Green Banana

  Bureau De Change ’s new single   Office Chair   (out August 8th) is the anthem nobody asked for but every weary office worker desperately needs. If you’ve returned from your summer holidays with a tan, a bad attitude, and a deep hatred of the phrase “touch base,” this one’s for you. The track opens with guitars that sound like a printer jam set to a beat, while the bassline trudges forward like a worker on their fifth coffee of the morning, still somehow half-asleep. Vocals arrive with the same energy you’d muster at a “mandatory fun” Friday, dripping with sarcasm as they call out the absurd rituals of office life: buzzword bingo, passive-aggressive Post-it notes, and the unholy horror of a “cake for Karen’s birthday” email thread. Lyrically, it’s less a protest song and more a group chat message set to music—the kind you’d whisper to your desk neighbour while pretending to look at spreadsheets. It’s a ballad for the ones silently counting down to 5:30, eyeing the clock...

  At Green Banana, it’s no secret we’re card-carrying members of the Jodie Langford fan club—but her new single “ S.T.B.Y .” has us positively frothing. Hull’s beloved spoken-word firebrand has taken inspiration from John Cooper Clarke’s infamous poem “Twat” and spun it into a darkly comic, electro-industrial tirade that’s as witty as it is infectious. Produced by her long-time collaborator Endoflevelbaddie—Hull’s self-anointed King of Electro—the track bristles with futuristic hooks, claustrophobic atmospherics, and beats that stomp like steel-toed boots on a sticky nightclub floor. Over this backdrop, Langford unleashes her razor-tongued delivery, gleefully skewering life’s irritations with a mix of venom and humour. “Sucks to be you,” she sneers, not so much pointing the finger as raising both middle ones in poetic solidarity. The beauty here is in the balance: Langford doesn’t claim to harbour enemies, but instead channels the everyday absurdities that gnaw at us all. From met...

今回は2024年末に惜しまれつつも大阪に引っ越した得体の知れないノイズクイーン黒柳卍子ことウメノさん30年弱の東京バンドマン人生を振り返りたいと思います。 岡山で宅録       16,17歳から自宅で1人で多重録音をしていました。渋谷系、なかでもチープな感じの音楽が好きだったから。楽器は鍵盤とか打楽器とか色々。そんなちゃんとした感じじゃなくて、モゲモゲでカワイイ感じ。4トラックのカセットMTRで。最初はラジカセ2台でピンポン録音してたんだけど、どんどん音が小さくなっちゃうから無理だなと思って、彼氏に誕生日にMTRをもらいました。今聴いたらビックリするよ、なんで今こうなっちゃったのか意味わかんないもん！当時と今の自分の感性の開きがすご過ぎる…。  東京に来る       バンドは大学からですね。文芸部だったんだけど、当時仲が良かった現・夫が軽音楽部に入ってて、そのライブを観て衝撃を受けて。2年の時に途中入部で軽音楽部に入りました。実は入学した時点で音楽やろうかなと思って軽音学部を見学に行ったんだけど、ダサ過ぎて…。コピーバンドと古くさいメタルやハードロックの巣窟だった。一方で文芸部には面白い人が集まってたから、そうだメンバーこっちで集めてオリジナルやれば良いじゃん！と思って。周りの音楽が好きで可愛い女の子に片っ端から声を掛けまくってメンバー揃えて、満を持して軽音学部に入部。ちょっと可愛いとかちょっとカラオケが上手い女子が、楽器が出来る男を捕まえてコピーバンド組んでるのがクソだせえなと思ってたので、最初から下手でも絶対にオリジナルでやろうと思ってた。あと、男の手は借りねえとも思ってた(笑)単に練習とライブが出来る場所を確保するために軽音学部に入った感じ。当時の文芸部の人達って、本も漫画も読むし映画も詳しいし、音楽も多岐にわたって聴いている面白い人が多くて。正直、軽音楽部より音楽的な知見も幅広い人が多かった。Queに毎月出てるアシッドジャズの先輩とか、青山でDJイベントやってる先輩とか、色々な人がいたからね。その時の私のパートはドラムです。消去法でドラムしか残らなかった、人気ないんだよね〜ドラム！(笑) モルモット ⭐︎ ハムスター       1 年後輩でカメコ(以下カメちゃん)って子が文芸部にいて、...

  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 ...