Flying Moon In Space verstehen Musik als einen Raum, in dem Gegensätze aufeinandertreffen: Euphorie und Melancholie, Heilung und Exzess, Nähe und Distanz.
Morgen Abend live bei uns.

Der Eintritt ist frei. Jetzt anmelden unter [email protected], 0234 - 911 77 90.

https://www.youtube.com/watch?v=p7QMYo_VlQU

#PsychedelicPop #KrautrockÄsthetik #FlyingMoonInSpace #ImmerFürImmer #FuzzClub #EintrittFreiInBochum #EintrittFrei #KulturInBochum #Bochum #StayingUndergroundSince2002

#FlyingMoonInSpace ist eine sechsköpfige Band aus Leipzig, die aus stundenlangen Live-Improvisationen hervorgegangen ist. In ihren energiegeladenen Live-Shows erzeugt die Band eine Atmosphäre, der man sich nur schwer entziehen kann.
Am 12. Mai live bei uns.

#EintrittFrei. Anmelden: [email protected], 0234 - 911 77 90

https://www.youtube.com/watch?v=Gl3oAHJU_es

#PsychedelicPop #KrautrockÄsthetik #ImmerFürImmer #FuzzClub #EintrittFreiInBochum #KulturInBochum #Bochum #StayingUndergroundSince2002

"A fearless commitment to experimentalism and an entrancing shape-shifting quality" Under the Radar (US)
Am 12. Mai live bei uns: @Flying Moon In Space aus Leipzig.

Der Eintritt ist frei. Jetzt anmelden unter [email protected], 0234 - 911 77 90

https://www.youtube.com/watch?v=a9uRUxMjFQM

#PsychedelicPop #KrautrockÄsthetik #FlyingMoonInSpace #ImmerFürImmer #FuzzClub #EintrittFreiInBochum #EintrittFrei #KulturInBochum #Bochum #StayingUndergroundSince2002

Flying Moon In Space aus Leipzig haben eine sich wandelnde Mischung aus treibender Krautrock-Ästhetik, lebhaftem Psychedelic-Pop und Techno-beeinflusster Elektronik als ihren unverwechselbaren Sound etabliert. Am 12. Mai live bei uns.

Der Eintritt ist frei. Jetzt anmelden unter [email protected] oder 0234 - 911 77 90.

https://www.youtube.com/watch?v=U21hkPevudU

#PsychedelicPop #KrautrockÄsthetik #FlyingMoonInSpace #ImmerFürImmer #FuzzClub

Upupayāma – Fliiim – Von Fuzz Club

https://www.youtube.com/watch?v=euZ8Vhb7IdA

Kombynat Robotron – Trieste (Live)

https://www.youtube.com/watch?v=05ESbICbs9o

Magic Castles Release New Single ‘Mary Anne’

Magic Castles release new single ‘Mary Anne’, the second to be lifted from their incoming album ‘Realized’. Due out April 24th on Fuzz Club, ‘Realized’ is a set of lush psych-rock reveries from Minneapolis songwriter Jason Edmonds, blending late-60s folk-rock warmth with shoegaze shimmer.

https://www.youtube.com/watch?v=cTAQcT5M3NU

Consisting of nine dreamlike, melody-led trips that unfold in waves, ‘Realized’ is equal parts hazy nostalgia and widescreen modern psychedelia, centring dreamy, heavily-layered arrangements and floating vocal harmonies. Following recent lead single ‘Abandoned Mansions’, ‘Mary Anne’ is the latest taste of what’s to come. The band’s Jason Edmonds says of the track:

“This one was recorded at Pachyderm Studio (the legendary rural Minnesota studio where Nirvana recorded In Utero) with the Magic Castles band. It’s myself and Izaak on guitars, Kristof on bass and Adam drumming. It’s a catchy pop song with this dreamy push-and-pull energy. Tight and rocking, melodic and upbeat, but with a streak of melancholy running through it. Not quite shoegaze… but it lives in that atmosphere, with some call and response type backing vocals for fans of Television thrown in. The Mary Anne in question is someone maybe struggling with communication breakdowns and the weight of the world, but she’s strong, resourceful, and ultimately ready to kick ass.”

Magic Castles was formed in Minneapolis MN in the early 2000s by multi-instrumentalist and songwriter Jason Edmonds. Their debut album ‘Lore of Mysticore’ caught the ear of Anton Newcombe of the Brian Jonestown Massacre, culminating in four albums released on Newcombe’s label ‘A’ Recordings Ltd over 2012-22 – including, most recently, 2021’s ‘Sun Reign’ (a song from which would feature on an episode of the hit HBO series Succession). After a headline tour of Europe in 2023, Jason returned to Minneapolis and steadily finished piecing together ‘Realized’ – the band’s fifth-full length, now ready to see the light of the day on their new label home Fuzz Club.

Edmonds and the rest of the current Magic Castles line-up (consisting of Adam Patterson on drums, Izaak Drew on guitar and Kristof Marden on bass) recorded the tracks with Nick Tveitbakk at the legendary Pachyderm Studios in Minnesota, with additional recording by Edmonds at his studio the Map Room and in Neil Weir’s remote chapel-converted-to-studio, Blue Bell Knoll, where Edmonds and Weir would loving co-mix the end result. The result takes Magic Castles’ music to a newfound level of clarity, whilst still retaining that same, long-harboured analogue warmth only made possible through an array of vintage amps, guitars and transistor organs. 

Nottingham Psych-Rock Trio Cult Of Dom Keller Release New Single And Video

Nottingham band Cult Of Dom Keller are today releasing ‘Let Me Go Satan’, the second single to be taken from their long-awaited new album ‘Unholy Drum’, out March 27th 2026. Their first album in five years lands produced by Angus Andrew of LIARS, with whom the band struck up a fruitful creative partnership with when LIARS were drafted in to remix a track from their previous record, 2021’s.‘They Carried The Dead In A U.F.O’.

‘Unholy Drum’ is the result of half a decade spent evolving and deconstructing, Andrew digging his claws into the Cult’s vault of demos, ideas and fragments until something stranger stepped out –  a more expansive and left-field art-rock sound shining through the cracks in the band’s dark psychedelic noise-rock. The band say:

“Songs were cut apart, inverted, whispered to. Left alone long enough to twitch back to life. All while the fever dream of global instability seeped into the DNA of the record… Working with Angus brought a different angle of experimentation to the way we worked. Together, everything was dismantled and pushed further into the dark… And yet, there was liberation. A freedom in abandoning defined roles. In serving the song rather than the structure. In hearing an idea suddenly explode into life.” 

On new cut ‘Let Me Go Satan’, which arrives following the recent release of lead single ‘Leaders With Hoovers, Cult Of Dom Keller add: “Let Me Go Satan was the first song we worked on with Angus (Liars). The original demo was the bass line over a drum loop Ryan came up with and was experimenting with trying to make his guitars sound like a choir. Verses were wrote there and then but bringing to the band we struggled at first to come up with any vocal melody for the verse and choruses. Angus really connected with this demo early on and really worked us hard for several months developing and pushing the melody development. Once we found what worked well we started experimenting and this fuzzy little demo over time developed into a fully formed slice of dreamy psych as we really went for it building the layers of harmonies. We liked the idea of having a more upbeat sound at conflict with its dark lyrical narrative as well as burying some messages low down in the mix for the listener to discover…”

https://youtu.be/iMkR1O9Toy0?si=jHcC2GCEw40aGFL_

‘Unholy Drum’ is the long-awaited sixth album from Nottingham band Cult Of Dom Keller – not a ‘return’, for they were never really gone, but the product of five years spent evolving. In collaboration with Angus Andrew of LIARS on production duties, “Songs were cut apart, inverted, whispered to. Left alone long enough to twitch back to life. All while the fever dream of global instability seeped into the DNA of the record.” The result – due for release March 27th 2026 on Fuzz Club – finds a more expansive and left-field art-rock sound shining through the cracks in the Cult’s dark psychedelic noise-rock. 

Reflecting on the time leading up to ‘Unholy Drum’, the Cult – now comprised of Neil Marsden (vocals/keys/synths), Ryan DelGaudio (vocals/guitar/synths) and Alistair Burns (drums) – write: “It’s been nearly five years since we slipped through a crack in the world – and couldn’t find the same exit twice. It was a time where bassists dissolved like mist. Where bodies glitched in ways that felt half-medical, half-mythic. Where everything stalled except the music. Ideas kept arriving. Fragments. Residue. Ghost scraps clinging to existence like unfinished dreams, waiting to become whole. But this time, we wanted to create something totally different.” 

And then came LIARS’ Angus Andrew: not a producer in the traditional sense but “a kindred spirit who opened a door we didn’t even know we had locked.” Working with Angus on a LIARS remix of their 2021’Run From The Gullskinna’ single, a new creative relationship was immediately forged and the Cult’s vault of ideas soon pried upon for Angus to dig his claws into: 

“Working with Angus brought a different angle of experimentation to the way we worked. Together, everything was dismantled and pushed further into the dark. Sound was dissected until it sprouted limbs. We went so deep inside the tracks that eventually it felt like the songs were waiting for us to catch up… And yet, there was liberation. A freedom in abandoning defined roles. In serving the song rather than the structure. In hearing an idea suddenly explode into life through, say, the force of a full orchestra. It felt like any sound in our heads was now possible, and we continued to craft and shape the songs.”

For all that ‘Unholy Drum’ might mark a departure from the crushingly heavy or freak-out-inclined sonics that characterised much of the Cult’s ever-evolving back-catalogue, the shadowy, post-apocalyptic visions that have always been at the core remain deeply-rooted. Only this time something stranger stepped out, wired directly into the voltage of now. ‘Unholy Drum’ is an album that brushes against our bleak political reality without delivering a manifesto – not a sermon, but the sound of a fever, a possession, a rupture.

“The Unholy Drum is the pulse you obey without meaning to. The rhythm that already owns you. It’s the click-track of modern existence – the subliminal march of markets, governments, algorithms, and the digital ghosts that crave our attention more than our blood. We didn’t name it to provoke. We named it because it was already there. At times it felt less like making an album and more like receiving a transmission from a future we wanted no part of. UNHOLY DRUM is that transmission.”