Green Banana

  What happens when a jazz-loving time traveler crash-lands in a Berlin rave? You get Bbop ’s “ Charleston (Hyper Swing Flip) ,” a turbo-charged reimagining of the 1920s classic that puts more swing in your step than a jitterbug on double espresso. With brass that blares like it just broke out of a speakeasy, and a beat that gallops like it’s late for a bass drop, this track doesn’t just nod to the Roaring Twenties—it hands them a Red Bull and tosses them into a strobe-lit warehouse. The tempo is unapologetically frantic, but gloriously so, with Hypertechno rhythms slamming into vintage swing like Gatsby got a hold of a drum machine. Bbop, who hails from Berlin (where techno is basically a birthright), fuses his classical piano chops and jazz background with club-ready sensibilities. And then—because why not—he sprinkles in some Arabic flourishes and calls it ‘Future Swing.’ You’ve got to admire the chaos. This isn’t your grandma’s Charleston—unless your grandma moonlights as a DJ....

  Hull’s angriest export since the seagulls at Bridlington, WENCH ! return with  Be Tame , the opening track from their exquisitely misleadingly titled EP,  Relaxing Rain Sounds For Baby Sleep . Spoiler: there is no rain, no sleep, and definitely no relaxing — unless you’re soothed by fierce, full-throttle punk rage and the sound of patriarchy being drop-kicked through a plate glass window. Be Tame  is a sonic Molotov cocktail, hurled directly at every pearl-clutching demand for “ladylike” behaviour. It’s a raucous middle finger to expectations of silence, softness, and social niceties. The guitars snarl like a cornered animal, the drums punch holes in the wall of politeness, and the vocals — oh the vocals — channel enough fury to power Hull’s streetlamps for a week. Produced by Adam Pattrick and released via youth-powered Warren Records,  Be Tame  is protest in pogo form. This isn’t your dad’s punk. This is queer, feminist, and gloriously unfiltered — like...

  Mystic Firm ’s  Duppy Catcher  arrives like a smoldering incense trail through a twilight dancehall — thick with mysticism, charged with ancestral energy, and unwavering in its spiritual intent.  As the second single from their upcoming 2025 EP, it calls on the fierce and unmistakable presence of Perfect Giddimani, whose voice moves like a wind through bamboo, sometimes whispering, sometimes howling, always rooted in purpose. Built on a riddim that sways like a ritual drumbeat, the track doesn’t just echo the roots tradition — it lives inside it. There’s a heartbeat here that pulses with ancient knowing, wrapped in dub textures and reverberations that feel less like studio tricks and more like sonic blessings. The bassline carries weight not just in sound, but in spirit — each note a protective charm. Lyrically,  Duppy Catcher  confronts the shadows head-on. Malevolent spirits — or perhaps the everyday demons of greed, envy, and oppression — are named and...

  Jodie Langford opens 2025 with I See Only Red , a track that doesn’t knock—it kicks down the door. It arrives furious and wide-eyed, like something summoned from the fevered edge of sleep, where fear becomes form and shadow becomes story. Langford, Hull’s high-voltage spoken word firestarter, remains unmatched in her alchemy: punk attitude, rave momentum, and razor-edged lyricism, all swirled into a Molotov cocktail of brilliance that explodes on impact. With longtime collaborator Endoflevelbaddie fanning the flames from behind the desk, I See Only Red doesn’t so much build as it erupts—dragging the listener into the stifling stillness of sleep paralysis. It’s a soundscape steeped in menace: throbbing basslines pulse like an unquiet heart, synths flicker like faulty lights in a haunted room, and Langford’s voice slices through the gloom with knowing venom. Her delivery is fierce and sardonic, but never without that familiar glint of mischief, like she’s narrating the horror fro...

TwoLips kicks down the door of sonic convention with her latest single,  CHAOS —a blistering, grinning middle finger to all things buttoned-up and overly curated. If you’ve ever wanted to dance your way through an existential crisis with punky pigtails and a trap beat rattling your ribcage, congratulations: your anthem has arrived. The track is a controlled detonation of electronic swagger and snarling attitude, fronted by ‘TwoLips’ who sings like someone who just discovered fire and is daring you to touch it. Her lyrics call out the absurdity of modern life with a wink, a sneer, and maybe a glitter bomb. It’s part protest, part party, and all unfiltered chaos. “Fall off your pedestal,” she invites, “it’s way more fun down here.” And truly, the bass agrees. The trap-influenced beat snarls with punk energy, polished just enough to sound like it’s wearing combat boots to a gallery opening. The result is a genre stew thick with attitude, rebellion, and just the right amount of fever....

  Breaking Sputnik ’s debut single  Scars  announces itself not with a whisper but a growl from the void. Written by Alex T in a van overlooking the wintry Atlantic during a long, isolated February on Ireland’s west coast, this is music forged in the margins — off-grid, off-script, and defiantly off-center. The track’s dark, moody bassline creeps like fog, while Alex’s raw, storytelling vocals thread through the chaos like barbed wire: brutal, intimate, and oddly comforting. Built on a backbone of relentless percussion and blistering guitar noise,  Scars  is a searing distillation of exile and resistance. There’s punk’s disobedience, the bleak hum of early industrial, and the synthetic heartbeat of sleepless cities — yet none of it feels borrowed. It’s less homage, more weapon. Alex doesn’t sanitize the pain; he amplifies it. But instead of wallowing, he roars forward, dragging bruises behind him like trophies. “Each scar is a story,” he declares — not as lament...

  Resistance , the latest single from UK band Bureau de Change , doesn’t ask politely—it storms in, unapologetic and pounding, heart racing with intent. It’s hard-hitting and resolute, a track that snarls with purpose yet moves with clarity, like a protest march that won’t be silenced. Behind its distortion and grit lies something deeper: a call to reclaim joy as an act of defiance. Drawing a wry mirror to IDLES’  Joy as an Act of Resistance , Bureau de Change flips the phrase inward. Here,  Resistance  is not a burden but a celebration—of voice, of conviction, of standing tall when everything conspires to bend you low. The song pulses with the urgency of protest, shaped by a landscape where speaking out comes with penalties, where peace is policed, and where women’s voices are too often lost in the noise of dismissal. It’s in that space—between rage and resilience—that the track finds its footing. It doesn’t just demand change; it exalts the right to demand it. The ...

  After making a brilliantly chaotic splash with Death by Coconut, Captain Frederickson return with Dyson Airblade Domestic , a noise rock oddity that proves they’re not done making us laugh, scream, and question our household appliances. Clocking in at just over two and a half minutes of grime-coated guitar riffs and basement-born feedback, this new single is as much a sonic tantrum as it is a tongue-in-cheek ode to the most overqualified bathroom accessory imaginable. Blending gritty textures with deadpan narration, Dyson Airblade Domestic doubles as a scuzzy guide to upgrading your home hygiene game—if you’ve ever dreamed of turning your ensuite into a motorway service station, this is your anthem. But beneath the electric squall lies genuinely clever storytelling: the domestic absurdity is painted with both affection and ridicule, as if Sonic Youth got stuck in a B&Q aisle with a mission to reimagine modern life through distortion pedals and sarcasm. There’s something hila...

  Pushwagnergruppen  are here, and they’ve brought more chaos than a malfunctioning espresso machine in a clown factory. Their new single “ Oberdada ” is the kind of track that kicks down the door to your brain, shouts something incomprehensible in a fabulous outfit, and then leaves you humming the chorus while questioning your grip on reality. Billed as the world’s only Dada punk band (because of  course they are), this Norwegian trio isn’t here to play nice. They’re here to disorient, delight, and possibly derail your afternoon. “Oberdada” is a jerky, distorted, absolutely infectious punk art tantrum. It’s got all the charm of a toddler with a megaphone and a PhD in surrealism. And yes—it’s somehow lick-able. Don’t ask. Just feel. Front-dadaist  SURREALISMUS  (Geir Magne Staurland) delivers vocals like a man possessed by a German dictionary and a seagull.  DA GAMA  (Tor-Arne Vikingstad) slaps the bass like it owes him money in a dream logic economy, ...

  Percy Higgins ’ “ Creature Feature ” sounds like what happens when you try to walk in a straight line through a collapsing funhouse—groovy, chaotic, and slightly terrifying. A wild cocktail of art rock, psych, and alternative hip-hop, the track doesn’t so much play as it lurches, thrashes, and occasionally stares into the abyss before shaking itself off and getting back to the beat. Crafted entirely in an East London flat (because who can afford a studio in this economy?), Higgins’ DIY production crackles with a manic energy, bouncing between head-nodding grooves and sudden, disorienting detours. Just when you think you’ve got the rhythm down, the floor drops out from under you—but in a fun way. Lyrically, “Creature Feature” is a scathing, side-eyed lament for a generation that’s never known adulthood without a crisis looming over their bank account, sanity, or WiFi connection. The words cut through the music like someone half-laughing, half-screaming at the absurdity of it all. ...