From elegiac techno to deep orchestral pop ballads, Apparat‘s work has always had a common denominator: an elegance that embraces, offering nuanced layers of detail and beauty. Whether as a member of Moderat (whose last album More D4ta was released on Monkeytown in 2022), working alongside Ellen Allien (Orchestra of Bubbles) or as asolo performer, Apparat seeks to transcend the dance floor and the concert hall alike, focussing on the micro to enhance the macro with melodies that echo in the memory. His last studio album LP5 (2019), finds greatness in small things and unexpected twists; it joins musical fragments together and glows from the cracks in between.Released on Mute, it was described as “…a kaleidoscopic triumph” by Q Magazine. More recently, Apparat has been focused on cinema, TV and theatre production – gaining recognition and awards for work such as Capri – Revolution (dir. Mario Martone, 2018), which won Best Soundtrack at the Venice Film Festival. A box setcollating these works, Soundtracks, was released on Mute in 2020.

Apparat

Glasgow

Queen's Park Arena

Fatale

The Poetry Club, SWG3

Joan Jett & the Blackhearts

O2 Academy

Endless Summer: Filmstar + Ellijai + S4SHA

The Hug and Pint

Over two genre defying albums on Rocket Recordings Bonnacons of Doom have been honing their ‘Transpennine Hypnotic Music’ into a distinct sonic signature. Mind-bending drone, gut wrenching riffs and the searing vocals of Kate Smith collide for a ritualistic, transcendent experience. The band’s live show combines mirrored masks, amp worship, folk weirdness and electronics to create a communion that is simultaneously ancient and modern. Over the past decade the band have gone from one-off art experiments to wowing audiences at festivals such as Desertfest and Sonic Whip, playing gigs across Europe to touring with Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

Core. Presents: Bonnacons of Doom

Spafford Campbell are twenty-something mould-breakers, fiddle player Owen Spafford and guitarist Louis Campbell.&nbsp; The two first met as teenagers playing traditional music. The connection, they say, was immediate. The duo Spafford Campbell began playing live in 2018, prompting double takes with their delicacy, dynamism and seemingly telepathic exchanges, with the startling intimacy of musical conversations nurtured in improv-led writing sessions. Their latest album Tomorrow Held is a visionary body of eight largely instrumental tracks that hold space, resolve into mystery, that fold in elements of jazz, post-rock and chamber classical music while raiding the folk music toolbox. Call it what you want: post-folk. Trad-noir. Folk nihilism. Then know that Spafford Campbell are blazing a trail that erases genre — and finds gold in the embers. While redolent of Talk Talk’s moody, experimental 1988 opus Spirit of Eden, and riven with a Bon Iver-ish sense of transcendence, Tomorrow Held is a work of bold singularity. A whole greater than the sum of its parts — parts that include effects pedals, ambient cassette loops, flashes of electric guitar, electronic processing on fiddle and impressionistic accompaniment.

Spafford Campbell

Din Of Celestial Birds have quickly become one of the UK's most championed and hard working heavy progressive post-rock bands, known for their vibrant, visually engaging live performances. The Leeds based instrumental quintet have often been praised for their ability to bring a sense of storytelling and heart-on-your-sleeve emotions into their elegantly textured and energetic songs. This desire for connection has seen Din Of Celestial Birds and their fanbase flock to bigger and wider stages, nesting at the likes of ArcTanGent, Damnation, and StrangeForms festivals, and soaring across multiple headlining tours since the release of their debut album. Now, the quintet return with their brand new full length studio record Takeoffs &amp; Landings, a concept album all about adventure, travel, and the journey of life - literally and figuratively - encompassing all the stresses and triumphs.

Core. Presents: Din of Celestial Birds + Wilderness

Nice N Sleazy

“If there is one thing I know how to do, it’s how to get the most out of life. Yeah, sure, not everything is perfect. You fuck up. You make mistakes. But hopefully, you’re achieving more than you’re fucking up. Overall, I would say I do well, milking life for all it’s got.” — Mykki Blanco	 On Café Paradiso, Mykki Blanco is completely reborn, trading the persona-driven theatrics of his previous releases for something more interior and exacting. The record draws from the diverse, banal and yet idiosyncratic contexts of the artist’s life in transit: “...shitty Wall Street lunch counters and an endless stream of dive bars in the East Village” in New York; “...drinking beer and playing pool in Belleville; the drink that lasts forever at Les Chope des Artists and Chez Jeanette” in Paris; and “languishing for hours at the tea houses or Café Hafa” in Tangier. From these fragments, Café Paradiso assembles a soundtrack for the contemporary, queer flâneur, moving through spaces where being alone does not necessarily mean being lonely. “Café Paradiso is a record for artsy kids,” Blanco explains, “for my cosmopolitan aesthetes to sit alone in a café and work on crafting the life of their dreams, or just make sense of it!” When asked which earlier versions of himself appear here, Blanco is unequivocal: “None.”

Mykki Blanco

Brandon Flowers

FLY Warehouse: Josh Baker Halloween

Held. isn't so much a beginning as it is a culmination. Douglas Robinson and Sal Mignano (both of The Sleeping) and Josh Eppard (co-founding member of Coheed and Cambria) share passions for authentic expression and genuine creativity. The post-hardcore trio's debut album, Grey, arrives fully realized, not as the tentative first step of newcomers, but as the collective fire of seasoned lifers discovering a new language together. It's the sound of raw instinct coalescing with earned wisdom. Grey doesn't announce itself so much as it emerges, inevitable and undeniable, like thunder rolling across a dark horizon. It's a force that feels eternal. Held.'s music feels elemental, evoking storms crashing against jagged cliffs or burning embers kindling, ready to reignite at any moment. It's urgent and relentless, yet also spacious, textured, and deeply human. There's gravity in every note, the kind that comes from survival turned into strength. Their sound is born of paradox: fiercely old-school in its emphasis on live performance and feel, but modern in its production and scope. Each song sounds both timeless and timely. Held. is less a band than a force: fierce yet vulnerable, raw yet refined. They play as if the walls themselves are trembling, channeling a purity that feels rare in an age of algorithmic noise. Listening isn't consumption—it's recognition, like rediscovering something that's always been within you. Held. carve out a place that feels both unshakably grounded and dangerously alive. It's more than music—it's an invocation, a reminder of the raw pulse that connects struggle to transcendence. For those who find themselves in the storm, Held. offer not escape, but resonance: proof that inevitability can sound like liberation.

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