CREATIVE ECLIPSE PR

Artist:The Spacelords
Title: Uranus Omnibus Sanctus
Format:LP, CD, Digital
Label: Tonzonen Records
Distribution: Cargo Records
Genre: Space Rock/ Psych Rock
Release Date:18/09/2026

One should – no, one MUST never give up – and rarely has this fundamental piece of wisdom been expressed more powerfully – and with such musical intensity! – as a timeless truth than on the 9th studio album Uranus Omnibus Sanctus by the now legendary, Europe-wide acclaimed and highly decorated The Spacelords.

The journey to completing this richly resonant production took the band through a veritable asteroid belt of personal setbacks and technical near-disasters, which the core crew of the stoner orbiter – comprising

Matthias “HAZI” Wettstein on guitar,
Marcus “MUDGE” Schnitzler on drums and
Ekhard “AKEE” Kazmaier on bass

— and yet, thanks to the motto set out at the outset, it became yet another milestone on the journey towards the perfected, unmistakable The Spacelords sound – nirvana.

The song Survive To Win is the musical embodiment of this timeless principle, which has enabled those who unconditionally align their lives with it to achieve the goals they have set for themselves since the dawn of time – and The Spacelords are certainly among them.

This trio, so closely bonded both personally and creatively, is complemented and accompanied by tried-and-tested, like-minded collaborators such as Didi Holzner, who lets his unmistakable organ veils and swathes drift and waft over the ethereally grooving The Spacelords soundscapes – or the masterful work of Eroc, who has co-authored a new chapter in high fidelity within The Spacelords Stoner Sound Bible!

New album Uranus Omnibus Sanctus is due for release on LP, CD and digitally on 18 September 2026 via Tonzonen Records, distributed by Cargo Records Germany – get ready for a sonic journey through highs and lows to astral wisdom and deep-sea-worthy hypnotic grooves!

Tracklist
 1. Uranus Omnibus Sanctus
2. Survive To Win
3. Whales
4. On The Verge Of Delirium

Links
Official: https://thespacelords.de
Bandcamp: https://thespacelords1.bandcamp.com
YouTube: www.youtube.com/@TheSpacelords1 
Instagram: https://instagram.com/thespacelordsgermany 
Facebook: https://facebook.com/the.spacelords 
Spotify: https://open.spotify.com/intl-de/artist/2RINKqSOf3krAEp1kRxSXd
Label: https://tonzonen.de   

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Artist: hubris.
Title: White Shores
Format: LP, CD, Digital
Label: self-released
Distribution: Dutch Music Works (physical), TuneCore (digital)
Genre: Post-Rock
Release Date: 10/09/2026

White Shores is the fifth studio album by Swiss post-rock band hubris. set for release on September 10th, 2026.

Formed in 2014, the instrumental quartet is characterised by their original style which blends an experimental touch of post-rock, electronica atmosphere and some elements of the metal scene.

Following four albums rooted in Greek mythology, composer and founder Jonathan Hohl turns to his other favourite source of inspiration: The Lord of the Rings, but more specifically J.R.R. Tolkien’s exploration of mortality and immortality. 

In Tolkien’s legendarium, elves in spite of their immortality (a trait often coveted by humans) refer to death as the “Gift of Men.” This paradox offers a striking alternative to the Western perception of death as purely tragic. A “gift” implies something desirable, even fortunate. 

In the wake of his grandfather’s passing, this perspective became the emotional and conceptual foundation of White Shores.

The album unfolds across five movements, each representing a word in a single sentence: Death. Is. Just. Another. Path.

Tracklist
1. Death
2. Is
3. Just
4. Another
5. Path I

Links
Smart Link: https://www.submithub.com/link/hubris-is
Official: https://hubrisband.com
Bandcamp: https://hubrisband.bandcamp.com 
Instagram: https://instagram.com/hubrismusic 
Facebook: https://facebook.com/Hubrisband
YouTube: https://youtube.com/hubrisband

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Artist: Kalamata
Title: Zenosyne
Format: LP, CD, Digital
Label:  Copper Feast Records/ Made of Stone Recordings
Distribution: Sound Effect Records (Europe ), Echodelick Records (LP, USA)
Genre: Psychedelic/ Stoner Rock
Release Date: 26/06/2026

With Zenosyne, the Hildesheim-based psychedelic stoner rock trio Kalamata returns after years of change, upheaval and relentless touring — and simultaneously sets out toward something entirely new. Released via Copper Feast Records (London/Amsterdam) and Made of Stone Recordings(Thessaloniki), the album marks the band’s most personal, atmospheric and daring work to date.

The title Zenosyne — the sensation that time seems to accelerate as we grow older — forms the conceptual frame for a record that refuses to dictate a single meaning. The five track titles There / Is / No / Coming / Back open a space in which every listener can find their own story: slowing down, appreciating moments, valuing people, using the time we have, or confronting the inevitability of change.

Much has happened since the last album. Kalamata have toured across Europe, endured lineup changes, navigated personal crises and lived through heavy chapters — yet never lost faith in their music. Zenosyne is the distilled essence of these years: a fragment of lived life, captured in sound.

Recorded in late 2025 with renowned producer Ingo Bednarek at his studio in Hannover, Germany, the album represents a shift in approach. While the first two records were raw, direct and recorded live, this time the band focused intensely on detail, texture and sonic experimentation. Fuzz collides with fragile melodies, heavy riffs dissolve into shimmering effects, hypnotic repetition expands into cinematic vastness. The mastering by Role Wiegner (Tonmeisterei, Oldenburg, Germany) adds depth, warmth and a sense of physical presence.

The artwork draws from an old legend of Kalamata’s hometown Hildesheim: the tale of the Hildesheim Maiden who, after finding her fiancé struck dead by lightning, wanders lost through the dark forest until a distant evening bell guides her back to life. The tower from which that bell rang is still known today as the Kehrwiederturm — the “Come Back Tower.”

This story of loss, disorientation and the call to return resonates with the emotional tension of the album, without illustrating it literally. Zenosyne is not a concept album, but a work full of echo chambers.

Musically, Kalamata build on their signature strengths — hypnotic depth, massive bass foundations, trance-like guitar arcs, dynamic drumming — and push them further. Where earlier reviews praised “massive stoner riffs,” “psychedelic soundscapes,” “hypnotic epics” and “a pull you can’t escape,” Zenosyne reveals a band that not only masters these elements but rearranges them with newfound maturity, intensity and vulnerability.

Zenosyne is not just a third album.
It is a turning point.
A reflection and a departure.
A work about time, change and the things that remain when everything else moves.

Tracklist
1. There   
2. Is   
3. No   
4. Coming   
5. Back

Links  
Bandcamp: https://kalamata.bandcamp.com
Instagram: https://instagram.com/kalamata_band
Facebook: https://facebook.com/Kalamataband
Spotify: https://open.spotify.com/intl-de/artist/0fPJpK7HMars0TTr5ljc5j
Label: https://copperfeastrecords.com
Label: https://madeofstone.gr

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Artist: Taihr
Title: Allicanto
Format: LP, CD, Digital
Label: Tonzonen Records
Distribution: Cargo Records
Genre: Alternative/ Progressive Rock
Release Date: 19/06/2026

Allicanto is the second album of German alternative group Taihr. The band is a colourful bunch, not only because two of the members hail from Chile and bring a Latin American flavour to the music, but also because all the musicians have different stylistic backgrounds. Alongside indie, progressive and alternative rock, jazz, funk and math rock are also key elements in the musical amalgam from which Taihr is forged. These elements give Taihr a sound all of its own and a sonic depth into which anyone can immerse themselves, regardless of any genre conventions.

Allicanto is nothing less than the logical conclusion drawn from the group’s characteristics. It is no coincidence that the album features seven tracks – the same number as the musicians. Each song bears the distinctive mark of an individual musician, meaning that, on closer inspection, the album offers a broad spectrum of the band’s musical vocabulary.

The album title Allicanto is no coincidence either: Allicanto is a mythological bird from Chilean folklore that guided miners to veins of ore, gold and silver. Allicanto now also adorns the album cover and is intended to guide listeners to musical veins of ore – particularly those meant to be discovered by the seeker.

Tracklist
1. Kiss
2. Pisco Fury
3. Paper Birds
4. Heavy Rain
5. Playing Cards
6. Skeleton Hooves
7. Tortugas

Links
Album pre-save: https://cargorecordsde.ffm.to/taihr-allicanto
Official: https://taihrmusic.com
Bandcamp: https://taihr.bandcamp.com
Instagram: https://instagram.com/taihrmusic
YouTube: https://youtube.com/@TaihrMusic
Label: https://tonzonen.de   

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Artist: Hans Hjelm
Title: The Night Electronic
Format: LP, CD, Digital 
Label: Kungens Ljud & Bild
Genre: Art Rock
Release Date: 29/05/2026

Melodies Find Their Breath: Hans Hjelm Returns with The Night Electronic.

Stockholm-based musician Hans Hjelm is set to release his third solo album, The Night Electronic, on the Kungens Ljud & Bild label. The record marks a decisive stylistic shift from his previous instrumental work toward a vocal-driven, electronic-oriented sound. The album consists of reimagined tracks from Hjelm’s earlier discography: five songs from Into The Night (the CD also has two bonus tracks from the debut album Factory Reset). Hjelm’s melodies were always written as if they could be sung, avoiding traditional guitar mannerisms in favor of human phrasing. On The Night Electronic, those melodies finally find their breath. The addition of vocalists Hildur Ottilia and Viktor Westerlund grounds the dreamlike uncertainty of the music in human experience. 

Produced in collaboration with Henrik Sunbring (oplen, Domus) at Helter Skelter Studio, the album’s production leans heavily on programmed drums, drum loops, synth bass, and analog synthesizers. While some prog-rock elements from previous releases remain, this electronic foundation largely replaces the guitar-centric layering found in Hjelm’s earlier solo work. The album is bookended by Mantraand Artnam (“mantra” reversed) – a linguistic and sonic mirror. While Mantra serves as the rhythmic key that opens the door to this nightly world, Artnam closes it with backward-masked vocals and shifting drones, suggesting a reality where time and logic operate differently.

Recorded between 2023 and 2025, the album features contributions from a recurring group of collaborators, including Jesper Skarin (Gösta Berlings Saga, ex-Switch Opens), Mikael Tuominen (Kungens Män, ex-Switch Opens), and Per Wiberg (Switchblade, ex-Opeth).

Tracklist
1. Mantra   
2. I Feel Like Fire   
3. Aftersun    
4. Shores   
5. Artnam   
6. Woods   
7. Lights Turn Red

Links
Official: https://hans-hjelm.com
Bandcamp: https://hanshjelm.bandcamp.com
YouTube: https://youtube.com/@HansHjelmMusic
Label: https://kungensljudochbild.com

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Artist: DOPPLeR
Title: Pourquoi Ce Disque?
Format: LP, Digital
Label: Bigoût Records, Atypeek Music
Distribution: The Orchard
Genre: Math Rock/ Noise Rock
Release Date: 15/05/2026 (EU)

DOPPLeR is a cult French noise rock band, widely regarded as one of the defining acts of the country’s explosive 1990s underground scene.

DOPPLeR was formed in 1998 in Lyon when Xavier-Alexandre Amado (bass, vocals) and Yoann Brière (guitar, vocals) met Yann Coste (drums, vocals). Since their first release with S.K. Records in 1999 (EP 51), the band has released a split 7-inch with NED, Der Hase Ist Grün (S.K. Records, 2001), a second EP Star Sexual Fantasy”(S.K. Records, 2001), a debut album Si Nihil Aliud” (S.K. Records/Aere Alieno, distributed by XIII Bis, 2004), a split EP with Marvin (S.K. Records, 2005), and a second album Songs To Defy (S.K. Records/HAK Lofi Records, distributed by Atypeek, 2008), recorded at Black Box Studio with Peter Deimel.

The band built a strong live reputation through around 200 concerts across France and Europe, working with sound engineer Sébastien Guichard (Orchestre Tout Puissant Marcel Duchamp, L’Étrangleuse…), and lighting designer Nicolas Bernollin (Igorr, Amen Ra…), and sharing the stage with a wide range of artists including Sleeppers, Basement, Papier Tigre, Pneu, Marvin, Young Gods, Cheval de Frise, Shipping News, Brain Damage, Fishbone, Ezekiel, Lofofora, Black Heart Procession, Unsane, Psykup, Alec Empire, Mule Jenny, Cannibale, Birds in Row, A Place to Bury Strangers, among others.

DOPPLeR went on hiatus in 2010 and reformed in 2020 to celebrate the “10th anniversary of its death” with a memorable show at Ninkasi Kao in Lyon, drawing nearly 400 people from across France. This was followed by a twenty-date tour alongside vinyl reissues of their first two albums by Bigoût Records, while their full catalog remains available through Atypeek Music.

Buoyed by the enthusiastic response of a loyal and renewed audience despite ten years of inactivity, the band began writing a new album and naturally renewed their collaboration with Peter Deimel. In June 2025, they recorded a new LP titled Pourquoi Ce Disque? at Black Box Studio, featuring artwork by Gérald Tournier (Pangram Graphic Design).

Tracklist
1. The Screening Stops
2. Incipit Excipit
3. Of Pieces That Break
4. Piano Cassé
5. No One Available
6. The Last Drop
7. Snowflakes in an Avalanche
8. Where We Started

Links
Official: https://dopplermusic.fr
Bandcamp: https://personnenedanse.bandcamp.com/music
Instagram: https://instagram.com/doppler_noise
Facebook: https://facebook.com/people/DOPPLeR/100063860533247/
YouTube: https://youtube.com/@dopplernoise
Spotify: https://open.spotify.com/intl-de/artist/1JuUKu1HjrloSnCFPIxO6H
Label physical: https://bigoutrecords.com
Label digital: https://atypeekmusic.com

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Artist: Patrick Dorobisz
Title: Narvik (Symphonic Interactions)
Format: CD, Digital 
Label: Atypeek Music
Distribution: The Orchard 
Genre: Electroacoustic/ Classical/ Minimal
Release Date: 28/05/2026

Patrick Dorobisz-Kondracki is a French composer and visual artist whose practice is rooted in interdisciplinarity, minimal art, and new technologies. Born on May 25, 1955, in northern France to a Polish father and a Lithuanian mother, he lives in Lille.

Since the 1970s, Patrick Dorobisz has built an oeuvre at the intersection of minimalist composition, electroacoustic music, video, and visual arts. Winner of the International Electroacoustic Music Prize at the Bourges Festival in 1985, and awarded in Santiago, Chile, in 1987 for his video art piece Les Échos du Silence, he has forged an artistic career recognized both in France and internationally.

The genesis of Narvik is rooted in a deeply personal story. In 1996, Patrick Dorobisz composed a symphonic work in tribute to his father, a man shaped by war and courage. Serving in the Polish forces, his father was a commando leader among mountain troops who took part in the Battle of Narvik, one of the first Allied victories against Nazi forces during World War II.

Through this composition, Dorobisz sought not only to honor his father’s bravery, but also to convey the emotional weight of that historical moment: the harsh Nordic landscapes, the tension of combat, and the quiet resilience of those who fought. Narvik thus emerges as both a work of remembrance and a filial homage, where personal memory and collective history intertwine.

It ultimately concludes on a note of hope and pride: the pride of seeing nations once divided by war now become friendly nations, united through shared memory, mutual respect, and a restored peace.

[ For detailed conceptual informations on the Narvik record see pdf file in the electronic press kit. ]

Tracklist
1. Narvik (Symphonic Interactions) Movement I
2. Narvik (Symphonic Interactions) Movement II

Links
Streaming: https://orcd.co/v8x96yv
Official: http://www.patrickdorobisz.com
Instagram: https://instagram.com/patrickdorobisz
Facebook: https://facebook.com/p/Patrick-Dorobisz-100063334891528/
Label: https://atypeekmusic.com

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Artist: BLKE
Title: s/t
Format: LP, Digital
Label: Tonzonen Records
Distribution: Cargo Records
Genre: Psych/ Kraut/ Noise Rock, Shoegaze
Release Date: 22/05/2026

BLKE is a Berlin-based psych-noise rock band formed out of London’s underground, operating at the intersection of raw intensity and hypnotic repetition. Drawing from krautrock, noise rock, garage punk, and psychedelia, their sound is visceral, physical, and emotionally charged – built for both dark rooms and expansive stages. Led by German artist Jakob Buraczewski, BLKE have built a reputation for uncompromising live performances across the UK and Europe, sharing stages with Helicon (Fuzz Club), Verstärker (Fuzz Club), Body Horror (Permanent Creeps), and The Shadracks (Sub Pop). Their music balances controlled chaos with deep atmosphere, driven by motorik rhythms, abrasive guitar textures, and immersive sonic weight.

In 2025, BLKE released their debut EP Living Without Expectations. The release positioned the band as a compelling new voice within Europe’s alternative underground.

Now entering a new phase, BLKE are preparing the release of their first full-length album – a darker, more focused, and expansive body of work that deepens their sonic identity while pushing beyond genre boundaries. With a growing international presence and a clear artistic vision, BLKE are building something deliberate, physical, and long-term.

Nine tracks offer a hypnotic glimpse into the world of BLKE. Layered lyrics and psychoacoustic elements form a poetic narrative shaped by the band’s social environment over the past four years. Psychedelic, raw, and kraut-driven, the album echoes long after it ends.

Tracklist
1. How About I End life
2. Up Tight
3. Never Try
4. So Do I
5. Interlude
6. Traffic
7. Heat
8. Satellite
9. Take It All

Links
Linktree: https://linktr.ee/blkeofficial
Bandcamp: https://blke.bandcamp.com
Instagram: https://instagram.com/blke_music
Facebook: https://facebook.com/blkebandlondon
Label: https://tonzonen.de  

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Artist: We Stood Like Kings
Title: Pinocchio
Format: LP, CD, Digital
Label: Kapitän Platte
Distribution: Distribution: D/ AT: Cargo Records, Norway: Tiger Records, Benelux: Sonic Rendezvous, FR: Differ-Ant, 
CH: Irascible, IT: Goodfellas
Genre: Cinematic Heavy Rock 
Release Date: 10/04/2026 digital 
                             24/04/2026 physical

Piano-driven post-rockers We Stood Like Kings from Belgium unveil sixth heavier-than-ever album Pinocchio

With their sixth album Pinocchio, piano-driven post-rockers We Stood Like Kings from Belgium cross a ridge line and fully embrace their boldest transformation in 15 years of existence. Heavier, more direct, this new record marks a true turning point which the band readily calls “We Stood Like Kings 2.0.”

Where crescendos once unfolded like patient tides, Pinocchio now raises sheer cliffs. Guitars carve out sharp, commanding riffs; drums erupt in seismic bursts; layers of distorted synths thicken the sonic horizon to the point of ignition. And yet, at the heart of this newfound density, the band’s signature poetry remains intact, like a stubborn ember glowing beneath the ash.

The neoclassical piano, by turns diaphanous in its melancholy and nearly untamed in its ferocity, acts as an emotional compass within the amplified storm. One might imagine Chopin venturing into post-metal territory: delicate motifs colliding with towering walls of sound, crystalline arpeggios suddenly swallowed by electric detonations.

In this new era, the art of the crescendo does not disappear, it intensifies. Layers stack up with unprecedented determination, silences grow rarer and heavier with meaning, and every ascent seems aimed at a more vertiginous summit. Pinocchio renounces nothing of the past; it magnifies its contours, sharpens its contrasts, and transforms fragility into raw power.

“This really feels like We Stood Like Kings 2.0. It might be the record we’ve always wanted to make,” says pianist Judith Hoorens. With evocatively titled tracks like Fire Eater, Attila of the Sea, and Dead Blue Fairy, the 50-minute concept album Pinocchio revisits the timeless initiatory tale of Pinocchio through a dark lens of betrayal, manipulation and power play.

Having earned critical acclaim for their live soundtracks to cult silent films like Koyaanisqatsi and Berlin: Symphony of a Great City, We Stood Like Kingshave cemented their place as pioneers in the genre, performing over 400 times across 20 European countries. In addition to their film work, the band has ventured into reinterpreting classical music on their album Classical Re:works, offering contemporary renditions of pieces like Beethoven’s Moonlight Sonataand Debussy’s Rêverie.

Pinocchio marks the band’s boldest musical evolution yet, a record written purely for the sake of the music itself. “For the first time since we began in 2011, the visuals were crafted around our music, not the other way around. I think this sense of freedom really comes through on the album,” says Judith Hoorens. Cinema shows, under the title Pinocchio Revisited, feature animated visuals by Cartoonbase Studio, based on the striking black-and-white and vivid colored illustrations of the renowned Belgian artist Carll Cneut.

A major factor in the album’s forceful sound is its meticulous and extended recording process. “We took the time to get things right and surrounded ourselves with people we trusted completely: Belgian producer Laurent Seys (Lost Frequencies) recorded and produced the drums, while French engineer Rémy Deliers (Gojira) handled the mixing and mastering,” explains the band. With its richly layered production and immersive sonic landscapes, Pinocchio clearly stands as We Stood Like Kings’ most powerful and best-sounding album to date.

Tracklist
1. Assassins
2. The Field of Wonders
3. Fire Eater
4. Attila of the Sea
5. Raven
6. Poor Idiot
7. The Land of Toys
8. Dead Blue Fairy
9. Addios, False Friends                                                                                                                                               

Links
Official: https://westoodlikekings.com
Bandcamp: https://wslk.bandcamp.com
Instagram: https://instagram.com/westoodlikekings
Facebook: https://facebook.com/westoodlikekings
YouTube: https://youtube.com/@westoodlikekings
Label: https://kapitaen-platte.de  

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Artist: Atsuko Chiba
Title: s/t
Format: LP, CD, Digital
Label:  Mothland 
Distribution: The Orchard
Genre: Experimental Rock
Release Date: 24/04/2026

Each sprawling sonic essay is a world of its own, yet Atsuko Chiba remains iridescently cohesive, putting on display an a-priori array of polychromatic sounds…

Atsuko Chiba come full-circle with the release of their self-titled fourth long-player, positively rethinking their sound while unearthing six idiosyncratic gems that resonate deeply with their experimental ethos. Each sprawling sonic essay is a world of its own, yet Atsuko Chiba (April 24th, 2026 via Mothland) remains iridescently cohesive, putting on display an a-priori array of polychromatic sounds. Drawing inspiration from visionary artists such as Mark Lanegan, Beak>, Talk Talk, Can, or Portishead, the five-piece offer 32 minutes of ethereal exploration.

Though the Montréal outfit have been introducing more and more singing with every release, their namesake sees Atsuko Chiba further wield vocals as a means to delve into their intrinsic meta. And with this introspection comes a lyrical universe that coexists effortlessly with wildly evocative soundscapes. Atsuko Chiba is all at once a gritty post-rock epic and an intimate hymn to self-discovery, made possible by creativity, but even more so by collective self-reflection; its moodiness amplifying a communal desire to strain away from recurrent patterns for the sake of comfort, approval, and longevity.

The band comments: “Overall, Atsuko Chiba is an exercise in patience and restraint. The mood of the album is melancholic, at times feeling optimistic, while other times feeling almost hopeless—there’s a sense of loss and disconnect, but also a glimmer of hope. It is the most vulnerable and stripped down music we have ever made. It is a departure from the aggressive and distorted guitar sound we’ve relied on over the years. We also chose to make it a self-titled record which is something we battled with. We went with Atsuko Chiba because its overarching themes relate to us in a deep way. The material on this album presents itself as a mosaic of our interests and experiences as a band. We let the music guide us every step of the way, never forcing our will upon it, instead paying attention to what it was telling us and what we could do to further support it.

At first, we would come into the studio without a plan, just playing and recording the entire time, with no pressure as to a specific outcome: free jams during which we were just generating grooves, parts, and moments that felt good to us. We also put limitations, cutting out certain instruments from session to session, opening us to new options and pathways, generating new sound palettes. A lot of attention was put into creating space and holding back from always going for big epic moments. We focussed on keeping things simple and using dynamics to create exciting moments instead of relying on loud guitars to get us there. This album features a lot of auxiliary percussion, synthesizers, and keyboards, and places a strong emphasis on vocals. We explored acoustic guitars and created many custom percussive sounds by layering two or three sources together, also programming rhythms using samplers and drum machines.”

From the onset, Atsuko Chiba decided to treat this new opus with a freeform creative process, which could only be achieved by pursuing a hands-on approach, and by each band member—Anthony Piazza(drums, electronic drums, percussion), David Palumbo (bass, bass VI, vocals), Eric Schafhauser (guitar, synthesizers), Karim Lakhdar (vocals, guitar, synthesizers), and Kevin McDonald (synthesizers, guitar)—sharing the roles of engineer and producer. The collective later turned to longtime collaborators Matthew Cerantola for the mix, Harris Newman for the mastering, as well as Hannes Pasqualini at Papernoise Design for the artworks.

Tracklist
1. Retention   
2. Pretense   
3. Future Ways   
4. Tar Sands   
5. Torn   
6. Locked and Array

Links  
Official: https://thistlesifter.com
Bandcamp: https://atsukochiba.bandcamp.com  
Instagram: https://instagram.com/atsukochiba
Facebook: https://facebook.com/atsukochibamusic
YouTube: https://youtube.com/@atsukochibamusic
Apple Music: https://music.apple.com/ca/artist/atsuko-chiba/1093234161
Spotify: https://open.spotify.com/artist/5sztlFD2VHbf7vg13bt5eb?si=6lJWB94EQ2mmw416IxUt0A
Label: https://mothland.com

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