Green Banana

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Edictum - Mars

Edictum ’s “ Mars ” doesn’t just play; it seethes and prowls, churning a futuristic darkness where cyberpunk pulses through every beat. Inspired by Gustav Holst’s ominous “Mars” movement but reframed for a dystopian landscape, this track abandons the classical in favor of raw, industrial aggression. It’s less a tribute to the original score and more a descent into a mechanical war zone, where every note is a weapon and each beat is a pounding echo of conflict. Rather than mimicking Holst’s orchestral fury, Edictum channels the essence of Mars—the god of war himself—in distorted waves of synth and relentless bass. A dark atmosphere coils around the you as the track builds, a grinding march that escalates with fierce, unrestrained energy. You’re led into a sonic labyrinth of agony and wrath, where twisted screams become the visceral cries of battle, embodying war’s savage climax. This isn’t merely a song; it’s a full-body experience—a track that grips you and drags you under, pulsing w

Posthuman - Millions

Posthuman 's " Millions " feels like a dark siren song, luring listeners into a world where pleasure and destruction intertwine. It’s gritty and seductive, driven by grinding, dirty synths that pulse with an almost primal energy. There’s a slick, pop sheen, but beneath that glossy surface lies something far more sinister—an undercurrent of indulgence teetering on the edge of collapse. The vocals are hypnotic, dripping with allure, as if whispering promises of ecstasy that you know are too good to be true. The song paints a vivid portrait of excess, where the soul finds itself entangled in fleeting highs, only to spiral into the inevitable decay that follows. It’s the allure of filth, a gleeful dance in the shadows where the line between pleasure and ruin blurs dangerously. "Millions" isn’t just a track; it’s a journey into the seductive depths of industrial-pop, where beauty and degradation coexist in a delicate, twisted balance. For fans of Depeche Mode, Nine

ILĀ - murmur with ai.mogen (Imogen Heap)

ILĀ ’s " murmur with ai.mogen (Imogen Heap) " feels like a whispered conversation between worlds, where human voices entwine with the digital, creating something at once familiar and alien. The track is a delicate fusion of organic and synthetic, blending the soulful nuances of ILĀ and Imogen Heap with the ethereal presence of ai.mogen, an AI manifestation of Heap herself. It pulses with an otherworldly energy, a sound that hovers between haunting and hypnotic. The real magic of "murmur" lies in its manipulation of the human voice. Using AI-driven vocal timbre transfer technology, the distinct qualities of ILĀ and Heap’s voices are seamlessly swapped, creating a strange, beautiful fusion that blurs the lines between the artists. Portrait XO’s work with DDSP models brings an eerie depth to the track, crafting a sonic landscape that feels both intimate and distant, as if the voices are reverberating in the corners of your mind. As the production unfolds, layered wit

O’o - Tako-Tsubo

O’o ’s new single " Tako-Tsubo " is like taking a bubble tea break inside a retro video game—quirky, jumpy, and completely infectious. You’ve got Japan-inspired references flying around like confetti, giving the whole thing a lighthearted manga vibe, as if Sailor Moon just swapped her tiara for a synthesizer. And it works! The story? Oh, just your typical octopus heartbreak. You know, that classic tale of a poor eight-armed cephalopod facing a grim fate, then transforming into the ultimate symbol of heartache. (Really, haven't we all been there?) But this is no sob story. The singer spins a weirdly charming tale, while the producer’s synths go rogue, as if they’re hopped up on too much caffeine, darting between your ears with an energy that makes you want to hit the dance floor—or at least tap your foot while wondering what just happened. It’s a delicious contradiction. On the one hand, you’ve got this danceable, happy-go-lucky beat that screams, "Let’s have some f

Fat Picnic - Monster

Fat Picnic 's " Monster " is the perfect Halloween party anthem for when you want to spook your guests, but also make sure they’re having way too much fun to be scared. It kicks off with rock riffs that roar like a banshee who’s discovered Red Bull, before switching to a reggae groove so infectious, even the zombies can’t resist a little shimmy. The guitars wail like a haunted house that's been overbooked for the season, while the reggae/ska rhythm saunters in like the coolest ghoul at the graveyard party. This is no ordinary monster track—it’s a Frankenstein creation of sounds that, instead of terrorizing villages, will have you skanking and head-banging in unison. The hooks are sharp enough to carve pumpkins with, but they’re so catchy you’ll find yourself singing along long after the witching hour. Fat Picnic has crafted a beast that knows how to balance spooky with seriously fun. "Monster" might growl, but it’s more likely to make you laugh while y

Pushwagnergruppen - Houellebecq Girl

Pushwagnergruppen ’s debut single " Houellebecq Girl " feels like a joyride through a carnival of chaos, but you’re not sure if you’re having fun or if the Ferris wheel is about to collapse. This DADA punk trio from Norway clearly got the memo that music should be both bizarre and entertaining—maybe too entertaining if you ask their bass. With a bassline so dark and heavy, it’s like DA GAMA (Tor-Arne Vikingstad) tuned his strings in the underworld. It thumps ominously under the surface, daring you to dance but also checking if you signed a waiver. Meanwhile, TAM-TAM (Per-Åsmund Reymert) on drums gives us rhythms that seem to defy both logic and physics. Is it a beat? Is it an experiment? Who knows—but it works, somehow, like a DIY rocket held together by duct tape. Then there’s SURREALISMUS (Geir Magne Staurland), delivering vocals that sound like the ramblings of a man who’s just escaped a particularly wild art installation. His performance is all manic energy and absurdi

Jodie Langford - I Don’t Know

Here at ‘Green Banana’ we have long been singing the praises of Jodie Langford . Now it seems that the word is spreading. With support from BBC Introducing, BBC6 Music & Radio X. Jodie Langford’s double A-side single, I Don’t Know / Locked Out , dances in the space between triumph and trepidation. Following her appearance at Reading & Leeds and a feature on BBC 6Music’s Roundtable, the Hull-based spoken-word artist pairs up with Endoflevelbaddie, whose vibrant electronic beats pulse like the nervous energy she seeks to unravel. In I Don’t Know , Langford captures the delicate balance between confidence and collapse. The song is a reflection of her own struggles with anxiety, as her career ascends but the ground beneath her feels increasingly unstable. The relentless hum of electronic rhythms mirrors the inner chaos, a symphony of sound and self-doubt. As she spits lines like “staring through a stranger’s glasses,” she opens a window into the disorienting feeling of losin

Pocket Knife Army - Intruders

Pocket Knife Army ’s new single, “ Intruders ,” feels like someone invited the ghost of Beetlejuice to a synth party—and he showed up with a drum machine. It’s a bouncy, offbeat electro-rock track that has the chaotic charm of a haunted house with disco lights. You can’t help but picture skeletons and mischievous spirits doing the conga as the song marches along, like a Halloween parade that’s way more fun than spooky. Inspired by Tim Burton’s Beetlejuice , this track is their tribute to the film’s delightful absurdity. With the sequel now in theaters (coincidence?), the timing couldn’t be better. Pocket Knife Army’s knack for pairing retro synths with futuristic beats creates a vibe that’s equal parts eerie and toe-tapping. It’s like if the 80s had a séance with the 2020s, and somehow, it worked. What makes “Intruders” so endearing is its playful energy. You can tell these two had a blast making it—no AI involved, just pure human mischief. It’s the kind of track that doesn’t take

D.R.A.G.U.E - "Q AI

The remastered "Q AI " by D.R.A.G.U.E . feels like the past whispering into the future. Originally birthed in 2001 and re-engineered in 2012, this track transcends its own origins, becoming something far greater than a remaster—it's a revelation. The use of AI to resurrect the voices of American presidents, both living and dead, adds a haunting depth, as though history itself is speaking through the ether. There’s a steady pulse of bass that grounds the listener, reverberating like a heartbeat for a nation on the brink of its 60th presidential election. The synths are sharp and shimmering, layering the track with a futuristic sheen that makes it feel both nostalgic and ahead of its time. Gil Scott Heron’s shadow is unmistakable, not in mimicry, but in spirit—the track calls out to the politically conscious poetry of his era, weaving rhythm and rhetoric into something new, something now. As the cloned voices of presidents converge, it’s like a fragmented conversation acr

Jack Ellis and The Contraband - Sweets

Jack Ellis and The Contraband explode onto the music scene with their debut single, " Sweets ," a track so energetic it could probably power a small city. With a sound that’s like classic rock 'n' roll had a wild night out with glam rock, this song is a pulsating, toe-tapping, air-guitar-inspiring delight. Jack Ellis, whose vocals channel Marc Bolan in a way that makes you wonder if there's some cosmic Bolan-Ellis connection, leads the charge. The track is packed with fun and a rhythm that practically demands you dance—or at least nod along enthusiastically if you're trying to look cool. Ellis, a Welsh solo artist who’s no stranger to the limelight (having already rocked BBC Radio 2 and BBC Introducing Wales), seems to have found his musical soulmates in Normandy, France. "Sweets" is the first taste of what's to come, with an EP on the way and a tour schedule that’s busier than a one-legged man in a butt-kicking contest. From France in August

Meryl Streek - Counting Sheep

Meryl Streek ’s " Counting Sheep " is a jagged symphony of discontent, a track that thrums with the electric pulse of raw emotion and sharp-edged truth. Streek’s voice, thick with the weight of his Irish brogue, doesn’t just deliver lyrics—it spits them in your face, each word a bullet aimed at the heart of complacency. His vocal grit is undeniable, a raspy, lived-in texture that amplifies the authenticity of his message. You can almost taste the dust of Dublin’s streets in his voice, feel the weight of its history pressing down with every syllable. The music itself is a battlefield, where aggressive guitars clash with the subtlety of carefully crafted textures. There’s a calculated chaos at play, as if Streek is painting a dystopian landscape in broad strokes of noise and nuance. The guitars bite and gnash, the drums crash like the ticking of a doomsday clock, while the bassline slithers beneath, grounding the cacophony in a dark, unyielding rhythm. Lyrically, "Counti

INTERVIEW:ウチダクミコ(the Floppy-Pinkies)

今回からはアンダーグラウンドシーンのステージに立ち続ける者たちのリアルな半生について聞いていきます！いずれまとめてZINEにするぞ！と気合を入れてお呼びしたゲストはthe Floppy-Pinkiesギターボーカルのウチダクミコちゃん。英語詞を乗せた軽快なメロディーとギターアンプから吹いてくる西海岸の風が最高に気持ち良いライブ、豪快な酒の飲みっぷりでライブハウスを盛り上げまくる姿がカッコ良い女の生き様に迫る！！バンド活動の始まりからthe Floppy-Pinkies結成まで中学の時に先輩が文化祭で THE BLUE HEARTS のコピーバンドをやっていて、それを見てカッコいいな、私もやりたいなと思って親に「ギターを買ってください」って言って買ってもらったのが最初です。その時に同じように思っていた子が何人かいたから同じ学年でバンドを組みました。それが最初のバンド。イリーガルってバンド名なんですけどスペルが所謂イリーガルと違って Illygirl って書いてイリーガルみたいな感じにして。最初はコピーやってたけどオリジナルも半分くらいはやってました。そのバンドは中学から高校までずっとやってた。そのバンドのメンバーが別々の大学に行って、みんな軽音サークルに入ったんですよね。そうすると、それぞれサークルのライブとか活動があるから全然予定が合わなくなっちゃって、続けるの難しいね～って言って大学 1 年の時に止めました。そこから自分のオリジナルのバンドは数年はやってなくて、大学サークルの中でバンドはやっていたんだけど。そろそろオリジナルのバンドやりたいなと思って、大学 3 年の時に趣味が合う子がいたから、その子に簡単なデモテープを渡して「こういうバンドやりたいんだけど、やらない？」みたいな。それが the Floppy-Pinkies の元なんですけど。それでその子がやるって言ってくれたから始めた。その子はベース。ドラムはメンバーじゃないけどサークルの同じ学年で気の合う子がいたからヘルプで叩いてよって頼んで。最初は武蔵境 STATTO にデモテープ持って行って。当時、実家から比較的近くて。あと先輩がそこでライブやってたから。就職活動についてバンドを続けられそうなところに就職しようって思ってた。ここに勤めたらバンド活動出来ないなみたいなところは端から…。時間が持て