Do you know at least one Ukrainian punk rock band?
Do you know at least one Ukrainian punk rock band? Of course, no one asked me such a question, but I sometimes ask it to my friends. Talking about the glorious traditions of Ukrainian rock n roll, I don't want to miss punk itself. The first thing that comes to my mind is the band Borshch. Some people will say it's not punk rock, and maybe they're right. But musically and lyrically, Borshch has a spark that only lives in this style.
David Bowie’s first address
It remains interesting that even such alien rock stars as David Bowie had his parental home on our unfortunate planet. The future star lived the first 6 years of his life in 40 Stansfield Road, Brixton, London.
Formation of the Ukrainian rock n roll scene
2022 has become too difficult for one of the largest countries in Europe. It is about Ukraine and its heroic people. The passing year has brought devastation and tears, pain and suffering to the country. In its fight against the invaders, Ukraine is choosing its freedom and the right to a democratic future. Today we wanted to remember the glorious past of this musical nation and especially, we are interested in the development of the rock scene in Ukraine, in a country with its ancient roots and culture. How it was and how it was born.
The story of one music video
One November morning, I went to the antique shop 'LOT ONE TEN'. I loved taking a walk in autumn London after a snack at McDonald's and a large serving of black coffee. I felt in good spirits and even the gray rain could not interfere with my daily ritual, so Walthamstow greeted me with genuine indifference, as if inviting me to take a walk on the favorite street of the designer William Morris, whose mansion-museum was around the corner.
Sandro Ferro – Going Wild
Twenty years into a career built on precision and cross-genre audacity, Sandro Ferro delivers 'Going Wild' with the assurance of a producer who has nothing left to prove and everything still to say. The Swiss-British artist's latest single exemplifies why longevity in electronic music demands more than mere technical competence—it requires vision, adaptability, and an unwavering commitment to craftsmanship.
Strutter – Modern Life
Dublin's Strutter have arrived at something genuinely unsettling with their latest single, a track that refuses to sit comfortably within conventional rock structures or offer easy consolation. "Modern Life" emerges from Camelot Studios as a deliberately fractured meditation on contemporary unease, and it's all the more effective for its refusal to play nice.
Peter Martin Voy – Safe With Me
The opening moments of "Safe With Me" arrive with the kind of hushed intimacy that feels almost conspiratorial, as though Peter Martin Voy is sharing a secret across a dimly lit room. This German independent artist has constructed something rare: a pop song that wears its heart on its sleeve without collapsing into mawkishness, and wraps emotional transparency in production polished enough to sit comfortably alongside the genre's biggest names.
AKA PrimeTime – Electric Blue
Kelly Appleton has spent years in the shadows—literally. As a touring session guitarist, she's been the invisible engine behind other people's visions, the reliable pair of hands that makes everyone else sound better. With "Electric Blue," her latest offering under the AKA Primetime banner, she finally steps into the light with a track that doesn't just announce her presence—it demands you pay attention.
ERRO – Shadowland
Pittsburgh's ERRO return with *Shadowland*, a sophomore effort that builds upon the promise of their debut *Strawberry Moon* with greater ambition and refined emotional clarity. Led by Nikki Stagel's multifaceted artistry, this genre-defying collective has crafted an album that feels both bracingly intimate and expansively cinematic—a rare balance that speaks to genuine musical confidence rather than studio trickery.
John Kairis – Shadow Of The Cave
The Philadelphia songwriter John Kairis arrives with *Shadow Of The Cave*, a debut that refuses the easy consolations of indie-folk convention. This is music made by someone who has spent considerable time thinking about how songs actually work—not merely as vehicles for confession, but as structures capable of bearing complex emotional and philosophical weight.
Suris – Rare Brew
The Mackies have always operated outside the conventional machinery of the music industry, and *Rare Brew* stands as defiant proof that such independence can yield extraordinary results. This remastered anthology, drawing from recordings spanning 2005 to 2015—with roots reaching back to 1992—captures a husband-and-wife duo who've spent thirty years refining their singular aesthetic while the world moved on without them. That they've persisted is admirable; that the music remains this compelling is remarkable.
The Kiss That Took A Trip – Horror Vacui
In an age when the average pop song clocks in at under three minutes and TikTok has conditioned listeners to judge music within fifteen seconds, M.D. Trello has thrown down a gauntlet. *Horror Vacui*, the latest offering from his long-running project The Kiss That Took A Trip, is a single composition stretching beyond twenty minutes—a sprawling, unapologetic rejection of streaming-era economics and the tyranny of the algorithm. It's a risky manoeuvre, to be sure, but one that speaks to an artist uninterested in compromise and deeply committed to the post-rock principles that have animated his work since the project's inception in 2006.
Mars_999 – Odpoj Svet z Prístrojov
The Slovak artist MARS_999 has delivered a music video that functions as both aesthetic statement and philosophical provocation. "Odpoj Svet z Prístrojov" ("Disconnect the World from the Devices"), from his debut album EUPHONIA, arrives with the grainy authenticity of a rediscovered artifact, shot entirely on 8mm film by cinematographer Tereza Havadejová – whose recent work on the Student Academy Award-winning documentary *Confession* established her as a formidable visual storyteller.
Guild Theory – The Statesman
The English duo Guild Theory have long operated in the shadows of the indie-folk landscape, and with "The Statesman," they emerge with a statement of intent that refuses to play by conventional rules. Matt Smith's vocals and Rob's instrumental arrangements converge to create a piece that exists in the liminal space between folk tradition and experimental post-rock ambition.
Stephanie Braganza – Until We Meet Again
There are moments in popular music when an artist achieves that rarest of feats: transmuting deeply personal grief into something universally resonant, creating a work that speaks to the listener's own losses whilst never losing sight of its specific emotional truth. Stephanie Braganza's "Until We Meet Again" is precisely such a moment—a stunning achievement that announces the Toronto singer-songwriter as a significant voice in contemporary balladry.
Samuel Carrancho – Ghosts in a glass
The peculiar anguish of feeling fundamentally insufficient—whilst simultaneously craving what you're certain you'll destroy—has long been fertile territory for songwriters. Yet few manage to capture this paradox with the raw vulnerability Samuel Carrancho achieves in "Ghosts in a Glass," a track that strips away the pop-funk exuberance of his earlier work to reveal the anxious heart beating beneath.