2026: Underground Frequencies & Modern Nocturnes

Fujiya & Miyagi know when something is worth waiting for. The Brighton kosmiche pop outfit’s catalogue is strewn with surprises and creative about-turns, but incoming album ‘New Shiny Object’ could be their most dazzling yet. Crafted over a relentless four-year period of feverish south coast recording sessions, it’s a potent, succinct reminder of their art-pop skills, and the prevailing power of honesty in their work.

Set to be released through their own Impossible Objects of Desire imprint on the 30th October, ‘New Shiny Object’ is an album which has been through multiple iterations over its four-year recording span, only to emerge with the truth. An ode to the transfixing, magical properties art can have, it’s consciously the work of older musicians – or as singer David Best puts it, “people who’ve lived a life.” The new record also marks 26 years of Fujiya & Miyagi and 20 years since their breakthrough album ‘Transparent Things’ became a global hit. This saw the band tour the world for the first time and gain notoriety of a different kind through a Jaguar car advert featuring the slinky rhythms of ‘Collarbone’. Follow up ‘Lightbulbs’ (2008) led to a synch in ‘Breaking Bad’ with the hip-shaking funk of ‘Uh’, securing their place in many new fans’ hearts - and in the Spotify playlist foreverland.

Tom “Squarepusher” Jenkinson cria drum ‘n’ bass complexo e experimental, caracterizado por uma forte influência de jazz progressivo e pela vontade de quebrar os clichés do género. Sendo um baixista e multi-instrumentista talentoso, o uso de acompanhamento sem trastes (fretless) é uma das marcas da sua música e uma ligação óbvia ao jazz, embora os seus arranjos formais sejam frequentemente tão inspirados pelo jazz quanto a sua execução.

Apesar de se ter estreado em 1994 com o homónimo Stereotype, o seu primeiro trabalho de longa-duração como Squarepusher surgiu em 1996 com Feed Me Weird Things (lançado na editora Rephlex de Richard “Aphex Twin” James). Este álbum consistia numa mistura vertiginosa de jungle breaks hiper-rápidos com texturas de sintetizador ao estilo de Aphex, melodias excêntricas e fora de tempo, e arranjos instrumentais que evocavam pioneiros do jazz fusion como a Mahavishnu Orchestra e os Weather Report.

Depois de aperfeiçoar a fusão entre drum ‘n’ bass e fusion em Hard Normal Daddy (1997), Jenkinson explorou diferentes estilos nos álbuns seguintes. Music Is Rotted One Note (1998) foi uma incursão surpreendente mas bem-sucedida no jazz, totalmente sem programação eletrónica, enquanto Go Plastic (2001) fundiu o U.K. garage com o jungle acelerado e caótico. O ambicioso Ultravisitor (2003) expandiu-se numa obra épica que abrangeu jazz, IDM e musique concrète.

Mais tarde, aventurou-se pelo rock progressivo com Just a Souvenir (2008) e fundou a banda de funk futurista Shobaleader One. Retornando a um som puramente eletrónico a solo, Be Up a Hello (2020) revisitou os BPMs elevados e o equipamento analógico do seu início de carreira, enquanto Drotoime (2024) foi um trabalho igualmente extático impulsionado pelo confinamento da pandemia da COVID-19. Mais recentemente, Jenkinson incorporou influências orquestrais em Kammerkonzert (2026).

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Since 2001, Clark has sculpted sound into diverse forms. After two decades of irradiated, ecstatic experiments in electronica, techno, and rave on Warp Records, he still has a voracious desire to challenge himself, embarking on colourful adventures in ambient, classical scores, and cathartic lyrics for Deutsche Grammophon and his own Throttle Records. From folk-driven sound collage on Iradelphic, to using his vocals as yet another elastic instrument in his repertoire on the Thom Yorke mentored Sus Dog, to high octane dancefloor viscera on Steep Stims, Clark continues to stamp a thumbprint onto every album, each with a unique palette of it’s own.

Harking back to the UK origins of his debut Clarence Park’s frost encrusted vignettes, Steep Stims explores a duality between hardcore and contemplative that has long underpinned Clark’s work, evolving from the refreshingly singular songwriting of Sus Dog and its kaleidoscopic live sets which unleashed, malleable rave intensity. Whichever direction he leans in, Clark underlines the physicality of his ever-changing sound.

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Between post-punk and dark-rock, VARSOVIE is created in 2005 in Grenoble (France) by Arnault Destal (drums, lyrics, music, art direction) and Grégory Catherina (vocals, guitars, music). Since 2005, the band has released 6 albums + 2 EP and played live several times all over Europe.

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Struggler (Bélgica - Punk / Cold Wave)

• Origem: Norte de Limburgo, Bélgica (formada em 1979 e ativa desde o início dos anos 1980).
• Membros históricos/atuais: Danny Stevens, Erwin Jans, Frank Jamart, Ivo Hendrikx, René Hulsbosch e Ronny Sevens.
• Estilo: Punk e cold wave com estatuto cult.
• Principais álbuns e lançamentos: It Was A Very Long Conversation... (1982), The Gap (2017), Wilma Determined Protector (2020) e o EP Zugzwang (lançado em fevereiro de 2026).

A banda belga Struggler é um nome de culto da cena punk e post-punk/cold wave, formada em 1979 no norte de Limburgo, Bélgica.
Aqui estão os pontos essenciais sobre a banda:
• Sonoridade única: Começaram com a energia crua do punk, mas rapidamente evoluíram para um som mais sombrio, atmosférico e melancólico, característico da cold wave europeia dos anos 80.
• Início e hiato: Ficaram conhecidos pelo seu álbum de estreia, It Was A Very Long Conversation... (1982). Pouco depois, a banda entrou num longo hiato que durou várias décadas.
• O regresso: Contra todas as expectativas, a banda reuniu-se no século XXI, mostrando uma impressionante longevidade. Lançaram os álbuns The Gap (2017) e Wilma Determined Protector (2020).
• Atividade recente: Mantêm-se ativos tanto em palco como em estúdio, tendo lançado o EP Zugzwang no início de 2026.

from IA

Somewhere out there is a time-traveling alien parasite called pdqb that possesses the ability to inhabit human bodies and use them for creative purposes. Throughout its seemingly eternal existence, it has utilized many hosts who have become famous without contributing anything to their success. As soon as pdqb has drained its host mentally and physically, it leaves him or her and searches for someone else. Many of those poor infected human beings do not survive this ordeal or descend into insanity. Out of respect for the fans and those left behind, we do not name famous examples. We allow the world to believe that Fassbinder, Dostoyevsky, Sakamoto, Welles, or Curie were solely responsible for their successes. However, the physical state in which pdqb finds itself after leaving one host and seeking another most closely resembles a contemplative, perceptual steam boiler. In this state, pdqb is fragile and confused, losing all memories of its host and their actions, and is completely pure. Sometimes, when it cannot find a suitable host for days, it simply sits down in a DAW Café somewhere in the in-between world and produces...

Kim Gordon’s third album, PLAY ME, is distilled and immediate, expanding Gordon’s sonic palette to include more melodic beats and the motorik drive of krautrock. “We wanted the songs to be short,” Gordon says. “We wanted to do it really fast. It’s more focused, and maybe more confident.” The follow-up to 2024’s Justin Raisen-produced, two-time Grammy-nominated The Collective processes, in her inimitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times fascism, the A.I.-fueled chill-vibes flattening of culture - where dark humor voices the absurdity of modern life. Despite its frequent outward gaze, PLAY ME is an interior record, one in which a heightened emotionality pulses through physical jams, rejecting definitive statements in favor of an inquisitiveness that keeps Gordon searching, ever in process.

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Birds Are Indie were born in Coimbra, in 2010, created by Ricardo Jerónimo and Joana Corker, who fell in love in 1998, and were after joined by Henrique Toscano, a long-time friend.

Being an independent band, they have been winning over the public and the specialized critic, as well as playing all over Portugal and Spain, where they present their unique way of being on stage. With a peculiar career, that include several EPs and 6 albums, 2023 brings the release of “Ones & Zeros”, once again recorded at Blue House studio and published by Lux Records.

Tracing a new direction in the band’s path, “Ones & Zeros” is a conceptual album where the trio focused more on intensity than on harmony and got more involved in the sound as a whole, than in the delicacy of the arrangements. This resulted in 10 songs that without losing a certain pop essence, mix distorted guitars, danceable drum machines, analogue synthesizers, powerful drums and bass, to which are added harsher voices than usual, serving the urgency of the lyrics. These, heavily laden with stimuli absorbed in the pandemic scenario, present an artistic vision that touches on dystopian issues, the relationship with artificial intelligence and the ambivalence between the real and virtual worlds.

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La Sécurité (Montréal/Tiohtià:ke) is a collective whose art punk is equal parts: jumpy beats, off-kilter arrangements and minimalistic melodic hooks; run through an insomniac filter, the result of excessive exposure to the city’s neon lights. The music is all about living dangerously, perfectly agreeable to being blasted onto dancefloors; while the lyrics share the ethos of the Riot Grrrl movement, and celebrate the autonomization of women, friends (mean and nice) as well as benevolence. Since coming together in the Spring of 2022, they have been invited to perform noteworthy events such as SXSW, End of the Road, The Great Escape, and Reeperbahn, also touring alongside The Go! Team (2024) and The Rapture (2025). Following the release of Polaris Music Prize 2024 long-listed debut ‘Stay Safe!‘—as well as its joyous offspring ‘Stay Safe! REMIXED’—with Mothland, the five-piece offered singles “Detour” and “Ketchup”, setting the stage for a new influx of D.I.Y. sonic gems, this time also teaming up with Simon Raymonde’s seminal British imprint: Bella Union. Hence, the motley bunch continues to meander the fringes of punk, new wave and krautrock, mischievously flouting stylistic form every chance they get by way of sophomore long-player ‘Bingo!’, released on June 12th, 2026 via Bella Union (World) and Mothland (Canada/United States).

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Bordering on post-punk and darkwave, Alien Tears conjures up rage, bitterness and sadness in a strange, carthartic mass. Synthetic sounds, chorus-laden guitars and a deep, distant voice that seems to howl into the void blend in with keyboards and heavy, fast-paced rhythms.

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She Past Away is dark-wave with a reworked 80’s sound. Signature guitar sound of the post-punk era, combined with minimalist poetry in Turkish. Often an outburst of sentimental anxiety through the nihilistic mind-frame, it is personal. Yet it is broad, a wondering mind brave enough to question taboo and existence.
She Past Away is driving, it is mesmerizing. It is a haunt.

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As electricity blossoms and leafs glisten, upsammv creates interpretative space, cleverly paradoxical in its concurrent comfort and desolation.

With a keen ear for crystalline melody and intricate rhythm, her music takes cues from electro and IDM, breathing a certain perpetuity and spatiality, sliding across tempo scales, while retaining an organic touch as a gentle hum of nature digitised.

Guided by an adventurous and narrative approach, this vividness is present in her DJ sets as well. Through these impressions she consolidated a firm position in the contemporary leftfield music world, which includes a residency at De School and invitations to pinnacle venues such as Panorama Bar and Robert Johnson.

Having studied Image and Media Technology at the Utrecht University of the Arts, Thessa Torsing (real name) is intrigued by texture, shade and reflection—shaping a singular aesthetic that blurs the industrial-ecological divide. As a multidisciplinary artist she researches these interactions through photography and video, explorations which simultaneously influence her music production process.

Since 2017 Torsing has released a string of critically acclaimed singles and EPs on labels Nous’klaer Audio (Another World, 2017; Paerels, 2018), AD93 (Blue03, 2018) and Die Orakel (Words R Inert, 2018; Branches On Ice, 2019). Her gift for full-length compositions is showcased through her albums on homeground Nous’klaer Audio (Wild Chamber, 2019) and Dekmantel (Zoom, 2020).

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History
And Also the Trees formed in 1979 in Inkberrow, Worcestershire, with a lineup featuring two sets of brothers: Simon Huw Jones (vocals), Justin Jones (guitar), Graham Havas (bass) and Nick Havas (drums).

Discography
Albums Studio
And Also the Trees (1984)
Virus Meadow (1986)
The Millpond Years (1988)
Farewell to the Shade (1989)
Green Is the Sea (1992)
The Klaxon (1993)
Angelfish (1996)
Silver Soul (1998)
Further from the Truth (2003)
(Listen For) The Rag and Bone Man (2007)
When the Rains Come (2009)
Driftwood (2011)
Hunter Not the Hunted (2012)
Born Into the Waves (2016)
The Bone Carver (2022)
Mother-of-Pearl Moon (2024)
The Devil’s Door (2026)

https://en.wikipedia.org/wiki/And_Also_the_Trees

Principais características musicais:
• Géneros principais: Pós-punk, Gothic Rock e Art Rock.
• Sonoridade: Atmosférica, melancólica e evocativa, marcada pela guitarra distinta de Justin Jones e pela voz poética e expressiva de Simon Huw Jones.
• Influências: A paisagem rural de Worcestershire (Inglaterra), o romantismo britânico e a poesia.

The Sick Man of Europe is a London-based electronic post-punk and art rock project signed to The Leaf Label. Emerging in the underground music scene, the project is characterized by its minimalist electronic structures, machine-driven electronics, and hypnotic “motorik” beats reminiscent of Krautrock.

The Intermittent Signal (September 2026) – Their sophomore album, preceded by the singles “Chromophobia” and “Eyeless/Mindless”. This record expands on their minimalist foundations with increased intensity and stronger melodic hooks, built as a thematic rejection of the modern attention economy

Musical Style & Influences
The project’s sound heavily leans on driving basslines, pulsing sequencers, and repetitive, foreboding vocal mantras. Reviewers frequently compare their raw “anti-rock” approach to legendary acts such as Joy Division, Bauhaus, Neu!, Suicide, and Swans.

Japanese Heart Software is a bedroom dreampop artist from Melbourne, Australia

Kiku
Artista Principal
• Produção De Estúdio

Blixa Bargeld, Artista Convidado

Black Cracker, Artista convidado
• Vocalista

Whole empires rise and fall within the songs of Devon Church. On his latest album, The Shame of Winnipeg, Church cajoles and consoles us in the “immaculate decay” of late stage capitalism: “come back to bed, baby, call in sick”, he beckons, “I see no use in making rich people richer.” In mixing the sacred and the profane, Church manages to make the profane sacred Just as striking is the sonic world that Church creates for us. While his lyrical insight suggests he’d be a natural fit at a Frankfurt School philosophy roundtable, you could just as easily imagine him behind the board in the control room for Leonard Cohen’s “Everybody Knows” or Blackstar-era Bowie. Church produced and mixed the record himself, as well as recording nearly all of the parts. Church can croon like Scott Walker, and play guitar like Vini Reilly (Durutti Column), but the resulting sound is all his own. Beneath the rubble of capitalism’s moral atrophy, Church retains a deep sense of compassion and desire for connection. Love takes on many forms through The Shame of Winnipeg, “a dirty joke”, “a fallacy”, an “educated guess.” In fact, it’s what wakes Church up, what makes him cry, and most crucially of all, what keeps him surviving: “it’s the only true concept to the heart of the Earth.” Though the record begins with us crushed under the grind of modern toil, The Shame of Winnipeg reminds us that “intending to be human we are almost infinite.”

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On May 29, 2026, the debut album by GÖRL, Dark Silver Moon Light, will be released. Behind GÖRL are two pioneers of electronic music: DAF legend Robert Görl and the influential DJ and producer Sylvie Marks. In 1978, Robert Görl founded the legendary post-punk group Deutsch Amerikanische Freundschaft (DAF) together with Gabi Delgado. With radically reduced, iconic sequences, brutalist-sounding drums, and a provocative aesthetic, DAF created timeless hits such as “Der Mussolini”. Sylvie Marks, in turn, was the first and only female resident DJ at the legendary Frankfurt club Dorian Gray. She later released international club hits as a producer and performed at festivals such as Roskilde. For six years now, Robert Görl and Sylvie Marks have shared a spark-filled creative partnership that culminates in the release of their first joint album as GÖRL, Dark Silver Moon Light. The album carries forward the aesthetic tradition of DAF while simultaneously transcending it into the present and the future.

from spotify

Görl started his life in an orphanage. At the age of 18, Görl took drum lessons with the jazz musician Freddie Brocksieper. In 1974, he started a classical music education at the Leopold Mozart Conservatory in Augsburg and in 1976 at the University of Graz while also devoting himself to jazz.[1] In 1978, he interrupted his studies, went to London and became interested in punk rock. In the same year, he met Gabriel “Gabi” Delgado-López in Düsseldorf and formed Deutsch Amerikanische Freundschaft (D.A.F.). Robert Görl served as a composer and musician for the group. In total, DAF released seven studio albums between 1979 and 2003.

from Wikipedia

Music from the haunted suburbs. Mouth Ulcers are a 4 piece band with a sound rooted in 80s nostalgia, blending elements of post-punk, goth, and dark wave. Melodic bass lines, atmospheric guitars and moody vocals create a cohesive eerie landscape that is both danceable and dark, similar to the foundational bands within this genre.

from Spotify

Driven by a sense of urgency and organic momentum, Voronet Blue is an emerging band formed in Coimbra in 2023. Featuring Beatriz on vocals, Zé and Bernas on guitars, Leo on bass and Diogo on drums, the band builds it sound around dense sonic walls that strike a delicate balance between weight and restraint.

Their debut EP, The Chariot, is a five-track release that marks the first chapter of the band’s musical journey. Moving between raw intensity and more atmospheric moments, the EP explores the space between heaviness and vulnerability, drawing from influences such as alternative rock, post-punk and shoegaze. Distorted guitars, layered textures and shifting dynamics shape a record that embraces different sides of the band’s sound without losing its core identity throughout.

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“Tapped into a well of influence that includes both The Fall and Pere Ubu and more modern No Wave-esque post-punkers Lithics and Protomartyr.” - Queen City Sounds & Art

Charm School is the latest project from multi-hyphenate artist Andrew Sellers and longtime collaborators Matt Filip & Drew English, along with a rotating cast of co-conspirators. Influence wise think 70s Post-Punk & No Wave mixed with 90s Post-Rock and you’ll be close.

Originally from Louisville, KY, Sellers has paid his dues in both the NYC and LA DIY music scenes, co-founding The Body Actualized Center in Bushwick and helping run the DIY venue Basic Flowers in Downtown LA.

Charm School’s newest EP “Schadenfreude Ploy” (out February 20th) picks up where their last LP “Debt Forever” left off — with further musings on humanity’s collectively tortured psyche and the many confounding implications of living in today’s technocratic hellscape.

If there is any message in the record it’s that reality is becoming increasingly blurred with something we don’t have the words for yet. “Schadenfreude Ploy” is out NOW. †

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O pseudónimo do produtor de eletrónica britânico Archie Fairhurst.
Cria música inspirada na técnica de colagem visual de Romare Bearden, aplicando um conceito semelhante de sampling (mistura de amostras de discos antigos de jazz, blues e soul).

As Romare, Archie Fairhurst’s working practice is rooted in collage, building vivid new forms out of existing material. Playful and immediate, but also deeply researched and compelling, his albums and performances reaching back to 2012 unfurl as a patchwork of inspirations and obsessive lines of enquiry made up of a global panoply of source material. The clue is in the name – Fairhurst called himself Romare in tribute to Romare Bearden, the lauded American multi-disciplinary artist most renowned for his incisive collages. In Bearden’s process Fairhurst saw a way to approach the infinite pool of electronic music production, channeling his wealth of music knowledge into creating music from existing sonic material and bedding themes into his juxtapositions for a more considered approach to sampling.

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Brokenchord is the moniker for Lithuanian electronic producer Ernestas Kausylas. He has released singles on Bristol based Black Acre Records, including a 7″ on subsidiary label Team Acre, and contributed a short exclusive mix for Radio One’s Mary Anne Hobbs in 2010. He received acclaim for his remix of Radiohead’s ‘Give Up The Ghost’ and has been included in the band’s Dead Air Space blog Office Chart.

Billy Fuller
Multi-instrumentalist and songwriter known for his work with Beak> and collaborations with Robert Plant, Baxter Dury, and more.

On paper, LA-based musician Suzanne Kraft (aka Diego Herrera) and Wah Wah Wino’s Davy Kehoe (IE) might seem like an unlikely pairing. Herrera is known for his ambient guitar compositions and melancholic indie while Kehoe’s releases explore a world of harmonica kosmische and fuzzy electronic-rock. Listening to NO YOU, their new collaboration together, it’s clear the pair have found common ground. Bringing together Herrera’s songcraft with Kehoe’s knack for wild, haunting textures, NO YOU throws up a “big, small-studio sound” through 4-track tape fuzz, drum machine grooves, and a perfect bari-meets-tenor vocal pairing that works wonders across the album’s 10-tracks.

In 2022, both artists found themselves in Los Angeles, Kehoe on a temporary relocation, while Herrera had recently moved back to the city from Amsterdam. Weekly studio sessions ensued, with listening and reflection happening in classic LA fashion — often in isolation, dictated by traffic, and submerged in the city’s endless sprawl. “Invisible” delivers melodic transcendence through MBV-style wall of sound, while “Baby” hits on a love-laced, post-punk tip not too distant from Hererra’s About You, and “Put Up On A Dream” showcases Kehoe’s unhinged krautrock tendencies. It’s a totally killer meeting of minds, and what we hope to be the first of many…

from insheepsclothinghifi.com

Arab Strap é uma aclamada banda escocesa de indie rock e slowcore, formada em 1995 por Aidan Moffat e Malcolm Middleton. O grupo é amplamente conhecido pelas suas letras cruas, confessionais e melancólicas, muitas vezes narrando crónicas honestas sobre relações, noitadas e a vida quotidiana.

from IA

Ductape é um proeminente duo musical de post-punk e darkwave fundado em Istambul, Turquia, em 2019. Atualmente baseada em França, a banda é composta pelo casal Çağla Güleray (vocalista e sintetizadores) e Furkan Güleray (guitarra, baixo e programação de bateria).O grupo destaca-se na cena gótica contemporânea pela sua sonoridade melancólica e sombria, sendo frequentemente associado a outros grandes nomes do género, como a icónica banda turca She Past Away (com quem inclusive colaboraram no tema ”Ölüm Günüm”).

Dry Cleaning é uma banda pós-punk inglesa que se formou no sul de Londres em 2018. A banda é composta pela vocalista Florence Shaw, o guitarrista Tom Dowse, o baixista Lewis Maynard e o baterista Nick Buxton. Eles são conhecidos pelo uso letras recitadas em vez de vocais cantados, bem como por suas letras não convencionais. Seu estilo musical foi comparado ao Wire, Magazine e Joy Division. Eles foram descritos como “Annette Peacock liderando o The Fall ou PiL ou Siouxsie and the Banshees”

from wikipédia

Future Echoes é um álbum colaborativo de estúdio criado pelo projeto norueguês de post-punk/coldwave Antipole (liderado por Karl Morten Dahl) e pelo músico português Pedro Code (vocalista e fundador do projeto de darkwave Iamtheshadow). O disco foi lançado oficialmente a 19 de junho de 2026 através da editora Cold Transmission Music.O trabalho equilibra a melancolia das guitarras de Antipole com a voz barítono profunda, sintetizadores e a produção detalhada de Pedro Code, situando-se sonoramente entre o post-punk, a darkwave e a coldwave.O álbum também conta com a participação especial do jovem guitarrista Ja’kob (Jakob Viberg-Dahl, filho de Karl Morten Dahl) em três das faixas.

from IA

“Sweet Heart Sugar Love” é o álbum de estúdio lançado em 20 de fevereiro de 2026 pela banda suíça Worries And Other Plants. O projeto é liderado pelo músico Dionys “Dio” Müller e saiu através da editora independente Nice Guys.O álbum destaca-se pela sua sonoridade imersiva de rock psicadélico e indie rock, combinando guitarras elétricas marcantes, ritmos repetitivos e uma atmosfera hipnótica que oscila entre a calmaria e a tensão distópica.

from IA

“Music is like a dance of inner language. You can discuss feelings with yourself. And when you step out and share music with people, you allow them to listen to this inner conversation. each listener decides for themselves how much they want to absorb. Connection happens when we allow it to happen. It’s our own decision whether and how we become part of this dance of emotions. Every sound and every constellation tells a different story and resonates with a different ear and for me that is the beauty of music.

This album, and the music of Worries and Other Plants in general, reflects this statement. It’s not crucial whether a song is loud or quiet – at its core, the emotion remains.”

from bandcamp

distraction4ever is a synth-punk and post-punk duo based in Montreal, Canada, formed by producers Beau Geste and Splitshift.About the BandSound: A chaotic and energetic mix of analog synths, fast drums, broken amplifiers, distorted vocals, and post-rave textures inspired by post-punk and Russian new-wave.Members: Beau Geste and Splitshift.Origin: Montreal, Quebec, Canada.

from AI

Sex Mask is a 3-piece post-punk and alternative rock band from Melbourne (Naarm), Australia, formed in 2022.

Overview and Members
Band Members: Vicente Moncada (drums and production), Ry Gray—also spelled Wry Gray—(vocals and lyrics), and Kaya Martin (guitars and synths).

Sound: Self-described as “vague pop instilled with the ancient genius of your own blood,” blending early ’80s industrial, no-wave, and absurdist punk.

from AI

The Limiñanas are a French psychedelic garage rock duo formed in 2009 in Cabestany, in the south of France.

Members and Origins
The Duo:
The band consists of the couple Lionel Limiñana and Marie Limiñana.
Hometown:
They hail from the Perpignan region in southern France.
Start:
They began in 2009 as a simple home studio project, inspired by old film soundtracks and vintage culture. You can read more background on their start via LEVITATION FRANCE.

Musical Style
Sound:
They mix 1960s French pop (yé-yé) with fuzzy guitars and modern garage rock.
Influences:
Their style borrows from Ennio Morricone soundtracks, 1960s art-pop, and psych-rock.
Vibe:
Their songs feel like classic, moody film noir scenes.

from AI

The Dharma Chain é uma banda australiana de rock psicadélico e shoegaze formada em 2020 em Byron Bay. Conhecido pela sua atmosfera densa e performances ao vivo dinâmicas e sem um líder fixo, o grupo mudou-se para Berlim no final de 2022. Esta mudança influenciou profundamente o seu estilo, injetando uma sonoridade mais industrial e sombria na sua música.

Evolução e Estilo Musical
A sonoridade da banda funde guitarras etéreas e ruidosas, vocais carregados de reverberação, sintetizadores industriais e ritmos com influências de krautrock e pós-punk.

Início (Austrália): Uma fusão mais clássica de rock dos anos 60 com o shoegaze dos anos 90. Lançaram de forma independente o álbum de transição folclórica Angry Young Folk (2022) durante o período de confinamento.

Fase Berlim: Após assinarem com a editora alemã Anomic Records, lançaram o álbum de estreia em estúdio, Nowhere (2024), que solidificou a viragem para o neo-psicadelismo.

Trabalho Recente: Em junho de 2026, a banda lançou o seu segundo longa-duração, Some Kind Of Pure State, através de uma colaboração internacional liderada pela editora espanhola Spinda Records. Este trabalho explora de forma madura o ritmo motorik, texturas eletrónicas e temas que abordam o isolamento e a complexidade social moderna.

from IA

Typo loving misfits Formal Sppeedwear produce angular, wonky indie pop that playfully eschews pattern and structure. Quite frankly, they’re a glorious mess, but one that has design at its centre. Across their debut album’s 12 tracks, the Stoke-on-Trent trio turn post-punk, synth-pop and avant-garde experimentation into something playful, restless and surprisingly danceable. It’s music that sounds carefully constructed and slightly out of control at exactly the same time. They are oxymoronic, disorientating, and delightful in equal measure, but it’s also an annoying record. The frantic immediacy of Punch Card is also partially its downfall as there’s no respite from their quirky onslaught which can often get too much.

Formal Sppeedwear’s 2024 self-titled EP introduced a band indebted to the sounds of Japan, DEVO, and Speaking in Tongues-era Talking Heads with elastic basslines, Bowie-esque cut-up technique lyrics, all undercut with a ferocious groove. Punch Card takes those same ingredients and gives them considerably more room to mutate and breathe. Rather than settling into a single aesthetic and rhythm, the album keeps shifting its centre of gravity – sometimes pleasingly, often frustratingly. A familiar groove can suddenly acquire an awkward guitar figure; a pop melody might be interrupted by some obtuse electronic texture; a seemingly straightforward song can veer somewhere considerably more peculiar. It’ll keep you on your toes, for sure, as each song vies for your focus like an attention starved child.

from beatsperminute.com

The Wolfgang Press é uma influente banda britânica de post-punk e rock alternativo formada em Londres em 1983. Conhecida como um dos nomes de culto mais duradouros e criativos da lendária editora independente 4AD Records, a banda destacou-se pela sua constante evolução sonora — transitando de uma sonoridade sombria e industrial nos anos 80 para fusões vanguardistas de pop, funk, dub e música de dança nos anos 90.Após um longo hiato que começou em 1995, o grupo vive um forte momento de revitalização criativa com novos lançamentos e o regresso aos palcos em 2026.

from IA