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.

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.

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.

Label: Parlophone

2 x Vinyl, LP, Album, Reissue, Remastered, 30th Anniversary

Dead Pioneers is rooted in a 2020 piece called The Punk Pan-Indian Romantic Comedy, a deeply personal work that dealt with vocalist Gregg Deal’s cultural upbringing. Following an embryonic performance of the piece, Deal secured a grant to expand it to include music created especially for the work. “The idea was to mix spoken-word with punk music” explains Deal, who hooked up with drummer Shane Zweygardt and guitarist Abe Brennan during lockdown and began kicking the concept around. But what became Dead Pioneers didn’t truly take shape until Deal connected with bassist Lee Tesche, who you may know from righteous Atlantan post-punks Algiers. Unlikely as it sounds, a conversation between Tesche and Deal about Sleaford Mods evolved into a creative connection that’s now three albums deep; the arrival of guitarist Joshua Rivera made the quintet quorate. “Josh is Mexican-American,” says Deal. “He is also inherently indigenous, under a different set of circumstances within colonialism. But I consider him to be my indigenous brother. We spend a lot of time trying to figure out how all of this fits together.” A miraculous, natural chemistry made this supposed one-off project an actual band almost as soon as they cut what became their 2023 self-titled debut album (“We approached it like I approach my visual art: execute quickly, first thought is best thought,” Deal says), but they didn’t necessarily take it seriously until, unexpectedly, the outside world did. “I was like, we’ve made this record – what should I do with it? Put it online?” Deal remembers. The response was vigorously positive, and soon came demands to commit this noise to vinyl. A first thousand-copy pressing sold out in minutes. “So then we pressed another thousand,” he adds, still marvelling at it all. “And then they were gone, too.” What followed was “a series of strange accidents” that led to the group signing to Hassle, befriending Jello Biafra and touring with kindred spirits like Pennywise, Propaghandi, even Pearl Jam. “Punk-rock had made everything seem so accessible when I was a kid,” says Deal. “Like, simply having the balls to get up on stage and stage dive and then be carried off by people that become your best friends once they get your feet back on the ground.” Now, punk-rock was reaching out its hands to Dead Pioneers and pulling them onto larger and larger stages. The group returned that favour by simply getting better and better: their second album, 2025’s PO$T AMERICAN, was sharper, angrier, funnier than the debut, a riot riveted with punch-a-Nazi thrills. And now, Wagon Burner, their fearsome third album. Described by Deal as “more collaborative”, it’s a heavier, harder but also more accessible set, vicious hooks scattered among the punk-rock melee and guest appearances by kindred spirits Cheap Perfume (on the righteous `Nazi Teeth’), The Interrupters (on the shout-a-long anthem `Never Alone’) and, bringing it back to the group’s beginnings, Sleaford Mods (on the searing slow-burn of `The Worst Among Us’). The world might be darkening by the day, but Dead Pioneers are rising to that miserable occasion, casting their empowering light into the gloom.

• 27.2.2026.
• 14/16/18€

• 2.10.2026.
• 14/16/18€
• VINTAGE INDUSTRIAL BAR