Even voorstellen - SLOT - I Like My 

Nieuwe single

SLOT is een explosief dance-punkproject van het koppel Abby Detrich (zang) en Max Detrich (bas, drumcomputer), gevestigd in Baltimore, VS. Hun geluid is een krachtige mix van ruige pop en frontale punk, gedragen door zware, dansbare ritmes. Tussen noise-pop en alt-rock in transformeren ze de rauwe energie van underground concerten in een bevrijdende clubervaring.

Met hun nieuwe album Dry Swallow verkent het duo de kruispunten tussen performance en seksualiteit, en bevestigt zo een "self-actualized" geluidsidentiteit: uitdagend, krachtig en onverzettelijk zonder compromissen.

I Like My
Afkomstig uit Baltimore brengt het duo SLOT "I Like My"  een opzwepende dance-punk hymne. Met ruige baslijnen en een "bratty" energie verkent dit nummer de herovering van plezier en zelfbeeld. Geïnspireerd door de Y2K-esthetiek en Cibo Matto past het perfect in playlists zoals Indie Pop Fr of Alternative Beats. Een rauw, flirterig en punky geluid, ideaal voor clubatmosferen en alternatieve selecties.

https://exag.lnk.to/I-Like-My

NEW ALBUM  ‘Dry Swallow’ 11/09/2026

Voor fans van: Cibo Matto, Sneaks, Pill, The CIA, Nots.

Dry Swallow tracklisting
01. Jewelry

02.I Like My

03.Stuck In Your Head

04.Yapper

05.Food

06.Exit

07.Dry

08.Bad Credits

SLOT (dance-punk, Baltimore USA)
Gevestigd in Baltimore, Maryland, is SLOT het hoogspannings dance-punkproject van Abby Detrich (zang) en Max Detrich (bas, drumcomputer). Hun muziek is een krachtige fusie van flirterige pop en scherpe punk, aangedreven door zware, hypnotiserende elektronische beats. Met wortels in dance-punk, noise-pop en alternatieve rock is SLOT gemaakt om lichamen in beweging te zetten, gedreven door een gedeelde liefde voor industriële klanken en ritmische texturen.

De geschiedenis van de band begint in de DIY-scene. Abby en Max ontmoetten elkaar als vrijwillige organisatoren van het MACROCK-festival in Virginia, verbonden door een passie voor huiskamerconcerten en onafhankelijke tours. Na het uiteenvallen van een eerdere post-punkband tijdens de lockdown, richtten ze SLOT op. Met een geleende Boss DR-5-drumcomputer zette Max zijn ervaring als drummer om in elektronische beats, terwijl Abby zich ontpopte als een charismatische tekstschrijfster en performster.

Met hun nieuwe album, Dry Swallow, bereikt SLOT zijn volwassen klank. Als opvolger van hun debuut Limbo (2023) wordt dit project beschreven als flirterig, krachtig en rauw. Het verkent centrale thema’s zoals zelfacceptatie, het claimen van je eigen lichaam en de performance van seksualiteit. Het creatieve proces, oorspronkelijk geleid door Max, is uitgegroeid tot een volledige samenwerking waarbij Abby’s stemmen en Max’ ritmes elkaar inspireren. Geïnspireerd door de mediësthetiek van de jaren 2000 en de kruisbestuiving tussen elektrische muziek en het vroege internet, werd het album opgenomen met Danny Gibney in Virginia, met experimentele technieken zoals het doorsturen van zang door een Leslie-kast voor een organisch trillereffect.

Op het podium is SLOT een brute kracht: energiek, uitdagend en dansbaar. Ze deelden het podium met namen als Brainiac, Wargasm en CDSM, en waren te zien op festivals zoals SubScape.

Naast muziek is Abby bloemkunstenaar en Max grafisch ontwerper. Hun bijna 12-jarige relatie vormt de kern van de band en voedt een diepgaande artistieke en politieke samenwerking. Betrokken bij hun gemeenschap in Baltimore, steunen ze actief initiatieven voor ecologische gelijkheid en dierenopvang, waardoor SLOT meer is dan alleen een band: het is een creatieve verlengstuk van hun overtuigingen.

Even voorstellen – Thee Sinseers – Love story

THEE SINSEERS “LOVE STORY” 18/09 (colemine records/konkurrent)
“did ya know?” https://www.youtube.com/watch?v=TJtMF9UA0NA

Live Trix Antwerp  27 sept 26

Catching up with Thee Sinseers ahead of their new Colemine Records release, Love Stories, one thing becomes abundantly clear: this is not an LP that explores a neat and tidy love story.

The vision of love put forth on this record is full-spectrum. Think of the seminal 1993 East LA film Blood In Blood Out — three protagonists bound together through hardship, strife, and diverging roads, who ultimately circle back to reckon with why they remain. It's a similar story here. Love Stories isn't interested in the happy ending. It's interested in everything that comes before it, after it, and in spite of it.

Of course, none of this is accidental. More than a new record, Love Stories is a portrait of a band that has finally grown into itself — one that knows exactly who it is and isn't shy about saying so. As Quiñones puts it: "It's a solidifying statement of where we are now. This is our style."

Bassist Christopher Manjarrez described that confidence as something you can hear: "Everything was just that notch up." In contrast to Sinseerly Yours, which had developed organically from a four-piece into an eleven-member ensemble, Love Stories was built from the ground up as a collective effort — every role established before the band entered the studio. "We went in knowing these are the roles that are gonna be played by these people," Quiñones says. "Everybody was considered wholeheartedly in every arrangement aspect."

That collective approach extended into the sonic choices themselves. Every member zoomed out — listening not just to their own parts but to the record as a whole, what Quiñones calls thinking like "a beautiful painting" rather than a collection of individual tracks. With that foundation in place, the band handed the final mix to engineer Kelly Finnigan. "We could get so far with our opinions," Quiñones admits, "but at the end of the day there's still 10 or 11 of us trying to figure out what's right." The band also leaned into earthier instrumentation — standup bass, guitars run through amplifiers for a warmer sixties-adjacent tone — pulling inspiration from wherever it presented itself, even the most unlikely of places. It's that cross-genre thinking that Quiñones sees as the record's defining quality. "It didn't feel like we were making soul music at any point," he says. "It felt like we were making our music."

But the sonic ambition of Love Stories only tells half the story. The band sought to capture something more honest than a highlight reel — showcasing the highs and lows of romantic relationships while expanding the frame to include the familial, the complicated, and the unresolved. On "Let's Fall In Love (Again)," Quiñones's protagonist pleads for a second chance before stopping mid-song to acknowledge his own role in the heartbreak — trading wishful fantasy for something far more honest. It's that kind of emotional candor that runs throughout the record. The band's parents appear in the album art, their own love stories folded into the record's visual identity, some of those stories still standing, others not. As Manjarrez puts it: "Every single song title directs you down a different road of love — whether you win or lose." Quiñones wanted listeners to sit with that ambiguity. "Love is never-ending," he says. "It stretches beyond lifetimes. I want people to still be confused — I want it to be left like an open book."

To achieve what they're reaching for, every member of Thee Sinseers has had to check their ego at the door — and mean it. "The sense of ego is, in a weird way, non-existent when it comes to recording and writing," Quiñones says. "We're all fans of each other at the end of the day." It's the kind of trust earned on the road, forged through years of shared miles and close quarters — and reflected in a lineup that welcomed new additions seamlessly, including expanded roles for familiar faces and string arrangements from newcomer Skip Heller that push the songs into new territory.

That spirit of trust extends to their partnership with Colemine Records, built on patience and creative freedom. "Terry's like a homie," Quiñones says. "He gives us his input but we get a lot of freedom because he trusts us." For a band still actively defining itself on its own terms, that kind of label support isn't just appreciated — it's essential.

Yet one thing remains constant throughout: Thee Sinseers' commitment to where they come from. That East LA identity doesn't announce itself — it simply exists, woven into the fabric of the music without being worn as a badge. As Francisco Flores puts it: "We're from here. You can hear it a thousand miles away. You can't deny it — but we don't try to. It just comes out that way." Nowhere is that more apparent than on "Minute by Minute," which Quiñones describes as the album's most neighborhood-feeling moment — a slow dance number that conjures the gymnasiums of Roosevelt and Garfield High, intimate and unhurried, like a memory you didn't know you were making. There's no performance of heartbreak here, just the real thing.

Like an unsent love letter finally delivered, Love Stories carries the weight of everything that was felt but never quite said. The universality of that feeling is perhaps best captured in Quiñones's own words: "It's never too late to change. It's never too late to tell a person you love that you love them." After any song on this record, Eric Johnson says, there's really only one appropriate response. "Damn."

"Oh Love"  The opening track of Love Stories begins with earnest horns rising like the first notes of a sermon, before the band's signature East Los guitar groove settles in and cascading vocal harmonies take over, riding against the crisp rat-a-tat of the percussion. The sound lives at the crossroads of early rock and roll and R&B — think the twangy dexterity of Mickey & Sylvia meets the tender soul of Otis Redding, with the warm, windswept feeling of Freddy Fender running throughout. Supercharged by full horn accompaniment, it's a daydream and a rallying cry at once — a reminder that if everyone could feel the full weight of love, the world would be a more tender place.
________________________________________
"Did Ya Know?" A jaunty guitar groove opens things up before "Did Ya Know?" eases into its sleek, sunny pocket, buoyed by a playful organ that's warm and a little mischievous. It calls to mind the smooth sweetness of "These Eyes" by the Guess Who crossed with a sunshine reggae lilt — cool, unhurried, and completely effortless. The lyrics carry a fluency in early R&B that's become a Sinseers hallmark, and every so often the band pulls off one of those quietly dazzling instrumental turns that reminds you just how deep the well goes.

"Let's Fall In Love (Again)" Lush and dreamy from the first note — a soft drum roll gives way to perfectly picked guitar — "Let's Fall In Love (Again)" finds Joey Quiñones pleading with the lover of his dreams to let bygones be bygones. The arrangement is alive in every corner, with güiro, triangle, and vibraslap threading through the song like small, insistent heartbeats, highlighted by warm backup harmonies. But midway through, his protagonist fesses up, acknowledging that his own misgivings were the source of the sadness and pain, trading wishful fantasy for something far more honest. It's the kind of emotional turn that makes the sweetness of the surrounding arrangement hit that much harder.

"There She Goes" "There She Goes" arrives in full panoramic sound — western reverb guitar shimmering like a desert sunset at the edges, horns bringing a sweeping big-band grandeur to the center, with the Delfonics, Chi-Lites, and Stylistics as its soul orchestration touchstones. The protagonist is searching for a way to mend a broken heart, and what makes the track land is how human that search feels — held up by a call-and-response between Quiñones and the band that moves between longing and resolve like a conversation with yourself at 2

a.m. There's no performance of heartbreak here, just the real thing.

"How Lonely Is Lonely"  Like a burst of sunshine breaking through, the opening notes arrive on a soft snare beat, a twinkle of keys, and the light, airy flutter of a muted horn completing the picture. The sound sits somewhere between Brenton Wood's breezy West Coast soul and Alton Ellis's honeyed reggae sweetness — Quiñones toggling effortlessly between the two worlds in a single song. The lyrics follow a protagonist worn down by a woman who can't make up her mind, the two forever out of sync, never quite landing on the same page at the same moment. By the second verse, Quiñones lets loose in one of his signature emotional howls — raw and searching, the sound of someone who has hit the bottom and is pleading not to be left there.

Even voorstellen – Pond announce new album ‘terrestrials’

POND ANNOUNCE NEW ALBUM TERRESTRIALS
OUT 19th JUNE (mangovision/konkurrent)

May 26 “through the heater” https://www.youtube.com/watch?v=sTTtxcPrBEw

april 26 L SINGLE/VIDEO ‘TWO HANDS’ https://www.youtube.com/watch?v=oTf47abqECc

POND reveal news of their latest album Terrestrials, out on 19th June, on their own newly coined imprint Mangovision via Secretly Distribution, alongside a stream of headline dates in the US this July-September. Marking the announcement is their latest single and video ‘Two Hands’.

Speaking about the new single ‘Two Hands’, Nicholas Allbrook shares “This song is about when mining company Rio Tinto blew up Juukun Gorge in the Hammersley Range in Western Australia. They destroyed sacred rock shelters that were of the highest archaeological, cultural and spiritual significance. The rock shelters contained a cultural sequence spanning 46, 000 years that had been taken care of by the local Indigenous communities. I was wondering how the commentators around this country would've reacted if the shoe was on the other foot and someone had demolished the Vatican or Notre Dame or St. Paul’s because it was in the way of their corporate expansion. Anyway, its a little word of encouragement that you’ve got every right to be very fucking angry about this injustice.”


Ceremoniously distilling the forthcoming record’s intent into a playful caricature through ‘Two Hands’s music video, Allbrook continues, “The video was made by us and Sam Kristofski (with heaps of help from Tess Thompson, Kate Green and Christian Dillon). We filmed it in York and the Beverley Offroad Motorsports Association on one of the hottest days of the summer. Az was tough enough to wear full leathers the whole time. Endless thanks to him and Ry for fully embodying the soul of this video with their enduring passion for dust, rust, black cans, circlework and fucked up old motorcars.”

The group of Nick Allbrook, Jay Watson, Joe Ryan, Jamie Terry, and James Ireland, exist to create – the myriad of crossovers between their projects individually and the scene they first put on the map continues today – and that pursuit is set to persist forever no doubt. Yet for the first time in POND’s history, the recording process on their 11th was subject to a simple set of rules: No fuzz pedal. No ballads. No “Pink Floyd shit”.

Conceived from a place of reverence for a particularly potent epoch in Oz rock, Terrestrials mines the sound of open sky melancholia, heat haze sizzling on the plains and jangly pub backrooms that hits an eternally poignant nerve for anyone familiar with the sound, time and place. From there Terrestrials evolved and the idea of “Goths at the pub” became the record’s stylistic north star - iconic 80s Australiana being acid-washed with the eyeliner-stained post-punk of Sisters Of Mercy, Magazine and the like. “Would Goths like it?” “Could you have a beer to this?” If the answers were yes it was thrust into the mix.

Like much of the Pond catalogue, Terrestrials is a record of people and place, of exploring the identity of each, as well as where and how they intersect and interact. Extractive capitalism, power dynamics, inequality, indigenous incarceration, eccentric outcasts, fire and water, diesel and dust, unity and division, blood and bauxite, unborn tomorrows and dead yesterdays - it’s all there. Terrestrials twitches with the desperation of people and planet on the brink, but ultimately bets on the beauty of both to prevail.

Earlier POND shared the title track to support across NME, CLASH, The Line of Best Fit, DORK and more remarking on the song’s “strutting, preening glam-rock/new wave energy”. Following on from the announcement of their US dates supporting Djo – the musical project of actor, producer, and songwriter Joe Keery, known for his work in Stranger Things and Fargo – POND today announce a stream of headline shows across the US this July-September and will also appear locally at Against the Grain Festivalin Brisbane in June, with more Australian shows to be announced. Pre-sale is available now with general tickets on sale from Friday 10 April @ 10am local via pond.band.

First single
Pond - Terrestrials (Official Video)
LP TRACKLIST

Skyworks

Casuarina

Through The Heather

Two Hands

Roebuck Plains

The Fatal Shore

Tourmaline

Terrestrials

Personal Hell

Nashville (I’m Dying)

ABOUT POND
POND are one of the most versatile, inquisitive, and accomplished bands in the psychedelic rock vanguard. Made up of Nicholas Allbrook, Jay Watson, Joseph Ryan, James Ireland, and Jamie Terry, POND was formed in 2010 in Fremantle, Western Australia. However, it wasn’t until the release of their 2013 record Beard, Wives, Denim that POND went from a group of musicians and friends to an internationally touring band. Today, POND boasts an impressive catalog of recorded music, spanning ten critically-acclaimed albums. Since its beginnings, POND’s prowess in the live arena has also been well documented. Sharing the stage with artists such as Flaming Lips, Queens of the Stone Age, Arctic Monkeys and more, they have also been on major festival lineups worldwide like Glastonbury, Coachella, Splendour in the Grass, and The Great Escape.