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Euphoric and melancholic melodies of late ‘90s dance music blend with psych-tinged riffs and loops to create something fresh.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThough the band missed the late ‘90s rave culture firsthand, BLISS channels that era’s bittersweet euphoria, drawing inspiration from \u003cstrong\u003eFaithless\u003c\/strong\u003e, \u003cstrong\u003eUnderworld\u003c\/strong\u003e, \u003cstrong\u003eProdigy\u003c\/strong\u003e, \u003cstrong\u003eAir\u003c\/strong\u003e, \u003cstrong\u003eRöyksopp\u003c\/strong\u003e, \u003cstrong\u003eMoby\u003c\/strong\u003e, \u003cstrong\u003eMassive Attack\u003c\/strong\u003e, \u003cstrong\u003eOrbital\u003c\/strong\u003e, \u003cstrong\u003ePortishead\u003c\/strong\u003e, and more. 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The collection captures daily life in the colony—where progress is monitored accordingly, optimism is responsibly distributed, and deviation is resolved through established channels.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eVolume 001: \u003cem\u003eTruth, Justice, \u0026amp; Dispute Resolution\u003c\/em\u003e\u003c\/strong\u003e introduces the sound of arrival of the Earth Directorate. Sweeping orchestral themes and restrained electronic textures underscore exploration, investigation, and the reassuring sense that Arcadia’s instability is both anticipated and accounted for.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eVolume 002: \u003cem\u003eWireless Free Arcadia\u003c\/em\u003e\u003c\/strong\u003e represents Auntie’s Choice at peak efficiency. Bright melodies, big band swing, and relentlessly cheerful compositions promote comfort, productivity, and sustained consumer confidence. Freedom is included. 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The title reflects the sense that they now exist in different worlds, touching from afar, as well as the disconnected headspace Zzzahara experienced during opioid use in their early twenties. I would often feel like I was in a different world, a dream world, blacked out and trying to connect to something that's not there. Until now, Zzzahara's songwriting has largely centred on their love life. Distant Lands marks a shift. The dream about their brother encouraged them to dig deeper and zoom out, writing beyond their usual themes of sex and romance. Instead, they explored long-standing feelings about family and their experiences with addiction. 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My whole life I've always been so fucking sad, and at some point you get addicted to the sadness. You get addicted to people treating you like shit. You get addicted to the feeling of hurting. Now Ive reached a place where I'm like, nah, dude. I think I'd rather not. Staking a flag in the ground for living truthfully - and that not necessarily meaning perfectly - Distant Lands is laced with the stoic acceptance of life's currents, positive and negative. There's no bullshit to be found here - no solipsism, and certainly no regrets. As long as you're young and you still have energy then you should do things you love, because you never know, they say. 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It was completed in 2025 and features his wife Marie-Claire, award winning folk artist Jackie Oates and producer Nick Holton.In October last year Tucker wrote some words about what the album was and how it all began- “...The Little Prince by way of the pen of Antoine de Saint Exupéry said ‘Draw me a sheep’ and I said to the the Little Prince ‘Dream me a dream’ overheard by Nick HOO (Big Potato Nick) who said ‘Record me a song’ so I recorded a song and then one or two more and just like that whip crack away and snap dragon fingers we had an album and just like that pump up the jambalaya and kick the chandelier Nick’s got the tracks mixed and mastered and pressed into 12” discs that say hallelujah and great balls of fire on the cover and that’s all I’m going to say about the outer wheels of this wagon as it rolls into your life the inner clockworks too intricate and deep to make language suffer so if you want more go to the Little Prince ask him to draw you a Dream of Now and Memory…” T. Zimmerman 14\/10\/25 Tucker embraced and re-discovered the electronica adventures of his younger self (Over Here In Europe \u0026amp; Words Games). Some of these songs date back to the sixties but most were written while recording during two sessions in 2024\/25. His performances of them, in his garden studio in rural Liege are exquisite. Tucker leapt into mixing up sparse banjo\/violin\/swirling organ arrangements on some tracks with orchestral Moog, analogue synths and processed piano backings on others. Musically, it is a wonderful departure in every sense. Tucker was in his eighties and this LP sounds like nothing else he recorded. 'Sun In Scorpio' is a deliberately delicate slow opener, creating beautiful spaces for gently plucked synths and melodic bursts. In contrast, the title track 'Dream Me a Dream’ - based on his poem from his first book When In Flows The Sea - is lovely intimate folk with plucked banjo, roomy backing and violin. Both these sound palettes are given room to open out on subsequent tracks via processed piano, Moog and wonderful orchestral analogue synth. The surreal spoken word sound-scape of Rooftops is based on a poem Tucker wrote aged 19. His voice sounds so powerful as he repeats the line “rooftops of San Francisco” over hypnotic Harmonia-like patterns until you are swept up in his visionary youthful dreams.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e‘Rose Of Sharon' about the dark side of the hippie movement in California. Young girls being coerced by various cults. Recorded with both Tucker \u0026amp; Nick on the synths. It edges towards the psychedelic, almost Krautyrock style of HOO (Tucker’s sonic inspiration for the album) with Jackie Oates beautiful voice and violin raising the music skywards. Although frail when recording Tucker’s vocals are full of energy - it rocks!\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e“Tucker and I had long chats during the recording. 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Though the quartet grew out of a fertile noise and experimental rock scene, a storied environment for artists and weirdos that has nurtured many an influential outsider band (Lungfish, Matmos), their approach across six albums, various collaborations and as a celebrated live act has been more omnivorous than the stippled rhythms of instrumental electric rock would indicate. For this outing, they are augmented by bass clarinetist Madison Greenstone, trombonist Weston Olencki, and in a first for Horse Lords, vocals courtesy Nina Guo and Evelyn Saylor.\u003cbr\u003eThe process of constructing D2BT2HA! involved geographic hurdles, as the unit’s four members have lived in different cities since 2021. Given sixteen years as a working band, their shared language transcends locale. German transplants Gardner, Eilbacher, and Bernstein met in Berlin for tracking sessions while Haberman put together drum parts in Baltimore. One would not necessarily know this from listening, nor is it rare these days to collectively create remotely. The band notes that “trusting each other’s concepts and visions was more important than repeatedly playing a section to see if the music worked, although this trust was only made possible through working very closely together.”\u003cbr\u003eWhile D2BT2HA! isn’t a suite per se, the music influences and interacts with itself in complex linkages. Horse Lords observe that “we like the idea of art as a tool for changing your perspective, being able to rotate ideas and see\/hear\/feel them from a different vantage point.” Or to use a phrase attributed to Swami Satchidananda Saraswati, “understanding is standing under where you are already standing.” The opening piece, “Eureka 378-B,” is an arrangement of 19th century sacred harp music, lead by Guo and Saylor’s vocals; its melody flowers outward, setting a tonal launching pad for much of the music that follows. There are the brief “Rotations,” which isolate fragments from other pieces; and “a transformation algorithm was used to structure the title track, ‘Brain of the Firm,’ and part of ‘Second Galactic Utopia.’ This lends itself to a recursive approach where… the compositional scale becomes more ambiguous.”\u003cbr\u003eThere’s clearly a lot of weight in the language used to title pieces, and D2BTA2H! is no exception––transcendence and uplift are inherent in the music’s operation and if all art is political, Horse Lords’ leanings are optimistic and community-centered. Transformation and re-viewing are not just a compositional strategy but a philosophical outlook, given such themes as “A City Yet To Come,” the title track, or utopic references. As they put it, “we try to make music that challenges the status quo and offers a path toward liberation for the listener. 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data-text-len=\"28\"\u003eMale\u003cspan\u003e \u003c\/span\u003eAct\u003cspan\u003e \u003c\/span\u003eat\u003cspan\u003e \u003c\/span\u003ethe\u003cspan\u003e \u003c\/span\u003eMOBO\u003cspan\u003e \u003c\/span\u003eAwards.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan data-text-len=\"59\"\u003eAnd\u003cspan\u003e \u003c\/span\u003enow,\u003cspan\u003e \u003c\/span\u003eMyles\u003cspan\u003e \u003c\/span\u003eSmith\u003cspan\u003e \u003c\/span\u003eannounces\u003cspan\u003e \u003c\/span\u003ehis\u003cspan\u003e \u003c\/span\u003eforthcoming\u003cspan\u003e \u003c\/span\u003edebut\u003cspan\u003e \u003c\/span\u003ealbum\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-text-len=\"29\"\u003e‘My\u003cspan\u003e \u003c\/span\u003eMess,\u003cspan\u003e \u003c\/span\u003eMy\u003cspan\u003e \u003c\/span\u003eHeart,\u003cspan\u003e \u003c\/span\u003eMy\u003cspan\u003e \u003c\/span\u003eLife.’\u003c\/span\u003e\u003cspan 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data-text-len=\"1\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-text-len=\"89\"\u003ecement\u003cspan\u003e \u003c\/span\u003ehis\u003cspan\u003e \u003c\/span\u003ereputation\u003cspan\u003e \u003c\/span\u003efor\u003cspan\u003e \u003c\/span\u003eemotionally\u003cspan\u003e \u003c\/span\u003eopen\u003cspan\u003e \u003c\/span\u003esongwriting\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003epowerful\u003cspan\u003e \u003c\/span\u003emelodic\u003cspan\u003e \u003c\/span\u003estorytelling.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Boiler Room Records - 27 High St","offers":[{"title":"Indies Exclusive Red Transparent Vinyl","offer_id":56711501545850,"sku":"BRR-13942","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"Black 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Bursting with creativity and experimentation it is the perfect reflection of the band and one of the most enticing British debut albums in recent memory: a blend of dark fables, intricate melodies and moments of revelation. An original work that is a world in itself and an expression of true creativity.\u003c\/p\u003e\n\u003cp\u003eProduced by Oli Bayston (Everything is Recorded, Olivia Dean), Ben Baptie (The Strokes, Young fathers, Little Simz)\u003c\/p\u003e\n\u003cp\u003eThe artwork takes us into the journey of Clari in a past life as a sailor, welcoming us into the lore of the album.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor fans of PJ Harvey, Slint, Wednesday and Dry Cleaning.\u003c\/span\u003e\u003c\/p\u003e","brand":"AMF Records","offers":[{"title":"Transparent Vinyl","offer_id":56721326211450,"sku":"BRR-13960","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"Black Vinyl","offer_id":56721326178682,"sku":"BRR-13959","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0363\/6517\/2868\/files\/e09f953d7fe1123d04eadab03bb033c5.jpg?v=1774345314"},{"product_id":"dead-pioneers-wagon-burner-vinyl-lp","title":"Dead Pioneers  -  Wagon Burner  -  Vinyl LP","description":"\u003cp\u003eFollowing their packed-out first EU and UK headline tour last month, \u003cstrong\u003eDead Pioneers,\u003c\/strong\u003e the Indigenous fronted punk band from Denver CO, are now preparing to unleash their third album \u003cstrong\u003e‘Wagon Burner’\u003c\/strong\u003e, set for release \u003cstrong\u003eJune 26th via Hassle Records\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eDead Pioneers is rooted in a 2020 piece called \u003cem\u003eThe Punk Pan-Indian Romantic Comedy\u003c\/em\u003e, a deeply personal work that dealt with \u003cstrong\u003evocalist Gregg Deal’s \u003c\/strong\u003ecultural upbringing. Following an embryonic performance of the piece, Deal secured a grant to expand it to include music created especially for the work. \u003cem\u003e“The idea was to mix spoken-word with punk music”\u003c\/em\u003e explains Deal, who hooked up with \u003cstrong\u003edrummer Shane Zweygardt\u003c\/strong\u003e and \u003cstrong\u003eguitarist Abe Brennan\u003c\/strong\u003e during lockdown and began kicking the concept around.\u003c\/p\u003e\n\u003cp\u003eBut what became \u003cstrong\u003eDead Pioneers\u003c\/strong\u003e didn’t truly take shape until Deal connected with \u003cstrong\u003ebassist Lee Tesche\u003c\/strong\u003e, who you may know from righteous Atlantan post-punks \u003cstrong\u003eAlgiers\u003c\/strong\u003e. Unlikely as it sounds, a conversation between Tesche and Deal about \u003cstrong\u003eSleaford Mods\u003c\/strong\u003e evolved into a creative connection that’s now three albums deep; the arrival of \u003cstrong\u003eguitarist Joshua Rivera\u003c\/strong\u003e made the quintet quorate. \u003cem\u003e“Josh is Mexican-American,”\u003c\/em\u003e says Deal. \u003cem\u003e“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.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eA miraculous, natural chemistry made this supposed one-off project an actual band almost as soon as they cut what became their \u003cstrong\u003e2023 self-titled debut album\u003c\/strong\u003e (\u003cem\u003e“We approached it like I approach my visual art: execute quickly, first thought is best thought,” \u003c\/em\u003eDeal says), but they didn’t necessarily take it seriously until, unexpectedly, the outside world did. \u003cem\u003e“I was like, we’ve made this record – what should I do with it? Put it online?”\u003c\/em\u003e 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. \u003cem\u003e“So then we pressed another thousand,”\u003c\/em\u003e he adds, still marvelling at it all. \u003cem\u003e“And then they were gone, too.”\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhat followed was \u003cem\u003e“a series of strange accidents”\u003c\/em\u003e that led to the group signing to Hassle, befriending \u003cstrong\u003eJello Biafra\u003c\/strong\u003e and touring with kindred spirits like \u003cstrong\u003ePennywise\u003c\/strong\u003e, \u003cstrong\u003ePropaghandi\u003c\/strong\u003e, even \u003cstrong\u003ePearl Jam\u003c\/strong\u003e. \u003cem\u003e“Punk-rock had made everything seem so accessible when I was a kid,”\u003c\/em\u003e says Deal. \u003cem\u003e“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.”\u003c\/em\u003e Now, punk-rock was reaching out its hands to \u003cstrong\u003eDead Pioneers\u003c\/strong\u003e and pulling them onto larger and larger stages. 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