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.
Karen Salicath Jamali – Seeds of God
**The moment a musician strips away every comfortable habit and steps naked into a new room is rarely pretty. It is, however, often revelatory.** Karen Salicath Jamali has built her reputation on the extraordinary: a composer who began writing music after a near-death experience in 2012, who had never touched a piano before that spiritual rupture, who subsequently performed at Carnegie Hall multiple times and won two European International Music Awards for her album *Wings of Gabriel*. She is, by any reasonable measure, not a woman who plays it safe. Yet "Seeds of God" — her new single released April 17 — represents a risk of a rather different and more personally exposed kind: her first vocal performance and first recorded guitar work, captured and committed to tape for the world to judge.
Cries of Redemption – Torn
Let us dispense with the formalities. Rock music has spent the better part of a decade apologising for itself — softening its edges, digitising its soul, feeding its rough hewn bones through the same antiseptic production pipeline that gave us a thousand bedroom-laptop albums indistinguishable from one another. "Torn," the new single from Savannah's Cries of Redemption, refuses this arrangement entirely. It arrives not as a polite request for your attention, but as a door kicked open at two in the morning.
Albert Eno – Stay
**The bravest thing a person can do, Albert Eno seems to believe, is simply remain.** Not conquer. Not escape. Not reinvent. Just stay — feet planted, eyes open, present in the difficult, complicated, irreducibly human mess of loving someone. It's an unfashionable sentiment, perhaps, in a cultural moment that prizes self-optimisation and clean breaks. Which is precisely why *Stay*, Eno's first single since his 2021 debut *Dark'n'Stormy*, lands with the quiet force of something genuinely necessary.
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.
Dim Pinks – Universe
There is a particular kind of band that arrives without ceremony, without a marketing budget or a carefully curated aesthetic rollout, and proceeds to make you feel things you had quietly filed away under *too complicated to revisit*. Dim Pinks, an Amsterdam-based outfit with a name that sounds like a paint chart entry for the emotionally indecisive, are precisely such a band. Their debut EP *Universe* is a small, ragged, quietly luminous thing — four songs that circle the same existential drain without ever quite falling in, and all the more compelling for it.
KORADAN – Around The World…Music
Picture two Italians who have spent years accumulating instruments the way other people accumulate regrets — methodically, passionately, and with total disregard for shelf space. Alex Baccari and Marzia Di Cicco, the intercultural duo who trade under the name Koradan, have arrived with a debut album that is less a collection of songs and more an act of civilisational archaeology, conducted in real time, with eighty-plus instruments from five continents and the focused intensity of people who have absolutely nothing to prove and everything to share.
M4TR – Reimagination: The Remixes, Vol. 1
The remix album has always been a confession of sorts. Strip away the original's skin and you reveal what the songwriter actually built underneath — scaffolding or cathedral, it rarely lies. M4TR, the Washington D.C. art-pop project helmed by the singular AJ Solaris, has had the courage — and the excellent fortune — to hand that confession to two producers who know precisely what to do with it. Reimagination: The Remixes, Vol. 1 does not merely repackage. It excavates.
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.
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.