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.”

Golden Hours Released New Album “Beyond Wires” Via Fuzz Club

‘Beyond Wires’, the sophomore album from Berlin/Brussels post-punk group Golden Hours is out today on Fuzz Club. Alongside the release of their second full-length, the band are also releasing a video for ‘The Same Thing’ – following earlier singles ‘The Letter’, ‘Heading For The Moon’, and ‘Arctic Desert’. 

Based between Berlin and Brussels, Golden Hours are Hákon Aõalsteinsson, Wim Janssens, Tobias Humble and Rodrigo Fuentealba Palavacino – an outfit of seasoned players who between them have performed as part of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and more. Golden Hours first rumbled out of the shadows in 2023 with their self-titled debut and are now emerging once more with ‘Beyond Wires’.

‘Beyond Wires’ was knit together in-between the tours and other obligations of its four members, written and recorded in rehearsal rooms in Berlin and an old mansion in Brussels. “The latter definitely put its stamp on the record with its noisy electric static bleeding into every song”, says Wim. But a band like Golden Hours never shies away from these things: they lean into it and welcome those ghostly appearances with open arms and just try to out-fuzz the buzz with layers of noise and strong melodic elements that cut through like a knife.

“With the new album, the band is stealthily moving closer to a sonic space that we can call our own”, says Wim. The sum of all the influences gathered in the recording room could easily crush any other band that doesn’t have the mileage under its belt like Golden Hours has – but for all the influences deeply encoded in its DNA, the band is able to add their flavor time and time again. 

‘Beyond Wires’ is the sound of four people gathering in a Berlin rehearsal room, punching holes in a wall and picking up the fallen bits to create something new over the course of a few days. Not easily distracted or outgunned in the game of trial and error that is still their favorite tool in the creative process, Golden Hours seems to swear by the simplest of rules: “A light shakin’ of the head to the left and right will kill a weak idea in a heartbeat, when no-one says anything the idea is likely accepted. You’ve got to keep the roads clear, to let all the good stuff pass through. You can throw up road blocks in your own time.”

https://youtu.be/82YjtSwxIHU?si=FY6Lk9aOIop119Ho

On the release week single ‘The Same Thing’, Wim says: “The Same Thing leans heavily on Tobias deadpan drum groove and shows the band in full repetitive kraut modus. The song was the last one added to the long-list for the album. When all tracks were recorded, the question was asked: did anyone still have any gems hidden up their sleeves? Hakon started playing this guitar riff, and we all instantly locked in, and within 15 minutes, a song structure appeared. After 2 takes, the basic track was nailed. The song took a slight turn when vocals and extra layers were added in post-production, away from the obvious and into more atmospheric realms, in sync with the overall sound of the album.”

“The song is about the inevitable that comes for you, mostly in moments when you let your guard down. Good things, bad things…The ground beneath your feet can disappear in an instant. It’s the stuff you can never prepare for unless you want to live your life in fear, hiding in a bunker somewhere in a desert where the floods can’t reach you. And it hardly ever happens to you alone, even when no one else gets hit, there’s always collateral damage, stuff that pops up and rears its ugly head years after the avalanche turned your world upside down. It’s a cleansing ritual at best if you’re able to get from under the snow. You can’t keep an eye on everything all the time, and you probably won’t see or hear it coming anyway, but as Tom Waits so beautifully put it:“We’re all gonna be just dirt in the ground”, so no need to go check on your car that fell into that sinking hole before your time is up.”

Flying Moon In Space Release New Single ‘Where Are You’

Leipzig, Germany-based six-piece Flying Moon In Space released their new single ‘where are you’, lifted from their third album, ‘immer für immer’, due for release February 27th 2026. Occupying a world where high-energy motorik rhythms, experimental instincts and pop sensibility intertwine, this new full-length burrows deeper into their live-improvised blend of krautrock, post-punk, shoegaze and experimental electronics. 

https://youtu.be/a9uRUxMjFQM?si=IQ0Hy9reunWA4hUe

Flying Moon In Space’s Henrik Rohde says that ‘where are you’ is about: “The loss of a great love. The end of a relationship that was like no other. The wondering of what happened, where did it go wrong, and where are they now. The feeling of deep loss and unrepairable pain. The regret that lasts a lifetime. Decisions made and stories written. The haunting question, ‘is it better to have loved and lost than to never have loved at all’. Here ring the echoes of heartache.” 

‘immer für immer’ (German for ‘forever and always’), the new album from Flying Moon In Space, arrives on Fuzz Club in February 2026. Across its pulsing repetitions and shifting emotional landscapes, the record explores the tension between the eternal and the transient – a reflection of the contradictions shaping contemporary life. Progress and exhaustion, community and isolation, being overwhelmed and longing for rest. The band treats music as a space where opposites meet: euphoria and melancholy, healing and excess, closeness and distance. More than an album, ‘immer für immer’ is described by the band “as a ritual against the feeling of being lost”, carrying within it moments of grief, anger, desperation and the everyday struggles that accumulate at the edges of modern existence.

Sonically, the album occupies a world where motorik rhythms, experimental instincts and pop sensibility intertwine. Elements of krautrock, post-punk, shoegaze, ambient and electronica dissolve into one another, further refining the group’s distinctive sound – one that resists easy categorisation but remains entirely their own. The six-piece – Atom Parks (vocals), Valentin Bringmann (guitar), Henrik Rohde (guitar), Sebastian Derksen (guitar/synth), Sascha Neubert (bass) and Timo Lexau (drums) – are based in Leipzig, Germany and known for generating moments of intensity, energy and communion through their performances. As the band describes it: “We make music to find stability in chaos, defining our own space within the dimensions. It’s new and different every time we enter.”

‘immer für immer’ emerged through the group’s intuitive, non-hierarchical process of live improvisation. Every song grew from moments created in real time, a method they also applied to their previous albums – their self-titled debut, written entirely on tour, and ‘ZWEI’, a concept record inspired by the children’s game ‘telephone’ and recorded in a church. For Flying Moon In Space, creativity is not about chasing perfect sounds but capturing flashes of meaning, those rare moments in which something unfamiliar and deeply felt appears.

To create the new album, the band spent ten days at Kinett, a former cinema in Kusel that has evolved into an international hotspot for forward-thinking music. Its atmosphere, history and resonant acoustics played a decisive role in shaping the sound. Within this unusual space, Flying Moon In Space found the ideal environment to expand their sonic universe – a place where the eternal and the fleeting could finally meet.

#ELECTRONICA #FLYINGMOONINSPACE #FUZZCLUB #KRAUTROCK #MUSIC #NEWS #POSTPUNK #SHOEGAZE

Helicon X Al Lover Shared New Single And Video “Not A Thought”

Glasgow band Helicon and Los Angeles-based producer/DJ Al Lover are today releasing the third and final single, ‘Not A Thought’, from their incoming collaborative album, ‘Arise’. Due out February 13th 2026 on Fuzz Club, the bold new record finds Helicon’s counter-cultural psych-rock infused with Lover’s genre-bending electronics – resulting in a maximalist, uplifting sound with a baggy, hypnotic pulse.

On the new single, which follows ‘Arise’ and ‘Backbreaker’, Helicon’s John-Paul Hughes says: “This one’s for the heavy psych heads. Pounding, motorik momentum, swirling fuzz guitars and a dense, enveloping mix that feels circular rather than linear. Looping and locking you into a euphoric, swirling psych-out. Lyrically, it’s about pretending everything’s OK when it isn’t. Mantra-like in its repetition, it captures collapse and the quiet violence of modern mental saturation. When generating ideas and demos for the album, it was the first track where AL took the lead, sending over the initial beats and chords, which we then arranged, expanded and built into the final version we recorded together in Glasgow with Tony Doogan.”

Lover adds: “’Not a Thought’ was a fun one. Most of the album came together with the band sending me demos to tweak and build on, but this track worked in reverse. I sent over a few loops, and what they came back with completely blew me away. I love how unhinged the final version is—it’s unlike anything I’ve heard, and it really feels like new ground was broken. It’s dark, heavy, and freaked out, but there’s a light touch of humor and a real blasé attitude to it. That kind of juxtaposition is what makes it work, and it feels connected to the spirit of bands like The Velvet Underground and The Stooges.”

https://youtu.be/KrhnxxqD0r8?si=pSao046ehxWNZlRx

Produced by Tony Doogan (Mogwai, The Jesus & Mary Chain) at Castle Of Doom Studios in Glasgow, ‘Arise’ is a dense, hypnotic, and fiercely rhythmic record that layers trip-hop breaks, deep low-end and dub textures. The record’s alchemical creative approach was built initially on a trans-Atlantic online back-and-forth of demos between Helicon and Lover. Once upwards of 20 demos had been bounced across the ether and eventually whittled down, the Helicon band (clocking in at nine members at the time of writing, with Belle & Sebastian’s Chris Geddes also playing piano on ‘Goodbye Cool World’) headed into Castle Of Doom to lay down the bare-bones, ready for Lover to fly over and join them and work his magic on drum machine, synth and samplers.
 
“For me, psychedelia is about breaking things open and seeing where it can go next”, John-Paul says: “How far can it stretch and still feel vital? Working with Al Lover let us twist it into something new and prove it can still evolve, still surprise, and still mean something in a world of conformity where everything begins to look and sound the same.” With Lover adding: “The process of working with Helicon on this project has been nothing but a joy. It’s so nice to have music be the conduit for human connection. This is an ongoing theme with any creative endeavour that I’ve undertaken. I hope that connectivity reaches through the music to the listener, helping them feel like a participant in the music, not just passive observers.”

UPCOMING HELICON LIVE SHOWS

2nd Feb – Voodoo Rooms, Edinburgh

26th Feb – Sidney & Matilda, Sheffield

27th Feb – The Deaf Institute, Manchester 

21st Mar – The Georgian Theatre, Stockton On Tees

25th Apr – Foxlowe Arts Centre, Leek

26th Apr – Ramsgate Music Hall, Ramsgate

27th Apr – Hot Box, Chelmsford

1st & 2nd May – Fuzz Club Eindhoven

3rd May – Kulturzentrum Kinett, Kusel, Germany 

10th May – Neue Zukunft, Berlin, Germany

13th May – Wedgewood Rooms, Portsmouth

2nd Aug – Kendal Calling, The Lake District

19th Sept – Psyched Up! The Old Woollen, Leeds 

25th Sept – The 100 Club, London

More to be announced soon

Tickets:https://www.heliconglasgow.com/live 

#ALLOVER #FUZZCLUB #HELICON #MUSIC #NEWS #NOISEPOP #PSYCHROCK #PSYCHEDELICROCK

Noisy And Melancholic: Golden Hours Releases Second Single Ahead Of New LP

Post-punk group Golden Hours has released ‘Heading For The Moon,’ the second single from their sophomore album, ‘Beyond Wires’ (Feb 6, Fuzz Club). Featuring seasoned players from bands like Gang Of Four and The Brian Jonestown Massacre, the track is a gloomy, noisy affair. It kicks against the eardrums with Tobias Humble’s machine gun drum pounds and Håkon Aðalsteinsson’s melancholic guitar licks, proving there’s “no escaping” this powerful and moody dose of post-punk.

https://youtu.be/pyPnCFwzkiw?si=eo_ezVOyxYmrF8jh

#fuzzClub #goldenHours #music #news #postPunk

Helicon – Backbreaker

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

‘Backbreaker’ is lifted from the new Helicon x Al Lover collab album ‘Arise, released February 13th 2025 on Fuzz Club

#backbreaker #fuzzClub #horen #helicon #musik

Floral Image To Release New EP On November 21st, Watch Video For ‘On A Feeling’

Floral Image is set to releasea new ep, Deeper Down Meadowland, on November 21st. The EP features three new tracks, including ‘On A Feeling,’ which douses eastern-inspired melodies over a rapturous rhythm, and ‘Spiraline,’ which builds to a cathartic crescendo of riffing. The EP closes with live takes of fan favorites, showcasing the group’s dynamic progression and their signature blend of introspective lyricism and psych-rock indulgence. A video for ‘On A Feeling’ is out now.

https://youtu.be/HouA20jV34U?si=w-3a1nJfhOKyVh8S

Upcoming shows:
Nov 19th – Norwich, UK
Nov 22nd – Bristol, UK *
Nov 23rd – Manchester, UK *
Nov 24th – Glasgow, UK *
Nov 26th – Brighton,UK *
Nov 27th – Hebden Bridge, UK *
Nov 28th – London, UK *
Mar 14th – Berlin Folk Festival, DE
Apr 17th – Catania, IT

* supporting Minami Deutsch

#FLORALIMAGE #FUZZCLUB #MUSIC #NEWS #PSYCHROCK #PSYCHEDELICROCK

The Albinos – Enabilizer LP (Psychedelic Underground Generation Records)

The Albinos return with Enabilizer, a record that showcases consolidation of their strengths while quietly reshaping their identity. On this particular collection of songs, the band strips away the excess and keeps qualites that they feel important for shaping and delivering their luxuriant sound, resulting in an full-lenght sitting comfortably rawness and control, melody and abrasion, certainty and doubt. The band kept production as minimalistic as possible, focusing more on all those raw, abrasive, gritty instrumentations. The guitars cut through with quite a specific tone coming from amps turned up just enough to hum, basslines move around with delicate warmth and persistence, while the tight drumming offers power, control, groove, and dynamics. There’s no gloss, no digital trickery, just pure instinct and timing. On this record, The Albinos carve out through time and experience, not studio precision. Vocals play a crucial role in grounding the record and keeping listeners engaged. Delivered in such a personal but not self-indulgent way, there’s a subtle strain in vocals, an edge that gives the lyrics emotional weight even when the words themselves are open to interpretation. The Albinos know when to hold back. They build tension through repetition, tone, and pacing rather than overwhelming volume or unnecessary ornamentation. Each track arrives as a part of a continuous thread. Guitars take on multiple roles across the record, rhythmic backbone, atmospheric layer, and melodic voice that replaces vocal harmonies at particular segments. They jangle, buzz, and bend with such precision and finesse. There’s more than enough fuzz where there needs to be, and clarity when the band wants to calm things down a little bit. The interplay between rhythm and lead layers feels entirely organic, unforced, and deeply rooted in a live performance. You get the sense that these songs were developed in real rooms, through actual volume and shared air, not through layers of overdubs, and that feeling gives this material its sense of authenticity.

The rhythm section deserves your utmost attention. The bass guitar drives and defines, with its tactile sound that makes you feel the low-end movement during each moment of every composition, while the tight, groovy, responsive drumming keeps the remainder of the instrumentation in line. Together, they provide a solid foundation that allows the guitars and vocals to move freely without losing themselves too much. Lyrically, Enabilizer avoids grand statements in favor of smaller truths. The themes revolve around conviction, fatigue, and the ways people negotiate the space between who they are and what they once believed. It’s not overtly political or sentimental, but it captures that quiet moment where self-reflection becomes uncomfortable. The writing feels rooted in observation rather than commentary. The tone throughout is serious but never heavy-handed, keeping it honest without too much pretension. The Albinos seem more interested in exploring the edges of those control, chaos, rawness, vulnerability, tendernes, harmony, and melody than in resolving them. This tension keeps the album engaging even during its quieter moments. Nothing feels accidental, yet nothing feels overly designed either. It’s a delicate space where musicians trust instinct over perfection that gives Enabilizer such a unique atmosphere that calls out listeners to spin this gem over and over again. Also, the album moves between the minimal bite of garage rock and the broader scope of psychedelic textures without ever losing its principal sonic direction. It doesn’t lean too hard into either camp, instead sitting somewhere in between, muscular and hazy at times, melodic and rough-edged when necessary. You can hear echoes of late-sixties psych, eighties post-punk, and modern lo-fi rock, but it never collapses into pure, unfiltered nostalgia. The Albinos reshape familiar ideas into current, natural, and unique soundscapes.

Songs flow naturally from one to another, carrying the listener through changes in tone and texture while maintaining a coherent emotional foundation. The album sounds completely free from any unecessary flourishes, and every sonic layer breathes naturally. You can hear the hours of writing, playing, and refining that went into the record, but it never sounds overworked, overcomposed, or overly written. In many ways, Enabilizer is document of growth, about a band reaching a point of clarity about who they are and what they want to express. The Albinos have found a way to communicate emotion through clever musicianship, while making rawness, abrasiveness, and grittines sound intentional. Enabilizer leaves you thinking about how sound can mirror thought. The repetition, uncertainty, flashes of connection that fade as quickly as they arrive. It’s an album that floaths quietly while its organic ambiance gradually revealing depth, experience, knowledge, skills, and talent of such an incredible band. Enabilizer is a clear-eyed exploration of where conviction meets reality. The Albinos created a fine piece of sonic artistry that will suit anyone who appreciates cleverly assembled and flawlessly performed psychedelic and garage rock music, adorned with so many beautiful, reflective, and fascinating moments worth repeating over and over again. Head to Fuzz Club or Psychedelic Underground Generation Records for more information about ordering this masterpiece on vinyl.

#FUZZCLUB #garage #MUSIC #PSYCHROCK #PSYCHEDELICROCK #PSYCHEDELICUNDERGROUNDGENERATION #REVIEWS #ROCK #THEALBINOS

French Experimental Band Ashinoa Release New Krautrock Single “Room Of Whispers”

Lyon’s experimental collective Ashinoa release their mesmerizing new single “Room Of Whispers,” taken from the forthcoming album “Un’altra Forma” out November 28 via Fuzz Club. Blending elements of krautrock, psychedelia, and electronic jazz, the track channels influences like Stereolab, Beak, and Broadcast into a hushed, hypnotic journey. Written while frontman Mattereo Fabbri battled tinnitus, the song reflects on the challenge of loving amidst chaos. Following their acclaimed title track, “Room Of Whispers” solidifies Ashinoa’s status as a leading voice in Europe’s experimental and psychedelic music scene.

https://youtu.be/_UIhPPe5bmY?si=GN8fdsQjPI5HlBBJ

#ASHINOA #FUZZCLUB #KRAUTROCK #MUSIC #NEWS #PSYCHROCK #PSYCHEDELICROCK