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.
Social Gravy – Get Away
*The Pebble EP* has barely announced itself and already Social Gravy are making demands of you. 'Rapture and Rupture', the December 2025 opener, arrived like a fist through a letter box — insistent, slightly unwelcome, impossible to ignore. 'Get Away', its follow-up, is the moment you open the door to find out who was knocking.
Audren – We Want Funkey!
**The French artist delivers a shot of pure solar energy that bypasses the brain entirely and goes straight to the feet** Funk, at its most honest, has never been about sophistication. It is about surrender — the moment your body overrules your better judgment and you find yourself dancing in a supermarket aisle, or nodding so aggressively on the Tube that strangers begin to worry. Audren, the Paris-based indie-soul polymath, understands this covenant between music and muscle memory with an almost frightening clarity, and *We Want Funkey!* is the document of that understanding rendered in four gloriously irresistible minutes.
Fiori del Male – Allarme rosso nel golfo persico
Some records arrive precisely on time. Not on time in the sense of a publicist's calendar or a streaming algorithm's quarterly push — but on time in the way that a telegram arrives bearing news you already half-knew, the kind that lands heavy in the chest because the world has been quietly arranging itself toward that exact moment of reckoning. *Allarme Rosso nel Golfo Persico* is one such record. Composed in the white heat of 1991 when the Persian Gulf burned on every television screen and conscience alike, the Roman collective Fiori del Male have pulled this track from the archive not as an act of nostalgia, but as a form of witness. The message, it turns out, kept.
Neon Diffraction – Iron River
Ru Goddard has spent years operating under the Neon Transmission name, building a respectable house catalogue across Paper Recordings and Groove Foundation with the quiet diligence of a craftsman who knows his trade well. Then, without fanfare, he slips into a different skin entirely. Neon Diffraction is the alter ego, the dark mirror version — and *Iron River* is its opening statement. It arrives not with the glossy confidence of a well-managed career move, but with the slightly bewildering energy of someone who has heard something in their head for a long time and finally decided, quite possibly against reasonable advice, to go and make it.
The Wheel Workers – Live From The Attic
*The Wheel Workers prove that the most honest music is made before anyone thinks to polish it.* Houston, Texas has never quite received its due as a crucible of American rock. The city sits awkwardly between the mythologised grit of New York and the sun-baked cool of Los Angeles, perpetually overlooked by the tastemakers who prefer their geography to come with a ready-made narrative. The Wheel Workers, then, are precisely the sort of band that serious listeners deserve to discover: two decades deep into a career built on genuine artistic conviction, releasing a live EP recorded in an attic — not as a gimmick, not as a stopgap — but as a statement of radical transparency.
jaemin jung – concrete forest
Jung Jaemin does not arrive asking for your attention. He is not the kind of artist who announces himself with the anxious percussion of someone desperate to be heard above the noise. Instead, he opens a window — facing east, into a Seoul morning that has already turned grey before the light has finished deciding what it wants to be — and simply lets you stand there beside him. Whether you stay is, apparently, entirely up to you.
Chris Marksberry – The Perry Vale Sessions
**There's a dry cleaner's on the cover of Chris Marksberry's second album. It's an inspired choice — unpretentious, rooted in place, faintly comic. It tells you everything you need to know before the needle drops.**
Mermaid Avenue – Jacarandas
Peter Clarke named his band after an act of resurrection. The original *Mermaid Avenue* — Billy Bragg and Wilco breathing musical life into Woody Guthrie's unrecorded lyrics — remains one of the more audacious gestures of late-twentieth-century Americana: the idea that a song, properly stewarded, belongs not to any single moment but to all the moments it might yet inhabit. Whether or not Brisbane's finest five-piece consciously courts that philosophy, *Jacarandas*, their fourth album, makes a persuasive case that they have absorbed its central lesson. This is music built to last, made by people who understand that longevity in song has nothing to do with fashion and everything to do with truth.
Christopher Peacock – Only The Good Die Young
Grief, as any honest songwriter will tell you, is the great democratiser. It arrives uninvited, it does not negotiate, and it cares nothing for your artistic pretensions or your release schedule. The question that separates the merely competent from the genuinely affecting is not whether an artist can feel it — everyone can — but whether they can translate that feeling into something that resonates beyond their own living room walls. Christopher Peacock, the one-man independent operation behind "Only The Good Die Young," appears to understand this distinction with uncommon clarity.
Lucian Lacewing – Land Of Enchantment
**A bedroom conjurer from Bristol sends eight voices into the void, and the void hums back.** Released quietly on a Thursday in late March, with no fanfare and no live show to follow — Lucian Lacewing does not perform, a position he holds with the sort of principled stubbornness once championed by Brian Eno, his acknowledged patron saint — *Land Of Enchantment* is the kind of record that rewards the patient and baffles the impatient. It is ambient music with a gothic pulse, drone music that refuses to lie down quietly, and a debut single that announces its maker as someone far more interested in the texture of sound than in its conventional arrangement.
Ouroboric – Sin Eater
There is a particular kind of courage required to make music about guilt — not the performative, chest-beating guilt of a thousand confessional singer-songwriters, but the quieter, more corrosive variety: the guilt of someone who watched a relationship curdle slowly, said nothing, and eventually met a version of themselves they no longer recognised. Ouroboric, the Adelaide-based alternative project built around the dual vocal axis of Phil Crowley and Stace, have made precisely that music with "Sin Eater," and the effect is genuinely unsettling in the way that the best alternative rock always should be.
Tabitha Zu – On Reality
Thirty-three years is a long time to wait for a song to find its proper audience. Yet here we are, April 2026, and "On Reality" — Tabitha Zu's second single, first pressed onto 12-inch vinyl in a run so limited it may as well have been distributed by hand — arrives on streaming platforms with the force of something that has been coiled and patient, biding its time. The shock is not that it sounds fresh. The shock is that it sounds necessary.