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Their self-funded debut album What You’ve Got To Lose To Win It All landed to widespread European acclaim, breaking into the UK Independent Breakers Charts Top 10 while securing multiple positions across independent, vinyl and physical sales charts. Radio support followed from BBC Radio 1, BBC 6 Music, Radio X and Absolute Radio, alongside international backing and editorial playlisting across Apple Music and Spotify.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003eThat momentum translated directly to the stage. A sold-out 18-date UK headline tour established the band as one of the country’s most exciting live acts, followed by a European run that saw them sell out shows across eight countries — road-testing new material that would ultimately shape what came next.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003eWhere that debut was defined by grief and personal loss, Heavy emerges from a very different place. Driven by the tension between desire and consequence, recklessness and reality, it’s an album lit by the pull of the night, the thrill of impulse and the cold clarity that follows.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003eWritten and produced alongside long-time collaborator Chris Ostler (Black Honey), the record deliberately sidesteps traditional studio methods. Instead, it was built remotely — with demos, ideas and reworked compositions exchanged across digital platforms — stripping everything back while pushing each track to its strongest form. 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Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it.The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. 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Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it.The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. LSD on Sunset Boulevard drifts into a hazy, instrumental soul journey psychedelic, warm, and disorienting, like a late-night hallucination of the city itself. The Big Nowhere (Part I \u0026amp; II) expands the narrative into a slow-burning, atmospheric descent, unfolding like a two-act crime saga. Welcome to the Land of Vacation and Probation hits with kick-ass, uptempo crime-funk madness, urgent and relentless in it's propulsion, while White Jazz is a mood of suspended, noir-infused jazz tension cool, shadowy, and unresolved. Together, the tracks map Los Angeles as a fractured yet hypnotic landscape suspended between glamour and violence, beauty and decay, myth and realityBorn in Milan in 2007 with the mission of excavating the golden age of Italian film music Morricone, Piccioni, Trovajoli, Calibro 35 have spent nearly two decades transforming that initial obsession into a singular artistic language. 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This album was primarily an exploration about how love and intimacy knock the wind out of you, can take your legs out from under you.\" She has also had multiple viral moments, including in the run up to writing I Don’t Know How But They Found Me!, when McRae posted a solo verse and chorus online, little more than a piece of a demo, and it took off. Covers, duets, and an avalanche of new fans followed (including the likes of Justin Bieber, Stormzy, and Dan Nigro to name a few); the song was the beginning of \"Massachusetts\", which would become her first Dead Oceans release.\u003c\/p\u003e\r\n\u003cp\u003eMcRae ventured to North Carolina to record I Don't Know How But They Found Me! with Brad Cook (Waxahatchee, Suki Waterhouse, Bon Iver), also enlisting the help of Hippo Campus's Nathan Stocker on guitar, Bon Iver's Matthew McCaughan on drums, and her younger brother, Holden McRae, on keys. \"It felt like summer camp. None of us wanted to leave,\" McRae said. \"It was such a joyous ten days of pure creative expression.\" In the process, I Don't Know How But They Found Me! found its footing--a vibrating, urgent collection of songs moored by razor-sharp lyrical specificity and timeless pop melodies.\u003c\/p\u003e\r\n\u003cp\u003eThe unusual title of her second album? Taken from a line in McRae's favorite film, Back to the Future. A key protagonist survives a hail of bullets, and the image resonated with McRae. “I really connected with the idea that I could've easily collapsed beneath the weight of what happened to me, but I didn't. 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Created with Karate Boogaloo's patented 'Lovely Recording Technique' these recordings let you know that everyone's a VIP when you're listening to KB. 'Access' was the one word maxim philosophically guiding The Old Kar-Boo's this innings. If a tune became convoluted, to the bin it went. Only those that could be hummed by any and all were kept. This sieve was on hand throughout the whole process, arrangements and forms were kept watertight, bells and whistles to a minimum. If 2024's 'Hold Your Horses' was an epic, 'Access All Areas' is a haiku. The band's tried and true recording process was dutifully respected save for one wonderful addition, the magnificent 'Sound Recordings' helmed by it's proprietor and engineer extraordinaire Alex Bennet. Steering the 4 track Ampex 440 off road when required and making sure the vibes were constantly correct, Alex is a bonafide Booger. 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'Access' was the one word maxim philosophically guiding The Old Kar-Boo's this innings. If a tune became convoluted, to the bin it went. Only those that could be hummed by any and all were kept. This sieve was on hand throughout the whole process, arrangements and forms were kept watertight, bells and whistles to a minimum. If 2024's 'Hold Your Horses' was an epic, 'Access All Areas' is a haiku. The band's tried and true recording process was dutifully respected save for one wonderful addition, the magnificent 'Sound Recordings' helmed by it's proprietor and engineer extraordinaire Alex Bennet. Steering the 4 track Ampex 440 off road when required and making sure the vibes were constantly correct, Alex is a bonafide Booger. Although it feels only a moment, the clock tells us it's been nearly 20 years since Kay's Bees first tried to play the songs of their musical heroes, The Meters, Booker T \u0026amp; The MG's, and The JB's to name but a few. 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Although it feels only a moment, the clock tells us it's been nearly 20 years since Kay's Bees first tried to play the songs of their musical heroes, The Meters, Booker T \u0026amp; The MG's, and The JB's to name but a few. Since then The Famous Flying Karate Boogaloo Brothers have put one foot in front of the other and distilled their own sound, one that respectfully acknowledges the history of instrumental Funk \u0026amp; Soul music, and reflects the time they've spent crafting their distinctive sound. As bright as each member shines individually, it is a special event when all four planets in the Booger System align. 'Access All Areas' is one such eclipse, it is an artistic expression of equal measure by each member and it casts a shadow unique to the occasion. Every second of music was composed and produced with all hands on deck, mixing was handled by Henry Jenkins, artwork by Hudson Whitlock and Callum Riley, and Darvid Thor did things you'd have to see to believe. 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The Texas-born, Los Angeles-based singer, songwriter, and multi-instrumentalist has spent the better part of a decade carving out her own lane at the intersection of indie folk, alt-country, and a deeply personal confessional tradition. Now, on her seventh studio album, she steps into new creative territory.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003eProduced by Shooter Jennings, the album finds Williamson's artistry meeting its ideal counterpart. Jennings brings a deep-roots sensibility and studio instinct honed across decades, and together they've crafted twelve songs that honor the grit and sweep of classic country while remaining unmistakably contemporary.\u003c\/p\u003e\r\n\u003cp\u003e\u003cbr\u003eWilliamson's voice remains the central instrument: front and center, emotionally unguarded, carrying the kind of weight that demands a room go quiet. 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Cologne-based singer Anette Von Eichel certainly doesn't want to put a halo on her new album, but a halo is also a luminous phenomenon, such as a moonlit ring or a wreath of light, as often seen in nature and everyday life, and which can be interpreted as a revelation of whatever nature. This title couldn't be more fitting for Anette Von Eichel's collection of songs on her new album, and in more ways than one. All of these songs share a nocturnal quality, in which light emerges from the darkness. In the sequence of her songs, we experience a dreamlike journey of a resurrection of the morning twilight from the night. In a metaphorical sense, it makes a huge difference whether you listen to the album for the first, second, or third time, because an impressive process of transcendence takes place. What at first simply sounds like a series of clearly defined songs in their respective forms gradually transforms into a kind of vocal and musical mass of light, which acts as a parallel phenomenon to reality. This spectral shift culminates in a halo of light that dissolves all forms and contours, a concept perfectly captured by the album title. \"\"When I write a song, it's a conscious process, but the subconscious naturally plays a major role,\"\" Anette Von Eichel explains, describing this transformation from her perspective. \"\"With this album in particular, I hope to give people the opportunity to take a step back from their everyday lives and experience a similar transformation while listening.\"\" Listening to the album, regardless of the lyrics, inevitably evokes the feeling that someone is telling a story. From the osmosis of voice and music emerges a flow that inescapably draws the ear into it's vortex. Pianist Sebastian Sternal, bassist Henning Sieverts, and drummer Jonas Burgwinkel become the material and metaphysical vehicles of these stories, which Anette Von Eichel brings to the stage of her song theater with breathtaking versatility. She starts with the lyrics when writing and tries to discover the sound hidden behind the words. \"\"The word enters into a symbiosis with the interaction of our band,\"\" the composer explains, describing this phenomenon of the text dissolving into sound. The songs possess a great flexibility, expressed through nuanced improvisation, which allows the songs to grow not only with each performance but, as already mentioned, with each listen. \"\"Halo\"\" is the third album Anette Von Eichel has recorded with Sternal, Sieverts, and Burgwinkel in six years. The ease of their interplay, the constant negotiation between collective density and individual detachment, and the spontaneous use of open sections reach a new peak here. Eichel's signature style, unmistakable in it's trinity of classic jazz vocals a la Carmen McRae and Betty Carter, singer-songwriter influences in the tradition of Joni Mitchell, and the timbre of French chansons, sounds like standards that have been in the air for decades. They may feature strong melodies and complex rhythms, but the song as a whole always takes center stage, with which the individual elements must harmonize. There aren't many singers whose voices, both spoken and sung, exhibit such a striking difference as Anette Von Eichel's. When she sings, she doesn't simply slip into a different persona; she confronts hidden inner worlds that couldn't manifest in her everyday use of her voice. This creates an immediate magic, where the sound of her voice is inextricably linked to the specific emotions of the song. \"\"I'm interested in drawing out all the emotions hidden within my voice,\"\" says Anette Von Eichel. \"\"When I sing, I delve much deeper into myself and can uncover far more nuances.\"\" Which brings us back to the interplay of light and shadow. She slips into roles, often shifting perspectives even within a single song, employing unconventional vocal techniques like sighs or creaks, and using breath as a creative element. \"\"Halo\"\" is built from light, and yet this album, like few others, creates a pressure equalization that is transmitted from the four musicians to the listener in an almost hypnotic way. The more one embarks on this journey into the twilight and the nuances of human experience, the more liberating the effect. \"\"Halo\"\" is a passionate declaration of the poetic clarity of ambiguity. 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