Search

Aúpa Lumbreiras!! hasn’t even cracked open a single beer yet and the damn thing is already sold out —gone, vanished, hoovered up like communion wafers at a starving saints’ convention. It’s only December, the festival isn’t until 13–15 August 2026 in Villena, and yet the entire punk nation has snapped up every last ticket like they were buying passage off a sinking ship. If Spain ever needed proof that the underground is not only alive but kicking holes in the floor, here it is: Lumbreiras returns, and the people have responded like rabid dogs finally hearing the dinner bell. And who can blame them? Look at that poster—it's not a lineup, it’s an act of war. Soziedad Alkohólika sitting at the top like a smoking cannon, El Drogas stalking the field like a bearded general of righteous chaos, Narco sharpening their riffs for industrial carnage, and The Toy Dolls grinning from the corner like neon anarchist gremlins. You’ve got Boikot , Talco , Los de Marras , Def Con Dos , Porretas , Sinkope , Envidia Kotxina , Kaos Etíliko , Gritando en Silencio , Me Fritos and the Gimme Cheetos —a whole battalion of bands engineered specifically to test the limits of Villena’s municipal structure. The fact that this comeback edition sold out instantly isn’t just fan enthusiasm—it’s a cultural reflex. Aúpa Lumbreiras! has always been the dirty beating heart of Iberian punk, ska-punk, hardcore, and street rock. It’s the place where the tattoos glow brighter, the boots stomp harder, and the bars run out of beer faster. When it vanished years ago, people mourned it like a lost lung. Now that it’s back? The tribes of Spain pounced like wolves on raw meat. You can practically hear it already:Three nights of sweat, dust, anti-establishment sermons, and choruses shouted by thousands of sunburnt misfits who wouldn’t trade the feeling for all the sanitized, influencer-friendly festivals in the world. Villena’s Polideportivo Municipal may not survive, but the crowd will. The message is clear: AÚPA LUMBREIRAS!! HAS RISEN. And the faithful have already locked in their place at the altar. If you didn’t get a ticket?Well, amigo… start bribing, begging, or building a catapult. Because this August, Villena is going to explode—and you’re going to want to be airborne when it happens.

Valencia, get ready to feel something—hard.On December 19 , Vera GRV rolls into Sala República with her “Se Me Pasó, Llamarte, Mamá” tour, a title that sounds like a late-night confession left on someone’s voicemail… and the music hits exactly the same way. Vera GRV has spent the last two years bulldozing her way out of the underground and into the spotlight with a sound that crackles between alt-pop heartbreak, urban melancholy, and that unmistakable Gen-Z emotional voltage—equal parts gloss and wound. She writes like someone who’s lived twice as many lives as her passport says, and she performs like she’s trying to burn the stage down just to keep warm. And Valencia is catching her at one of those rare, electric moments: the exact point where an artist stops being a secret and becomes a movement. The setlist is expected to swing between soft-focus bruisers and explosive, beat-heavy bangers—songs built for anyone who’s ever texted someone they swore they wouldn’t, or danced their way through a bad decision. “Se me pasó” and “Llamarte” have already turned into emotional grenades among her fanbase, and live they hit like a diary being read under strobe lights. But don’t let the vulnerability fool you—Vera knows how to command a room. Her shows feel like confession booths charged with neon, a blend of catharsis and chaos where you’re as likely to cry as you are to scream the lyrics in someone’s ear. Sala República is the perfect battlefield: big enough to feel like an event, close enough to feel personal. And if her recent performances are any sign, she’s bringing everything: the cinematic staging, the razor-edged band, the raw, cracked-open honesty that has become her trademark. Expect an audience that knows every line, every whisper, every wounded syllable—this is an artist people claim, not just listen to. In a month crowded with tours, reunions and end-of-year blowouts, Vera GRV stands out because she isn’t offering nostalgia—she’s offering now. Messy, brilliant, painfully current emotion wrapped in a sound that refuses to sit still. For tickets and more information: Sala Repvblicca

After two months of pure live-music combustion—amps buzzing, floors shaking, bars sweating— San Miguel On Air is barreling into its December endgame like a tour bus with no brakes and a cooler full of cold beers. Until December 21, Valencia becomes a sprawling, nocturnal treasure map of venues, sounds, surprises, and beautiful musical chaos. Diversity? Check. Intimacy? Double check. New bands ready to blow your eyebrows off? Absolutely. This whole thing isn’t just a “cycle”—it’s Cervezas San Miguel’s loud, unapologetic love letter to the city’s clubs, and to every restless beer-lover who prefers their music raw, real, and dangerously close to their face. This edition plants its flag across Valencia’s sacred nightlife constellation: Rock City, 16 Toneladas, Radio City, Electropura, Loco Club, The Hops, George Best Club, El Volander… all those stubborn rooms that refuse to die because live music still pumps their blood. December kicks off like a double punch to the jaw on the 3rd :At Rock City , The Baboon Show and Deaf Devils will likely shake loose a few ceiling tiles, while simultaneously, over at 16 Toneladas , Bob Wayne & Munly J Munly will deliver a different flavour of beautifully unhinged Americana grit. On December 5 , Perrícolas + Ramito Records detonate inside Radio City.On December 11 , Poesía Sintética turns George Best Club into a poetic pressure cooker.Then comes December 13 , when Estrella Fugaz melts Electropura into a dreamy dimension of reverb and stardust. One of the month’s crown jewels hits on December 17 , when Tuk Smith & The Restless Hearts storm Loco Club—an appointment for anyone who likes their rock ’n’ roll sweaty, loud, and wearing eyeliner. The final stretch feels like the last shots at a long, righteous bar session: Burguitos at The Hops on December 20,and the cycle’s final exhale on December 21 , at El Volander, with Farren El Guiri closing the book on this year’s San Miguel On Air odyssey. Tickets start at 5 euros , which in 2025 is basically the price of a strong coffee, making this entire adventure criminally accessible. The full schedule and updates? All on the festival’s website—not that anybody checks websites sober. With this final burst of shows, San Miguel On Air wraps up more than three months of injecting live music straight into the city’s bloodstream—boosting local venues, energizing Valencia’s cultural circuit, and giving curious minds and thirsty hearts a place to gather, sweat, shout, and discover something new. 3 Dec — Rock City: The Baboon Show + Deaf Devils 3 Dec — 16 Toneladas: Bob Wayne & Munly J Munly 5 Dec — Radio City: Perrícolas + Ramito Records 11 Dec — George Best Club: Poesía Sintética 13 Dec — Electropura: Estrella Fugaz 17 Dec — Loco Club: Tuk Smith & The Restless Hearts 20 Dec — The Hops: Burguitos 21 Dec — El Volander: Farren El Guiri San Miguel has spent 133 years messing with the rules of beer, pushing boundaries, chasing flavour like a religion. Their family of brews spans creative twists on the classics—Especial, Selecta, Yakima, Magna, Tap Station—and racks up international awards like bottle caps on a tour bus dashboard. They brew for the curious, the adventurous, the people who want more than “just a beer.” A century-plus titan of the Spanish beer universe: independent, family-rooted, and spread across 70 markets with 12 breweries, water springs, distribution networks, and a history that zigzags through Mahou, San Miguel, Alhambra, Solán de Cabras, and even the U.S. craft-beer insurgents Founders Brewing. They’re everywhere, they’re relentless, and they fuel nightlife like few others can. San Miguel On Air closes the year the only way it knows how: with guitars humming, cold beer flowing, and Valencia wide awake. Exactly as it should be. For tickets and more information: San Miguel

Valencia, 26 November 2025 — The circus has landed again. Locos por la Música is crashing back into Valencia for its second edition, and this time it’s not settling for the old confines of La Fonteta. No—like a band that suddenly realizes it’s too big for the garage, the festival is hauling itself into the Roig Arena , the city’s newest, loudest, biggest temple of noise. If it’s good enough for Valencia Basket’s reinvention, it’s good enough for a full-blown musical riot. Mark it down: Saturday, December 13, 2025 , from 17:00 onward—seven hours of pure sonic overdose, the kind that rattles your bones and rewires your nostalgia. The lineup reads like a fever dream of Spanish pop-rock royalty: bands and artists who etched their hooks into the national psyche long before algorithms decided what we listen to. To light the fuse, the festival threw a stunt this morning inside Valencia Airport —yes, the airport—where Aena and Binter helped stage an explosive showcase starring Seguridad Social , blasting riffs between boarding gates like a musical hijacking. They’ll be joined in December by the rest of the essential crew: Revolver, Los Rebeldes, La Guardia, Amistades Peligrosas, Girasoules, Rafa Sánchez … a cavalcade of icons ready to drag us through the anthems that shaped the 80s and 90s, back when the world felt reckless, sweaty, and gloriously alive. After storming other major cities with sold-out crowds and delirious fans, Locos por la Música has become the pilgrimage festival for anyone who still feels music in their spine—people who live off emotion, memory, and the eternal echo of the songs that won’t let go. The whole operation is engineered by Sena Productions , backed by Aena and Binter , and supported by Fundación Asindown , the social heart of the event, pushing for real inclusion for people with Down syndrome and intellectual disabilities. This isn’t just a festival.It ’s a reminder—loud, bright, and impossible to ignore—that music still has teeth, history still has rhythm,and Valencia is ready to howl again. For tickets and more information: Roig Arena

There are bands that tour.And then there are bands that return, stumbling out of the fog of their own mythology like half-remembered ghosts who suddenly kick your door down and ask for a drink. On December 13th, at Sala República, València is about to receive the second kind. Immaculate Fools, the cult romantics who smuggled heartbreak into the bloodstream of the ’80s and carved out their own corner of the pop-folk underworld, are rolling into town with the force of a band who’ve survived four decades of beauty, bruises, and the kind of stubborn magic that refuses to die. Forty years—forty!—of bending melancholy into an art form, and somehow the fire still looks fresh in their eyes. Sala República, with its concrete bones, industrial glow, and habit of turning nostalgia into something feral, is the perfect arena. When the Fools hit that stage, expect the old songs—yes, the ones you whispered into the night back when life felt like a storm you could surf forever. Expect new blood too, rearranged shadows, melodies that now carry the weight of decades lived, lost, and clawed back. The band’s sound still moves like a knife dipped in honey: sharply emotional, deceptively warm, sweet until it suddenly isn’t. There’s a defiant pulse beneath it all, the feeling that these musicians have earned every note they play the hard way, by living long enough to understand what their younger selves were only guessing at. Forty years after they first stepped into the light, Immaculate Fools aren’t just celebrating a milestone. They’re proving the strange alchemy of music:that some things don’t age—they deepen,they widen,they hit harder. And in València, the impact is going to be felt.See you at República—bring your heart, your past, and maybe a tissue or two. For tickets and more information: Sala Repvblicca

If you wander past 16 Toneladas on December 4th and feel the pavement humming under your shoes, don’t panic. That’s not an earthquake—it's the gravitational pull of Drink the Sea, the traveling supernova made of musicians who have already shaped half your record collection without asking for permission. This is a group stitched together from the DNA of alternative rock’s most persistent troublemakers. Peter Buck, the unfazeable architect who helped steer R.E.M. into global consciousness; Barrett Martin, drummer-shaman of Screaming Trees and Mad Season, a man who plays like every strike is a message to some ancient god. Alain Johannes, the spectral wizard behind Eleven and Queens of the Stone Age’s most shadowy corners. Duke Garwood, the Mark Lanegan Band’s desert-soul gunslinger. Plus percussionist Lisette Garcia and bassist Abbey Blackwell, the rhythmic conspirators making sure the whole thing doesn’t levitate off the stage midway through a song. Together they’re dragging their Drink the Sea Tour 2025 into València like a drifting meteor—ready to unload songs from their two debut albums, a handful of resurrected ghosts from their legendary past bands, and a hypnotic set of films by PBS filmmaker Tad Fettig, stitched into the night like strange moving prayers. It’s not just a concert. It’s a séance. A travelogue. A ritual disguised as a gig. 16 Toneladas, that dark and stubborn temple of R&B and rock ’n’ roll, is the perfect bunker for an event like this. Low ceilings, loud everything, sweat that drips from the walls even when nobody’s playing—exactly the kind of environment where a band like Drink the Sea can pull the floor out from under a crowd and watch everyone fall together. Expect strings that sound like sirens from another planet. Drums that feel like a warning. Songs that wander, burn, bloom, and collapse like collapsing stars. And expect a room full of people who, for one night, will swear they saw something holy. On Thursday, December 4, València won’t just hear Drink the Sea, It’ll drown beautifully in it. Be there. Or stay home and wonder why your friends came back glowing. For tickets and more information: 16 Toneladas

Forget quiet mornings and airport monotony—this Wednesday, November 26 at 10:00 a.m., Valencia Airport is about to blow its own roof off. Locos por la Música, Sena Productions, Roig Arena, Asindown, Aena and Binter are dragging the circus straight to the terminal with an exclusive, crack-of-dawn showcase headlined by the eternal street-fighting legends Seguridad Social . Yeah, you read that right: guitars, sweat and rock ’n’ roll swagger echoing through the same halls where people usually argue about baggage allowances. It’s not just a gig—it’s the official ignition switch for Locos por la Música Valencia , the festival that’ll detonate on December 13 at Roig Arena, summoning a battalion of Spanish pop-rock royalty. We’re talking Revolver, Los Rebeldes, La Guardia, Amistades Peligrosas, Girasoules , and of course, Seguridad Social themselves—artists who’ve carved their riffs into the national DNA. And for those hungry for more than decibels? Once the airport showcase melts into smoke, Seguridad Social will be sticking around for in-person interviews—if you ask nicely and before the adrenaline wears off. Buckle up. Valencia Airport has never seen turbulence like this.

Guy Chadwick has always felt like one of British indie’s great beautiful ghosts — a songwriter who walked into the late-’80s landscape with a tremor in his voice, a hurricane in his heart and a knack for choruses that could level entire postcodes. As the architect of The House of Love, Chadwick carved out a universe where romance was both radiant and ruinous, where guitars shimmered like broken stained glass and every lyric sounded like it had been dragged, smoking, from the wreckage of last night’s revelation. He was the calm centre of the storm: a quiet, bookish frontman with the soul of a confessional poet and the instincts of a firestarter. While everyone else in the scene was chasing the next big noise, Chadwick was busy writing songs that would outlast the whole damn circus. A cult icon with the receipts to prove it, he remains one of the most quietly influential figures of the era — part dreamer, part disruptor, and entirely unforgettable. Welcome to 16 Toneladas, Valencia - it’s been a year since I last saw you over at Visorfest in Murcia. You are currently one quarter of the way through your 12 dates tour – which started in France, is taking you through Spain and finishing in Paris. How is the tour going so far? It’s going great, we've done three dates in France already – Marseille last night in fact, and it’s going really well! We came back to Spain last year for the first time in decades and we didn’t know what to expect, but we still got a really good audience and reception.   Then it’s straight back to the UK and you are off on tour with the Primitives. Yes – looking forward to it!   Last September you re-released three albums from the Fontana Era and you released them on vinyl. Why is vinyl still important for you? It’s not important to me personally, but I do really like the format, and it displays your artwork. I still play records myself, so I do like the format. But more importantly people want vinyl alongside the digital options. And it sells, not in huge quantities like the old days, but good enough to make it worthwhile to release. I have a solo album, that I released 25 years ago and that’s coming out on vinyl in October. In fact, it was never released on vinyl, so this is the first time.   Any new House Of Love releases coming next year? Yeah, I am working on new material and hope to be releasing a record next year, it’s the early stages, all the songs are written – so I just need to record it.   Do you find when you write, you have to be in a certain place or state of mind? Or do you just write as the inspiration comes to you? I do need to be super focused and it’s not easy as I’m not a full-time musician anymore, so to tap back into that mentality, I need to prepare myself. It’s been 38 years since you started the band, which my mind cannot compute as for me the 90’s was 5 years ago! If you could go back to 1986, with all the knowledge you have now - what advice would you give to yourself? Ummm….. I wouldn’t, because whatever happens, happens. Good things happen; bad things happen. I personally cannot complain, -I have no major regrets. So, I feel quite lucky to be honest. I still have an audience; I can still play. I could have done better maybe, but I’m fine and no regrets! I’ve got a good band; they are very enthusiastic and take it seriously and we still sound good. If we didn’t, I wouldn’t be doing it!   When you are not touring, or in the studio – how do you kick back and relax? Well, I started a business which is completely outside of music about 20 years ago – it’s a joinery / window company and it was something I need to do at the time. I was happy with the way music was going, and I needed to do something completely different. It was very successful, so even though I do very little physically regarding the business, I am still involved and that is a very important part of my life, and it is quite time consuming. In think I want to keep it going for as long as I can, it’s not difficult but it is very satisfying. So, I have the two things which I enjoy. I am at a point in my life where there is going to be change coming up. For example, I live in a big house, so I want to downsize a bit and regroup and just make life easier for ourselves. We quite fancy just getting a camper van and just driving around Italy and enjoy ourselves!   Out of all of your live performances over the last 38 years, has there been one that stays in your memory for whatever reason. We did one at a festival in 1988 in Paris, we played at the festival with James and Julian Cope.  For me that’s probably the one that stands out.   Is it true that you once played three gigs in one night? Yeah! We did it twice actually! I wouldn’t recommend it; it was just a nightmare! We did it first in London and it was OK then we did it in Paris and I just didn’t like it at all. I found it really hard work!  For the London one we played ULU, The Town & Country and then the Boston Arms – it was ridiculous and probably a bad idea!     And finally a message for the fans out there? Thank you for continuing to come and see us perform and we still try our best for you!   Guy, thank you and see you onstage later tonight!    For more information: The House Of Love

Juan y La Hormiga’s debut full-length album, València, feels like a soft exhale — tender, introspective, and full of the small, intimate moments that make a place feel like “home.” Formed by María “Muchas Hormigas” (voice, melodica) and Juan Pablo Mazzola (voice, guitar), the duo channels their Argentinian roots and their life together in Valencia into a warm alt-country tapestry. Musically, València is firmly in the alt-country tradition. The duo draws clear inspiration from 1990s Americana — bands like The Jayhawks, Golden Smog, and Soul Asylum are evoked in the gentle guitar picking, the laid-back melodies, and an overall sense of wistful longing. What makes the sound special, though, is how they meld it with domestic intimacy: the production is clean but never sterile, with rich arrangements and tasteful string work (courtesy of Nick Schinder) that elevate the songs without overwhelming their quiet power. If the sound is a cozy morning on a Valencian balcony, the lyrics are the conversation over coffee. Much of the album feels autobiographical: reflections on their life as a couple, the joys and tensions of everyday living, and a deep affection for the city they now call home. In a way, València is a love letter — to each other, and to a place that has shaped them. The lead single, “After the War”, is a standout: it pairs poignant imagery (the two of them sitting on a bench in Foios) with a melody that swells just enough to carry emotional weight, but remains intimate. Recorded and mixed in Valencia (Benimaclet, to be precise) by Paul Candau, the production feels lovingly crafted. The rhythm section is subtle but grounded (Antonio José Iglesias on drums), and the string arrangements add emotional depth without veering into melodrama. Vocally, both María and Juan Pablo shine: her voice is airy yet grounded, his is warm and earnest, and together they strike a balance that feels conversational, not performative. València is not a record that demands to be loud. Rather, it invites you in, asks you to sit quietly, and share a piece of the artists’ life. It’s a mature, thoughtful debut — one that showcases Juan y La Hormiga’s ability to write songs that are deeply personal and yet resonate with a wider sense of place and belonging. For fans of alt-country, intimate duos, or music that feels like a conversation over coffee, València is a refreshing and heartfelt journey. Purchase your copy here: Exile

Tavernes de la Valldigna isn’t just throwing a New Year’s Eve party — it’s detonating one. From December 29 to 31 , Festivern rolls back into town like a turbo-charged Valencian meteor, armed with brass, beats, attitude, and enough collective energy to light up the entire comarca. This isn’t a festival — it’s a ritual. A last stand. The final, glorious blowout before the calendar taps out. And the lineup? Absolutamente salvaje. La Fúmiga return as the patron saints of festive chaos, bringing brass-powered blasts, street-party soul, and that unmistakable “let’s-link-arms-and-jump-until-we-forget-our-names” energy. Right behind them come Fisa FLAWAS, squeezing swagger and accordion fire into a single explosive package. Valencian icons Auxili pull the reggae-ska sun straight into the dead of winter, while The Tyets drop their hyperactive Catalan pop-trap vitamin shot — the kind that makes the whole crowd bounce like it’s a trampoline made of teenagers and fireworks. From the punk trenches, Boikot storm Tavernes with decades of militant attitude, joined by Malifeta , Biznaga , Primavera Valenciana , and Mala Sestión , ready to tear up the last days of the year with adrenaline, distortion, and sweaty communal catharsis. Meanwhile BUNOS keep the alternative flame burning with floor-rattling riffs and that “we’re-here-to-mess-things-up” confidence only rising acts can channel. Then there’s Doctor Prats , the festival’s designated prescription for euphoric chaos. Pep de la Tona and Pep Gimeno “Botifarra” bring the pure, beating heart of Valencian tradition — one voice, one culture, one massive intergenerational hangout under the winter sky. Ska legend Juantxo Skalari & La Rude Band crash the party with street-corner rebellion and stomping 2-tone power, while Sinestà , Jimena Amarillo , Abril , and Reina Mora add the melodic soul, indie sparkle, and lyrical punch that round out Festivern’s eclectic energy. And when the live bands finally burn through their last notes? The night doesn’t end — it mutates. DJ Plan B , DJ Trapella , and the feral Las Hienas DJ Set take over, grinding the crowd into the early hours with basslines so heavy they might actually crack the valley open. Three days. Dozens of bands. Thousands of bodies moving in the cold winter air. Festivern isn’t about closing a year — it’s about blowing it up, dancing on the ruins, and walking into January covered in glitter, sweat, and the smell of gunpowder from the final midnight explosion. If you want pretty fireworks, go to the city.If you want the real New Year’s Eve — loud, muddy, communal, and alive — you go to Tavernes. For tickets are more information: CodeTickets

The Region of Murcia has long since stopped being a “promising newcomer” on Spain’s cultural map. At this point, it isone of the country’s beating creative hearts—and WARM UP Estrella de Levante is a big reason why. After an edition that broke attendance records, pumped millions into the local economy, and reaffirmed Murcia as a powerhouse for live music, the festival is gearing up for another seismic return to La Fica on May 1st and 2nd, 2026. Today, WARM UP kicks things into motion with its first lineup announcement—along with the news that passes are officially back on sale. And this first wave is anything but timid. Think global icons, national heavyweights, and the kind of fresh, boundary-pushing talent that keeps the scene evolving. On deck: Fatboy Slim, Guitarricadelafuente, Carlos Ares, León Benavente, Sanguijuelas del Guadiana, Veintiuno, Las Petunias, Riria, Viva Belgrado, Fukcnormal and Ruptura. Fatboy Slim leads the charge, a giant whose name alone electrifies any festival bill. The big-beat pioneer continues to be a force of nature in 2025, a DJ whose shows feel less like sets and more like spiritual awakenings powered by funky breakbeats, house, acid textures, and pure rave ecstasy. His ability to blur the line between rock swagger and electronic chaos has made him a multigenerational phenomenon—and a guaranteed highlight for #WARMUP2026. Sharing the upper ranks is Guitarricadelafuente, one of the most magnetic voices of his generation. He arrives in a moment of artistic transformation following Spanish Leather, an album that dives deep into Iberian and Latin American folk roots while reimagining tradition through a modern, emotional lens. It’s the sound of an artist levelling up—and Murcia gets him right in the glow of that evolution. The lineup continues with Carlos Ares, a multitalented musician whose introspective new release, La Boca del Lobo, cements him as one of the most distinctive young voices in the national scene. With more than a decade of craft behind him, Ares stands out for his versatility and idiosyncratic creative identity. Also joining the bill: indie-rock titans León Benavente, a band that has been delivering razor-sharp social commentary and explosive live energy since 2012. Their unwavering intensity and genre-blending approach have made them an essential reference point in Spain’s alternative landscape. From the opposite end of the spectrum—but with an equally loyal cult following—come Sanguijuelas del Guadiana, whose raw, distorted folk and visceral aesthetic have turned them into one of the most talked-about revelations of the moment. Their sound, rooted deeply in rural authenticity, feels both ancient and radically new. Rounding out the pop and indie universe are Veintiuno, arriving in full creative bloom, and Las Petunias, a Madrid trio injecting riot-grrrl spirit and jangly electricity into the city’s new indie vanguard. The festival’s electronic pulse expands with Riria, the young artist blending bedroom pop and intimate electronica with an aesthetic that’s already caught international attention—her 2024 Boiler Room Tokyo session racked up over a million views and catapulted her onto everyone’s “next big thing” list. Meanwhile, Córdoba’s Viva Belgrado bring emotional post-hardcore at its purest intensity. With Cancionero de los Cielos, a record that introduces keys, melody, and even a ranchera into their previously progressive formula, the band promises one of the most cathartic performances of the entire festival. On the more experimental end, WARM UP rolls out the rising techno-glitch alchemy of Fukcnormal and the raw, noise-driven punk energy of Ruptura—two names representing the festival’s continuing commitment to underground culture and sonic risk-taking. With this first announcement, WARM UP Estrella de Levante signals another edition packed with surprises, new spaces, and bold artistic proposals. As always, the festival’s impact will ripple far beyond the stages—boosting local hospitality, tourism, and Murcia’s ever-expanding creative ecosystem. Festival passes for May 1st and 2nd are now available from €65.99 (limited quantity) at warmupfestival.es .

If rock ’n’ roll really did die sometime in the mid-70s, then The Smoggers are the grave-robbers who dug it up again, slapped on a fresh coat of necromantic fuzz, and sent the corpse staggering back into the night with a Vox amp strapped to its spine. Their new LP, Fuzz from the Crypt, doesn’t just sound like it crawled out of a coffin—it brings the damn coffin with it, dragging it across the garage floor like a trophy. Drop the needle and the first thing you hear is the unmistakable hum of something not entirely alive: a warm, moldy surge of tube-driven fuzz that feels like you’re being welcomed into a haunted house run by delinquent zombie greasers. The guitars don’t play riffs so much as they vomit shimmering, radioactive grime, while the organ slithers around like a possessed carnival machine that’s long since stopped caring about entertaining children. The vocals? Imagine a chain-smoking phantom who spent its afterlife screaming at teenagers to get off its lawn. Beautiful. Downright therapeutic.Every song feels like a fever dream you had after mixing expired beer with too many episodes of Night of the Living Dead. The Smoggers operate in that holy, unhinged territory where garage-punk becomes religion—a grubby church of distortion, echo chambers, and reverb that sounds like it was recorded in a mausoleum with questionable electricity. And the best part? It works. It shouldn’t, but it does, gloriously, like a Frankenstein monster stitched together from Nuggets-era vinyl and the collective hangover of the last 60 years of underground rock. The album title isn’t metaphorical. You hear the crypt.Dust in the amp sockets.Coffin lids slamming.Bats arguing in the rafters.Every track feels like a séance conducted by people having the time of their lives. Highlights? Impossible to choose. The whole record is one long, delirious séance, a fuzz-smeared joyride through the underworld with The Smoggers grinning like maniacs at the wheel. It’s wild, unpolished, chaotic—in other words, exactlyhow garage-punk is supposed to sound before the world sanitizes everything into algorithm-friendly plastic. If you want your music clean, safe, and certified organic, run. Flee. Hide in a monastery.But if you want the real stuff—the grimy, undying, crypt-fresh spirit of rock ’n’ roll—then open the door, let the undead in, and turn the volume up until the neighbors call a priest. Fuzz from the Crypt isn’t an album.It ’s an exhumation.A resurrection ritual.A fuzz-drenched, skeleton-rattling love letter to the beautiful mess of rock ’n’ roll. And The Smoggers?They’re not just alive.They’re undead and unbeatable. For more information: The Smoggers