Vitalizing tunes that work faster than a stream of caffeine
9 May 2026
Press
Veteran Massachusetts metalcore hotrods CONVERGE trigger earhquakes since 1990.
The older they get, the more productive they get. In 2021 they canned
a collaborative longplayer, called Bloodmoon: I with Goth phenomen Chelsea Wollfe.
Full-length number 11, named Hum Of Hurt
is ready to cause amok from June 5th on.
Jacob Bannon (frontman) about new single DOOM IN BLOOM“It’s dark song
and pointed right at you. Lyrically, I’m exploring how my own middle-aged introspection
doesn’t always bring a brighter light. I see my own trappings reflected in those around
me. Here I am imploring them to slip the noose to see another day.”
Hangover? Here’s the cure.
Bang your head against your
wall of choice ’til it bleeds.
Band:ICEAGE Who: The Danish indie glam rockers, fronted by songwriter/poet Elias Bender Rønnenfelt, who released 2 solo full-lengths in the
past 3 years.
Band: BOARDS OF CANADA Who: Veteran Scottish electro/ambient duo.
Track: PROPHECY AT 1420 MHz
One of two new cuts from their 5th longplayer,
their first in 13 years, named Inferno. It’ll come
our way on May 29th.
TUTV: The Scots still float around in their electronic bubble.
I wonder if they recorded their new tunes while in space with
the Artemis II crew recently.
Californian beatniks THE MAMAS & THE PAPAS had several
hits in the colorful sixties. One of them was the timeless tune MONDAY MONDAY about that awful first day of the week.
It topped the US Singles Charts 60 years ago today, on 9 May 1966.
The first song with a day of the week in the title that was at #1.
Also #1 in Canada and South Africa, and #3 in the UK.
Every other day, every other day
Every other day of the week is fine, yeah (yeah)
But whenever Monday comes, but whenever Monday comes
A-you can find me cryin’ all of the time
Press info:Serokolo 7 revives a music genre, named Mapanta, from the South African province Limpopo, blending folk-vocal melodies with seething 180bpm rhythms.
This release documents Mapanta not as a trend or revivalist curiosity, but as a living village practice, transmitted through dance, memory, software, speakers, and shared hard drives.
Within his digital frameworks, there are echoes of Shangaan rhythmic sensibilities, Amapiano log-drum pressure, Manyalo ceremonial forms, and the raw pulse of Lekompo, another South African music genre, fused into something distinctly local.
Vocals are delivered primarily in Sepedi (one of the 12 official languages of South Africa), functioning less as pop hooks than as praise and invocation. Lyrics often call out family lineages and totems, celebrating ancestors and affirming communal identity. In this sense, Mapanta operates closer to chanting than entertainment alone.
Album artwork
The Quietus says: “Serokolo 7 bypasses the polished globalism of modern club music to deliver a raw, ancestral, and intensely localised masterpiece. It is an album that demands to be understood on its own terms: it is rugged, unapologetically rural, and it is an absolute triumph of vernacular dance music.
The future of electronic music does not always lie in the newest software or the cleanest studio. Sometimes, the future is found by digging your hands into the dirt of your own history and turning the volume all the way up.
TUTV: What a discovery, hard to describe. The first comparison that popped
up in my head was Massive South African Attack. Vibrant, outlandish, instantly
intoxicating, and entirely different from most of Western EBM music.
Pennsylvania‘s legendary big shot TODD RUNGREN,
aged 77, had a remarkable career, which is far from
over.
His latest LP, called Space Force already dates from 2022,
but the musical centipede is unstoppable on the road (as I
witnessed last year in Brussels, formidable show).
For Los Angeles grunge rock shedevils L7 (1985–2001, 2014–present)
it will be their farewell tour.
Frontwoman Donita Sparks told Pitchfork: “When L7 decided to release a documentary
in 2015, we thought maybe we would take one last victory lap around the sun by playing some shows. Instead, that lap turned into eleven more years of touring, sweat, new music, and reconnecting with the fans. We are deeply grateful and ready to give our audiences one last, loud, fun, and hopefully unforgettable night of rock & roll.”
Also in this issue: The Eagles at their height. New Order air their linen. Rickie Lee Jones revisits Pirates. ’80s King Crimson resurrected. Can’s Irmin Schmidt opens up. The Spencer Davis Group, Throwing Muses, Taj Mahal, Cream, Motörhead, The Lemon Twigs and way
more.
This month’s Free CD, titled ‘Can & Irmin Schmidt Replay 1968-2026′, features
15 gems and rarities from theCAN vault compiled by Irmin Schmidt exclusively.
You can purchase a copy and have it sent to your home address. Info HERE.
Who: Hefty Belgian noise-rock outfit, formed in 2020 in Liege, Belgium.
They produce an explosive mix of punk energy, raging guitar riffs and
infectious melodies, fully formed and bristling with a wiry tension.
Their music sits somewhere between the dance-floor swagger of Viagra Boys
and the explosive urgency of The Hives. Raw yet subtle. Visceral, unpredictable.
Their feverish brand of rock is a true call to let go.
Vitalizing tunes that work faster than a stream of caffeine
7 May 2026
Courtesy Pussy Riot – Photo by Nikita Teryoshin
You can’t shut up the imperishable Russian political activists PUSSY RIOT and
their ever-growing fanbase. This year marks their 15th year of opposition against
the Kremlin tyranny.
Thus far, they expressed their fierce discontent with two loud and clear studio LPs,
several mixtapes and a series of barbed wire singles, and countless live protests
in their home country, in Ukraine, and in the Western world.
And now, after yesterday’s protests in Italy (more below), the band released,
in a rush, a guerrilla-made punk flamethrower, annex video of the happening.
A nasty slam dunk, called DISOBEY, comes amid the controversial Russian
return to this year’s Biennale Arte in Venice – Italy, which has led to the
EU cutting funding, the Jury resigning, and many protests. Of course, the Pussy Riot movement was present on the front line.
Over 50 PR members stormed the Russian Pavilion at the Biennale, only yesterday.
Police were forced to close the doors of the pavilion. They tackled PR followers
who managed to get inside and open the door that was being blocked. All Pussy
Rioters wore pink ski masks and had pink smoke, they raised their fists, played
guitars, and moshed as a protest.
Time to act pronto, musically too!
Nadya Tolokonnikova (founding PR member): “I wanted to do a classic punk song,
in old school Pussy Riot style. I’ve been trying to be polite, writing letters via the Council
of Europe, writing directly to the board, to the president, to people in the art world, and
dead ends everywhere.
Polite society doesn’t work when you are dealing with thugs and crooks, so we meet
them with punk, we have to scream our anger and disdain for what is happening.
Over 50 members of Pussy Riot, from all over the world, came here to the Storm of Venice, to scream and take part in this moment.
We quickly go into editing mode after, gathering photographers and video people,
we cut the video sitting in a cafe, and turn it around in a day, this is our actionist training
in action. This is our art, and our protest. We hope the punks, freaks, and actually anyone
who ever felt like fucking screaming to enjoy this song and moment with us. Fuck Putin.”
