjoys reinterpreting his own songbook, shifts the perspective here and tells the story from Joe’s point of view. On the original album, Toledo frequently used the name “Joe” as a pseudonym — a subtle tribute to Daniel Johnston.

When he revisited Teens in the run-up to its 10th anniversary, he felt compelled to give Joe a backstory of his own and began adapting the album accordingly in order to tell that story. The band returned to the studio with Teens producer Steve Fisk to rework the record, featuring altered lyrics, revised arrangements, and new recordings in the “Denial style,” including “Optimistic Son” and the anthemic single “Joe Drives Again.”

The result preserves the darker edge and youthful cynicism of Teens, while also allowing a sense of hard-won compassion to seep into the album’s overall sound.

The album combines introspective lyrics with energetic indie rock and explores themes such as self-discovery, anxiety, isolation, and youth culture. Songs like “Fill in the Blank,” “Drunk Drivers/Killer Whales,” and “Destroyed by Hippie Powers” quickly became fan favorites and helped the band reach a much larger audience.

Teen Of Denial: (Joe’s Story) is now a complete remake of this 10-year-old classic. Toledo, who enjoys reinterpreting his own songbook, shifts the perspective here and tells the story from Joe’s point of view. On the original album, Toledo frequently used the name “Joe” as a pseudonym — a subtle tribute to Daniel Johnston.

When he revisited Teens in the run-up to its 10th anniversary, he felt compelled to give Joe a backstory of his own and began adapting the album accordingly in order to tell that story. The band returned to the studio with Teens producer Steve Fisk to rework the record, featuring altered lyrics, revised arrangements, and new recordings in the “Denial style,” including “Optimistic Son” and the anthemic single “Joe Drives Again.”

The result preserves the darker edge and youthful cynicism of Teens, while also allowing a sense of hard-won compassion to seep into the album’s overall sound.

Her new album, Before the World Blows, was created together with renowned hip-hop producer The Alchemist, who has long been one of the most influential and prolific producers in his field. The record combines introspective lyrics with innovative soundscapes and revolves around themes such as love, memory, dreams, femininity, and personal growth. Unfolding across four chapters, it takes listeners on a musical journey through Badu’s inner world, inviting reflection and contemplation.

The collaboration began more than three years ago and developed into a creative dialogue that gave rise to a completely distinctive sound. Soul, blues, funk, rock, jazz, and underground hip-hop merge into a genre-spanning sonic landscape. Before its release, the album was tested and further developed through intimate live performances. The result is one of the most ambitious and forward-looking projects in the careers of both artists.

Her new album, Before the World Blows, was created together with renowned hip-hop producer The Alchemist, who has long been one of the most influential and prolific producers in his field. The record combines introspective lyrics with innovative soundscapes and revolves around themes such as love, memory, dreams, femininity, and personal growth. Unfolding across four chapters, it takes listeners on a musical journey through Badu’s inner world, inviting reflection and contemplation.

The collaboration began more than three years ago and developed into a creative dialogue that gave rise to a completely distinctive sound. Soul, blues, funk, rock, jazz, and underground hip-hop merge into a genre-spanning sonic landscape. Before its release, the album was tested and further developed through intimate live performances. The result is one of the most ambitious and forward-looking projects in the careers of both artists.

Her new album, Before the World Blows, was created together with renowned hip-hop producer The Alchemist, who has long been one of the most influential and prolific producers in his field. The record combines introspective lyrics with innovative soundscapes and revolves around themes such as love, memory, dreams, femininity, and personal growth. Unfolding across four chapters, it takes listeners on a musical journey through Badu’s inner world, inviting reflection and contemplation.

The collaboration began more than three years ago and developed into a creative dialogue that gave rise to a completely distinctive sound. Soul, blues, funk, rock, jazz, and underground hip-hop merge into a genre-spanning sonic landscape. Before its release, the album was tested and further developed through intimate live performances. The result is one of the most ambitious and forward-looking projects in the careers of both artists.

Her new album, Before the World Blows, was created together with renowned hip-hop producer The Alchemist, who has long been one of the most influential and prolific producers in his field. The record combines introspective lyrics with innovative soundscapes and revolves around themes such as love, memory, dreams, femininity, and personal growth. Unfolding across four chapters, it takes listeners on a musical journey through Badu’s inner world, inviting reflection and contemplation.

The collaboration began more than three years ago and developed into a creative dialogue that gave rise to a completely distinctive sound. Soul, blues, funk, rock, jazz, and underground hip-hop merge into a genre-spanning sonic landscape. Before its release, the album was tested and further developed through intimate live performances. The result is one of the most ambitious and forward-looking projects in the careers of both artists.

The album combines introspective lyrics with energetic indie rock and explores themes such as self-discovery, anxiety, isolation, and youth culture. Songs like “Fill in the Blank,” “Drunk Drivers/Killer Whales,” and “Destroyed by Hippie Powers” quickly became fan favorites and helped the band reach a much larger audience.

Teen Of Denial: (Joe’s Story) is now a complete remake of this 10-year-old classic. Toledo, who enjoys reinterpreting his own songbook, shifts the perspective here and tells the story from Joe’s point of view. On the original album, Toledo frequently used the name “Joe” as a pseudonym — a subtle tribute to Daniel Johnston.

When he revisited Teens in the run-up to its 10th anniversary, he felt compelled to give Joe a backstory of his own and began adapting the album accordingly in order to tell that story. The band returned to the studio with Teens producer Steve Fisk to rework the record, featuring altered lyrics, revised arrangements, and new recordings in the “Denial style,” including “Optimistic Son” and the anthemic single “Joe Drives Again.”

The result preserves the darker edge and youthful cynicism of Teens, while also allowing a sense of hard-won compassion to seep into the album’s overall sound.

While simpler minds might look for the redundancy of a monotonous, repetitive exercise, the blueprint for the new album, Hempispheres, is an exploratory vision that replaces excess with nuance and subtlety while preserving the interplay that has made the band so distinctive from the very beginning.

So while discussions on forums and in comment sections may lament the amicable departure of longtime guitarist Matt Pike, true fans, visionaries, and open-minded seekers of truth alike will be rewarded, not with the Sleep album they expected or hoped for, but with Hempispheres as the album that is needed right now.

While simpler minds might look for the redundancy of a monotonous, repetitive exercise, the blueprint for the new album, Hempispheres, is an exploratory vision that replaces excess with nuance and subtlety while preserving the interplay that has made the band so distinctive from the very beginning.

So while discussions on forums and in comment sections may lament the amicable departure of longtime guitarist Matt Pike, true fans, visionaries, and open-minded seekers of truth alike will be rewarded, not with the Sleep album they expected or hoped for, but with Hempispheres as the album that is needed right now.

While simpler minds might look for the redundancy of a monotonous, repetitive exercise, the blueprint for the new album, Hempispheres, is an exploratory vision that replaces excess with nuance and subtlety while preserving the interplay that has made the band so distinctive from the very beginning.

So while discussions on forums and in comment sections may lament the amicable departure of longtime guitarist Matt Pike, true fans, visionaries, and open-minded seekers of truth alike will be rewarded, not with the Sleep album they expected or hoped for, but with Hempispheres as the album that is needed right now.

The title Do Not Dare To Dream is derived from Blake’s “I Do Not Dare To Dream,” a stirring, anthemic song driven by resonant acoustic guitars and ending with a duel between electric guitars that intertwine like a reassuring embrace. Blake explains that the title is intended to poke fun at those memes that tell people to dream, something he finds rather ridiculous. “I don’t think that’s how the world works.”

Teenage Fanclub’s 13th album is full of songs that are calm and resolute, taking stock of the tense state of the world without giving in to despair. Blake’s warm, organ-backed mid-tempo ballad “Day In The Sun” and Raymond McGinley’s “Over And Over” both suggest that anyone can find a new sense of purpose in life by opening their heart. “We can still be cheerful and optimistic even when things aren’t looking particularly rosy,” says McGinley.

On Do Not Dare To Dream, Blake and McGinley are joined by their bandmates Euros Childs (keyboards and vocals), Francis Macdonald (drums) and David McGowan (bass). This quintet has now been playing together for so long that neither of Teenage Fanclub’s principal songwriters and guitarists feels the need to overthink their songs or work out arrangements before entering the studio. Instead, they prefer to wait and see what the other band members bring to them.

The album was recorded at Black Bay Studio in the village of Kirkibost on the Scottish island of Great Bernera in the Outer Hebrides. As longtime fans will probably know, Teenage Fanclub record each album in a different location so that the unique atmosphere of the place can influence the music. Great Bernera was their most remote recording location to date, helping the band focus on the work while also leaving them with a sense of awe as they were surrounded by the roaring sea and ancient ruins.

The result is a collection of songs imbued with the perspective of musicians who have been doing this for quite some time, recorded in a place that has existed for far longer still. As Blake puts it: “I think you just move from one thing to the next, and before you know it, 30 years have gone by.”

McGinley adds: “Yes, it’s been quite a while since we started doing what we do, but to us it feels as though no time has passed at all. People were singing in the place where we recorded the album thousands of years ago. Life is short, but music is eternal.”

The title Do Not Dare To Dream is derived from Blake’s “I Do Not Dare To Dream,” a stirring, anthemic song driven by resonant acoustic guitars and ending with a duel between electric guitars that intertwine like a reassuring embrace. Blake explains that the title is intended to poke fun at those memes that tell people to dream, something he finds rather ridiculous. “I don’t think that’s how the world works.”

Teenage Fanclub’s 13th album is full of songs that are calm and resolute, taking stock of the tense state of the world without giving in to despair. Blake’s warm, organ-backed mid-tempo ballad “Day In The Sun” and Raymond McGinley’s “Over And Over” both suggest that anyone can find a new sense of purpose in life by opening their heart. “We can still be cheerful and optimistic even when things aren’t looking particularly rosy,” says McGinley.

On Do Not Dare To Dream, Blake and McGinley are joined by their bandmates Euros Childs (keyboards and vocals), Francis Macdonald (drums) and David McGowan (bass). This quintet has now been playing together for so long that neither of Teenage Fanclub’s principal songwriters and guitarists feels the need to overthink their songs or work out arrangements before entering the studio. Instead, they prefer to wait and see what the other band members bring to them.

The album was recorded at Black Bay Studio in the village of Kirkibost on the Scottish island of Great Bernera in the Outer Hebrides. As longtime fans will probably know, Teenage Fanclub record each album in a different location so that the unique atmosphere of the place can influence the music. Great Bernera was their most remote recording location to date, helping the band focus on the work while also leaving them with a sense of awe as they were surrounded by the roaring sea and ancient ruins.

The result is a collection of songs imbued with the perspective of musicians who have been doing this for quite some time, recorded in a place that has existed for far longer still. As Blake puts it: “I think you just move from one thing to the next, and before you know it, 30 years have gone by.”

McGinley adds: “Yes, it’s been quite a while since we started doing what we do, but to us it feels as though no time has passed at all. People were singing in the place where we recorded the album thousands of years ago. Life is short, but music is eternal.”

The title Do Not Dare To Dream is derived from Blake’s “I Do Not Dare To Dream,” a stirring, anthemic song driven by resonant acoustic guitars and ending with a duel between electric guitars that intertwine like a reassuring embrace. Blake explains that the title is intended to poke fun at those memes that tell people to dream, something he finds rather ridiculous. “I don’t think that’s how the world works.”

Teenage Fanclub’s 13th album is full of songs that are calm and resolute, taking stock of the tense state of the world without giving in to despair. Blake’s warm, organ-backed mid-tempo ballad “Day In The Sun” and Raymond McGinley’s “Over And Over” both suggest that anyone can find a new sense of purpose in life by opening their heart. “We can still be cheerful and optimistic even when things aren’t looking particularly rosy,” says McGinley.

On Do Not Dare To Dream, Blake and McGinley are joined by their bandmates Euros Childs (keyboards and vocals), Francis Macdonald (drums) and David McGowan (bass). This quintet has now been playing together for so long that neither of Teenage Fanclub’s principal songwriters and guitarists feels the need to overthink their songs or work out arrangements before entering the studio. Instead, they prefer to wait and see what the other band members bring to them.

The album was recorded at Black Bay Studio in the village of Kirkibost on the Scottish island of Great Bernera in the Outer Hebrides. As longtime fans will probably know, Teenage Fanclub record each album in a different location so that the unique atmosphere of the place can influence the music. Great Bernera was their most remote recording location to date, helping the band focus on the work while also leaving them with a sense of awe as they were surrounded by the roaring sea and ancient ruins.

The result is a collection of songs imbued with the perspective of musicians who have been doing this for quite some time, recorded in a place that has existed for far longer still. As Blake puts it: “I think you just move from one thing to the next, and before you know it, 30 years have gone by.”

McGinley adds: “Yes, it’s been quite a while since we started doing what we do, but to us it feels as though no time has passed at all. People were singing in the place where we recorded the album thousands of years ago. Life is short, but music is eternal.”

Autor knjige, britanski profesor germanistike i istraživač popularne kulture Uwe Schütte, ne promatra Kraftwerk samo kao bend već kao kulturni fenomen, umjetnički projekt i multimedijski koncept koji je spojio glazbu, dizajn, tehnologiju i performans.

U središtu priče nalaze se osnivači Ralf Hütter i Florian Schneider, a na više od dvjesto stranica Schütte vodi čitatelja kroz nastanak kultnih albuma “Autobahn”, “Radio-Activity”, “Trans Europe Express”, “The Man-Machine” i “Computer World”, razvoj njihovog privatnog studija Kling Klang u Düsseldorfu, koncept “Industrijske narodne glazbe” te golemi utjecaj koji je bend ostavio na generacije glazbenika.

Ignorirajući gotovo u potpunosti rock tradiciju, Kraftwerk je spojio zvuk i tehnologiju, grafički dizajn i performans, modernističku Bauhaus estetiku i industrijalizaciju Porajnja – čak i čovjeka i stroj – kako bi napravio revoluciju moderne glazbe pretvorivši onu elektroničku u avangardnu konceptualnu umjetnost i soundtrack za naše digitalno doba.

With each of their previous releases, the Irish band have reinvented themselves and have long since established themselves as one of the most important and style-defining rock bands of their generation. Dopamine Chamber continues this path consistently, while also marking the most radical step in their development so far.

While Fontaines D.C.’s early work was built around a guitar-driven sound, cold synth surfaces, electronic textures, samples and orchestral elements now move to the forefront. Several songs dispense with guitars entirely, opening up new musical spaces between post-punk, art-pop and futuristic soundscapes.

Thematically, Dopamine Chamber explores the relationship between desire, escapism and fear in an increasingly fragmented present. The songs move between longing and threat, reflecting a world in which digital overstimulation, political crises, artificial intelligence and pop culture are inseparably intertwined.

Frontman Grian Chatten describes the album as a “dopamine chamber” in which a wide variety of sonic worlds collide. While Romance still sought a balance between human warmth and alienation, on Dopamine Chamber the distortion of reality deliberately takes the upper hand. Hope recedes into the background; in its place emerges a work that sounds like a dark assessment of a world in upheaval, while also showing a band reaching new musical heights.

The album was recorded with James Ford in London, in rural parts of England, and in Palermo. With Dopamine Chamber, Fontaines D.C. once again underline their status as one of the most creative and influential bands of the present day. The album presents a group that consistently refuses repetition and continues to push its artistic boundaries ever further.

With each of their previous releases, the Irish band have reinvented themselves and have long since established themselves as one of the most important and style-defining rock bands of their generation. Dopamine Chamber continues this path consistently, while also marking the most radical step in their development so far.

While Fontaines D.C.’s early work was built around a guitar-driven sound, cold synth surfaces, electronic textures, samples and orchestral elements now move to the forefront. Several songs dispense with guitars entirely, opening up new musical spaces between post-punk, art-pop and futuristic soundscapes.

Thematically, Dopamine Chamber explores the relationship between desire, escapism and fear in an increasingly fragmented present. The songs move between longing and threat, reflecting a world in which digital overstimulation, political crises, artificial intelligence and pop culture are inseparably intertwined.

Frontman Grian Chatten describes the album as a “dopamine chamber” in which a wide variety of sonic worlds collide. While Romance still sought a balance between human warmth and alienation, on Dopamine Chamber the distortion of reality deliberately takes the upper hand. Hope recedes into the background; in its place emerges a work that sounds like a dark assessment of a world in upheaval, while also showing a band reaching new musical heights.

The album was recorded with James Ford in London, in rural parts of England, and in Palermo. With Dopamine Chamber, Fontaines D.C. once again underline their status as one of the most creative and influential bands of the present day. The album presents a group that consistently refuses repetition and continues to push its artistic boundaries ever further.

With each of their previous releases, the Irish band have reinvented themselves and have long since established themselves as one of the most important and style-defining rock bands of their generation. Dopamine Chamber continues this path consistently, while also marking the most radical step in their development so far.

While Fontaines D.C.’s early work was built around a guitar-driven sound, cold synth surfaces, electronic textures, samples and orchestral elements now move to the forefront. Several songs dispense with guitars entirely, opening up new musical spaces between post-punk, art-pop and futuristic soundscapes.

Thematically, Dopamine Chamber explores the relationship between desire, escapism and fear in an increasingly fragmented present. The songs move between longing and threat, reflecting a world in which digital overstimulation, political crises, artificial intelligence and pop culture are inseparably intertwined.

Frontman Grian Chatten describes the album as a “dopamine chamber” in which a wide variety of sonic worlds collide. While Romance still sought a balance between human warmth and alienation, on Dopamine Chamber the distortion of reality deliberately takes the upper hand. Hope recedes into the background; in its place emerges a work that sounds like a dark assessment of a world in upheaval, while also showing a band reaching new musical heights.

The album was recorded with James Ford in London, in rural parts of England, and in Palermo. With Dopamine Chamber, Fontaines D.C. once again underline their status as one of the most creative and influential bands of the present day. The album presents a group that consistently refuses repetition and continues to push its artistic boundaries ever further.

With each of their previous releases, the Irish band have reinvented themselves and have long since established themselves as one of the most important and style-defining rock bands of their generation. Dopamine Chamber continues this path consistently, while also marking the most radical step in their development so far.

While Fontaines D.C.’s early work was built around a guitar-driven sound, cold synth surfaces, electronic textures, samples and orchestral elements now move to the forefront. Several songs dispense with guitars entirely, opening up new musical spaces between post-punk, art-pop and futuristic soundscapes.

Thematically, Dopamine Chamber explores the relationship between desire, escapism and fear in an increasingly fragmented present. The songs move between longing and threat, reflecting a world in which digital overstimulation, political crises, artificial intelligence and pop culture are inseparably intertwined.

Frontman Grian Chatten describes the album as a “dopamine chamber” in which a wide variety of sonic worlds collide. While Romance still sought a balance between human warmth and alienation, on Dopamine Chamber the distortion of reality deliberately takes the upper hand. Hope recedes into the background; in its place emerges a work that sounds like a dark assessment of a world in upheaval, while also showing a band reaching new musical heights.

The album was recorded with James Ford in London, in rural parts of England, and in Palermo. With Dopamine Chamber, Fontaines D.C. once again underline their status as one of the most creative and influential bands of the present day. The album presents a group that consistently refuses repetition and continues to push its artistic boundaries ever further.

“I Like To Dance” rezultat je suradnje Ede Maajke i Jazz orkestra HRT-a pod ravnanjem Mirona Hausera, projekta koji je Edine pjesme smjestio u potpuno novi glazbeni kontekst. Na albumu se nalazi 13 pjesama iz različitih faza Edine karijere, preoblikovanih za veliki orkestralni sastav. Među njima su “Ti meni ništa”, “Panika”, “Jesmo l’ sami”, “Trpaj”, “Pržiiii”, “Moćno”, “Dolazim i odlazim”, “Bomba”, “Sve prolazi”, “Prikaze”, “Izdajničko kolo” i nezaobilazna “No sikiriki”. Album je digitalno objavljen 8. ožujka 2026., a vinilno izdanje daje mu format koji posebno odgovara njegovu koncertnom, organskom zvuku.

Zagreb Hardcore jedan je od kultnih FZWL dizajna koji spaja ljubav prema gradu i energiju hardcore scene. Inspirirana zajedništvom, DIY filozofijom i ulicama na kojima su odrasle generacije, ova majica predstavlja ekipu koja ostaje svoja – bez obzira na trendove.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) te otisnuta vrhunskim sitotiskom koji jamči dugotrajnost i postojanost otiska. Dizajnirana je za svakodnevno nošenje – od koncerata i tribina do obične šetnje gradom.

Zagreb Hardcore jedan je od kultnih FZWL dizajna koji spaja ljubav prema gradu i energiju hardcore scene. Inspirirana zajedništvom, DIY filozofijom i ulicama na kojima su odrasle generacije, ova majica predstavlja ekipu koja ostaje svoja – bez obzira na trendove.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) te otisnuta vrhunskim sitotiskom koji jamči dugotrajnost i postojanost otiska. Dizajnirana je za svakodnevno nošenje – od koncerata i tribina do obične šetnje gradom.

Stihovi zagrebačkih punk rockera Šank? savršen su opis ovog dizajna ilustratora Svena Gjurčeka. Čuvaj Zagreb i ti poput bulldoga na vratima Grada u ovoj 185g udobnoj i mekoj 100% pamučnoj majici, otisnutoj u tehnici vrhunskog sitotiska.

Stihovi zagrebačkih punk rockera Šank? savršen su opis ovog dizajna ilustratora Svena Gjurčeka. Čuvaj Zagreb i ti poput bulldoga na vratima Grada u ovoj 185g udobnoj i mekoj 100% pamučnoj majici, otisnutoj u tehnici vrhunskog sitotiska.

Udobne 185g majice od 100% premium pamuka obogatili smo discharge tiskom dizajna koji se stopio s teksturom majice!

Udobne 185g majice od 100% premium pamuka obogatili smo discharge tiskom dizajna koji se stopio s teksturom majice!

Napraviti majicu koja neće pratiti trendove, nego će ih jednostavno ignorirati.

Tako je nastao prvi dizajn koji je označio početak priče From Zagreb With Love. Bez suvišnih detalja. Bez glasnih poruka. Samo grafika koju su s vremenom prepoznali ljudi koji dijele isti pogled na grad, ulicu i način života.

Godine prolaze, kolekcije dolaze i odlaze, ali neke stvari ostaju. Ovaj model nosili su tisuće ljudi – od zagrebačkih kvartova i tribina, preko klubova, koncerata i festivala, pa sve do gradova diljem Europe. Ne zato što je bio u modi, nego zato što predstavlja nešto stvarno.

Originalni dizajn potpisuje Marin Bumbak, a danas je ova majica više od prvog proizvoda koji smo napravili. Ona je podsjetnik na početak i dokaz da autentičnost nikad ne zastarijeva.

Izrađena od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta premium sitotiskom, napravljena je da traje. Da izgleda jednako dobro nakon stotina nošenja kao i prvog dana. Jer vjerujemo da najbolji komadi garderobe nisu oni koje nosiš jednom, nego oni kojima se uvijek vraćaš.

Ne moraš objašnjavati što znači FZWL.

Ako znaš – znaš.

Napraviti majicu koja neće pratiti trendove, nego će ih jednostavno ignorirati.

Tako je nastao prvi dizajn koji je označio početak priče From Zagreb With Love. Bez suvišnih detalja. Bez glasnih poruka. Samo grafika koju su s vremenom prepoznali ljudi koji dijele isti pogled na grad, ulicu i način života.

Godine prolaze, kolekcije dolaze i odlaze, ali neke stvari ostaju. Ovaj model nosili su tisuće ljudi – od zagrebačkih kvartova i tribina, preko klubova, koncerata i festivala, pa sve do gradova diljem Europe. Ne zato što je bio u modi, nego zato što predstavlja nešto stvarno.

Originalni dizajn potpisuje Marin Bumbak, a danas je ova majica više od prvog proizvoda koji smo napravili. Ona je podsjetnik na početak i dokaz da autentičnost nikad ne zastarijeva.

Izrađena od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta premium sitotiskom, napravljena je da traje. Da izgleda jednako dobro nakon stotina nošenja kao i prvog dana. Jer vjerujemo da najbolji komadi garderobe nisu oni koje nosiš jednom, nego oni kojima se uvijek vraćaš.

Ne moraš objašnjavati što znači FZWL.

Ako znaš – znaš.

CBGB’s dizajn spaja utjecaj old-school hardcore scene s prepoznatljivim FZWL potpisom. Nije važno jesi li prve koncerte gledao u podrumima, klubovima ili tek otkrivaš tu priču – ova majica predstavlja stav, zajedništvo i ljubav prema vlastitom gradu.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim sitotiskom koji osigurava dugotrajnost i postojanost.

CBGB’s dizajn spaja utjecaj old-school hardcore scene s prepoznatljivim FZWL potpisom. Nije važno jesi li prve koncerte gledao u podrumima, klubovima ili tek otkrivaš tu priču – ova majica predstavlja stav, zajedništvo i ljubav prema vlastitom gradu.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim sitotiskom koji osigurava dugotrajnost i postojanost.

CBGB’s dizajn spaja utjecaj old-school hardcore scene s prepoznatljivim FZWL potpisom. Nije važno jesi li prve koncerte gledao u podrumima, klubovima ili tek otkrivaš tu priču – ova majica predstavlja stav, zajedništvo i ljubav prema vlastitom gradu.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim sitotiskom koji osigurava dugotrajnost i postojanost.

CBGB’s dizajn spaja utjecaj old-school hardcore scene s prepoznatljivim FZWL potpisom. Nije važno jesi li prve koncerte gledao u podrumima, klubovima ili tek otkrivaš tu priču – ova majica predstavlja stav, zajedništvo i ljubav prema vlastitom gradu.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim sitotiskom koji osigurava dugotrajnost i postojanost.

Četiri sata. Četiri strane grada. Jedna priča.

Model ZG Satovi inspiriran je zagrebačkim ritmom – gradom koji nikad ne stoji, gdje se vrijeme mjeri po dogovorenim kavama, tramvajima koji kasne minutu ili dvije i ekipi koja je uvijek “za pet minuta”. Ovaj dizajn simbolizira povezanost sa Zagrebom i podsjeća da nije važno koliko je sati, nego s kim ih provodiš.

Izrađena od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim premium sitotiskom koji osigurava dugotrajnost i postojanost.

Četiri sata. Četiri strane grada. Jedna priča.

Model ZG Satovi inspiriran je zagrebačkim ritmom – gradom koji nikad ne stoji, gdje se vrijeme mjeri po dogovorenim kavama, tramvajima koji kasne minutu ili dvije i ekipi koja je uvijek “za pet minuta”. Ovaj dizajn simbolizira povezanost sa Zagrebom i podsjeća da nije važno koliko je sati, nego s kim ih provodiš.

Izrađena od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim premium sitotiskom koji osigurava dugotrajnost i postojanost.

Sleepless nights, moments of horror, and periods of anguish could be mapped onto a timeline of recent sociopolitical events to trace the origins of These Killing Times: the growing power of Christian nationalism, the grotesque circus of political discourse, and the resulting sense of ontological unease.

But there is love here too — as balm and tonic, and as a means of escape. The desire for community and connection while confronting humanity at its most violent remains an unresolved tension.

In early 2025, while watching from afar the devastating effects of yet another climate disaster, Emma reflected on the roots of the systemic problems that feed directly into so many catastrophic events around the world. She made a conscious decision to create an album rooted in hope. Where external forces might have pushed her inward, toward isolation and hopelessness, she instead reached outward, creating a record that acknowledges pain while offering community and resilience in response.

Sleepless nights, moments of horror, and periods of anguish could be mapped onto a timeline of recent sociopolitical events to trace the origins of These Killing Times: the growing power of Christian nationalism, the grotesque circus of political discourse, and the resulting sense of ontological unease.

But there is love here too — as balm and tonic, and as a means of escape. The desire for community and connection while confronting humanity at its most violent remains an unresolved tension.

In early 2025, while watching from afar the devastating effects of yet another climate disaster, Emma reflected on the roots of the systemic problems that feed directly into so many catastrophic events around the world. She made a conscious decision to create an album rooted in hope. Where external forces might have pushed her inward, toward isolation and hopelessness, she instead reached outward, creating a record that acknowledges pain while offering community and resilience in response.

The album brings together newly arranged fan favourites, two previously unreleased songs, and a cover of Slim Dusty’s classic “Lights On The Hill”. The recordings reveal Amyl and The Sniffers from an unusually intimate, relaxed and playful perspective, capturing the special atmosphere of a spontaneous session among friends.

A companion concert film featuring exclusive behind-the-scenes footage will also be released alongside the album. The main focus, however, remains the music: Truth Or Consequence presents the band in an entirely new sonic setting and offers a fresh perspective on their songwriting.

“The hope for this record is that it is listened to as it was made, in a ruckus exclamation between a cherished group of friends,” the band explain.

With its unusual arrangements and loose live atmosphere, Truth Or Consequence documents a distinctive side of Amyl and The Sniffers and broadens the picture of a band best known so far for their high-energy rock shows.

The album brings together newly arranged fan favourites, two previously unreleased songs, and a cover of Slim Dusty’s classic “Lights On The Hill”. The recordings reveal Amyl and The Sniffers from an unusually intimate, relaxed and playful perspective, capturing the special atmosphere of a spontaneous session among friends.

A companion concert film featuring exclusive behind-the-scenes footage will also be released alongside the album. The main focus, however, remains the music: Truth Or Consequence presents the band in an entirely new sonic setting and offers a fresh perspective on their songwriting.

“The hope for this record is that it is listened to as it was made, in a ruckus exclamation between a cherished group of friends,” the band explain.

With its unusual arrangements and loose live atmosphere, Truth Or Consequence documents a distinctive side of Amyl and The Sniffers and broadens the picture of a band best known so far for their high-energy rock shows.

This Is a Message to Persons Unknown is the first full history of the legendary band Poison Girls. From their first gigs in Brighton in 1977 to years of DIY tours across Britain and Europe, the band forged a radical path through music, politics, and art.

Fronted by the uncompromising Vi Subversa—a singular lyricist, songwriter, and voice—Poison Girls challenged punk’s Year Zero myth, weaving ferocity with wit, emotional depth, and inventive sound. Just as formative to anarcho-punk as Crass, yet defiantly their own, Poison Girls confronted misogyny, ageism, and authoritarianism with a passion and clarity that still resonates today.

This Is a Message to Persons Unknown is the first full history of the legendary band Poison Girls. From their first gigs in Brighton in 1977 to years of DIY tours across Britain and Europe, the band forged a radical path through music, politics, and art.

Fronted by the uncompromising Vi Subversa—a singular lyricist, songwriter, and voice—Poison Girls challenged punk’s Year Zero myth, weaving ferocity with wit, emotional depth, and inventive sound. Just as formative to anarcho-punk as Crass, yet defiantly their own, Poison Girls confronted misogyny, ageism, and

Far from punk’s more modish North Atlantic core in the late 1970s, discontented youth in Australia were enacting similar musical and cultural reckonings. Yet in spite of the Australia’s purported “laid-back” national demeanour, punks there were routinely met with insult, fist, or the police baton.

More subterranean than the national scandal that was punk back in “homeland” Britain, Australia’s own bands nonetheless came to be heralded internationally. Orstralia represents the first definitive account of the country’s initial years, from progenitors the Saints and Radio Birdman in the mid-70s, through the emergence of hardcore in the 1980s, to the stylistic diffusion that accompanied transition to the 1990s.

In 1975, Spain emerged from the long shadow of Franco’s dictatorship, stumbling toward democracy amid uncertainty, unrest, and unhealed wounds. In the same moment, a raw, raucous, and radically irreverent cultural force exploded onto the scene: punk.

If the colorful ’80s punk bands captured in Burning Britain were loud, political, and uncompromising, those examined in The Day the Country Died were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately.

Label: 4AD

Vinyl, LP, Album, Reissue

Ova majica nastala je kao hommage kulturi koja nas je oblikovala – hardcoreu, DIY filozofiji i osjećaju pripadnosti gradu iz kojeg dolazimo.

CBGB’s dizajn spaja utjecaj old-school hardcore scene s prepoznatljivim FZWL potpisom. Nije važno jesi li prve koncerte gledao u podrumima, klubovima ili tek otkrivaš tu priču – ova majica predstavlja stav, zajedništvo i ljubav prema vlastitom gradu.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim sitotiskom koji osigurava dugotrajnost i postojanost.

Ova majica nastala je kao hommage kulturi koja nas je oblikovala – hardcoreu, DIY filozofiji i osjećaju pripadnosti gradu iz kojeg dolazimo.

CBGB’s dizajn spaja utjecaj old-school hardcore scene s prepoznatljivim FZWL potpisom. Nije važno jesi li prve koncerte gledao u podrumima, klubovima ili tek otkrivaš tu priču – ova majica predstavlja stav, zajedništvo i ljubav prema vlastitom gradu.

Izrađena je od kvalitetnog 100 % pamuka (185 g/m²) i otisnuta vrhunskim sitotiskom koji osigurava dugotrajnost i postojanost.

• 11.11.2026.
• 9/12€
• VIB

• 10.11.2026.
• 24/29€
• VIB

• 13.11.2026.
• 16/19/24€
• Močvara

Set Sail inspiriran je jedrenjem po Jadranu i osjećajem potpune slobode koji dolazi kada vjetar preuzme kormilo.

Bez rasporeda.

Bez žurbe.

Samo more.

Ovo je majica za ljude koji vjeruju da najbolja putovanja nemaju unaprijed isplaniranu rutu.

Neke nosiš cijeli život.

Lighthouse – Guided by Light inspirirana je svjetionicima hrvatske obale koji već stoljećima vode moreplovce kući. Dizajn spaja sunce, valove i svjetionik u simbol sigurnosti, slobode i povratka.

Savršena za one kojima je more više od godišnjeg odmora.

To je mjesto gdje se osjećaju kao doma.

I iskreno…

zašto bi?

Eternal Vacation Mode predstavlja onu osobu koja uvijek bira zalazak sunca umjesto sastanka, plažu umjesto stresa i hladno piće umjesto žurbe.

Jer život nije utrka.

Život je ljeto.

Najdraža šalica kave.
Sunce.
Plaža.
Smijeh.
Ekipa.
Bez alarma.
Bez stresa.

The Easy Livin’ Cup slavi upravo taj osjećaj kada vrijeme uspori, a jedino što planiraš je gdje ćeš popiti sljedeću kavu.

Ako postoji uniforma za najbolji dan ljeta…

onda izgleda ovako.

Najdraža šalica kave.
Sunce.
Plaža.
Smijeh.
Ekipa.
Bez alarma.
Bez stresa.

The Easy Livin’ Cup slavi upravo taj osjećaj kada vrijeme uspori, a jedino što planiraš je gdje ćeš popiti sljedeću kavu.

Ako postoji uniforma za najbolji dan ljeta…

onda izgleda ovako.

• 17.12.2026.
• 30€
• Boogaloo

Don’t Call It Love unfolds like the dark soundtrack to a hidden, velvet-lined basement bar—at times playful and seductive, at others unsettling and provocative. Bree’s new songs explore the full spectrum of sexuality and its emotional weight, resulting in an album that refuses to look away and quite literally wears its heart on its sleeve.

Fans have already compared this new direction to the dark, nostalgic sounds of New Order and Siouxsie & The Banshees, suggesting that Bree’s musical evolution has finally arrived at its melancholy, 1980s-inspired destination: a melodramatic masterpiece of sophisticated sleaze-pop. His signature orchestral arrangements remain at the heart of the record, this time blending sparse noir aesthetics with cinematic instrumentation and his unmistakable brooding baritone.

Don’t Call It Love is also Bree’s most collaborative album to date, featuring an exceptional international cast of female artists whose unique voices define many of the record’s standout moments. Fan favourite Princess Chelsea returns for three striking tracks—“Live To Dance,” “Part Time Love,” and “Slow.” New Zealand’s best-kept musical secret Rachel Clarke moves from intimate restraint to breathtaking intensity on “Savour My Love.” French photographer and artist Eloïse Labarbe-Lafon delivers a charismatic vocal performance on “Chameleon” that evokes the spirit of Jane Birkin, while French musician and actress Adah Dylan takes the lead on the title track with direct, uncompromising clarity, singing: “Don’t call it love when we fuck.”

For an artist already six albums into his career, Don’t Call It Love marks several significant firsts: his first double album, his most guitar-driven release, his most collaborative work, and his most uncompromising conceptual statement to date. It is an album that won’t appeal to everyone—and Bree has no intention of softening its impact. As he puts it: “When I told my mother about it, I suggested she might want to skip this one.”

Don’t Call It Love unfolds like the dark soundtrack to a hidden, velvet-lined basement bar—at times playful and seductive, at others unsettling and provocative. Bree’s new songs explore the full spectrum of sexuality and its emotional weight, resulting in an album that refuses to look away and quite literally wears its heart on its sleeve.

Fans have already compared this new direction to the dark, nostalgic sounds of New Order and Siouxsie & The Banshees, suggesting that Bree’s musical evolution has finally arrived at its melancholy, 1980s-inspired destination: a melodramatic masterpiece of sophisticated sleaze-pop. His signature orchestral arrangements remain at the heart of the record, this time blending sparse noir aesthetics with cinematic instrumentation and his unmistakable brooding baritone.

Don’t Call It Love is also Bree’s most collaborative album to date, featuring an exceptional international cast of female artists whose unique voices define many of the record’s standout moments. Fan favourite Princess Chelsea returns for three striking tracks—“Live To Dance,” “Part Time Love,” and “Slow.” New Zealand’s best-kept musical secret Rachel Clarke moves from intimate restraint to breathtaking intensity on “Savour My Love.” French photographer and artist Eloïse Labarbe-Lafon delivers a charismatic vocal performance on “Chameleon” that evokes the spirit of Jane Birkin, while French musician and actress Adah Dylan takes the lead on the title track with direct, uncompromising clarity, singing: “Don’t call it love when we fuck.”

For an artist already six albums into his career, Don’t Call It Love marks several significant firsts: his first double album, his most guitar-driven release, his most collaborative work, and his most uncompromising conceptual statement to date. It is an album that won’t appeal to everyone—and Bree has no intention of softening its impact. As he puts it: “When I told my mother about it, I suggested she might want to skip this one.”

With Lost Weekend, however, Bridgers takes another significant step forward. The new album finds her at the peak of her artistic powers, refining the themes that have defined her work while expanding her sound in surprising new directions. The result is a record that feels both familiar and refreshingly adventurous.

Before her recent series of pop-up shows, Bridgers last toured with her supergroup boygenius, formed alongside her close friends Lucy Dacus and Julien Baker. Their 2023 album the record earned multiple GRAMMY Awards, including Best Alternative Music Album, while the single “Not Strong Enough” won Best Rock Song and Best Rock Performance. Bridgers herself left the ceremony as the night’s most awarded artist.

She also picked up her fourth GRAMMY for Best Pop Duo/Group Performance for “Ghost in the Machine”, her collaboration with SZA from the acclaimed album SOS.

Prior to that, Bridgers appeared as a special guest on selected dates of Taylor Swift’s The Eras Tour. Before joining Swift, she spent nearly two years on her own Reunion Tour, performing multiple sold-out North American legs, around thirty shows across Europe, and concluding with concerts in South America, Asia, and Australia.

Beyond touring, Bridgers has continued to deliver some of the most celebrated live performances of recent years, including her acclaimed NPR Tiny Desk Concert and her memorable appearance on Saturday Night Live. Since releasing her last solo album, she has also put out numerous singles, cover versions, and collaborations with artists including Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift, and The National.

With Lost Weekend, however, Bridgers takes another significant step forward. The new album finds her at the peak of her artistic powers, refining the themes that have defined her work while expanding her sound in surprising new directions. The result is a record that feels both familiar and refreshingly adventurous.

Before her recent series of pop-up shows, Bridgers last toured with her supergroup boygenius, formed alongside her close friends Lucy Dacus and Julien Baker. Their 2023 album the record earned multiple GRAMMY Awards, including Best Alternative Music Album, while the single “Not Strong Enough” won Best Rock Song and Best Rock Performance. Bridgers herself left the ceremony as the night’s most awarded artist.

She also picked up her fourth GRAMMY for Best Pop Duo/Group Performance for “Ghost in the Machine”, her collaboration with SZA from the acclaimed album SOS.

Prior to that, Bridgers appeared as a special guest on selected dates of Taylor Swift’s The Eras Tour. Before joining Swift, she spent nearly two years on her own Reunion Tour, performing multiple sold-out North American legs, around thirty shows across Europe, and concluding with concerts in South America, Asia, and Australia.

Beyond touring, Bridgers has continued to deliver some of the most celebrated live performances of recent years, including her acclaimed NPR Tiny Desk Concert and her memorable appearance on Saturday Night Live. Since releasing her last solo album, she has also put out numerous singles, cover versions, and collaborations with artists including Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift, and The National.

With Lost Weekend, however, Bridgers takes another significant step forward. The new album finds her at the peak of her artistic powers, refining the themes that have defined her work while expanding her sound in surprising new directions. The result is a record that feels both familiar and refreshingly adventurous.

Before her recent series of pop-up shows, Bridgers last toured with her supergroup boygenius, formed alongside her close friends Lucy Dacus and Julien Baker. Their 2023 album the record earned multiple GRAMMY Awards, including Best Alternative Music Album, while the single “Not Strong Enough” won Best Rock Song and Best Rock Performance. Bridgers herself left the ceremony as the night’s most awarded artist.

She also picked up her fourth GRAMMY for Best Pop Duo/Group Performance for “Ghost in the Machine”, her collaboration with SZA from the acclaimed album SOS.

Prior to that, Bridgers appeared as a special guest on selected dates of Taylor Swift’s The Eras Tour. Before joining Swift, she spent nearly two years on her own Reunion Tour, performing multiple sold-out North American legs, around thirty shows across Europe, and concluding with concerts in South America, Asia, and Australia.

Beyond touring, Bridgers has continued to deliver some of the most celebrated live performances of recent years, including her acclaimed NPR Tiny Desk Concert and her memorable appearance on Saturday Night Live. Since releasing her last solo album, she has also put out numerous singles, cover versions, and collaborations with artists including Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift, and The National.

The album was written and recorded during a series of short, intensive sessions over the course of a year at Bisquiteen Studios in Amherst. It was recorded almost entirely by the band’s core trio—drummer Murph, bassist and vocalist Lou Barlow, and guitarist/vocalist J Mascis—with only a handful of piano and organ contributions from Ken Mauri.

The result is an album of tremendous power from start to finish. Mascis’ guitar sound is even rawer and more primal than usual, thanks in part to a recently acquired 1970s Mesa Boogie MK I amplifier.

“I bought the same amp Chris Dixon had when we recorded our first album,” Mascis explains. “Chris recorded us at his house with that exact amp. It has a really interesting sound I hadn’t been able to achieve for a long time. That’s the tone I wanted to get back to on this record. The Rolling Stones started using Mesa Boogies in the ’70s after hearing Santana, then The Clash followed. Later models became much more metal-oriented, but the MK I sounds like a hot-rodded Fender. You always hear about Rick Rubin telling bands to go back and listen to their first album and recapture that sound. I guess I just gave myself that advice.”

Asked about the often elusive meaning of his lyrics, Mascis says:

“When I write a song, I often don’t really know what it’s about myself. I suppose the meaning reveals itself over time. I just use the words that feel right. A lot of it is influenced by whatever esoteric stuff I’m reading at the time. I try not to overthink it. It annoys me that Spotify now displays all the lyrics. Where’s the fun in that?”

With There Near, DINOSAUR JR. add another chapter to a catalogue that has long since achieved classic status. The new songs, driven by massive riffs and unmistakable energy, promise to be just as powerful live as the band’s timeless favourites. Until the band returns to the stage, There Near will be the perfect companion. The closer, the better.

The album was written and recorded during a series of short, intensive sessions over the course of a year at Bisquiteen Studios in Amherst. It was recorded almost entirely by the band’s core trio—drummer Murph, bassist and vocalist Lou Barlow, and guitarist/vocalist J Mascis—with only a handful of piano and organ contributions from Ken Mauri.

The result is an album of tremendous power from start to finish. Mascis’ guitar sound is even rawer and more primal than usual, thanks in part to a recently acquired 1970s Mesa Boogie MK I amplifier.

“I bought the same amp Chris Dixon had when we recorded our first album,” Mascis explains. “Chris recorded us at his house with that exact amp. It has a really interesting sound I hadn’t been able to achieve for a long time. That’s the tone I wanted to get back to on this record. The Rolling Stones started using Mesa Boogies in the ’70s after hearing Santana, then The Clash followed. Later models became much more metal-oriented, but the MK I sounds like a hot-rodded Fender. You always hear about Rick Rubin telling bands to go back and listen to their first album and recapture that sound. I guess I just gave myself that advice.”

Asked about the often elusive meaning of his lyrics, Mascis says:

“When I write a song, I often don’t really know what it’s about myself. I suppose the meaning reveals itself over time. I just use the words that feel right. A lot of it is influenced by whatever esoteric stuff I’m reading at the time. I try not to overthink it. It annoys me that Spotify now displays all the lyrics. Where’s the fun in that?”

With There Near, DINOSAUR JR. add another chapter to a catalogue that has long since achieved classic status. The new songs, driven by massive riffs and unmistakable energy, promise to be just as powerful live as the band’s timeless favourites. Until the band returns to the stage, There Near will be the perfect companion. The closer, the better.

The album was written and recorded during a series of short, intensive sessions over the course of a year at Bisquiteen Studios in Amherst. It was recorded almost entirely by the band’s core trio—drummer Murph, bassist and vocalist Lou Barlow, and guitarist/vocalist J Mascis—with only a handful of piano and organ contributions from Ken Mauri.

The result is an album of tremendous power from start to finish. Mascis’ guitar sound is even rawer and more primal than usual, thanks in part to a recently acquired 1970s Mesa Boogie MK I amplifier.

“I bought the same amp Chris Dixon had when we recorded our first album,” Mascis explains. “Chris recorded us at his house with that exact amp. It has a really interesting sound I hadn’t been able to achieve for a long time. That’s the tone I wanted to get back to on this record. The Rolling Stones started using Mesa Boogies in the ’70s after hearing Santana, then The Clash followed. Later models became much more metal-oriented, but the MK I sounds like a hot-rodded Fender. You always hear about Rick Rubin telling bands to go back and listen to their first album and recapture that sound. I guess I just gave myself that advice.”

Asked about the often elusive meaning of his lyrics, Mascis says:

“When I write a song, I often don’t really know what it’s about myself. I suppose the meaning reveals itself over time. I just use the words that feel right. A lot of it is influenced by whatever esoteric stuff I’m reading at the time. I try not to overthink it. It annoys me that Spotify now displays all the lyrics. Where’s the fun in that?”

With There Near, DINOSAUR JR. add another chapter to a catalogue that has long since achieved classic status. The new songs, driven by massive riffs and unmistakable energy, promise to be just as powerful live as the band’s timeless favourites. Until the band returns to the stage, There Near will be the perfect companion. The closer, the better.

The album was written and recorded during a series of short, intensive sessions over the course of a year at Bisquiteen Studios in Amherst. It was recorded almost entirely by the band’s core trio—drummer Murph, bassist and vocalist Lou Barlow, and guitarist/vocalist J Mascis—with only a handful of piano and organ contributions from Ken Mauri.

The result is an album of tremendous power from start to finish. Mascis’ guitar sound is even rawer and more primal than usual, thanks in part to a recently acquired 1970s Mesa Boogie MK I amplifier.

“I bought the same amp Chris Dixon had when we recorded our first album,” Mascis explains. “Chris recorded us at his house with that exact amp. It has a really interesting sound I hadn’t been able to achieve for a long time. That’s the tone I wanted to get back to on this record. The Rolling Stones started using Mesa Boogies in the ’70s after hearing Santana, then The Clash followed. Later models became much more metal-oriented, but the MK I sounds like a hot-rodded Fender. You always hear about Rick Rubin telling bands to go back and listen to their first album and recapture that sound. I guess I just gave myself that advice.”

Asked about the often elusive meaning of his lyrics, Mascis says:

“When I write a song, I often don’t really know what it’s about myself. I suppose the meaning reveals itself over time. I just use the words that feel right. A lot of it is influenced by whatever esoteric stuff I’m reading at the time. I try not to overthink it. It annoys me that Spotify now displays all the lyrics. Where’s the fun in that?”

With There Near, DINOSAUR JR. add another chapter to a catalogue that has long since achieved classic status. The new songs, driven by massive riffs and unmistakable energy, promise to be just as powerful live as the band’s timeless favourites. Until the band returns to the stage, There Near will be the perfect companion. The closer, the better.

This is the premise of Cathedral, the gripping new album and horror comic by acclaimed filmmaker and musician John Carpenter, inspired by a dream he had in 2024.

Cathedral combines the drama, dark atmosphere, and relentless pace of a classic heavy metal album. Conceived specifically as a soundtrack to the accompanying comic, each track corresponds to a particular chapter of the story. The album’s liner notes provide commentary for every piece, creating a fully immersive and interactive experience. Paired with the comic, it comes closer than anything in years to feeling like a brand-new John Carpenter film.

Musically, Cathedral retains the eerie mood and ominous intensity that defined Carpenter’s iconic scores for Halloween, The Fog, and Assault on Precinct 13, while taking a much heavier, riff-driven direction. Carpenter firmly believes that music is essential to creating true horror.

“That’s always the priority,” says Carpenter. “It’s all about making the music work.”

“This sounds a little different from what we’ve done before, but it was created with the same goal in mind,” he adds. “Put the album on and imagine you’re watching a movie. That’s exactly what we want you to do.”

Daniel Davies’ soaring, winding guitar work takes centre stage on the opening track “Primeval”, “Elevator”, and the metal powerhouse “Lord of the Underground”, while John Carpenter and Cody Carpenter’s synthesizers lead the way on the ominous “Desolation in the Underworld”, the haunting “Death of the Mapmaker”, and “Abandoned Cathedral”, where they blend seamlessly with sweeping string arrangements.

Where Carpenter’s acclaimed Lost Themes albums served as soundtracks to imaginary films, Cathedral provides the score for the first original graphic novel created by John Carpenter, his wife and longtime creative partner Sandy King, writer Sean Sobczak, and published by Storm King Comics.

As with all of Carpenter’s musical projects over the past decade, the album is released through Sacred Bones Records.

Enter Cathedral and immerse yourself once again in the dark and unforgettable world of John Carpenter.

This is the premise of Cathedral, the gripping new album and horror comic by acclaimed filmmaker and musician John Carpenter, inspired by a dream he had in 2024.

Cathedral combines the drama, dark atmosphere, and relentless pace of a classic heavy metal album. Conceived specifically as a soundtrack to the accompanying comic, each track corresponds to a particular chapter of the story. The album’s liner notes provide commentary for every piece, creating a fully immersive and interactive experience. Paired with the comic, it comes closer than anything in years to feeling like a brand-new John Carpenter film.

Musically, Cathedral retains the eerie mood and ominous intensity that defined Carpenter’s iconic scores for Halloween, The Fog, and Assault on Precinct 13, while taking a much heavier, riff-driven direction. Carpenter firmly believes that music is essential to creating true horror.

“That’s always the priority,” says Carpenter. “It’s all about making the music work.”

“This sounds a little different from what we’ve done before, but it was created with the same goal in mind,” he adds. “Put the album on and imagine you’re watching a movie. That’s exactly what we want you to do.”

Daniel Davies’ soaring, winding guitar work takes centre stage on the opening track “Primeval”, “Elevator”, and the metal powerhouse “Lord of the Underground”, while John Carpenter and Cody Carpenter’s synthesizers lead the way on the ominous “Desolation in the Underworld”, the haunting “Death of the Mapmaker”, and “Abandoned Cathedral”, where they blend seamlessly with sweeping string arrangements.

Where Carpenter’s acclaimed Lost Themes albums served as soundtracks to imaginary films, Cathedral provides the score for the first original graphic novel created by John Carpenter, his wife and longtime creative partner Sandy King, writer Sean Sobczak, and published by Storm King Comics.

As with all of Carpenter’s musical projects over the past decade, the album is released through Sacred Bones Records.

Enter Cathedral and immerse yourself once again in the dark and unforgettable world of John Carpenter.

This is the premise of Cathedral, the gripping new album and horror comic by acclaimed filmmaker and musician John Carpenter, inspired by a dream he had in 2024.

Cathedral combines the drama, dark atmosphere, and relentless pace of a classic heavy metal album. Conceived specifically as a soundtrack to the accompanying comic, each track corresponds to a particular chapter of the story. The album’s liner notes provide commentary for every piece, creating a fully immersive and interactive experience. Paired with the comic, it comes closer than anything in years to feeling like a brand-new John Carpenter film.

Musically, Cathedral retains the eerie mood and ominous intensity that defined Carpenter’s iconic scores for Halloween, The Fog, and Assault on Precinct 13, while taking a much heavier, riff-driven direction. Carpenter firmly believes that music is essential to creating true horror.

“That’s always the priority,” says Carpenter. “It’s all about making the music work.”

“This sounds a little different from what we’ve done before, but it was created with the same goal in mind,” he adds. “Put the album on and imagine you’re watching a movie. That’s exactly what we want you to do.”

Daniel Davies’ soaring, winding guitar work takes centre stage on the opening track “Primeval”, “Elevator”, and the metal powerhouse “Lord of the Underground”, while John Carpenter and Cody Carpenter’s synthesizers lead the way on the ominous “Desolation in the Underworld”, the haunting “Death of the Mapmaker”, and “Abandoned Cathedral”, where they blend seamlessly with sweeping string arrangements.

Where Carpenter’s acclaimed Lost Themes albums served as soundtracks to imaginary films, Cathedral provides the score for the first original graphic novel created by John Carpenter, his wife and longtime creative partner Sandy King, writer Sean Sobczak, and published by Storm King Comics.

As with all of Carpenter’s musical projects over the past decade, the album is released through Sacred Bones Records.

Enter Cathedral and immerse yourself once again in the dark and unforgettable world of John Carpenter.