truly badass performance, as was expected

"The Witches' Circle (Black Hand Dance)" - Dark Enchantment from ILANGORIA
From "ILANGORIA AND SURVIVAL GUIDE IN THE WORLD OF MAGIC: FOR MOLES, WITCHES, AND OTHER MISFITS"
When darkness thickens and shadows writhe, young Ilangoria chants the ancient protective spell that has kept her alive in the haunted forests. This chilling incantation calls upon the power of black earth and twisted roots to shield her home from unwanted visitors.
"The branches block the sky, dark as night, the roots raise the earth — the bosom holds tight..."
But protection comes with a price. The black-handed witches who answer her call dance in circles of ancient power, weaving spells that blur the line between sanctuary and trap. Will the cure prove worse than the curse?
A glimpse into the forbidden magic that dwells beneath Witch's Ridge - where every spell demands its due.
Contains folklore of the undead and corrupted beings. Enter the circle at your own risk.

Ilangoria Shop 

Ilangoria. Witches Dance


Laughing at the Riverside is a nostalgic indie rock ballad that captures the emotional texture of a summer evening reunion among old friends. Set by the riverbank at dusk, the song explores themes of memory, time, and quiet connection. Through poetic verses and a melancholic male baritone voice, the lyrics reflect on shared stories, lost moments, and the bittersweet beauty of aging friendships. The chorus, anchored by the line “Laughing at the Riverside,” evokes a sense of timeless joy and emotional release. Instrumental sections—ranging from ambient intros to orchestral crescendos—mirror the emotional arc of the night, making the song feel cinematic and deeply personal.

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🎵 Laughing at the Riverside
Lyrics by Martin Oliver Beinersdorf

[Intro – Twilight Pulse (0:00–0:45)  
Soft piano arpeggios in low register.  
Muted bass pulses gently.  
Ambient pads with tremolo shimmer.  
Delay-washed electric guitar textures.  
No drums yet, slow emotional build.  
Mood: dusky summer evening, anticipation, warmth.]

Verse 1  
We parked the cars by the willow bend  
Sun bleeding out like a quiet friend  
You brought the cheap wine, I brought the old jokes  
Someone lit a fire, someone almost choked  

The river moved like it knew our names  
Skipping stones, trading old mistakes  
You said, “Remember that night in June?”  
I said, “I barely remember you”  

Pre-Chorus  
But the laughter came easy, like it used to  
And the silence felt softer than truth  

Chorus  
Laughing at the Riverside  
Where the past comes back but never bites  
We were ghosts in denim and light  
Laughing at the Riverside  
Like nothing ever changed  
Like everything was right  

[Instrumental Bridge – Echoes in the Current (2:10–2:40)  
Drums enter with off-kilter rhythm (5/4).  
Muted trumpet and trombone add melancholic accents.  
Dissonant guitar chords slowly resolve.  
Synth sweeps mimic water movement.  
Mood: flickering memories, emotional tension.]

Verse 2  
You played that song from senior year  
It cracked like vinyl, but we all cheered  
The moon hung low like a borrowed time  
And someone cried without a sign  

We talked of jobs, of kids, of loss  
Of how we all got a little lost  
But no one judged, and no one lied  
We just let the river decide  

Chorus  
Laughing at the Riverside  
Where the past comes back but never bites  
We were ghosts in denim and light  
Laughing at the Riverside  
Like nothing ever changed  
Like everything was right  

[Instrumental Interlude – Denim Ghosts (3:30–4:10)  
Strings (violin, cello) play a nostalgic theme.  
Piano repeats intro motif, higher and fragile.  
Slide guitar adds emotional texture.  
No drums, ambient bass carries the mood.  
Mood: time suspended, quiet reflection.]

Bridge  
The fire burned down to a whisper  
And I wished I’d said more to her  
But maybe that’s the point of nights like these  
You feel too much, and speak too little  

[Build-Up – Firelight Crescendo (4:40–5:10)  
Drums return with driving rhythm.  
Brass and strings swell into crescendo.  
Open guitar chords with tremolo.  
Warm synth pad underneath.  
Mood: emotional climax, shared joy and sorrow.]

Final Chorus  
Laughing at the Riverside  
Where the echoes feel like lullabies  
We were young, we were terrified  
Laughing at the Riverside  
Like nothing ever changed  
Like everything was right  

[Outro – Riverside Fade (5:40–6:20)  
Sparse piano notes like water drops.  
Reverse guitar effects echo memories.  
Slow bass pulse like a heartbeat.  
Field recording: river sounds, distant laughter, crickets.  
Mood: closure, memory lingering, peace.]

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© Lyrics and concept by Martin Oliver Beinersdorf. All rights reserved.

Laughing at the Riverside

Throwing Muses New track 'Bo Diddley Bridge'
From new album ‘Sun Racket’ out 4th Sept

Pre-order: https://fire-records.lnk.to/TM_SunRacket

Throwing Muses return and sing songs aquatic; toasting the dark blue of the water, the New Orleans bywater viewed from New England’s Bo Diddley bridge. The bridge collapsing, the water waiting – who’s saving us?
 
Returning with their signature sound, the legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges, release their tenth studio album ‘Sun Racket’ on 4th Sept via Fire Records.
 
The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, pounding drums and driving bass set behind Kristin Hersh’s well-thumbed notebook of storylines and haunting vocals that get into your psyche.
 
A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.
 
Drummer, David Narcizo: “Sun Racket has always been geographical... a transplanted southerner in New England crash landing in California. A West Coast sound at New England scale, dragged back down to the south where the elements got more aggressive but now with deeper roots.”
 
When they made their last album a few years back, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that.” Two-minute songs reappearing as twisted instrumentals or another song’s bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words.
 
‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal.”
 
“All it asked of us was to commingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” - Kristin Hersh
 
Hersh’s songwriting is like a poison pen letter revealing terrible secrets.
 
“I don’t regret a single drop of alcohol” ‘Milk at McDonald’s’ admits. This is tell-all phone-in radio, these are everyday stories, the puzzles of life.
 
“The devil has no soul” closing cut, the mysterious ‘Sue’s’ explains.
 
And so, they continue. Business unusual.

Throwing Muses - Bo Diddley Bridge

Neon Ballroom

Flowers

What's Beauty To Do?

NYC's Peel Dream Magazine dazzled listeners with their recent release "Agitprop Alterna," a smart album that draws from a wide set of post-punk, shoegaze and indiepop influences but still has an assured, unique sound. Now they're following up with "Moral Panics," a companion EP that features unreleased songs from the "Agitprop Alterna" sessions. Far from being outtakes, these are all songs that stand strong on their own, and gathered together function as a useful corollary to the album. Songs like "New Culture," "Verfremdungseffekt" and "Life At The Movies" continue Peel Dream's investigations into those frought areas where art, culture and commerce meet. Bristling with both ideas and solid tunes, the EP as a whole comprises a crucial piece of the band's discography.

Moral Panics

Peel Dream Magazine - New Culture

Lunchbox's Tim Brown and Donna McKean have been making records in their Oakland, California basement for two decades, inspired by 1960s/70s AM-radio pop and TV show theme music, punk, C86, and mod à la the Creation and the Jam. From the sonically-inventive indiepop of "The Magic of Sound" (1999) to the dub-influenced psychedelia of "Evolver" (2001) to the critically-acclaimed bubblegum of "Lunchbox Loves You" (2013), the couple have established a sound all their own.

Their new album for Slumberland, "After School Special," finds them at the height of their powers of songcraft and performance. Donna's bass playing stakes out stylistic territory somewhere between Carol Kaye and John Entwhistle while Tim's guitar is equal parts 12-string jangle and clipped Orange Juice-esque funk. Horns by Gary Olson (Ladybug Transistor) and longtime collaborator Jeremy Goody drive the record from beginning to end. Evelyn Davis' delay-drenched keyboards combine with whispers of analog tape feedback to give the record an otherworldly vibe in keeping with its lyrical themes.

There, favorite seasons (autumn) and animals (cats), appear alongside love and death, ghosts and reincarnation. From the shimmering opener "Dream Parade" to the horn-driven mod-pop of "Hide and Seek," the groovy sixties R&B vibe of "I Really Wanna Know" and the haunting male-female vocal stylings of the  album-closing title track, the textures shift while the unity of artistic vision remains. Catchy as hell and beautifully packaged, "After School Special" is Lunchbox at their very best.

After School Special

Lunchbox - Gary of the Academy

Warwick

Nothing More

Six Hours Later

"Daringly different and dazzlingly diverse" Rough Trade

VANISHING TWIN / JANE WEAVER / DECISIVE PINK / MARINA ALLEN / RVG / MONDE UFO / THALA / BAS JAN / MARTA DEL GRANDI / ISLET / ELLA RAPHAEL / FATEN KANAAN / LUCY GOOCH / HATER / RATS ON RAFTS / JOSEPHINE FOSTER / DEATH AND VANILLA / ROYAL TRUX / KRISTIN HERSH / THROWING MUSES / THE LEMONHEADS / PICTISH TRAIL / THE CHILLS / HALF JAPANESE / SEBADOH / BLACK LIPS / THE DREAM SYNDICATE / GRAHAM REYNOLDS / AMBER ARCADES and more

Throwing Muses - Bo Diddley Bridge

FIRE RECORDS

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