Description: Exuberance/Ebullience, banter, possibly an interview, context and connection, the familiar, the strange.
Find: Symphonies of Treble, Words Of Expectation, stab, skronk, shimmer, sheen, The New Sound of Now, Ideas for Walls, pleasure, pith, Flutter and Wow, Motorik, cowbells, disco akimbo, at least one Cantankerous Singer, The German Language, shards of glass, Ethiopian Punk, organic, synthetic, sawtooths & squarewaves, Library Riffage, yesterday's recipes, the wrong speed, intentional static, floating, ethereal, time and timelessness.
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(* = new)
Artist
Track
Album
Label
Year
Comments
New
Approx. start time
Music behind DJ:
Ocean Therapy
Rosy Sea
Along The Coast
Ambia
2024
0:00:00 (MP3 | Pop-up)
No Peeling
Stationery
EP2
Feel It Records
2026
This track released April 7, 2026. ---- "Formed in 2025 as a studio project by five friends in the fertile Nottingham DIY underground, No Peeling have rapidly expanded way beyond their initial brief. September 2025’s self-titled EP was the perfect introduction to the No Peeling universe. Bandcamp Daily picked it as an Essential Release, calling it “a clanging collection of get-in-get-out egg punk that doesn’t ask for more than 10 minutes of your time and overdelivers on every front”. It managed to cram a lifetime of idea-nuggets into seven songs that rarely exceeded the minute mark. A blast of enthusiasm and hyperactivity, the EP was the audio equivalent of a barrage firework: exhilarating and energising (although slightly confusing unless experienced from a distance). ...................... Whilst the first EP was completed before the band had played live; EP2 hits a little differently. Written in preparation for their first UK tour and recorded just after, No Peeling’s new-found live energy pushes the results to somewhere new again. EP2 has the garage punk clatter and sparkly efficiency of their debut but is somehow faster and weirder. The guitar and synth seem to be engaged in a constant (playful) fight, tumbling further and further away from the song structure being held together (and propelled) by one of the tightest rhythm sections around. The scrawl and skronk might occasionally recall No Wave but those grooves are locked down. ........................ This all provides the perfect foundation for the wry, dry observations of Sophie Diver. From pasta post and fluff-clad delinquents to clingfilm catastrophes and poor working conditions, all modern life’s bases (good and bad) are covered and emerge miraculously from a magic-eye explosion of clangs, thwacks and bloops. And just when everything finally comes into focus it’s over and done with. Flip it back to side A, play it again." https://nopeeling.bandcamp.com/
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0:02:17 (MP3 | Pop-up)
Station Model Violence
Falling Down
Station Model Violence
Anti Fade Records / Static Shock Records
2026
Station Model Violence are from Sydney, Australia. Released Feb 27, 2026. ................... "Station Model Violence had a demo out in 2024 and at the start of 2025 the recording of what became their first album took place – in both Naarm and Eora. DX of Total Control had moved to Eora/Sydney after the lockdowns and started a group with members of Den, Diät and G2G. This group evolved into Station Model Violence as Buz joined and contributed some songs that were destined for R.M.F.C.. Together with their first material, it melded into a unique sound and the group solidified around DX, Buz, Micky and Michael from Denm and Kuceli from Gaud. Anti Fade picked them up of course and in February a selftitled 10-track LP [came] out..." https://stationmodelviolence.bandcamp.com/
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0:04:06 (MP3 | Pop-up)
Sunday Mourners
Unwitting Boy
A-Rhythm Absolute
Curation Records
2026
Released January 16, 2026. Sunday Mourners are from Los Angeles, California. "Sunday Mourners are here and it is ok. It is ok to feel good about indie music again. ‘A-Rhythm Absolute‘ is a perfect fresh analogue debut album from twenty-four year old four piece from all over the battered USA, who now reside under Curation Records' proud wing in LA. .................... Pungent, characterful stories delivered by vocalist Quinn lead the show set to a tune-laden punchy pallet from a classic rock set up oozing effortless angular groove. Echoes of Television or Wire only gives you a clue to Sunday Mourners hooky sound as the album matches the art-rock with its strong playful melodies. .................. “Recorded at Jazzcats Studio in Long Beach California, owned and operated by their dear friend Jonny Bell who engineered, mixed & mastered the record on a 2 inch tape machine which contained “Lot of fender single coils and dry DI sounds, a few pianos, standup basses and moogs, a vintage slingerland kit. Lotta old dry wood, which we hope comes across.” Explained bassist Casy. .................. “Quinn Robinson (Vocals/Guitar) is from Stamford, CT, Z Long (Drums) is from Denver, CO, & Max Pugh (Guitar) & Casey Hoerman (Bass) are from St. Louis Missouri. Although Max and Casey were friends from childhood, we all met on the first week of college on Z and Casey’s (shared) birthday. We became close friends, and began playing together in a shared house during the 2020 quarantine.” Quinn ................... Let’s all get excited about music again with this young band whose diverse backgrounds have shaped a sound that is uniquely their own—a blend of minimalism, melody, and raw, primal energy. Sunday Mourners debut fuses Art-Punk restraint with a love for the noisy and the unconventional." https://sundaymourners.bandcamp.com/
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0:07:39 (MP3 | Pop-up)
Silver Apples
Whirly-Bird
Silver Apples
Kapp Records
1967
"Silver Apples were an American electronic rock group from New York, active between 1967 and 1970, before reforming in the mid-1990s. It was composed of Simeon (born Simeon Oliver Coxe III), who performed on a primitive synthesizer of his own devising; and, until his death in 2005, drummer Danny Taylor. The duo were among the first to employ electronic music techniques outside of academia, applying them to 1960s rock and pop styles. Their work would influence many subsequent artists, presaging acts such as Suicide, Spacemen 3, Stereolab, and Geoff Barrow. .................. As part of New York's underground music scene, the band released two albums—Silver Apples (1968) and Contact (1969)—to poor sales. They began recording a third album before a lawsuit by Pan Am, owing to the use of their logo in the artwork of Contact, forced the end of the group and its label Kapp in 1970. In the 1990s, German bootleg recordings of the band's albums raised their profile, and Simeon reformed the group with other musicians and released new music. In 1998, he reconnected with Taylor, and the two completed their original third LP The Garden (1998). After Taylor's death, Simeon continued releasing Silver Apples projects using samples of Taylor's drumming."
0:10:12 (MP3 | Pop-up)
Damaged Bug
SIKE WITCH
ZUZAX
DEATHGOD CORP
2026
Sounds a bit like a homage to Silver Apples? Plus we watched a horror movie about a witch, so there's that. "Last year, John Dwyer was busy unleashing the latest OSEES album Abomination Revealed At Last, as well as launching the new band Chime Oblivion with Bow Wow Wow's David Barbarossa. But now he's announcing ZUZAX, his first Damaged Bug album since 2020's Bug On Yonkers. .................. "40 or so Damaged Bug tunes from the past seven years were orphaned / unfinished, which is pretty rare for me," the prolific rocker explains, continuing: "I just kept having other things going on & life kept getting in the way. And frankly, the songs were all over the place so I didn’t see a thread in there, but in light of current events in the world, I feel like it’s every artist’s calling to construct personal messages cloaked in moments of escapism. That’s what this record is for me was something to clear the decks a little bit in my studio and relax my mind and keep the wolf from the door. It’s a bit of a joyous/sad record dealing with hope and forgiveness two things which I hope end up more in my life. It’s abstract and poppy, fried and sugary. It's exactly how I feel at the moment fried and skewed. Good luck out there and I hope this turns off the torrent for you, for a moment."
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0:13:07 (MP3 | Pop-up)
La Sécurité
Snack City
Bingo!
Bella Union
2026
"La Sécurité (Montréal/Tiohtià:ke) is a collective whose art punk is equal parts: jumpy beats, off-kilter arrangements and minimalistic melodic hooks; run through an insomniac filter, the result of excessive exposure to the city’s neon lights. The music is all about living dangerously, perfectly agreeable to being blasted onto dancefloors; while the lyrics share the ethos of the Riot Grrrl movement, and celebrate the autonomization of women, friends (mean and nice) as well as benevolence. Following the release of Polaris Music Prize 2024 long-listed debut Stay Safe! (June 16th, 2023)—as well as its joyous offspring Stay Safe! REMIXED (March 8th, 2024)—with Mothland, the five-piece offered singles “Detour” (October 22nd, 2024) and “Ketchup” (January 28th, 2025), setting the stage for a new influx of D.I.Y. sonic gems, this time also teaming up with Simon Raymonde’s seminal British imprint: Bella Union. Hence, the motley bunch continues to meander the fringes of punk, new wave and krautrock, mischievously flouting stylistic form every chance they get by way of sophomore long-player Bingo!, scheduled for release on June 12th, 2026 via Bella Union (World) and Mothland (Canada/United States). ............... On any given day, you can find La Sécurité sporting thrift-shopped goodies while smashing through their set in a fabled underground venue, on the rooftop of a tanning salon for a niche festival, or live on Riley & Coe (BBC 6). And for a true vintage musical onslaught, look no further than that VHS tape they did for Audiotree Live. Through and through, the Québec outfit indulge in a symbiotic hurrah of disheveled music, cloaked poetry and improv dancing, with movement as a main creative fuel. Since coming together in the Spring of 2022, they have been invited to perform noteworthy events such as SXSW (amongst NPR’s Best of SXSW 2025), End of the Road, The Great Escape, Reeperbahn, and Festival International de Jazz de Montréal, also touring alongside The Go! Team (US 2024) and The Rapture (UK/EU 2025), and sharing the stage with the likes of Automatic, Mauskovic Dance Band, and Death Valley Girls. “The bilingual post-punk jams the quintet dishes out are insanely catchy, with vocalist Éliane Viens’ carefree dance moves and multiple trips into the crowd making for a captivating frontperson.” (Consequence) .................... Stay Safe!, the introductory studio album from La Sécurité, is manic yet surprisingly laid-back, painting unique sonic graffitis evoking a polymorphic reality. Bill Pearis from BrooklynVegan describes the long-player as “arty, danceable new-wave post-punk, [...] equal parts hooks and attitude with an enticing batch of party-friendly jams shouted in sneering Franglais”. Under the Radar’s Dom Gourlay quips: “La Sécurité take the best bits of post-punk—and by best bits, we mean Talking Heads, Devo, Kleenex and the B-52s—and turn it into something altogether new and exciting for the 21st Century.” For their first full-length, the collective turned to producer Samuel Gemme at Gamma Recording Studio, printing songs that are empowering, flush with urgency, but also denote a dash of melancholia. The album reached #2 on !Earshot, #33 on NACC, while being championed by BBC’s Iggy Pop and Marc Riley, the latter exclaiming: “Good lord that is excellent!” The following year, the flamboyant bunch offered Stay Safe! REMIXED (March 8th, 2024 via Mothland), a collection including remixes from Born at Midnite, The Mauskovic Dance Band, and Freak Heat Waves, giving listeners yet another fix of that “addictively saccharine angular pop” (The Line of Best Fit). ...................... La Sécurité’s followup Bingo! was produced by Félix Bélisle and Emmanuel Éthier (Corridor, Chocolat, Population II, etc.), and features idiosyncratic proto-pop anomalies that should please fans of Le Tigre, Snõõper, or The B-52s."
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0:15:56 (MP3 | Pop-up)
A Place To Bury Strangers
Dead Inside
Rare And Deadly
DedStrange
2026
A Place To Bury Strangers are from Brooklyn, New York. "Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, these tracks pulse with the unruly energy that has always defined APTBS, but here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.
What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.
Across these recordings, you can hear the evolution of Ackermann’s restless mind: riffs mutated by malfunctioning pedals; songs born from gear pushed past its limits; delicate melodies overwhelmed by walls of feedback until only their ghosts remain. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends—ideas too volatile, too strange, or too personal to ever fit the frame of a proper release. But together they form a secret history of the band, a parallel world of possibilities that existed just outside the spotlight.
Rare and Deadly is less a compilation and more a documentary—an aural snapshot of how sound takes shape before it hardens into something finished. You hear the room, the accidents, the restless experimentation, the immediacy of a moment being captured before it disappears. It’s a reminder that A Place To Bury Strangers has always thrived in this in-between space: the tension between control and collapse, melody and noise, beauty and distortion." https://aplacetoburystrangers.bandcamp.com/
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0:18:51 (MP3 | Pop-up)
Sleaford Mods & The Prodigy feat. Aldous Harding
Elitest G.O.A.T. (The Prodigy Acid Thunder Mix)
Rough Trade Records Ltd.
2026
"A highlight from Sleaford Mods' acclaimed The Demise Of Planet X album, Elitest G.O.A.T. had already brought together the duo's minimalist electronics and Aldous Harding's light-as-a-cloud guest vocals, but why not throw another visionary artist into the mix? Bolstered with vicious beats and squelchy synths, The Prodigy have upped the elite levels with their Acid Thunder Mix, seamlessly fusing their pioneering spirit with Sleaford Mods' innovative energy. The G.O.A.T. just got greater. ................. The Prodigy's Liam Howlett: 'ME AND JASON COLLABORATED ON OUR TUNE ‘IBIZA’ A FEW YEARS BACK , SO IT WAS GOOD TO GET INVOLVED WITH THE LADS AGAIN ON THIS REMIX.
..................... I WANTED TO HEAR JASON'S SNARLIN' VOCAL ON SOME DIRTY ACID 303 , SO THAT’S WHAT I COOKED UP FOR MY VERSION , ALONG WITH ALDOUS HARDING’S GREAT VOCAL IT COMES AT A DIFFERENT ANGLE TO THEIR ORIGINAL TUNE …. ACID THUNDER BABY !! L H x' .............. released April 8, 2026"
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0:21:52 (MP3 | Pop-up)
Opus Kink
Come Over, Do Me Wrong
The Sweet Goodbye
So Recordings
2026
Opus Kink formed in Brighton in 2017. This track released March 30, 2026. ---- From Far Out: "Opus Kink announce their debut album with ‘Come Over, Do Me Wrong’ Lucy Harbron ........ The introduction to Opus Kink’s debut track, ‘Come Over, Do Me Wrong’, is one of those listen-once, remember-forever type sounds. ........... I’m willing to admit when I’m maybe wrong. Earlier this year, I went to an Opus Kink gig for the first time and left feeling weird. The band themselves were great, and remained great through tech issues, but something felt off in the connection between them and their own cultish crowd. .............. My takeaway was, ‘Do they like their fans? And do their fans even like this?’ I looked in from the outside, wondering how this obsession has grown. .............. But that’s how cult status works. Every cult band looks confusing from the outside; they all seem mysterious. ................. It’s only when you’re in the door that they weasel their way in, and the opening to ‘Come Over, Do Me Wrong’ is the earworm to do just that, as Jack Banjo Courtney’s trumpet that kicks the whole thing off is like a snake charmer calling to their masses. ................ And I’m moving with them. In the months since that gig, their tunes have kept calling to me as it all makes sense now. In the interplay between Angus Rogers’ powerful vocals and his poetry, and then in the delicate yet boisterous layering of guitars, bass, trumpets, sax and more, Opus Kink become a bold and interesting thing unlike any other act. It’s easy to tell that plenty of units are inspired by them, but since their formation in 2019, no one has quite overtaken the originals. ................ It’s surprising, then, that it has taken the band this long to announce their debut album. However, as we see time and time again in the new music world, patience is a power and a band taking their time rather than rushing towards a full LP more often than not breeds the best result. ................. Now ready to launch, they’ve announced The Sweet Goodbye with the infectious and seductive ‘Come Over, Do Me Wrong’ as the launching single. Working alongside producer Craig Silvey, who has worked with an eclectic mix of rock and pop royalty like Florence and the Machine and Sam Fender, as well as alt-leaders like Baxter Dury, he appears as a perfect figure to polish their sound up for this big next step. ............... Set for release in July, only time will tell if their debut will blow the cult wide open. But just from this first single’s intro alone, that trumpet could be a rallying cry."
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0:26:21 (MP3 | Pop-up)
Music behind DJ:
Charif Megarbane, Ali
Bandar Batavia
Habibi Funk 034: Tirakat
Habibi Funk Records
2026
Released March 20, 2026 ........ "Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi-instrumentalist Charif Megarbane in a collaboration shaped by long-standing cultural exchange between Indonesia and the Arab world. Ali’s blend of 1970s Indonesian psychedelic funk, Melayu traditions, disco grooves and Arab melodic forms meets Charif’s long-running exploration of cross-regional sound, rooted in a shared musical vocabulary rather than genre. ................ Rather than approaching the project as fusion, Tirakat reflects a way of making music that feels already interconnected. Melodies, grooves and textures move fluidly without signalling their sources, grounded in a performance-led process shaped by intuition, repetition and trust. Western instruments are played through techniques and sensibilities formed in Indonesia and Lebanon, emphasising circulation of influence. .............. The title Tirakat refers to a Javanese practice of discipline, patience and devotion, derived from the Arabic tariqa (“path” or “method”). This layered meaning mirrors the album’s focus on process and continuity. The result is a record that feels both contemporary and timeless, where Indonesian and Arab sounds intersect naturally through groove, texture and melody." https://habibifunkrecords.bandcamp.com/album/habibi-funk-034-tirakat
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0:30:51 (MP3 | Pop-up)
CCTV
No Barons
Watch
CCTV
2025
There's a lot of confusion and claim to the name of this band. This is not the singer songwriter from Australia, nor is it the band from Indiana. This is Auckland's CCTV. They make "fast music for little guys" They care about politics and especially homelessness. "We have a kind of unique environment here. A lot of countries have either a land value tax or a capital gains tax, and we have neither. There are taxes for buying and selling houses, but they're relatively small. So like, purely from an economic perspective, investing in housing here is like the best deal around, right? Like it's such a good deal that you would be kind of stupid to invest in anything else, right? Which is real bad, because speculating on housing and investing in housing doesn't seem to be a very good way of actually getting people to live in it, right?
Prices just go up and up and up. It's something you would hope that our left wing parties would be moving to address, but our major center-left party, like all of them, own just as many properties. So it doesn't really seem to be something that they're interested in sorting anytime soon."
0:40:31 (MP3 | Pop-up)
Pressure Pin
Polyurethane
Polyurethane
Mothland
2024
Pressure Pin’s new mini-album, Polyurethane, harnesses the synthetic malfunction of modern urban decay into frantic spasmic echoes from our collective present. This sophomore EP from the Montréal-based egg/art punk outfit is packed with speedy tempos and unnatural rhythms consumed by dissonant synthesizers and fuzzed-out guitar leads.
Through cryptic lyrics and acidic metaphors, singer-songwriter Kenny Smith mimics the incoherency of our surroundings. Songs from Polyurethane are vaguely about being frustrated, or shocked by the total whiplash of present-day relationships and living situations. Nothing is drawn upon too obviously, but it’s all in there: the harsh reality and constant agitation, the lack of glamour that arises from being a lower-class young person living in a city, technology and the dividing effect it has on our culture, general frustration with 21st century life.
0:45:35 (MP3 | Pop-up)
Lip Critic
Legs in a Snare
Theft World
Partisan Records
2026
The new album is out May 1st! Their music demands attention; it’s hard, it’s fast, it’s loud. It’s a punch to the gut, a broken glass, a head rush. It’s a thrilling and mercilessly addictive amalgamation of punk, hip-hop, electronic, pop, and heavy metal influences. Lip Critic’s world is one of seemingly no restrictions, with their ironic and slightly nihilistic lyricism silhouetting a brash and blistering sonic landscape of carefully crafted chaos. Their live performances have no time for silence or stagnancy. They’re manufacturing a dizzying, beehive-like spectacle bookended by drummers (yes, plural) Danny Eberle and Ilan Natter and underlined by vocalist Bret Kaser and producer Connor Kleitz. Lip Critic is breaking down barricades with stratospheric ambition, untamed and unstoppable. Lip Critic makes unabashed and anarchic music for the aggressively alive. From New York City...
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0:49:05 (MP3 | Pop-up)
KNEECAP, Casio Kids
Fenian
Fenian Single
Heavenly
2026
Fenian (stylised in all caps) is the upcoming second studio album by the Irish hip-hop trio Kneecap, scheduled to be released on 1 May 2026 through Heavenly Recordings. Principal work on Fenian began in September 2025 at the same time as Mo Chara was dealing with a terrorism-related charge for allegedly waving a Hezbollah flag, in a case which was later dismissed. The album's name comes from a word that is used for warriors from medieval Ireland and later repurposed to refer to modern-day revolutionaries fighting for Irish republicanism; it is also used as a slur for Irish Catholics....The album's sound has been described as "old-school gangsta rap mixed with the monster-truck onslaught of peak Prodigy".
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0:52:24 (MP3 | Pop-up)
Getdown Services
The Radiator
The Radiator
Breakfast Records
2026
Bristol's Getdown Services have been unleashing acerbic post-punk tunes since 2021. The band is made up of childhood best friends Josh Law and Ben Sadler, and they have two albums under their belt: 2023's Crisps and 2025's Crumbs 2. Today they're sharing a new track called "The Radiator."
"This song is about only picking fights that you know you’ll win," Law says. "It came about because the heating wouldn’t come on once and I thought about when we bang things to make them work. Ben once told me that he used to threaten his PlayStation 1 when games wouldn’t load quick enough. The sense of victory you get when you feel like you’ve physically intimidated an inanimate object into doing what you want is bizarre and pathetic and really funny." Getdown Services will play London’s LIDO Festival on June 12th.
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0:55:37 (MP3 | Pop-up)
Pigeon
Miami
OUTTANATIONAL
Memphis Industries Ltd
2026
Pigeon cross effortlessly between Afro-disco, grunge, no wave and jazz...Cosmic exploration. Spiritual transformation. Unbridled spontaneity. These are the guiding principles of Pigeon, a psychedelic five-piece rooted in the English seaside town of Margate, yet making music that transcends borders..Their debut album, OUTTANATIONAL, is a thrilling collection of party songs without limits: think William Onyeabor in outer-space or early Hot Chip making motorik afrobeat in a 70s New York loft. Building on a string of acclaimed EPs that have been playlisted on 6Music and led to coveted live slots at UK festivals like Glastonbury, Pigeon have evolved out of Afro-disco territory into something moodier. It’s an expansive record laced with heady krautrock, post-punk and punk funk, indebted to the power of the groove and questing to find the meaning of home. Pigeon must fly.
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0:59:17 (MP3 | Pop-up)
Music behind DJ:
Keith Mansfield
Pretty Colours
KPM Series 1000: Sweet Groove
KPM
1970
1:03:03 (MP3 | Pop-up)
Lee "Scratch Perry" & Mouse On Mars
Rockcurry
Spatial, No Problem
Domino Recording Co.
2026
First song released in advance of the June 5, 2026 full-length... "Mouse On Mars announce Spatial, No Problem – the last official album project of Lee “Scratch” Perry ................. Mouse On Mars have today announced that their new album Spatial, No Problem is a collaboration with Lee “Scratch” Perry – the last official album project of the Jamaican legend before he died in 2021 at the age of 85. .............. Spatial, No Problem was recorded at Mouse On Mars’ Paraverse Studio in Berlin in December 2019. “We hardly spoke about what we were doing,” says the band’s Jan St Werner. “We met and got going. He was laughing a lot and we laughed along. We also cooked and ate fish soup and papayas.” ............ The album will be released by Domino on June 5, alongside an installation at London’ Barbican as part of their Project A Black Planet exhibition... Watch a video for the first single “Rockcurry”:
Lee "Scratch" Perry & Mouse On Mars - Rockcurry (Official Video)
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1:12:11 (MP3 | Pop-up)
Roots Manuva
Witness (1 Hope)
Witness (1 Hope) [Single]
Big Dada
2001
"Witness (1 Hope)" (better known as "Witness the Fitness") is a song by British rapper Roots Manuva, released as the first single from his second studio album Run Come Save Me (2001). A hip hop song with influences of dancehall and funk music and an electronically-inspired bass line, it contains lyrical references to Roots Manuva's British cultural roots with a melody that deliberately resembles the theme song to TV show Doctor Who. Record labels Big Dada and Ninja Tune released "Witness (1 Hope)" in various formats during July 2001. ..................... The song was a minor commercial success in the United Kingdom, where it briefly appeared on the UK Singles Chart and peaked at number 45 in August 2001. It won acclaim from music critics for the sonically diverse production, along with Roots Manuva's embrace of British cultural tropes, as opposed to the American cultural dominance seen throughout hip hop at the time. A music video for "Witness (1 Hope)" directed by Mat Kirkby, which features Roots Manuva taking part in a sports day at his previous, real-life primary school, also won praise for its humorous and original plot. .............. The song's production contains a "huge, electronic bass line" influenced by "stuttering, organic funk" and Jamaican dancehall, as well as a "pummelling low end" and "pulsating, throbbing rhythms" similar to those found in the work of production group Organized Noize. Roots Manuva deliberately engineered the base line as a "rickety... squelchy stamp of noise" as a protest against the poor quality of many sound systems used in music clubs at the time, and the melody was intended to mimic the theme song to the television programme Doctor Who. Roots Manuva's rapping, which he described as "talk[ing for] three minutes over the top of [the production]", consists of "relentless, loping rhymes" that contrast with the "righteousness" of his Jamaican heritage with many references to British culture, such as eating cheese on toast and drinking bitter. ................ The music video for "Witness (1 Hope)", directed by Mat Kirkby, depicts Roots Manuva returning to his real-life former primary school, Woodmansterne Primary School, and competing in their sports day in a "revenge fantasy" for having never been good at sport during his time there. As he wins every single event, the initially impressed children become angry at his success. ................ The video was also received positively: NME remarked that "Witness (1 Hope)" "deserves to live in eternity for its video alone", calling it "hilarious" and also commented on how Roots Manuva's desire in the video to "rework the past and make new sense of his surroundings" is a theme found throughout the music of Run Come Save Me. ......... Adam Buxton of The Guardian called it "joyful" whilst praising the plot, describing it as a "simple idea married to a great track", and the "terrific performances" of both Roots Manuva (whom he called "cool, handsome and funny") and the children. Roots Manuva, who devised the plot for the video himself, would remark in 2005 that "I've never since been able to do a video that has impacted on people as much" as the video for "Witness (1 Hope)" had." Roots Manuva - 'Witness (1 Hope)' Official Video
1:15:39 (MP3 | Pop-up)
The Fall
Blindness (Live, BBC John Peel Session, 4 August 2004)
Fall Heads Roll [2026 Expanded Edition]
BBC / Cherry Red
2004 / 2026
One of the high-points of not just mid-late-era Fall, but also their career. Of the many version of this song [Blindness / Blind Man, versions, demos, mixes, etc.] the John Peel Session version is undeniably fantastic. (Era = 4 August 2004) "On their 11th deluxe box set of The Fall reissues, Cherry Red Records – in partnership with Narnack – may have finally released an absolutely essential Fall box set. Don’t get us wrong: every single lavishly-annotated, thoughtfully-curated multi-disc extravaganza has been an absolute blast, especially for those already hooked on Prestwich’s finest. The trouble is that much of the material is available elsewhere, is sometimes of questionable sonic quality and is often overkill when brought together into one place. It’s a surefire recipe for guaranteeing these Fall box sets are mainly intended for the already-very-obsessed. ................ Not so with Cherry Red’s new four-disc deluxe box set of Fall Heads Roll, originally released in 2005. Maybe it’s because it’s close enough to the present to sound fresh. More likely, it’s due to essentially having an entire new album built out of demos recorded at Chapel Studios in southern England. It’s likely a combination of both, with a sprinkle of the fact that Fall Heads Roll is nearly catchy, full of melodies that will snag in your eustachian canal from some of the tightest, most polished musicians the Northern English post-punks had ever seen in their 30 years of existence. It’s no mistake that many consider Fall Heads Roll one of the best albums of The Fall’s 21st-century output. ............... Make no mistake, Fall Heads Roll is still far from a pop record. The 14 tracks that make up the album’s original runtime sounds like some slipstream version of rock ‘n roll history, jammed full of weird musical choices, dense literary and historical allusions and Mark E. Smith’s patented wry, surreal observations. It’s not a pop record; it’s a Fall record that sounds really good – a kind of funhouse mirror reflection of popular music. This is aided in no small part by the album’s unique creation, which strikes a similar balance between the professional and the strange. Most of the album was recorded at Gigantic Studios in New York City, which producer/bassist Simon “Ding” Archer describes in the liner notes as “nice, a big pro studio, large, neat console from what I remember. Quite a big live room, lots of gear floating around.” Most of the material had already been worked up at home by Smith and his third wife, Eleni Poulou. The songs were tight, the musicians were good, the room was good…and then Smith made up his lyrics on the spot. Trying to make The Fall polished and professional is like trying to nail porridge to the wall. ................... The Fall’s 24th album establishes this tension between pop and experimentation from dead bang, with album opener “Ride Away” sounding like some sort of Clash outtake with a Lithium shuffle backbeat and a bingo hall organ line. Ben Pritchard’s guitars are some of the brightest and most immediate in the entire Fall catalog, but it’s still deeply weird. Ditto “Pacifying Joint,” which filters Spencer Davis Group’s “Gimme Some Loving” through some of The Fall’s techno exploration from the early 2000s, but laced with more battery-powered keyboard and gravel slide percussion. The sound quality and catchy melodies illustrate that Smith and crew know how to write a popular song – they just don’t care. This uncompromising energy is deeply intoxicating in today’s careerist, conformist music industry. .................... Things don’t get any more obvious from there. On “What About Us?,” Smith compares himself to a rabbit from East Germany, trying to score some morphine off a doctor to deal with his new life in Northern England, complete with a nursery rhyme “ba ba” chorus. This would go on to become a major hit for the band, being their most-watched YouTube video ever, which says something about Fall fans. “Assume” is an almost beneficent-sounding Chuck Berry riff with a strobing, hypnotic holographic ghost intro. Even the album’s single, “I Can Hear the Grass Grow,” which sounds day-glo enough for MTV, sounds like speed psychosis with a catchy guitar line. Whether you’re into pure classic rock, Spirit of ’77 punk rock or singular musical oddity, Fall Heads Roll is likely to be a firm favorite. The same goes for Fall fanatics and newbies alike. .................... As is always the case with these Fall box sets, the remaining three discs are filled with rarities, demos and outtakes. The second disc features a Peel Session from 2004, which is excellent but was also previously available, followed by some alternate versions that are interesting but not entirely essential. The third disc is the real selling point, as it features a full 14 new songs that the same lineup recorded immediately after the Heads Roll sessions at Chapel Studios. The songs are nearly as good as the material that made it on the official album, despite Smith’s claim of the recordings having a thin sound. They’re good enough for some to consider the recordings “the great lost Fall record,” but, in typical contrarian fashion, Smith was having none of it: “Ben talks about how they recorded all these great tracks in Lincolnshire, just before the tour. They recorded shit – a few lame incarnations of what they thought The Fall should sound like. It was like a Sunday before-work, been-drinking-all-weekend, karaoke take on Fall Heads Roll. It had no zip to it. I’m amazed he has the audacity to even mention it.” ................ As is almost always the case, this dream lineup would barely survive this record, let alone make another one. The bassist was acrimoniously fired for going to visit his girlfriend in London, according to Smith. This particular alchemy would never be recreated. Cherry Red Records’ exhaustive document gives you a chance to hear it all in one place, at one time."
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1:19:53 (MP3 | Pop-up)
HOUSE Of ALL
Prince Of This World
Inklings
Tiny Global Recordings
2026
Released Friday March 20. Louder Than War's ALBUM OF THE WEEK that week!... "Post-Fall giants House Of All return with their fourth album in four years. Inklings builds on the band’s singular mythology while delivering some gripping music. Robert Plummer follows the valiant heart. ................. House Of All are not the first outfit formed of ex-Fall members, but with four studio albums and other side releases under their belts, they are certainly the longest-lived. Inklings is their most ambitious project yet, with forays into space-rock, downer-rock and other sub-genres. So is this when Martin Bramah and his trusty colleagues start to escape Mark E Smith’s immense gravitational pull and emerge as a band in their own right? ................ Well, there’s one immense spanner in the works there: track eight is entitled Ours Is The Fall, to which one can only reply that the clue is in the name. Clearly the band are not ready to cut the umbilical cord to the mothership just yet. Even so, it’s their entrance, their own creation, and every successive release takes them further on their chosen path. ................................ [Amongst the songs] ...More classic rock, repurposed for our age, with Time Is Out Of Joint, wherein the band stir up a thoroughly Hawkwindian brainstorm: “a very palpable hit,” as Bramah puts it. ............... As time marches on, House Of All have become a hydra-headed beast. Latest publicity photos show seven musicians, including drummers Paul Hanley, Simon Wolstencroft and Karl Burns, plus guitarists Peter Greenway and Phil Lewis, as well as bassist Steve Hanley. That’s two more members than they had at the start, but their sound is as lean and hungry (see, those Shakespeare quotations are catching) as ever. ................. No mithering here – at this stage in the game, the experimental may have become conventional, but The Fall’s old hit-and-miss highs and lows have been replaced with a diamond-hard consistency. In place of that band’s famously scrappy-looking album art, the series of derelict buildings featured on House of All’s record covers provide a coherent visual identity. And whereas The Fall could often be utterly shambolic live, House Of All’s “solid work ethic” guarantees a great night out every time. ......................... Still, sinister thrills are always just around the corner: there’s always the hint of an otherworldly realm where modern indie musicians strike pacts with age-old supernatural forces, Robert Johnson-style. After all, “tarry a little” isn’t just a line in The Merchant of Venice. It’s also a phrase used by Goethe, part of the contract signed by Faust when he is selling his soul to Mephistopheles. ...................... So is this the best House Of All album so far? It’s certainly their best album since the last one, with the bonus of a covers EP, Foundlings, for early Bandcamp buyers. This is a band occupying a hallowed place in the musical firmament that no-one else has a chance of attaining. And if you haven’t started listening to them yet, it’s high time you caught up." ......................... https://houseofall.bandcamp.com/
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1:26:23 (MP3 | Pop-up)
Marc Riley & the Creepers
Gross
Warts 'N' All - Live in Amsterdam
In-Tape Records
1985
"Recorded one September night at Amsterdams Milky Way. Recorded on cassette (+ _not_ digitally re-mixed!) This is a document of The Creepers 'Live - Warts 'n' All.'" .......................... "Also known as Marc Riley and The Creepers,The Lost Soul Crusaders
Past members Marc RileyEddie FennPaul Fletcher (1982-85)Pete Keogh (1982-85)Mark Tilton (1986-88)Phil Roberts (1986-88)
Origin Manchester, United Kingdom (1982) ................. The Creepers were an English rock music group, formed in Manchester in 1982, originally as Marc Riley & The Creepers. After being dismissed from The Fall by Mark E. Smith, Marc Riley formed his own record label (In-Tape) with Jim Khambatta, and his own band. The first single "Favourite Sister" was followed up with "Jumper Clown", which poked fun at his previous band's singer. A Peel Session was the source of the next release in 1984, with a compilation of these early releases, Cull, following the same year. First album proper, Gross Out, appeared in June 1984. 1985 saw the release of second album Fancy Meeting God as well as a live album Warts 'n' All towards the end of the year."
1:30:57 (MP3 | Pop-up)
Music behind DJ:
Charif Megarbane, Ali
Mosaics
Habibi Funk 034: Tirakat
Habibi Funk Records
2026
Released March 20, 2026 ........ "Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi-instrumentalist Charif Megarbane in a collaboration shaped by long-standing cultural exchange between Indonesia and the Arab world. Ali’s blend of 1970s Indonesian psychedelic funk, Melayu traditions, disco grooves and Arab melodic forms meets Charif’s long-running exploration of cross-regional sound, rooted in a shared musical vocabulary rather than genre. ................ Rather than approaching the project as fusion, Tirakat reflects a way of making music that feels already interconnected. Melodies, grooves and textures move fluidly without signalling their sources, grounded in a performance-led process shaped by intuition, repetition and trust. Western instruments are played through techniques and sensibilities formed in Indonesia and Lebanon, emphasising circulation of influence. .............. The title Tirakat refers to a Javanese practice of discipline, patience and devotion, derived from the Arabic tariqa (“path” or “method”). This layered meaning mirrors the album’s focus on process and continuity. The result is a record that feels both contemporary and timeless, where Indonesian and Arab sounds intersect naturally through groove, texture and melody." https://habibifunkrecords.bandcamp.com/album/habibi-funk-034-tirakat
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1:36:52 (MP3 | Pop-up)
Jack Tickner
Let's Go
Reassuring Weight
Pizza Party Records
2018
With his 11-limit 22-tone just intonation music, Sydney’s Jack Tickner does everything except leave people indifferent. Some love this, some viscerally hate it, and nobody is wrong (except some are wronger). Reassuring Weight is a microtonal indie rock album, and the chosen tuning system is far from being the most accessible. This, of course, gives it points from the get go, but all of the four songs on this little EP is as charming as the previous one, and as challenging as the next. One highlight for me is “Ode to Dogs”, which sounds just so odd and clumsy, it’s just how I envision a labrador trying to make popular music and failing miserably, but in such a charming way.
1:44:30 (MP3 | Pop-up)
Tall Kite
I Hear Numbers
Microtonal Freedom (A Compilation Benefit Album for Lyn Ulbricht)
MVD Audio
2019
Before you dismiss this is a "joke song" I would like you to enjoy the amazing synth stylings of Tall Kite...and how FUCKING DELIGHTFUL those backup harmonies drift and resolve and drift and resolve. This tune is epic and I will not be told otherwise. Tall Kite is from Portland, Oregon. He looks EXACTLY like you think a mini/keyboard/mad genius would appear. His website is a throwback to 2001 in the best way possible. He is also the inventor of the "alt tuner"
Alt-tuner is a DAW plug-in that retunes almost every midi keyboard or softsynth. It runs on PCs, macs and Linux/Wine machines. Click here to buy it.
Alt-tuner combines ease of use with powerful capabilities:
Recreate historical tunings like pythagorean, meantone and well-temperaments.
Stretch your piano tuning -- create your own Railsback curves.
Explore ethnic tunings like Turkish, Arabic, Persian, Indian and Indonesian.
Investigate experimental tunings like 22 notes to the octave.
Or just use the adaptive just intonation feature to make "normal" music sound smoother!
1:48:39 (MP3 | Pop-up)
Body Breaks
Reality
Bad Trouble
We Are Time
2021
Body Breaks is the microtonal rock duo of Matt LeGroulx and Julie Reich. From their homes in Montreal and Toronto, respectively, the DIY lifers behind projects like Bile Sister, EXPWY, and Galaxius Mons have developed idiosyncratic approaches to bedroom recording that culminate on their collaborative debut. “Initially, I was trying to tune my guitar to Balinese gamelan scales,” explains LeGroulx. “I quickly came to realize those tunings sounded very normal and beautiful to me. I finally settled on quarter tone – a subset of microtonal music – because it seemed to me that no matter how much I heard, it never sounded in tune.”
1:52:37 (MP3 | Pop-up)
Angine de Poitrine
Sarniezz
Vol. II
Angine De Poitrine
2026
Hailing from Saguenay, QC, Khn and Klek de Poitrine delight in challenging the pretence of performance, of rock posturing, of detached coolness, even as they simultaneously embrace it all. In the process, they've dedicated their work to the notion that art can produce a message worth spreading, one that reads "KILL YER IDOLS!" With their sophomore effort, Vol. II, they've crafted a pretty perfect soundtrack to the never-ending battle against conformity, complacency and chords.Vol. II frolics in the realm of public service, of the gathering, of movement and communal dependence — yet there's a ferocity and alienness to the complexity. While Angine de Poitrine are certainly not alone in their explorations of microtonality, experimentation and funk, the music is nevertheless demanding in a way that other popular contemporary sounds are not. Tracks like "Mata Zyklek" and "Sarniezz" — with their processed, uninterpretable vocals and spaghettied melange of rhythms, melodies, time signatures and riffs — are practically carnivalesque, Fellini-fever dreams processed through prog-rock-obsessed intergalactic beings. The album is magnetic and serpentine, yet surprisingly manageable, weaving genres and grooves without a care in the galaxy....
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1:55:22 (MP3 | Pop-up)
King Gizzard & The Lizard Wizard
If Not Now, Then When?
L.W.
Gumboot
2021
Everything about King Gizzard and the Lizard Wizard is governed by perpetual forward motion, from their music’s relentless momentum to their frequent reinventions to their tendency to release new albums with the regularity of a Substack newsletter. Over the course of these records, King Gizzard synthesize their entire musical palette—British psych-pop and proto-metal, German kosmische rock, West African rhythms, Middle Eastern melodies, sitar-speckled psychedelia, American roots music—into compact songs that still allow equal room for the band’s songcraft and improvisational impulses to flourish.
1:59:59 (MP3 | Pop-up)
Noura Mint Seymali
Arbina
Arbina
Glitterbeat Records
2016
A voice, timeless as the desert, swirls up like the sirocco, drenched in cavernous reverberation, accompanied by the solitary, meditative swells of the ardine, an acoustic harp that dials in the fundamental frequency of Noura Mint Seymali’s music. A brief pause, and the same refrain returns, this time picked out on a heavily flanged electric guitar, grounded by thunderous drums and growling electric bass. And there’s that voice again – direct and urgent, careening off into wild ululations and refracted echo.
Noura Mint Seymali is a living embodiment of musical tradition. She hails from a family of musical visionaries: her father, Seymali Ould Ahmed Vall, was a renowned composer and scholar and her stepmother, Dimi Mint Abba, was a cherished singer and performer.
Seymali is a practising griot – equal parts poet, singer, musician, historian and cultural custodian – and a living embodiment of Mauritania’s tradition of Moorish griot music. “I have songs about a wide range of topics: love songs, praise songs, songs for dancing, narrative songs. In our tradition, poetry from different sources can be stitched together in a performance. I start with a core of my own, there are lines that I write, others I quote or reference in the way a jazz musician might riff on another song in the tradition, but the composite is always a new creation and the cleverness with which a singer can synthesize poetry in a kind of musical mosaic is indeed a part of the artform.”
2:03:56 (MP3 | Pop-up)
Music behind DJ:
Johnny Pearson
Delhi Discoteque
KPM Series 1000: Colours In Rhythm
KPM
1968
2:07:46 (MP3 | Pop-up)
Billy Fuller
Full Fat
Fragments
Invada Records
2026
Fuller is known for playing with acts including Portishead, Massive Attack, and his own band, Beak>, but Fragments marks his very first endeavour as a solo artist. The album is cited as a product of Fuller's restless creativity... Fragments brings together pieces that Fuller has created alone in his home studio over the past few years. When Beak> took a break in 2025, following the departure of co-founder and drummer Geoff Barrow after the conclusion of their North American tour, Fuller revisited those compositions.
Having created every song on his own, as well as playing every instrument on the album — including drums, bass guitar, upright bass, guitar, keyboards, synths, and the occasional vocals, only once enlisting the help of Andy Sutor (Peach) for drums on a single track — Fuller identifies the Fragments as an album of emotion which captures his love for making music, rather than a bass album.
Discussing his songwriting process and intention behind the album, he explains: “As I am primarily a bass player, I almost always use the bass to begin writing a new song. Because of this process I sometimes found myself layering bass lines on top of each other to create a single piece of music. ‘Won A Synth’ is a good example of this - it’s four bass guitars and a drum beat. But I don’t have the ability or desire to show off my dexterity on the bass. I’m in the business of emotion.”"
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2:16:33 (MP3 | Pop-up)
The Third Eye Foundation
Corpses (Version)
Sound Of Violence EP
Domino Recording Co.
1997
I have a very specific relationship with the original version of this song. This version of it is fine, too. I listened to both around the time they were out. The album version "Corpses As Bedmates" is as relentless, bleak & harrowing as an instrumental can get, and I was listening to it on an accordingly bleak day as I walked through the desolate campus of downtown U of T, staring at old buildings and their classical architecture. It was the perfect soundtrack & I am forever grateful for the experience. "Matt Elliott is an English music producer, guitarist and singer-songwriter, originally from Bristol, England and now based in France. He produced and recorded electronic music as The Third Eye Foundation, before pivoting towards releasing folk music under his name."
2:19:39 (MP3 | Pop-up)
Shabaka
Light The Way
Of The Earth
Shabaka
2026
Released Mar 6, 2026. ........... I never thought I'd hear a jazz heavyweight in 2026 borrow from one of my favourite mid-nineties, spectral, drum'n'bass workouts. (See previous track) From PF: "The jazz polymath wrote, played, produced, and mixed everything on his new solo album, weaving overlapping loops and knotty counterpoints into a dynamic suite of interconnected pieces. .................... When Shabaka Hutchings indicated that he’d be stepping away from playing the saxophone onstage in January 2023, his reasons included the physical challenges of the instrument and an encroaching feeling that his performances were becoming commodified. You also have to wonder how much audience expectations and the symbolic weight of the instrument may have played into it. In September of that year, he participated in a performance of the Pharoah Sanders and Floating Points piece Promises and in December followed with a gig that presented John Coltrane’s A Love Supreme at London’s Institute of Contemporary Arts. It’s not unreasonable to wonder if these prestigious shows fueled a desire to keep searching for something new. And what better way to break from the past than to forgo the instrument with which you made your name and learn how to make music with new ones? ......................... Shabaka has since put out an excellent album (Perceive Its Beauty, Acknowledge Its Grace) and an EP (Possession) in which he played flute and assorted wind instruments from around the world in highly collaborative settings. He worked with artists from across the genre spectrum—billy woods, Brandee Younger, André 3000, Esperanza Spalding—and seemed poised to continue on the path of spiritually minded improvisation where jazz meets new age, a sphere of music that’s become increasingly prominent over the past decade. But the restlessness remains. Having landed on an au courant sound at the moment when its market was expanding, he decided to try something else: His new LP, Of the Earth, is a solo album in the literal sense, with Shabaka writing, producing, playing, and mixing everything on his own. ..................... Jazz musicians find meaning through interaction. A record built entirely from your own parts inevitably puts composition and editing in the foreground. The structural foundation of Of the Earth is the loop—rhythms of various shapes and sizes tumble out of silence and whirl in place, and when Shabaka lands on an interesting pattern he’s not afraid to let it play on its own for a few bars. The tension in a given track comes from how those repeating cells support and interact with wind parts, which are melodically rich and thick with harmonies. ..................... Sometimes the album feels like an abstracted version of electro-acoustic jazz in the ’80s, when the frontline instrumentation of traditional jazz was still intact but the tools for rhythm had changed completely... ...Most of these pieces have a lot going on, designed for listeners who take pleasure in guiding their ear through each successive layer.
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2:26:04 (MP3 | Pop-up)
Yttling Jazz & Bobby Gillespie
Strange
Illegal Hit [Expanded Version]
Year0001
2026
"Yttling Jazz and Primal Scream’s Bobby Gillespie combine on new song ‘Strange’. Music maverick Yttling Jazz is returning to his 2024 release ‘Illegal Hit’ for an expanded edition, adding a plethora of bonus cuts and unreleased moments. The deluxe package land[ed] on March 27th... Ahead of this the musician has shared something new, a collaboration with an old friend. ... Primal Scream’s Bobby Gillespie pops up on ‘Strange’, adding a different flavour to Yttling Jazz (in reality Björn Yttling from indie trio Peter Bjorn and John) and his work. ........ A quick primer on Yttling Jazz – it’s Björn’s jazz-inclined solo vessel, one that has always had a collaborative bent. .......... Take ‘Strange’. The supple vibraphone has a sweet, innocent aspect, but there’s darkness in there, too. .......... Björn comments… “I called Bobby and presented the idea to have him sing on a Yttling Jazz track. Sent him some music and within ten minutes he sent back a beautiful demo of ‘Strange.’ Fantastic lyrics and a really cool vibe on this track. The harmonica, vibraphone and Bobby’s voice work so well together!” .......... Henry Moore Selder has built a full video: Yttling Jazz & Bobby Gillespie "Strange" (official music video)
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2:30:20 (MP3 | Pop-up)
Noveller
The Girl Who Was Death (feat. Iggy Pop)
I Am The Weather
Experimentia
2026
Released Apr 1. "Noveller is the solo project of Los Angeles-based guitarist and filmmaker Sarah Lipstate. Handling the electric guitar as her muse, Lipstate summons a sonic palette so rich as to challenge the listener to conceive of how it’s housed in a single instrument manipulated by a solitary performer. " ................... "While people may recognize and even romanticize death, they can never fully understand or escape it. The song/story is about a surreal encounter with a woman who symbolizes death, depicted as both alluring and indifferent, quietly shaping human fate. Through dreamlike imagery and fragmented dialogue, it explores the struggle between human expression and the inevitability of time running out. It’s the first single from the ninth album by the Los Angeles-based solo project of Sarah Lipstate. The lyrics, written by Rockville, MD album cover designer/author John Foster, are read by Iggy Pop (her first collaboration with him since his 2019 LP, Free)." ................. https://noveller.bandcamp.com/
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2:35:05 (MP3 | Pop-up)
Music behind DJ:
Charif Megarbane, Ali
Mata Api
Habibi Funk 034: Tirakat
Habibi Funk Records
2026
Released March 20, 2026 ........ "Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi-instrumentalist Charif Megarbane in a collaboration shaped by long-standing cultural exchange between Indonesia and the Arab world. Ali’s blend of 1970s Indonesian psychedelic funk, Melayu traditions, disco grooves and Arab melodic forms meets Charif’s long-running exploration of cross-regional sound, rooted in a shared musical vocabulary rather than genre. ................ Rather than approaching the project as fusion, Tirakat reflects a way of making music that feels already interconnected. Melodies, grooves and textures move fluidly without signalling their sources, grounded in a performance-led process shaped by intuition, repetition and trust. Western instruments are played through techniques and sensibilities formed in Indonesia and Lebanon, emphasising circulation of influence. .............. The title Tirakat refers to a Javanese practice of discipline, patience and devotion, derived from the Arabic tariqa (“path” or “method”). This layered meaning mirrors the album’s focus on process and continuity. The result is a record that feels both contemporary and timeless, where Indonesian and Arab sounds intersect naturally through groove, texture and melody." https://habibifunkrecords.bandcamp.com/album/habibi-funk-034-tirakat
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2:37:54 (MP3 | Pop-up)
Ajda Pekkan
Loving On Petrol
Pet'r Oil
Petr'Oil was the Turkish entry at the Eurovision Song Contest 1980 in the Hague performed by Ajda Pekkan.
It is rumoured (!) that the song is referring to petroleum, in the guise of a love song to a man called Pet'r Oil.
It was performed second on the night following Austria and preceding Greece. At the close of voting, it finished in 15th place with 23 points, becoming the only song to have received 12 points from Morocco. Born in Beyoğlu, Istanbul, Pekkan's musical career began in the early 1960s when she appeared in a nightclub as a member of the music group Los Çatikos. However, in 1963, when she won the Ses magazine's cinema artist competition, she became known as an actress, and for a number of years she pursued an acting career. In the same year, she played the leading role in her first film Adanalı Tayfur and became one of the young faces of Turkish cinema at the time. By selling over 15 million records, Ajda Pekkan is one of the best-selling artists of all time in Turkey. She also holds the title of "State Artist" in Turkey and has been awarded the honorary distinction of Officier of the Ordre des Arts et des Lettres by the French government.
2:41:35 (MP3 | Pop-up)
Doe Maar
De Bom
Lijf Aan Lijf
Sky
1983
Doe Maar was one of the most popular Dutch pop groups ever. With their mixture of reggae, pop, ska, and Dutch vocals, they created a unique style of nervous, punky pop songs without the obligatory guitar solos. Doe Maar reached unprecedented heights of popularity at the beginning of the '80s -- and paved the way for the emergence of "Nederpop": Dutch groups singing in their native tongue. During their short career, which lasted from 1978 until 1984, the band released only four studio records, of which three made it to the number one position. Their 2000 reunion album, Klaar, also made it to the top of the charts. The turn-of-the-century success of their compilation album Alles and the appearance of a tribute album, Trillend op Mijn Benen: Doe Maar Door Anderen, proved that Doe Maar still mattered -- both in popular value and artistic importance.
2:44:30 (MP3 | Pop-up)
The Diagram Brothers
Isn't It Interesting How Neutron Bombs Work
Some Marvels of Modern Science + Singles
LTM
1980
Andy Diagram explained the band's approach: "We called the music 'Discordo'. The music was made to a strict formula or set of rules. All the guitar chords were based on discordant notes, all the beats were very simple rock or disco, and all the words were very very straightforward and down to earth." Music journalist, Stuart Maconie, described them as "funny, slightly scary and like no one else in the world"
The band's first release was a 7-inch EP on the Construct label in 1980. They were then signed by Buzzcocks' New Hormones label, who issued a single, "Bricks", an album, Some Marvels of Modern Science, and a 10-inch EP, Discordo, before the band split up. They have been compared to The Residents and XTC.
They recorded three sessions for John Peel's BBC Radio 1 show. Their collected studio recordings (including the Peel sessions) have since been released on CD by the LTM label.
2:47:12 (MP3 | Pop-up)
Plexi Stad
Siren Dance
Siren Dance EP
MANGEL
2024
Plexi Stad is a new 4-piece punk outfit from Antwerp city.
These edgelords take you back to the early days of punk with their dry 70's sound. Ranging from classic punk to funk (even some Zamrock?) and beyond.
A cheerful melody in Plexi Stad's world quickly unravels into a darker, more abrasive soundscape. An invitation to dance transforms into a sonic confrontation, revealing the band's penchant for teasing the listener with unexpected twists. The cheerful facade dissolves into an intense and raw expression that refuses to bend to the prevailing norms. The poetic punk prowess of singer Peleman is as much seductive as it is dismissive. There's no compromise in both the instrumental and lyrical delivery.
The band delves into the dark sounds of James Chance & The Contortions, embracing the dissonant and unpredictable. Simultaneously, they channel the defiant spirit of bands like The Pop Group and TC Matic. Plexi Stad absorbs, reinterprets, and spits out a sound that is uniquely theirs.
2:50:58 (MP3 | Pop-up)
Circle Jerks
Paid Vacation
Group Sex
Circle Jerks
1980
Circle Jerks are an American hardcore punk band, formed in 1979 in Los Angeles, California. The group was founded by former Black Flag vocalist Keith Morris and Redd Kross guitarist Greg Hetson. To date, Circle Jerks have released six studio albums, one compilation, a live album and a live DVD.
2:53:27 (MP3 | Pop-up)
ADULT
None Of It's Fun
Kissing Luck Goodbye
Dais Records
2026
A comment on the collective anesthetisation of society that happens when the hammer has hit all it possibly can, but continues to strike the surface, it’s a song about the stench of stupor, whilst tenderised minds stretched onto a slab. The same could be said of Wishing Luck Goodbye, a frenzy of juddering synths and mince-meat mechanics, or the intricate killing of None of It’s Fun, a knife fight of mangled bass guitars and agitated, arpeggios of panicked, techno-punk drama, but maybe speaks more about what those powers have turned society into…ugly, hopeless and steeped in its own repulsive addiction to shit: ‘excessively fragrant and slightly constipated’ (Superdrug, take note), as the line so memorably twists into the ear and lops the lobe off with it.
”Yes!” exclaims Kuperus. ”We are absolutely addicted to shit and garbage on all levels of consuming. I think when you tour extensively you just become even more aware of it. Bleak landscapes. Airbnbs filled with pointless, throwaway junk. City after city that just looks the same with Starbucks on alternating corners. While working on this album, I read an article from an esteemed environmental scientist about ”what’s coming in the future”. What stuck with me was their point that we are entering a new phase in existence where the most important thing we can do is know our neighbours and know the strengths of each other and what resources everyone has.”
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2:54:53 (MP3 | Pop-up)
Music behind DJ:
Gordon Rees, David Gold
The Enchantress
KPM Series 1000: Image
KPM
1974
2:57:18 (MP3 | Pop-up)
Siouxsie & The Banshees
Arabian Nights - Richard Skinner Show Version
At the BBC
Polydor
2009
"Arabian Knights" is a song by English post-punk band Siouxsie and the Banshees. The track was written by Siouxsie and the Banshees and co-produced with Nigel Gray. It was released in 1981 as the second and final single released from their fourth studio album, Juju. Siouxsie commented on the lyrics: "With 'Arabian Knights' it was quite a thrill to get the word 'orifices' on the radio."
3:00:24 (MP3 | Pop-up)
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