Hall of Ukrainian Rock’n’Roll
In our traditional support of the Ukrainian rock scene, we would like to offer you a story about a remarkable event that took place in western Ukraine in the small town of Manevychi. Every year, at the end of May, all the world's museums hold a night at the museum, and such a night took place in Manevychi, where at the same time the soft opening of the first hall of the future Rock Capital museum took place. The hall is called The History of Ukrainian Rock and Roll and is the first of seven planned halls of the Rock Capital Museum. Perhaps it would not have been so attractive if the Rock Capital Museum had not truly been the first rock museum in Ukraine.
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.
Evermo – The Path
Some records announce themselves with a shove; this one arrives like a hand on your shoulder in a crowded room, quiet enough that you have to lean in to catch it, and once you have, you can't quite look away. "The Path," the single that opened Emil Andersson's account under the name Evermo, is proof that pop's oldest trick — the ache dressed up as a hook — still has plenty of life in it, provided the person wielding it actually means it.
Blade Of Thorns – Deep Waters
Grief rarely announces itself politely, and Blade of Thorns understand this better than most bands currently working the industrial-rock furrow. "Deep Waters" arrives not as a single polished for radio rotation, but as a confession dragged up from somewhere cold and unlit, then set to music that refuses to flinch.
Litiges! – Have some fun or get out
Jaw tight, pulse quickened, and the phone still warm from a call you wish you'd never answered — this is the emotional weather Litiges! chooses to open with, and it's a bold decision. Most songwriters reach for the explosion. Vinz Noise, the man operating under this moniker, reaches instead for the slow burn, the clenched grievance, the anger that has learned manners because it's been disappointed too many times to bother shouting.
Andy Smythe – Beautiful Day
Andy Smythe has spent the better part of 2026 proving he can do difficult. *Quiet Revolution* and its companion EP were dense, needling things — theatrical art-pop records that wore their intelligence like a well-cut overcoat, all wit and social bite. So it comes as something of a relief, and frankly a surprise, that his new single trades the barbed commentary for something disarmingly simple: a love song, unashamed and unguarded, called "Beautiful Day."
I Plead Irony – This Monologue Conversation
There is a particular kind of English pleasure in watching a band take a decade to finish an album and somehow arrive at exactly the right moment. *This Monologue Conversation*, the third full-length from I Plead Irony, is not a record that was rushed to market to catch a trend. It is a record that outlasted a pandemic, a change of career, several thousand miles of separation, and — one suspects — more than a little bickering in rehearsal rooms, and emerged sounding entirely unbothered by any of it.
Zmack – Rustbelt Rejects
Akron does not often produce prophets, but Zmack arrives sounding like one who has spent years shouting into the wind of a dying industrial town and finally found a microphone loud enough to carry it. *Rustbelt Rejects* is a record built entirely from scrap metal and stubbornness, and it clangs, hisses and grooves with the confidence of a man who stopped asking permission a long time ago.
diegoista – TIDELINE
Trieste sits at the hinge between the Adriatic and the Alps, a city built on the friction of two temperaments, and it seems fitting that a producer raised on that coastline should make a record as torn — productively, gorgeously torn — between restraint and grandeur as TIDELINE. diegoista has spent the past few years quietly assembling a reputation as one of melodic house's more thoughtful stylists, the kind of artist who treats a synth pad the way a novelist treats a semicolon: sparingly, and only when the pause genuinely earns its keep. Twelve tracks in, TIDELINE confirms it. This is a producer who has stopped asking what a club wants and started asking what a memory sounds like.
Cash Every Denomination – Hustlers Haven 2.0 – Legacy Edition [Ace The Beat God remix]
Nostalgia is a dangerous drug for a remix record to peddle. Revisit the wrong ghosts and you end up with a museum piece, all velvet rope and no pulse. Cash Every Denomination avoids that trap by refusing to treat "Hustlers Haven" as a relic to be dusted off. Instead, the New York artist and Ace The Beat God have gutted the original and rebuilt it with the wiring of a different decade altogether — part disco chandelier, part trap chassis, humming somewhere between Studio 54 and a stairwell in the Bronx at 3am.
Bollard – No Desire
Melbourne's Bollard have never been a band content to sit still, and their new single "No Desire" confirms it once again, arriving less as a single than as a small, controlled detonation. Where "Heat" leaned into melodic guitar work and songwriting craft, this track drags the listener back toward the murkier, more disquieting terrain the six-piece first staked out on *Trawlers* — only now with a discipline that their earlier, wilder material never quite possessed.
The Sonic Travelers – Let’s All Go To The Rodeo
There is a particular strain of Americana that British critics have always been suckers for — not the mythologised, dust-blown loneliness of the desert highway, but the noisier, warmer, more crowded version: the county fair, the church supper, the rodeo. It's the America of bleacher seats and funnel cake, and it is exactly the terrain that George Aiello and John Ingram, working under the name The Sonic Travelers, have chosen to stake out with their new single, "Let's All Go To The Rodeo."
The House Flies – Derelict Crawl
The House Flies have never been a band content to sit still in the genre box built for them, and "Derelict Crawl" — the first taste of their forthcoming second album *Lions and Ore* — confirms it with a swagger that feels earned rather than borrowed. This is a Moline, Illinois four-piece taking the bones of English post-punk and dressing them in denim and rust.
NOR.BE – All For You
Guitarists who dream in orchestral colour are rare enough. Guitarists who can persuade Vinnie Colaiuta, John Patitucci and the Bohemian Symphony Orchestra Prague to dream alongside them, on a debut single, are rarer still. NOR.BE has managed it, and "All For You" announces him not as a hopeful newcomer but as a fully formed voice who simply hadn't been heard yet.