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.
Spinors – Choose to Believe
The name alone is a provocation worth sitting with. A spinor, as any physicist or pleasingly curious non-physicist will know, is a quantum object that defies commonsense reality: rotate it once and it does not return to where it started; rotate it twice and it does. It must be observed before it acquires a definite state. That Sergie Code — Argentine expatriate, restless songwriter, the driving intelligence behind this London-based trio — chose this particular piece of mathematics as his band's identity tells you immediately what sort of artist you are dealing with. One, it turns out, who means it.
Yulia – “Let’s Agree To Love” feat. Jackiem Joyner
The pianist and composer Yulia Petrova arrives on record with a single that carries the quiet authority of an artist who has been waiting, deliberately and patiently, for the right moment. "Let's Agree To Love" is that moment, and she has seized it with both hands.
RobbaDucky – The Echo Before Silence
Let us dispense immediately with the pretence that electronic music cannot carry genuine emotional weight. RobbaDucky — the nom de guerre of a UK producer who appears constitutionally incapable of making anything loud or careless — has now, with his latest single, produced something that deserves to be heard in a darkened room with the volume turned up and the excuses turned off.
Karma Noir – This Is Her Time
Metal has always been the genre most comfortable with its own contradictions. It traffics in beauty and ugliness simultaneously, in vulnerability dressed up as aggression, in the tender things men and women cannot quite bring themselves to say aloud without a wall of distortion to hide behind. Brussels five-piece Karma Noir understand this instinctively. On "This Is Her Time," their debut single, they have made something that announces itself with the force of a band who have been waiting — perhaps impatiently — to say exactly this.
Seven Nation Army – Power and Money
Kraków is not a city you typically associate with the grinding machinery of industrial rock. It gives us cathedrals, cobblestones, and a magnificent dragon myth. And yet, for two decades now, Jarek Balsamski has been constructing something altogether more combustible beneath its medieval skyline. Seven Nation Army, the project he founded there in 2006, has long refined its dark, atmospheric sound while maintaining a fiercely independent creative sensibility. *Power and Money* — a three-track EP released this week — is the latest dispatch from that ongoing and admirably uncompromising mission. And if the band's own framing is to be believed, this is something more than a record: *"Power and Money is not only about sound — it's about asking questions about the world we live in."* Bold words. Remarkably, the music earns them.
By Million Wires – Not Over
The most instructive thing about *Not Over* is what it doesn't sound like. It doesn't sound like *Letters to the Absent*, the 2012 debut that earned By Million Wires comparisons to skyscraping guitar psychedelia and established them as a band of genuine atmospheric ambition. It doesn't sound like the transitional instrumental work that followed Anna's departure — that more decisive, harder-edged post-rock that suggested the band might retreat entirely into wordlessness. And it doesn't sound like a band trying to sound like anything in particular. For a record fourteen years in the making, *Not Over* carries almost no anxiety about its own identity. That, more than any individual moment of brilliance, is what makes it worth your time.
SADFACE – Unsolved: KD-1
On the night of October 26th, 1999, a twenty-five-year-old railway worker named Małgorzata Ż. was murdered at the KD–1 signal box in the Silesian town of Czerwionka-Leszczyny. No arrest was ever made. No conviction, no closure, no name pinned to the act. The case calcified into one of those silences that provincial towns carry like a stone in the chest — present always, spoken of rarely. Twenty-six years on, a documentary and now this five-track EP have broken that silence with something approaching the force of a fist through glass.
Raw Soul – Still High…
Raw Soul — the nom de guerre of Vancouver-based hip-hop artist and practicing barrister Rawad — arrives not with a thunderclap but with the measured confidence of a man who has learned, through considerable difficulty, to trust his own counsel. *Still High…*, his nine-track original album released on the 12th of May, is the document of a mind that has survived its own turbulence and chosen, rather defiantly, to be grateful about it. That's a harder emotional register to pull off than most rappers attempt. Gratitude, after all, doesn't sell mixtapes. Raw Soul doesn't appear to care.
Damien Cain – Caleb (JD Radio Edit)
Some songs arrive quietly and stay forever. "Caleb," the latest single from German-born, Ireland-based singer-songwriter Damien Cain, is precisely that kind of song — one that does not announce itself with fanfare, but settles into the memory like a photograph found at the back of a drawer. Produced by UK hitmaker Jay Dixie, whose credits span Meghan Trainor and Ella Henderson, this radio edit strips away any potential for excess and leaves something genuinely rare: a ballad that earns every second of your attention.
WINACHI – STATE OF MIND
There is a particular kind of song that arrives not so much as a piece of music but as a reckoning. *State of Mind*, the debut single from Warrington's WINACHI and the opening salvo of their forthcoming album, is precisely that kind of song — a three-minute act of self-examination from a band who spent the better part of two years dragging themselves across three continents and only recently stopped to ask whether they were still intact.
Chandra – Nessun Dorma (We Will Win!)
Some songs arrive fully clothed in ambition. You hear the opening bars and understand immediately that whoever made this was not content with half-measures. Chandra's audacious reimagining of Puccini's *Nessun Dorma* — timed with almost indecent precision to the opening salvos of FIFA World Cup 2026 — is precisely such a record: a work that could have collapsed under the weight of its own hubris, and instead stands tall, chest out, arms wide, daring you not to be moved.
Rusty Reid – All Through My Days
There is a peculiar audacity to the cover version, when done with genuine artistic intent. Not the karaoke audacity of note-for-note reproduction — that wan exercise in nostalgia which serves only to remind us how much better the original was — but the audacity of reinterpretation: of taking another writer's beloved architecture, respectfully demolishing a few load-bearing walls, and rebuilding something that illuminates both the source and the interpreter simultaneously. Rusty Reid, Seattle-based Texan by birth and temperament, has constructed his entire fifth album, *Lone Stardust: Masterworks of Texas Songwriters*, around precisely this kind of courageous creative audacity. The album's lead single, "All Through My Days," demonstrates just how deftly that gamble can pay off.