Green Banana

  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

  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 ’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

  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 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 ’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

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

  " It's Not Enough ," the latest single from test plan , is a dark plunge into the depths of sound and emotion. The track unfolds like a slow-moving storm, its tense guitar passages and melancholic basslines setting a scene that feels both mysterious and foreboding. The air is thick with a kind of sonic humidity, where every note seems to sweat with anxiety. Bassist Rory Dickinson, stepping into the role of lead vocalist for the first time, delivers a performance that feels like it’s teetering on the edge of an abyss. His voice, initially subdued, is haunted by a mantra that weaves through the track—a ghostly echo of regret, mourning, and self-reflection. Dickinson’s lyrics cut deep, capturing the cynical patterns that emerge in the wake of anxiety and self-defeat. It’s as though the song is caught in a loop, spiraling downwards, but never quite hitting bottom. The rhythm section feels like a pulse—a heartbeat that’s trying to keep steady amidst the chaos. As the song pr