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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April 16, 2026: Good News, Bad News, Song Songs...
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Track
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Ocean Therapy
Rosy Sea
Along The Coast
Ambia - Sleep and Meditation
2024
0:00:00 (Pop-up)
Good News
Dumskaya Disko
Big Shapes
Bingo Records
2026
Good News return with 'Big Shapes' the follow up to their debut album 'Small Forms'. It's been a busy year, which has seen the band make its first foray into Europe for Rotterdam's Left Of the Dial festival, as well as cement their status as regulars on both UK national radio and the independent venue touring circuit.
Fans of telling it like it is will be relieved - 'Big Shapes' features expanded arrangements in every sense, with the wonky post-punkers from Sheffield cranking up the dance dial and heading for industrial funk. Likely to please those fond of acronyms like ACR and ESG, contradictions like disco not disco and Was Not Was, and all the music those things stand for.
Local dues are due, though, and 'Big Shapes' at times recalls Broadcast, of Warp Records, as much as it does the aforementioned. The multilingual lyrics continue to span the literary and the political, in a way that's fun as opposed to for the pointy heads, of course. 'Big Shapes' broadens the scope of Good News, creating a proposition as at home in clubs as it is the DIY spaces that birthed the band.
credits
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0:01:36 (Pop-up)
Iguana Death Cult
Heavyweight
Guns Out
Greenway Records
2026
FINALLY! The record is out and yes, it's awesome. “Iguana Death Cult’s latest evolution finds the Rotterdam band reflecting on hardship and doubt while facing a burning world. The result channels their early punk and garage roots, powered by Tobias Opschoor’s razor-sharp riffs, Uri Rennert’s relentless drumming, Jimmy de Kok’s groovy rhythms and Jeroen Reek’s raw, emotive vocals.
Formed in 2014, they have grown from a group of friends into a renowned act, touring with Osees and Frankie And The Witch Fingers, supporting Jack White, and appearing at SXSW, Levitation and Desert Daze.
Their new album Guns Out marks a return to punchy garage rock, exploring escapism, mental strain, and creative renewal. Tough yet introspective, the record captures a band coming to terms with its own evolution and the world around it.”
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0:07:18 (Pop-up)
Choncy
Bypass
Trademark
Feel It
2025
Ahhh this song is SOO GOOD. On April 17, Cincinnati post-punk outfit Choncy release their new album Trademark via Feel It Records. The album’s described in a press statement as a series of “Unpredictable dances between demented dissonance and craggy punches,” The g record was made separately, together, with each member recording in their respective practice spaces and bedrooms without missing a beat...
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0:10:25 (Pop-up)
BRONT
Bathroom
The Regime
BRONT
2026
Another freaking awesome track! It's maniacal, robotic, hypnotic. It's BRONT. We love BRONT. After “ Toilet ” comes “Bathroom”. That way we keep our hands clean! BRONT, the project by and centered around Brent Pauwels, has already released a number of EPs, and soon we can expect another one with The Regime ...This is music where edges have been filed or chipped off—think of bands like Ween and They Might Be Giants—and feel free to place BRONT in their ranks...
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0:13:02 (Pop-up)
Kerosene Kream
Chronic Atomic
Bye Mom! EP
Kerosene Kream
2026
From Stockholm, Sweden...where much great rock comes from. "Artificial rock from the hands of the Automated Worker." Quirky new wave from Stockholm for the now-times. They’ve got a quirky vibe, not in an arty or weirdo way but fun, like if GORILLA ANGREB was really the B-52’S. All four songs are upbeat and have strong pop hooks, elevated by multiple charismatic vocalists and a layer of electronics that liven up the whole production. It’s okay and even healthy to have a little fun every once in a while, so if you’re brooding as much as I am these days look no further than KEROSENE KREAM if you need a little pick-me-up....- Maximum RnR
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0:14:39 (Pop-up)
Media Puzzle
More Horse, Less Code
More Horse, Less Code
Impressed Recordings
2026
I came for the chill groves, but I'm glad I stayed for the fripp-ish guitars leading into the trippy outro. Things aren't always as straight ahead as they seem...media puzzle are ramping things up ahead of the release of their fourth studio album New Racehorse, sharing their latest single, ‘More Horse, Less Code’. New Racehorse, due April 17 via Impressed Recordings.
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0:17:37 (Pop-up)
Pond
Two Hands
Terrestrials
Mangovision
2026
POND have revealed their new album Terrestrials is out Friday 19 June on their own newly coined imprint Mangovision via Secretly Distribution.
Recorded by Nick Allbrook, Jay Watson, Joe Ryan, Jamie Terry and James Ireland, who comprise POND, Terrestrials was made using a unique set of rules: “No fuzz pedal. No ballads. No Pink Floyd shit.”
The idea behind the album was “Goths at the pub”, with Terrestrials exploring how people and places intersect and interact, touching on themes such as extractive capitalism, power dynamics, inequality, Indigenous incarceration and eccentric outcasts.
The announcement of Terrestrials is accompanied by new single ‘Two Hands’, with frontman Nicholas Albrook having this to say about the track: “This song is about when mining company Rio Tinto blew up Juukun Gorge in the Hammersley Range in Western Australia. They destroyed sacred rock shelters that were of the highest archaeological, cultural and spiritual significance. The rock shelters contained a cultural sequence spanning 46, 000 years that had been taken care of by the local Indigenous communities.
“I was wondering how the commentators around this country would've reacted if the shoe was on the other foot and someone had demolished the Vatican or Notre Dame or St. Paul’s because it was in the way of their corporate expansion. Anyway, it’s a little word of encouragement that you’ve got every right to be very fucking angry about this injustice.”
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0:19:29 (Pop-up)
Music behind DJ:
Francis Coppieters
Bright Blue Note
KPM Series 1000: Piano Vibrations
KPM
1975
0:23:52 (Pop-up)
Noirxheart
She's Lost Control
She's Lost Control [Digital Single]
Euthanasia Online
2025
Released Oct 4, 2025. A Joy Division cover. The next track I'm going to play in the set reminded me of "She's Lost Control", in terms of percussion production only. Looking for a version that we haven't played before & might be unlikely, I sifted through far too many renditions of this beloved song. Noirxheart is from Pittsburgh, Pennsylvania. After searching through many covers and versions of this song, I landed on this one, suitably ridiculous." There's 30 releases in a year & a half on Bandcamp, but only 3 Instagram Posts, so here's hoping this isn't AI at work. I know I'll be caught one day if I haven't been yet... At least it's all pay-what-you-want so far... https://noirxheart.bandcamp.com/
0:32:57 (Pop-up)
Robber Robber
Avalanche Sound Effect
Two Wheels Move The Soul
Fire Talk
2026
Released April 3, 2026. -- "Robber Robber made their new album Two Wheels Move The Soul under some particularly stressful circumstances. One afternoon in 2024, vocalist Nina Cates discovered a fire had broken out in the apartment building where she and drummer/guitarist Zack James lived together in downtown Burlington, Vermont. Miraculously, Cates and James’ unit was left mostly unscathed; the pair continued living there as the rest of the building was gutted, enduring the constant rotation of construction workers, occasional trash left in common spaces, and a barrage of 7 a.m. demolition noises. “We were living in this place that we loved, but everything felt really unstable,” Cates recalls. Eventually, their landlord informed them it’d be in everybody’s best interest for them, the only residents left in this shell of a building, to move out. ............................. But it was hard to find a new home on the fly in Burlington, a tight-knit college town where the vast majority of apartment leases start and end in June. And so over the following few months, whenever they weren’t on tour, Cates and James squatted at various friends’ homes — including those of fellow Vermont musicians Greg Freeman and Lily Seabird. The couple moved around so often that they joked their cat was getting a taste of the touring musician lifestyle. At the same time, Robber Robber — which also comprises guitarist Will Krulak and bassist Carney Hemler — found structured reprieve in the studio, making their sophomore album Two Wheels Move The Soul. “The record has a lot of sonic unsteadiness and dissonance,” Cates tells me now in hindsight, remarkably nonchalant, via Zoom from the new apartment she and James moved into in June. “That’s kind of how we were feeling.” ....................... Two Wheels Move The Soul does, indeed, feel more erratic and blusterous than Robber Robber's great 2024 debut Wild Guess." .............. From the band re: this song: "“Avalanche Sound Effect”: Airy song about the repercussions of being always game and always flexible, about rigidity and grace. To me, this is the sleeper track, and I like it more and more as time goes on. It’s somewhat ominous but also soothing, almost like how tumultuous states of nature are destructive, but somehow feel inevitable, and so there’s no use fighting them. You just handle it as it comes and pick up the pieces later on. ................... Gestural, iced-out, glazed in white shimmering light, grainy guitar torrent."
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0:36:06 (Pop-up)
Moonshake
Girly Loop
Big Good Angel
Too Pure
1993
"Moonshake were a British-based experimental rock band, existing between 1991 and 1997. The only consistent member was singer, sampler player and occasional guitarist David Callahan, who initially co-led the project with Margaret Fiedler. Fiedler and bass player John Frenett left Moonshake in 1993 to form the more commercially successful Laika. .................. The band was notable for its extensive use of textures and sampler technology in a rock context. In his 1996 article on Krautrock and its influences, Simon Reynolds described Moonshake as being among the "post-rock groove collectives"................... "For 1993's mini-album Big Good Angel, both Callahan and Fiedler contributed three songs each. In 2024, Callahan recalled that Big Good Angel "has some of our best stuff on it. It's fantastic. But that was largely recorded separately. I recorded with Mig and John, for the most part, in a studio, and Margaret did a lot of her stuff at home with Guy, and just brought it into a studio to mix. She scrapped one of her songs as well, and we had to come back in again so she could do "Two Trains", which I think was pretty much entirely written and recorded at home." ................ During the summer of 1993, Moonshake played [a festival & toured America.] By now the divergent styles of the two songwriters was producing too much creative tension for the band to survive for much longer. Callahan: "Margaret probably had slightly more songs than me on the first LP, and was feeling that she really needed to record with just her and Guy on her own, and she said as much to me in a meeting. I started to feel like maybe I was getting edged out of my own band... She wanted to record with Guy, who by that time was not just the producer, but her partner. So it was very much a sewn-together kind of thing. Whereas I was still out on my own." In 2009, Fiedler recalled that "maybe after a while, the tension that was there in our writing and singing styles spilled over into real life. Things did get extremely tense on the last tour we did together in 1993 in North America." ................ Following this tour, Moonshake split in half, with Margaret Fiedler and John Frenett departing to form a new band, Laika, with Fixsen. In 2009 Fiedler, recalling of the split, stated "it wasn't amicable. In fact it took me years to get over it, which is kinda sad to admit. I haven't spoken to Dave in years..." Earlier (in a 1995 Laika interview), she had commented "Laika is a close working collective; in Moonshake that was never possible. David and I always did what we liked. I have never compromised myself and that's the main reason why I was forced to leave the band. After the American tour David no longer wanted to work with me." Recalling the disagreement 30 years later, Callahan admitted "I felt like I lost my creative partner. Stupidly, I kind of rashly just rang her up once and said, "I don't want you to be in the band anymore," and she was really fucking upset. I felt quite bad about it. It was my fault for not being a very good communicator at that age." Callahan and Fiedler repaired their personal relationship in later years. ........................ Casting a critical eye over the original Moonshake's work, in 2024, Callahan commented "to some extent, it was a failed experiment but I think a lot of it worked. And I think it sounds contemporary now, which shows we were doing something right"
0:38:36 (Pop-up)
Pram
Omnichord
Telemetric Melodies
Domino Recording Co.
1999
"Pram are an English post-rock band formed in Birmingham in 1988 by singer-keyboardist Rosie Cuckston, guitarist Matt Eaton, drummer Andy Weir and bassist Samantha Owen. ....................... Subsequent lineups have changed frequently, most notably with Cuckston's departure in 2008. Their electronic pop sound, described by AllMusic as "equally quaint and unsettling," employs unconventional instruments and draws on stylistic influences such as krautrock, exotica, and dub. .................... //////////////// ""Omnichord' b/w '60 Years Of Telephony' originally released on Wurlitzer Jukebox 1997." ........................
0:42:21 (Pop-up)
Cloud Management & Vivien Goldman
Quick Cover Up (Time Cow Remix)
Whoops Wrong Planet
Altin Village & Mine
2026
"Cloud Management return to Altin Village & Mine for a unique collaboration with New York writer and creative polymath Vivien Goldman. ....................... A pairing spanning generations and geography, but with a musical overlap that is quite fitting in both process and result. Cloud Management’s jammy, improvisational approach to their dubby electronics blends well with Goldman’s idiosyncratic vocal style, which has its origins in the early days of post-punk and UK dub experimentalism. Cloud Management blend many historical aspects of German electronic music into something distinctly their own, while retaining a view well beyond those borders or any particular era. This approach fits well with Goldman’s deep multidisciplinary career, not easily defined because of its eclectic abundance across disciplines, yet always orbiting around music as its foundation. ....................... When it comes down to it, these are great tracks created in the same way they sound: loose but refined, circling and turning inwards and outwards, back onto themselves. A dub of a dub of a dub, but never falling too far from the source — the minimalism necessary to deliver a direct, steady resolve and a gripping listen." ////////////// "The B–Side of the record features three remixes by artists from across the globe, all with strong connections to the front line of dancehall, dub, and electronic music experimentalism. Longtime Equiknoxx member Time Cow from Kingston (Jamaica), delivers a version of »Quick Cover Up« that represents a major overhaul of the original. This remix strips away much of the looseness of the source material and leans into a lush yet slightly darker atmosphere, created by layered synths and a masterful use of underlying percussion and melodic stabs."
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0:47:20 (Pop-up)
Mekons
Before The Ice Age (Version)
Horrorble (Mekons vs Tony Maimone In Dub Conference)
Fire Records
Fire Records
Second preview, released April 4, from the forthcoming (June 5) full-length dub remix album: Horrorble (Mekons vs Tony Maimone In Dub Conference), "a full-length dub reinterpretation of Mekons’ acclaimed 2025 album Horror, created in collaboration with Tony Maimone (Pere Ubu). Transforming familiar material into immersive, echo-laden soundscapes that emphasise tension and depth. Songs from Horror are pulled apart and reshaped into a drifting dub landscape where basslines stretch and dissolve, rhythms echo into open space and tracks are dismantled and reassembled into versions that drift, jar and unravel." ...................... "Whilst the original Horror album confronted climate catastrophe, economic violence and political decay through rock and roll, punk and melody – Horrorble reveals its shadow counterpart. Working with Maimone, this record treats dub as subtraction, space and echo rather than simple revision, revealing hidden textures and new emotional weight within the original recordings. ....................... “We first met Tony Maimone when we opened for Cleveland’s darkest art rockers Pere Ubu on a long, weird tour of the UK tour in 1988. By 1991 he was somehow playing bass for a newly fractured Mekons on a longer weirder tour of Europe bashing out songs from the Curse album which never saw the light of day in the US. In 2015 Tony unleashed the Studio G mobile to record ‘Existentialism’ the Mekons’ instant live album featuring brand new songs. Recorded in one night at a tiny theater in Brooklyn while mixing and editing the batch of tunes that became Horror, we had a feeling they might have some sort of secret double life. So much potential and split decisions that could’ve gone either way. Tony was the man to get his tools out and see what lurked beneath to make it truly Horrorble.”"
0:51:50 (Pop-up)
Gang Of Four
NO KINGS HERE!
NO KINGS HERE!
Velveteen Records
2026
"Gang of Four called it quits after their 2025 farewell tour, but are having trouble saying “that’s all.” In support of the No Kings protests, they wrote and recorded a new song “No Kings Here!,” with their 2025 lineup that included Belly’s Gail Greenwood on bass and Ted Leo on guitar. Of course the title of the song is a bit of a misnomer, as they’ve got a King in the band — frontman Jon King — but that’s not the kind of king they’re talking about. ................... A sample of the lyrics: "They’re locking up the children and the brown skinned refugees /They’re rewriting the future and they’re never saying please / They cable tie the youth and they make up alibis / They’re murdering the truth and they’re faking all the lies" ........................... Musically, this is pure Gang of Four, with Ted Leo doing his best Andy Gill-style angular guitar, somewhere between “Anthrax” and “What We All Want,” with the kind of backbone only drummer Hugo Burnham could provide. .................... In other “not fully retired” news, Gang of Four are playing Wilco’s Solid Sound festival in June and they are doing a few other Northeast dates with Downtown Boys around that, hitting Hamden, Woodstock (Bearsville Theater on 6/25), Portland, and East Greenwich."
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0:55:38 (Pop-up)
Music behind DJ:
Charles Joseph Smith
Experimental Jazz Piano B - Latin (improvisation) (2013)
Collected Works and War of the Martian Ghosts
Sooper Records
2026
Collection released April 3, 2026. .......................... "Collected Works and War of the Martian Ghosts is the definitive recorded collection of living Chicago DIY legend, Dr. Charles Joseph Smith. Born on Chicago's southside in 1970, Smith is a lifelong resident of the Beverly neighborhood who went on to earn 3 degrees in piano (Bachelor's, Master's, and Doctorate) and perform as a concert pianist in 5 countries (USA, Italy, Germany, France and Hungary). The album also marks the first archival release from Chicago’s Sooper Records. ................................... All of the music here is being made widely available for the first time. This 90-minute collection is compiled from 30 years of Charles’ self-released original music spanning concert piano, electroacoustic experimentation, electronic beats, free improvisation, and two instrumental sketches of his evolving sci-fi opera, War of the Martian Ghosts (a 2023 electronic realization, and a 2018 piano realization). This double Vinyl / Triple CD Collector’s Edition comes with an extensive Insert Booklet containing 9000 words including poetry, interviews, quotes, 30 archival photographs, and extensive liner notes on the life and work of Charles Joseph Smith written by Sooper co-founder Glenn Curran (edited by Sadie Dupuis). This is a piece of Chicago music history. ............................ Dr. Charles Joseph Smith’s remarkable story begins with a mute child’s gift for music, and the purposeful way he nurtured this talent to become both life practice and raison d'être. Charles recounts this artistic journey in his autobiography, The 88 Keys that Opened Doors, a self-published book that chronicles a life in which music was (and still is) the primary key to overcoming immense challenges posed by Autism Spectrum Disorder (ASD). ........................... His career as a musician starts in the church, reaches into the international concert piano circuit, and eventually settles to bear strange fruit in Chicago’s experimental underground. Along the way, Charles Joseph Smith’s compositional voice absorbed and metabolized popular music spanning pop to jazz, the gospel of the church, the canon of the classical conservatory, modern dance scores, and the rule-shattering experimentalism of his city’s DIY subculture, where he has been a mainstay for over 30 years. Since the mid-1990s, Charles has been performing, dancing, and selling his self-published musical and written works in person, often at the local shows he frequents. He is known around Chicago as a living symbol of the power of music, and of the beloved spirit of community at the heart of DIY. This is the definitive collection of his original recordings—though it would be impossible to ever encompass the galaxies of music, poetry, and prose penned by the prolific Dr. Charles Joseph Smith." https://charlesjosephsmith.bandcamp.com/album/collected-works-and-war-of-the-martian-ghosts
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0:58:52 (Pop-up)
GLOSSY
Up and Up
Up and Up
Glossy
2023
There are multiple Glossies. Multiple Up and Ups...and Multiple Hometown Zeros (their most recent album) This band truly is a mystery...clearly they have so few fucks to give that they just...fucked off. And I fucking respect that. I also like a good sloppy bass, and this delivers. A toast to Glossy!!! Also this song does super rock. So I do wish they'd fuck right back here and keep making songs like this....
1:10:59 (Pop-up)
Orcutt Shelley Miller, David Yow
Hot Head
Hot Head
Silver Current
2026
Orcutt Shelley Miller recruited David Yow of the Jesus Lizard and Scratch Acid to handle lead vocals on a cover of Captain Beefheart's "Hot Head." Miller offered some information about how the cover came together:
Beefheart is, as Bill would say, definitely one of our big Venn diagram intersections for OSM. Bill had been throwing the "Hot Head" riff into the middle of one of our tunes that had a similar tempo on certain nights on tour. We just kept digging in further and further until it was a full song embedded within another song.
David Yow and Steve were old friends, and David just seemed like a perfect fit to bring it home and do Captain’s duties on vocals. David is one of the great through-lines helping to carry the spirit of Beefheart’s musical legacy into and beyond alternative music of the ’90s and 2000s. In my estimation, that explosive blending of sonic complexity and visceral, primitive expression is really at the heart of David and The Jesus Lizard’s power, as it is also at the heart of Orcutt Shelley Miller. Beefheart hand-carved the model for that musical dynamic in marble....
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1:13:47 (Pop-up)
ÖPNV
Sprechsfunk
+4917635713990
Phantom Records
2026
ÖPNV’s +4917635713990 falls into that subcategory of post-punk that is centered around mid-tempo drum machine beats and groovy bass lines, but the use of creeping synths, megaphone vocals, decorative samples, and clever sound design tricks makes it stand out for sure. It has this slight industrial coldness that creates an in-between vibe that is not “dark” per se, but playfully tense and tensely playful. I absolutely love it, and I think everyone should give it a spin before Nokia sues the hell out of ÖPVN. - Maximum RnR ÖPNV make rudimentary post-punk in the broadest sense, with dangerous bass lines and drum machines. On top of that come two tons of over-spilled synthesizers and subway-driver-esque announcements disguised as vocals. The whole thing is decorated with seemingly stolen children’s instruments and samples from the depths of the heart of Berlin’s underground: the subway, answering machines, and nightlife. My tip for visitors to our beloved capital: don’t make friends there—stay home instead and listen to ÖPNV’s new record!
1:16:41 (Pop-up)
Wet Man
Armchair Expert
Armchair Expert
Wet Man Music
2026
Wet Man returns and gifts us with an early exclusive new single release....Armchair Expert is out tomorrow! A tale of misinformation, disinformation, and climbing the summit of Mt. Dunning Kruger...we all know them, the piss drinkers, the tinfoil hat wearers, the chemtrailers and flat earthers...the Russian bot accounts and the Boomers that fall for them...put on your hazmat suit kids, because we're wading into the comment section!!!!! Look up Wet Man online at bandcamp and instagram because his music is ABSOLUTELY delightful and neccessary for the times we live in. First Class Electro Sleaze.
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1:19:12 (Pop-up)
ZANE 2000
Hot Dog
Get Me Off This Sphere
ZANE 2000
2022
PROUDLY MADE IN MY HOMETOWN OF ŌTAUTAHI / CHRISTCHURCH / AOTEAROA / NEW ZEALAND. Zane 2000 is an Ōtautahi (Christchurch), New Zealand-based electronic artist, multiinstrumentalist and producer, often associated with Jonty O'Connor (also known for Zen Mantra and The Midimaster). Known for his "robo-pop" sound, he released the Computer Rock EP (2019) and the debut album Get Me Off This Sphere (2022), which featured industrial-textured synth-pop
1:22:55 (Pop-up)
Apéro
I Hate Fascist Billionaires
Cold Drinks, Cool Snacks
RilRec
2025
Apéro is an outernational anti-fascist egg punk band from hamburg (de) & sénas (fr). Cold Drinks, Cool Snacks is their debut, and it’s an impressive first step into egg punk territory. The members are scattered across bands like Briefbombe, Loser Youth, Confetti Malaise, and Kapot (to name a few), and you can hear that collective punk DNA coming through. Their first show went down in Sénas, Provence, and they’re on tour across Europe this summer. Go! Apéro, short for apéritif, is sacred in France: an hour or so before dinner where you can unwind over a cocktail (or two) and a few snacks. It’s not about getting drunk: it’s about spending time together and preparing your palate for the meal to follow.
1:25:25 (Pop-up)
Spooky Visions
The Pounding Of The Nail
Spooky Visions Cassette
Tetryon Tapes
2022
We've played the majority of this release because Spooky Visions fucking knows what's up. "...fucking killer set of tracks of dark Synth Drum-machine Punk robotic vocals madness, no doubt some of the best you're gonna hear this fucking year...No matter how you can imagine it before you hit play, SPOOKY VISIONS is better!!!" - Tremendo Garaje "SPOOKY VISIONS works - fiery synth punk that is undeniably punk. We're talking late '70s first wave California shit reimagined in a new century Rust Belt basement (or closet) - a project that owes everything to the past while borrowing nothing. Instead, SPOOKY VISIONS create the shit they wish they had been able to hear in their own adolescence....so you don't have to wish. You can just have. You're welcome." - Terminal Escape
1:26:26 (Pop-up)
Long Hours
People
Truth and Hate
Long Hours
2022
Long Hours is a solo performance project by Melbourne-based artist and musician Julian Medor. Frequently coined as Lo-fi, no wave, synth punk, croon core or goth doo-wop, Long Hours’ live show is an impactful, frenetic experience inspired by frontmen such as Alan Vega (Suicide), Gabi Delgado (DAF) and Tuxedo Moon. Yes. YES. YEEEEESSSSSSSSS. I mean, not you guys...obviously. OOOOBVIOUSLY. We all know the people we're talking about. ;-) Medor describes using self-built fuzz pedals, children's keyboards, and old drum machines, with a live show featuring raw, cathartic, and often unpredictable performances. "I’ve never had many friends. Mainly the people I’ve been friends with, have also been in bands together. I don’t think I’ve really discussed a great deal in music with too many people, I found out early on, most people didn’t view certain styles or take on music in a way I could relate to."
1:28:25 (Pop-up)
Music behind DJ:
Francis Coppieters
Waltz On The Off Beat
KPM Series 1000: Piano Vibrations
KPM
1975
1:31:42 (Pop-up)
The New Eves
Cow Song
The New Eve Is Rising
Transgressive Records
2025
Released August 1, 2025. "Brighton-based four-piece The New Eves – Violet Farrer (guitar, violin, vocals), Nina Winder-Lind (cello, guitar, vocals), Kate Mager (bass, vocals), and Ella Oona Russell (drums, flute, vocals)" ................ "The New Eves’ debut arrives fully formed yet restlessly inventive—a raw, literary fusion of punk and folk that feels both ancient and newly unearthed. It’s a confident, intuitive work that conjures a sense of discovery, as if brilliant ideas are being uncovered in real time. There’s something thrilling about being in its presence: a feeling of uncharted territory being mapped, of reinvention unfolding before your ears. Spellbinding and unforgettable, this is the sound of a band not just arriving, but already reshaping the landscape—and the future feels electric. ................. "“The space we go into when we perform feels quite far away from regular life. It takes a lot out of us and we really go into this other dimension, so it’s amazing that we can bring people there with us,” says Ella. “The live show is what’s got us everywhere – we had barely any music out, it was all so underground, but people just wanted to come and they’ve never stopped coming.” ................... Somewhere between primal rock’n’roll and transcendent ritual, The New Eves create an alchemy that feels instinctive and entirely their own. On stage, their presence is boundless and magnetic—a kind of magic that rewrites the rules of how to be a band, as women, and as creators. That same energy runs through The New Eve Is Rising, a debut forged in deep connection and fearless experimentation. “This project has been about us redefining ourselves, and we hope anyone who’s listening can be inspired by that,” says Nina. Ella adds, “We’re seeing how far we can go as four people by creating our own mythology.” ....................... Musically, the record distills their untamed sound—a potent mix of radical poetry, rock’n’roll wildness, and freak-folk experimentalism—into something urgent and melodic. Immersive and alive, The New Eve Is Rising doesn’t just invite you in; it builds a world of its own. More than a debut, it’s a powerful first chapter from a band already reshaping the landscape. ................. “It’s the idea that you can do what you want – you don’t have to do things a certain way,” Nina says, summing up the revolutionary spirit of The New Eves and their debut. “When we made this band, we didn’t know what to expect. No one gave us permission. You have to do that for yourself.”"
1:42:22 (Pop-up)
The Raincoats
Baby Song
Odyshape
Rough Trade
1981
"Odyshape is the second album by the Raincoats, released on 1 June 1981 by Rough Trade. ..............Stylistically, Odyshape was a radical departure from the band's first album, featuring a diverse range of instruments, such as the shruti box, balophone, shehnai and kalimba, which they picked up at junk shops and markets or brought back from New York after their 1980 tour. The band incorporated influences from ethnic field recordings and musicians such as Ornette Coleman, and often swapped instrumental roles to freshen the arrangements. .................... Odyshape was recorded after Palmolive, the band's original drummer, had left the group, leaving the band to write without a drummer in mind; later the Raincoats hired Richard Dudanski (P.I.L.), Charles Hayward (This Heat) and Robert Wyatt (Soft Machine) to contribute percussion parts. Palmolive's original replacement, Ingrid Weiss, left during the start of the recording of Odyshape. ........................... The album cover was based on the painting Peasant Woman by Russian artist Kazimir Malevich."
1:48:42 (Pop-up)
The Fall
Stephen Song
The Wonderful and Frightening World Of....
Beggars Banquet
1984
Surprised not to have played this yet, another Fall favourite, featuring "friendly visitor" Gavin Friday (at the time in Virgin Prunes.) Seemingly a song that bassist of the time Stephen Hanley might have written. (Followed on the album by Craigness, which one might deduce guitarist of the time Craig Scanlon might have written.) Sometimes titles are like that. This is also the song that features the lyric "Adult Net", which became the name for Brix E. Smith's side project from 1985-1990.
1:53:41 (Pop-up)
Rema-Rema
Feedback Song
Wheel In The Roses EP
4AD
1980
"Rema-Rema was a short-lived English music group, consisting of Gary Asquith (guitar/vocals), Marco Pirroni (guitar), Mick Allen (bass/vocals), Mark Cox (keyboards) and Dorothy Prior aka Max (drums). They split after one lone EP, viz. Wheel In The Roses, released by 4AD in April 1980. Their songs Fond Affections and Rema-Rema were later covered by This Mortal Coil and Big Black, respectively."
1:56:47 (Pop-up)
Matt Elliott
The Howling Song
Howling Songs
Ici D'ailleurs
2008
Released November 3, 2008 ................ "Matt Elliott has rather an atypical course... He [also] work[s] under the pseudo The Third Eye Foundation - emblematic figure of the English electronic scene recognized for his atypical electro tinted by drum' N bass. Since his first album under his own name The mess we made (domino records), Matt Elliott turns to compositions much more folk, forsaking the laptop and the machines - which go until disappearing, to return to more traditional instruments (guitar, piano, violin...). ...................... Drinking song puts an emphasis on distant voices and ethereal ambiences. Guitars and keyboards are getting softer, almost affectionate, sometimes overwhelmed by drum n' bass beats that carry the song upward. Choirs and echoes give an almost mystical dimension to the album. All the songs hold the audience spellbound. .......................... To succeed to Drinking songs, because it’s really about songs, Failing songs turns Matt Elliott into a true songwriter. He assumes completely his voice and sings very personal and dark texts (that we can find for the first time inside the booklet.) Songs whose subtle melodies contrast with the hardness of the words because Failing songs is a hard failure report. Between despair and cold anger, the texts talk about the liberal military evolution of the world that the author rejects. The Titles are as sublime as melancholic, bitter and sad, impressed by Slavic music, Greek, and besides, sometimes punctuated of Spanish guitars (the guitar which is from now the instrument of predilection, omnipresent although often combined with the violoncello’s languor). ........................... Howling songs is the magnificent third and last part to the “songs trilogy”. We are back to this slavonic tune, without any definite frontier, whose only and constant heritage finds its roots in European music. This is a very haunted and personal piece of music which is the testimony of a unique talent where moving melodies follow other moving melodies balancing between ballad songs and folk music, madness and reason, revolt and despair. Howling songs sympathises with the surrounding world, it is a definitive observation in which one can feel, throughout the songs, an outraged sensitivity which is the signature of the artist. It is all the more sensitive that Matt’s voice is sometimes present without any chorus in the background, bringing to the whole both confidence and unquestionable heat. ................. Howling songs is, without a doubt, the most introspective album by Matt Elliott and the one which carries best his musical personality." https://mattelliott.bandcamp.com/
2:03:57 (Pop-up)
Nick Cave & the Bad Seeds
The Weeping Song
The Good Son
Mute
1990
Nick Cave has a lot of "song" songs... Four on the "Good Son" alone: 'The Weeping Song', 'The Ship Song', 'The Hammer Song', 'The Witness Song'... That's four "Song" songs on one album... Then there's 'Song Of The Lake'... Add to that 'The Train Song', 'Sudden Song', 'Cassiel's Song', 'Little Ghost Song', 'Spinning Song', 'Song Of Joy', or his cover(s) of Leonard Cohen's 'Tower Of Song'... Or his collabs w/ Bad Seed Warren Ellis... 'Song for Jesse', 'The Rider Song', 'Song for Bob', 'Song for Amy'.. This is clearly a man who has an unhealthy inclination to write "song" songs. Let's continue to keep watch of this... It's a thing... ""The Weeping Song" is a song by the Australian rock band Nick Cave and the Bad Seeds. It was released as a single from their sixth studio album, The Good Son (1990), on 17 September 1990 by Mute Records. ..................... The lyrics take the form of a dialogue between father and son, who alternate lines during the verses while singing together on the choruses. The father's part is sung by Blixa Bargeld, while Cave performs the son's part. Cave recalled the song "came out of nowhere with very little thought", one day while he lived in Brazil and walked from his home to a nearby bar he frequented.".................. As know or have guessed, there is an appropriately lo-fi & goofy video to accopany it........... Nick Cave & The Bad Seeds - The Weeping Song (Official Video)
2:08:40 (Pop-up)
The Birthday Party
A Dead Song
Live 81-82
4AD
1999
Oh look!!! It's early Nick Cave writing a "Song" song. A Dead Song. He sure loves songs. And words. And songs called "Song"... Who doesn't love "Song" songs?!! ................................. "Live 1981–82 is a live album by The Birthday Party and released in August 1999. The performances were "[c]ulled from the private collection of founding member Mick Harvey with assistance from super fan Henry Rollins". .................... The album received very positive reviews from various sources. "Though various live releases had emerged over the course of the band's existence," writes Ned Raggett for Allmusic, "no full-length capturing of the Party's particular bacchanalia approved by the group had officially emerged until this release [...][The album] threatens at all points to leap from the speakers and throttle innocent bystanders." Tim Peacock of Record Collector called it "a vital addendum to the pioneering Aussies’ oeuvre." Matt Mernagh of Exclaim! writes: "the only live album from these Australian bastards is a brilliant effort in capturing pure chaos. Whether it’s Nick Cave’s howls and murderous screams, Harvey’s squalor of blues guitar playing, Rowland S. Howard’s high pitched guitar riffs, Tracy Pew’s thumping bass being buried in the background and Phil Calvert’s hammering drum sound, this beast finds the band at their peak. [...] By performing so well together, the frenzied noise has been planned, although it doesn’t seem like that could be humanly possible." He notes the audience response as being "enthused and stunned at the same time."
2:13:03 (Pop-up)
The Ex
Stonestampers Song
Singles. Period. (The Vinyl Years 1980-1990)
Ex Records
1990 / 2005
Oooooooohhh... Exciting! The Ex are touring again & coming to our city of Toronto in June! The things you find out live in the WFMU chat! Thanks gang! --------- Originally on a 1990 single. Produced by The Mekons' John Langford; later collected on "Singles. Period." ......................... "Grab The Ex's Lied Der Steinklopfer Stonestampers Song now. Raw punk fire from 1990, straight to your ears. Listen online or download fast-no fluff. A-side recorded in a cow rental shop? Hell yeah. B-side screams live from Wakefield. Lyrics by Tucholsky, noise by anarchists. This ain't music, it's a riot. And yeah, someone wrote an essay about world music on a photocopied sheet. Whatever. Just smash play." .......................... "The Ex - Lied Der Steinklopfer / Stonestampers Song? Yeah. This 7" from 1990 ain't your dad's punk record. Raw, jagged, like someone took a sledgehammer to a blues riff and rebuilt it with scrap metal. Dutch anarchists doing their thing-no polish, no apologies. A-side "Lied Der Steinklopfer" hits hard. Lyrics by Kurt Tucholsky, that pre-WWII German satirist. Smart choice. The band turns his poem into this chugging, clanging beast. Guitars don't so much play as attack. Drums sound like they're recorded in a barn full of loose sheet metal-probably 'cause they were, at ADM's Koeienverhuurbedrijf (cow rental business?? only in Holland). Vocals are half-shouted, half-chanted, urgent like a street protest you don't wanna miss. B-side's different. Live DAT recording from Wakefield. "Stonestampers Song" feels looser, dirtier. You hear the room, the crowd maybe. It's slower, almost tribal. Repetitive bassline, stomping beat. Like a ritual for factory workers on strike. Kinda hypnotic after three listens. Not catchy, but sticks in your head like a splinter. What's not to like? Well, if you want clean production or solos... look elsewhere. This ain't pretty. Some might call it chaotic. Nah, it's controlled chaos. Precision in the mess. And yeah, lyrics aren't exactly relatable unless you're translating Weimar-era poetry in your head while smashing rocks. But that's the point. The Ex never played by rules. They mixed punk with jazz, folk, African rhythms later on. Here, you just hear the spark. That moment when politics, poetry, and noise collide. Funny thing? Found this single tucked behind some old reggae 45s at a Leeds charity shop. Same city where the B-side was recorded. Weird coincidence. Felt like the record wanted to come home. Or maybe I'm just romanticizing dirt-cheap vinyl finds again. Either way, it bangs." .................. https://theex.nl/
2:15:45 (Pop-up)
Music behind DJ:
Charles Joseph Smith
Flourishing Cities of Undead
Collected Works and War of the Martian Ghosts
Sooper Records
2026
Collection released April 3, 2026. .......................... "Collected Works and War of the Martian Ghosts is the definitive recorded collection of living Chicago DIY legend, Dr. Charles Joseph Smith. Born on Chicago's southside in 1970, Smith is a lifelong resident of the Beverly neighborhood who went on to earn 3 degrees in piano (Bachelor's, Master's, and Doctorate) and perform as a concert pianist in 5 countries (USA, Italy, Germany, France and Hungary). The album also marks the first archival release from Chicago’s Sooper Records. ................................... All of the music here is being made widely available for the first time. This 90-minute collection is compiled from 30 years of Charles’ self-released original music spanning concert piano, electroacoustic experimentation, electronic beats, free improvisation, and two instrumental sketches of his evolving sci-fi opera, War of the Martian Ghosts (a 2023 electronic realization, and a 2018 piano realization). This double Vinyl / Triple CD Collector’s Edition comes with an extensive Insert Booklet containing 9000 words including poetry, interviews, quotes, 30 archival photographs, and extensive liner notes on the life and work of Charles Joseph Smith written by Sooper co-founder Glenn Curran (edited by Sadie Dupuis). This is a piece of Chicago music history. ............................ Dr. Charles Joseph Smith’s remarkable story begins with a mute child’s gift for music, and the purposeful way he nurtured this talent to become both life practice and raison d'être. Charles recounts this artistic journey in his autobiography, The 88 Keys that Opened Doors, a self-published book that chronicles a life in which music was (and still is) the primary key to overcoming immense challenges posed by Autism Spectrum Disorder (ASD). ........................... His career as a musician starts in the church, reaches into the international concert piano circuit, and eventually settles to bear strange fruit in Chicago’s experimental underground. Along the way, Charles Joseph Smith’s compositional voice absorbed and metabolized popular music spanning pop to jazz, the gospel of the church, the canon of the classical conservatory, modern dance scores, and the rule-shattering experimentalism of his city’s DIY subculture, where he has been a mainstay for over 30 years. Since the mid-1990s, Charles has been performing, dancing, and selling his self-published musical and written works in person, often at the local shows he frequents. He is known around Chicago as a living symbol of the power of music, and of the beloved spirit of community at the heart of DIY. This is the definitive collection of his original recordings—though it would be impossible to ever encompass the galaxies of music, poetry, and prose penned by the prolific Dr. Charles Joseph Smith." https://charlesjosephsmith.bandcamp.com/album/collected-works-and-war-of-the-martian-ghosts
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2:18:44 (Pop-up)
holybones, Baxter Dury
SLUGBOY
Slugboy
Promised Land Recordings
2026
I waited up late just to get a listen of this collab released early Wednesday morning...."Clandestine electronic outfit holybones return with their first official release of the year, ‘SLUGBOY’, featuring Baxter Dury.
The fever dream of a track merges the London collective’s frayed nocturnal sound with Dury’s crafty, abrasive lyricism. Foreboding and desolate, ‘SLUGBOY’ is another surround sound sonic curveball from the anonymous entity, who released their debut EP, ‘I got a good night’s sleep’, last year to acclaim.
Of their collaboration with Dury, holybones share:
“We’ve been fans of Bax’s for a long long time, so it was great to get in the studio and write SLUGBOY with him. We found the places in each other’s worlds pretty neatly on this one. Go be a SLUGBOY.”
“Unsettling and sleazy just how it should be, was very easy to work on this. Can’t wait to play it live!” Baxter Dury adds.
To celebrate the track’s release, holybones will tonight play a special show at Vespers in Peckham on April 15th, before heading to Rotterdam for Motel Mozaïque (MOMO) Festival on April 18th and later Brighton’s The Great Escape on May 16th.
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2:27:34 (Pop-up)
Rampressure
Fuck Up The Floor
Fuck Up The Floor
Inflatable Hero
2024
Family noise rock band from Staines. Two brothers and a Dad it looks like! They are secretive yet very active in the lo fi/noise scene in London. This is a nice n'sleazy vibe indeed. Goth slacker post punk? Death disco? YES.
2:31:14 (Pop-up)
Blone Noble
Too Big To Fail
Life's New Adventure
Industry Standards
2025
No Wave Punk Funk and Skronk! Glassy, glittering synths like relics broken off the Berlin wall, bass lines bouncing out of a New York sewer, disco drum machines driving down the 101 freeway toward the Broadway off-ramp, and perverse primal percussion form the sonic landscape for the poetic lyrics of BLONE NOBLE that paint pictures of isolation and transcendence, a mural of divine guidance through the decline of civilization, delivered with striking theatricality that commands attention and prompts you to DANCE TO THE BEAT. This is new wave for a retrograde era — a human experience in a tech dystopia.
Blone Noble is currently on tour supporting the release of his debut LP, “Life’s New Adventure,” out now on Industry Standards.
2:35:49 (Pop-up)
Donzii
Bird
Bird
gladugly
2026
Formed in a dilapidated suburban mansion from the ’70s, the Donzii galaxy has included a number of supporting musicians over the years, helping to form their poly-blend of electronics, bass guitar, ‘80s utopian guitar and vocalist Balfe’s hauntingly spirited vocals.
Balfe’s poetic lyrics spill from many inner dimensions and intentions: “A lot of my inspiration comes from wanting people to think more deeply about being able to exist in a way that is more joyful,” she says. “Not in a Live Love Laugh kinda way, but in a way that encompasses the material grossness of this chaotic life cycle. Like watching sweet little pink flowers grow atop a pile of decaying bones and compost.”
In many ways Donzii is not a normal band. But, as Balfe says, there is one rule of all great music that they follow: “We do it so people can dance."
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2:39:29 (Pop-up)
Soltera, Sonido Sex
Bass in My Thong
Bass in My Thong
dottidot
2026
From LA, we have featured this new collab before and it DOES NOT DISAPPOINT! Soltera is the experimental electronic music project of Tania Ordoñez, a Colombian-American DJ, producer, and filmmaker based in Los Angeles. She creates "raw, unfiltered," dark, and ethereal dance music that blends techno and house with a punk ethos, often featuring her own vocals, and is a co-founder of CASA/TECA, an LA-based collective and label that highlights house/techno music from people of color. Sonido Sex is a US-based electronic music artist producing electronica, techno, and electro tracks.
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2:42:46 (Pop-up)
Baby Dave
Am I Clean?
Billy
Baby Dave
2026
British punk duo Slaves rebranded themselves as SOFT PLAY, as their previous incarnation no longer represented who they were and the band they wanted to be seen as. But while that announcement has yet to garner any new material from the pair, frontman Isaac Holman did introduce us to his solo project Baby Dave with his impactful debut LP 'Monkey Brain', a record that created quite the buzz when it was first released. Well that was 2022. And since then, we've had few relases, only 1 single in 2025....and then THIS. THIS....glorious piece of electronic/acid/psychedelia that is as exquisite as it is bangin. BABY DAVE ARE YOU OK? Apparently yes, because there is an album coming May 1st. And a video for this single. And according the video, he's into witchcraft now...
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2:45:03 (Pop-up)
Matthew Friedburger
Do You Like Blondes?
Winter Women/Holy Ghost Language School
Thrill Jockey
2009
Matthew Friedberger (born October 21, 1972, in Oak Park, Illinois, United States) is an American singer, songwriter and multi-instrumentalist best known for his work in the indie rock duo the Fiery Furnaces with his sister Eleanor Friedberger. He dedicated the album to his sister, saying later in an interview, "we dedicated all [the Fiery Furnaces] records to our parents, so I thought it was appropriate that this record be dedicated to Eleanor". Awwww...
2:50:12 (Pop-up)
Music behind DJ:
Francis Coppieters
Sales Talk
KPM 1000 Series: Contemporary Impact
KPM
1975
2:53:09 (Pop-up)
Lyndon Blue
Page of Wands
Warm Corona
Healthy Tapes
2018
Lyndon Blue makes slanted pop songs in the back room. For fans of Antipodean post-punk, sprawling art-pop and homespun disco. "I’m currently Associate Curator (Music and Public Programs) at Goolugatup Heathcote Gallery and Cultural Precinct. I curate the Goolugatup Sounds concert series in tandem with regular exhibition programming, and co-facilitate artist residencies, film nights, workshops and other events.
As a musician, I’m most interested in songmaking; particularly across pop, folk and DIY/experimental music traditions. Though always returning to song-forms I also work across ambient, electronic, classical, improvised, noise and jazz-oriented approaches.
My visual art practice tends towards capturing (or reimagining) echoes of antiquated cultural traditions in suburban and late-capitalist contexts. This tendency often sits alongside themes of competition, politics, ‘magic,’ language and absurdity."
2:59:15 (Pop-up)
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