Album DISAPPEARIING nastajao je i razvijao se od 2015. do 2022. godine. Svoj konačni oblik dobio je u Elektroničkom studiju Radio Beograda, na čuvenom Synthiju 100 – analogno-digitalnom sintetizatoru koji predstavlja središnji uređaj tog studija, osnovanog 1972. godine. Na ovom su sintetizatoru radili brojni pioniri elektroakustičke glazbe, a nakon što je više od dva desetljeća bio izvan funkcije, uređaj je ponovno osposobljen za rad. Danas u svijetu postoje svega tri do četiri funkcionalna primjerka ovog tipa, što album čini još posebnijim. Uz pomoć magnetofona Nagra i Studer album je sniman izravno na magnetske vrpce.

Osim materijala nastalog u Elektroničkom studiju i pronađenih arhivskih snimaka (found footage), kompozicija sadrži i terenske snimke nastale na otocima Korčuli i Vrniku te na poluotoku Pelješcu, na južnom Jadranu. Snimke djela Hildegard von Bingen, u izvedbi Marije Jonas, nastale su 2006. godine u benediktinskom samostanu na otoku Sveti Đorđe u Crnoj Gori.

Središnji i glavni motiv kompozicije jest repetitivni ambijentalni drone koji neprestano dočarava njihanje morskih valova. Sama kompozicija posveta je konceptualnom umjetniku Basu Janu Aderu, koji je 1975. godine netragom nestao tijekom realizacije svojeg posljednjeg umjetničkog projekta, U potrazi za čudesnim (In Search of the Miraculous).

O Marku Paunoviću

Marko Paunović ambijentalni je i zvučni umjetnik sa sjedištem u Beogradu koji se bavi sintezom elektroakustike i ambijentalnog zvuka, istražujući zvučni potencijal melankolične atmosfere izoliranih krajolika u okvirima minimalizma i drone glazbe.

Njegov umjetnički rad obuhvaća zvučne instalacije, izvedbe uživo, radiofonska djela i filmsku glazbu za kratkometražne filmove.

Njegovi poetsko-teorijski tekstovi predstavljaju primjer konceptualne jezične poezije (l=a=n=g=u=a=g=e poetry), a istodobno služe kao polazište za nastanak njegovih kompozicija.

Budući da svojom autorefleksivnošću govore o vlastitom nastajanju i samom procesu komponiranja, njegove izvedbe ulaze i u područje predavanja kao umjetničke izvedbe (lecture performance).

With No Division, released in 1999, Hot Water Music delivered one of the defining melodic punk albums of their career, cementing their reputation as one of the most important bands in the US underground scene.

Combining raw emotion, infectious hooks, and the unmistakable dual vocals of Chuck Ragan and Chris Wollard, the album perfectly balances intensity and passion.

This vinyl reissue brings a genre classic back to the shelves, one that has lost none of its power or brilliance even decades later.

With No Division, released in 1999, Hot Water Music delivered one of the defining melodic punk albums of their career, cementing their reputation as one of the most important bands in the US underground scene.

Combining raw emotion, infectious hooks, and the unmistakable dual vocals of Chuck Ragan and Chris Wollard, the album perfectly balances intensity and passion.

This vinyl reissue brings a genre classic back to the shelves, one that has lost none of its power or brilliance even decades later.

Over these years, she has explored many facets of herself. Her previous releases (seven full-length albums, several EPs, and countless singles) have often been fantastical and conceptual, drawing inspiration from literature and mythology. For her, this was a necessary escape from everyday life, both as a teenager in sleepy New England and as a young adult amid the suffocating anxiety of a global pandemic.

Now 27, she still doesn’t go out particularly often, but she has traded high-concept art for maximum impact. She feels drawn to making music that sounds like the music she loves and singing about her life in beautiful Philadelphia. At the same time, she remains firmly rooted in the current moment in world history, addressing issues such as religious fanaticism, ecological collapse, and the unabashed rise of fascism in America.

Her outstanding fifth studio album is called Highway to Hell. AC/DC, eat your fucking hearts out.

Simply put, this album is a major statement, heralding the arrival of a singular talent poised for a breakthrough.

Moales is one of the key figures in a young, hungry group of incredibly prolific artists who are still flying under the radar in Philadelphia’s ever-vibrant music scene but are steadily on the rise.

Highway to Hell was produced by Kevin Basko (Rubber Band Gun) and features significant contributions from members of the creative collective Emily and Kevin’s Historic NJ Recordings, including Sam Sullivan (guitar) and Jem Seidel (drums).

THE BAND

FAKE NAMES features an all-star lineup of punk innovators:

Brian Baker – Minor Threat, Bad Religion, Dag Nasty
Michael Hampton – S.O.A., Embrace
Dennis Lyxzén – Refused, INVSN, The (International) Noise Conspiracy
Johnny Temple – Girls Against Boys, Soulside
Mario Rubalcaba – Rocket From The Crypt, OFF!

The group first came together in 2016, forming what Brian Baker has described as a “mutual admiration society.” Despite their extensive individual histories, the chemistry was immediate. Once they were in the same room, it felt as though they had been playing together for years.

With Punk Ruins, FAKE NAMES continue to build on that foundation, bringing together five distinct musical backgrounds without allowing any one of them to define the band.

The result is a record that connects the raw spirit of punk’s past with the urgency of the present.

Splendor & Misery is an Afrofuturist dystopian concept album telling the story of the sole survivor of a slave uprising aboard an interstellar cargo ship, and the ship’s computer, which falls in love with him. Believing himself to be alone and lost in space, the protagonist begins to discover music in the ship’s vibrating hull and chirping control panels.

Clipping’s music maps out an imagined sonic landscape of the vessel’s decks, corridors and living quarters, while Daveed Diggs’ lyrics ride the rhythms generated by its engines and machinery.

Splendor & Misery has become one of Clipping’s most celebrated releases. It appeared on numerous year-end lists and was praised by The New York Times, Bandcamp Daily, CLASH, The Line of Best Fit, The Needle Drop, Uproxx, The Observer and Stereogum. In 2019, Pitchfork named Splendor & Misery one of the 33 best industrial albums of all time.

Clipping celebrated the album in August 2026 with the Splendor & Misery Fest at New York City’s Knockdown Center, featuring support from SPELLLING, Shabazz Palaces, ELUCID, Fatboi Sharif, evicshen and Maria Chavez.

Beneath its fragmented language of symbols and numbers lies a sonic distillation of years of turbulence and the gradual path toward recovery. Across ten songs, 22, A Million completely overturned expectations of what a Bon Iver album could sound like.

Working through different circles of friends — close, fleeting, new and old — Vernon began piecing together proto-melodies, hazy textures and distinct moods from hundreds of hours of recorded improvisations. Songs such as “22 (OVER S∞∞N),” “33 ‘GOD’,” “715 – CRΣΣKS” and “8 (circle)” abandoned familiar structures in favour of fractured electronics, pitch-shifted vocals and dense layers of sound.

What initially felt like a radical departure has since become one of the most influential and enduring works in the Bon Iver catalogue.

In 2026, 22, A Million celebrates its tenth anniversary. To mark the occasion, Bon Iver and Jagjaguwar are reissuing the album in two limited-edition formats: a special 12-panel CD edition featuring the “Inverted Cross” design, and a limited Frosted Silver vinyl pressing with new alternate artwork housed in a soft-touch gatefold sleeve with spot-UV gloss details.

The vinyl edition reimagines the original album artwork and includes the original 28-page lyric booklet, now printed in three different silver inks, as well as a new 12-page full-colour insert documenting the making of 22, A Million. The booklet explores the world surrounding the album’s symbol-rich visual language through previously unseen artwork and a personal essay by visual artist Eric Timothy Carlson.

The collaboration between Bon Iver and Eric Timothy Carlson began with 22, A Million and has since become a central creative relationship at the heart of the project, encompassing artwork and creative direction for subsequent albums including i,i, SABLE, and fABLE, as well as exhibitions, photography and broader visual identities.

In 22, A Million (10th Anniversary Edition), Carlson offers an in-depth interpretation of both the album artwork and the symbolic titles of its individual songs, revealing the stories and meanings behind the iconography in greater detail than ever before.

Driven by thoughtful musicianship, high-energy live performances and a clear artistic vision, PISS make punk music that aims to push beyond the limits of an established genre. Their work draws on a wide and often unexpected range of influences: literary figures, philosophers, filmmakers, painters, psychoanalysts, activists, children, members of a German anarcho-feminist militant group, and conversations with audience members.

These voices reflect a range of ideological perspectives on gender-based violence, allowing PISS to engage with difficult and controversial subjects such as sexual violence and internalised gender norms without reducing them to simplification, romanticisation, polemics or dogma.

you made me / skin on linen is the band’s debut album. It portrays a childhood shaped by structural, systemic and intimate violence. Throughout the record, imagery drawn from art is used as a metaphor for the countless ways we carry the effects of that violence within us: every experience leaves an imprint, gradually shaping or distorting the self, much like a piece of clay formed by every mark pressed into it.

Formed by Lou Barlow and Eric Gaffney in 1986, Sebadoh became one of the defining bands of the indie rock underground, combining a raw lo-fi sound with unusually personal songwriting. Their sixth studio album, Harmacy, blends punk energy with melancholy and introspection, and is widely seen as the record that brought the band to a much wider audience.

Coming in the wake of the success of “Natural One” by The Folk Implosion, Lou Barlow’s project with John Davis, Harmacy became Sebadoh’s first album to chart in the US and featured “Ocean,” one of the band’s best-known songs.

On its release, Harmacy was widely praised by the music press, with Rolling Stone, NME and The Village Voice all naming it among the best albums of 1996.

The band’s roots actually go back even further. Eagles of Death Metal first appeared in 1998 on Homme’s Desert Sessions Volumes 3–4, although their sound at the time was somewhat different from what they would later develop on Peace, Love, Death Metal, with its more accessible, radio-friendly vocal harmonies.

Label: Pink Floyd Records

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The band’s roots actually go back even further. Eagles of Death Metal first appeared in 1998 on Homme’s Desert Sessions Volumes 3–4, although their sound at the time was somewhat different from what they would later develop on Peace, Love, Death Metal, with its more accessible, radio-friendly vocal harmonies.

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What follows are notes directly from Jozef and Jim:

“Thanks to Gian Luca Farinelli and Rosanna Mordini of the extraordinary Cineteca di Bologna, we were able to secure recording time at the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (‘In bocca al lupo’ — literally ‘into the mouth of the wolf’ — is the Italian expression used to wish someone good luck, equivalent to ‘Break a leg’ in English.)

Bocca di Lupo opens with a new version of our own song ‘Only Lovers Left Alive,’ while ‘Apology’ is a new version of an existing Jozef piece. All of the other tracks are new original compositions.

We were honoured to welcome the legendary Courtney Barnett as a guest duet partner on ‘Never Like You Said.’ The lyrics were written spontaneously in a single take in the studio. They are not directed at any particular person, but rather are an emotional response to several insincere and deceitful people — a way of closing the door on their toxic behaviour.

A casually recorded conversation between Adriana Coppi and Veronica Mayrr of Deux Femmes — about the ghostly auras of certain vintage women’s garments — was woven into the background of the track ‘Pour Deux Femmes.’

‘Black Roses’ is an original poem written in Bologna and recited within its own musical setting. All of the other tracks are instrumental.

Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio pieces — ‘In A’ and ‘Massa Damnata.’ Both were created using two electric guitars and grew out of our live performances. We consider it a musically self-contained album, which is why it is presented with its own cover and artwork.

Our music draws inspiration from many sources — from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard von Bingen and William Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond — from sunset to sunrise — from the full moon to the new moon —”

It all began in 2001, when Sufjan set out to make a Christmas gift for friends and family and ended up recording seven songs, which he called Noel, Vol. 1. Every few years at Christmas, he recorded another album in much the same way: over the course of a week in December, usually at home, simply involving whoever happened to be around at the time. This led to collaborations with Aaron and Bryce Dessner of The National, Richard Reed Parry of Arcade Fire, Cat Martino, Gabriel Kahane, and members of Danielson.

Asthmatic Kitty released the first five volumes as a set in 2006, followed by the next five in 2012. Now, sixteen highlights from Sufjan Stevens’ acclaimed Christmas catalogue have finally been brought together on a single album.

With their ninth studio album, Perfecth, the band present a work shaped by maturity, reflection and personal growth. Its nine songs explore many different aspects of love: family bonds, friendships, romantic relationships, as well as loss, longing and healing. They are stories about the people who shape us, hurt us or help us get back on our feet.

The spirit of the album is closely connected to the Japanese art of kintsugi, in which broken ceramics are repaired with gold. Rather than hiding the cracks, the process highlights them and makes them part of the object’s beauty. This idea runs throughout Perfecth: seeing experiences, scars and change as valuable parts of life.

The songs were written over a long period of time in different places and only took their final form through the experiences of their creators. Musically, the album combines powerful, raw rock moments with atmospheric and vulnerable passages. Tracks such as “Insignificant Other,” “Sunday” and “Mono” show the band at once reflective and eager to experiment.

The title Perfecth deliberately plays with the idea of perfection. For Joshua Homme, perfection does not exist. Instead, the word represents the beauty of imperfection. In this way, the album becomes a striking statement about change, loss, hope and the ability to find new strength in what has been broken. At the same time, it underlines why Queens of the Stone Age remain one of the most important and influential bands in international rock music today.

With their ninth studio album, Perfecth, the band present a work shaped by maturity, reflection and personal growth. Its nine songs explore many different aspects of love: family bonds, friendships, romantic relationships, as well as loss, longing and healing. They are stories about the people who shape us, hurt us or help us get back on our feet.

The spirit of the album is closely connected to the Japanese art of kintsugi, in which broken ceramics are repaired with gold. Rather than hiding the cracks, the process highlights them and makes them part of the object’s beauty. This idea runs throughout Perfecth: seeing experiences, scars and change as valuable parts of life.

The songs were written over a long period of time in different places and only took their final form through the experiences of their creators. Musically, the album combines powerful, raw rock moments with atmospheric and vulnerable passages. Tracks such as “Insignificant Other,” “Sunday” and “Mono” show the band at once reflective and eager to experiment.

The title Perfecth deliberately plays with the idea of perfection. For Joshua Homme, perfection does not exist. Instead, the word represents the beauty of imperfection. In this way, the album becomes a striking statement about change, loss, hope and the ability to find new strength in what has been broken. At the same time, it underlines why Queens of the Stone Age remain one of the most important and influential bands in international rock music today.

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

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.

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.

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.”

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.

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.