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.
Lynney Williamson – I see you
Glasgow's Lynney Williamson has fashioned something genuinely affecting with "I See You," a single that demonstrates how bedroom production—or in this case, walk-in-cupboard production—can yield results that major studios might envy. The track arrives wrapped in the warm, slightly degraded textures of 1980s cassette culture, a sonic choice that proves far more than mere nostalgia-baiting.
Johan van Mullem – Damn!
There's something rather beguiling about the nocturnal pop that emanates from Amsterdam these days. Perhaps it's the city's unique relationship with evening hours—those liminal spaces between propriety and possibility—that imbues its electronic music with such a particular melancholy. Johan van Mullem's latest offering, "Damn!", arriving with the quiet confidence of an artist who knows precisely what he's attempting, sits comfortably within this tradition whilst simultaneously reaching for something distinctly contemporary.
Vé/Zé – New Car (feat Rádi Nóra)
Zoltan Varga, operating under the moniker Vé/Zé, emerges from the Hungarian town of Mogyoród with a bold proposition: that the sophisticated adult-oriented rock of the 1990s still has currency in 2025. "New Car," his fifth single release and collaboration with vocalist Nóra Rádi, makes a compelling case for this artistic resurrection, though not without revealing both the strengths and limitations of such reverent nostalgia.
Seema Farswani – Sketches On The Walls (Reimagined)
The act of returning to one's own work with fresh eyes—or rather, fresh ears—carries inherent risks. Too often, reimaginings become exercises in diminishing returns, a coat of studio gloss applied to material that needed no such treatment. Seema Farswani's "Sketches On The Walls (Reimagined)" defies this tendency entirely, presenting instead a compelling case study in artistic maturation and the value of genuine reappraisal.
Tom Minor – Ten New Toe-Tappers for Shoplifting & Self-Mutilation
The title lies, which feels entirely appropriate. Tom Minor's follow-up to last year's *Eleven Easy Pieces on Anger & Disappointment* promises ten tracks but delivers twelve, a numerical sleight-of-hand that mirrors the album's entire modus operandi: say one thing, mean several others, and make it all sound impossibly catchy whilst doing so.
Schau.Schou – January
The premise alone invites scepticism. Two Norwegian musicians discover they share a surname and decide to make music together — it sounds like the setup for a quirky documentary rather than a serious artistic endeavour. Yet *January*, the debut EP from Schau.Schou, quietly dismantles such cynicism across its five tracks, revealing a collaboration that transcends novelty to arrive at something genuinely affecting.
Siren Section – Separation Team
Four years. Eight years since the last full-length. Los Angeles duo Siren Section have returned not with a statement of intent but with a slow-burning question mark, a hazy interrogation of texture and disintegration that asks more than it answers. *Separation Team* announces itself as a concept album, though the concept feels less like narrative scaffolding and more like emotional architecture—a labyrinth of distortion, glitch, and hypnotic repetition that rewards those willing to get lost inside it.
PSTMRD – Lanzarote
The volcanic island of Lanzarote has long attracted artists drawn to its otherworldly topography—César Manrique built labyrinths within its lava tubes, José Saramago found exile among its black beaches. Now the Italian producer PSTMRD adds his own cartography to this archive of creative pilgrimage, rendering the island's geothermal drama as a seven-part electronic suite that unfolds with the patience of tectonic drift.
GOLEM DANCE CULT – Pretty at Dawn
Belgrave's Golem Dance Cult have delivered a strikingly ambitious piece of work with "Pretty at Dawn," the second single from their album "Shamanic Faultlines." The track, featuring Inga Liljestrom's spectral vocals and Jean-Philippe Feiss's mournful cello, exists within a shadowy realm where post-punk ritualism collides with contemporary electronic experimentation.
Bog Witch – Dream Birds
Bog Witch's "Dream Birds" arrives like a visitation rather than a release—a delicate, unsettling piece of nocturnal folk that positions itself somewhere between benediction and haunting. The single occupies that peculiar territory where the sacred meets the strange, where comfort curdles into unease and back again, all while maintaining the gossamer touch of a half-remembered dream.
Parmy Dhillon – Nashville
The opening bars of Parmy Dhillon's 'Nashville' arrive like a long exhale after holding your breath too long. Those warm guitar tones—unpretentious, weathered, honest—establish a sonic landscape that feels both intimately familiar and pleasantly worn-in, like a favorite jacket that's seen a few too many late nights but refuses to fall apart. The Melbourne-based singer-songwriter has crafted a deceptively simple piece of work here, one that reveals its complexities only after you've stopped trying to decode it.
Mikey La Luna – Hallelujah. الحمد لله .הללויה.
Mikey La Luna's latest offering arrives as both provocation and prayer, a piece of work that refuses the easy comforts of either the spiritual or the secular. "Hallelujah" – rendered trilingual in its title, spanning Hebrew, Arabic, and English – is mantra-electronic music at its most ambitious, a track that dares to treat the club as cathedral and the DJ booth as pulpit.