Your eyeballs become swollen, clammy palpitations take over, then you awaken several hours later with the echoing sounds of unintelligible alien gibberish ringing in your ears. You’ve been exposed to Spit ‘n’ Static!, a raw signal of all things synthpunk and mutoid from sources unknown. Get yer eleventh hit, same slime same face, at Bristol’s 1020 Radio on the 13th Feb! 👽 👌
Frosty coldwave hit Noods Radio for the eleventh time, another hour of icy minimal-synth and its many shoegazey post-punk cousins. This’ll be the last for two months so tune back in in February! 🎹 ❄️ 👌
Don your lead codpiece, fly-goggles, and whatever PPE you see fit. The Spit ‘n’ Static! signal was transmitted from the 1020 Radio studio LIVE! LIVE! LIVE! That’s right! Every synthpunk throb, quiver, and ooze to be enjoyed right as it was ‘appening! 👽 👌
The tenth Glaciers show hit Noods Radio once again, another hour of the usual minimal-synth coldwave vibez and some additional Belgian avant-pop, haunted choirs, and ice-cool electro from Berlin to boot! 🎹 ❄️ 👌
Could it be? A queasy hour of Lennon-McCartney (and Harrison) compositions featuring both idiosyncratic yet affectionate renditions of The Fab Four and irreverent efforts to dismantle their saintly loftiness? Some, such as The Residents 1977 collage ‘The Beatles Play The Residents and The Residents Play The Beatles’ (‘peppered’ throughout the mix in various interludes) do both.
There’s love in Daniel Johnston’s intimate home recording of ‘Got to Get You Into My Life’, martial deconstruction in Laibach’s rallying ‘I’ve Got a Feeling’, and an entire project of dripping sarcasm born from post-punk fatigue of the Quaalude generation in the form of the audaciously titled The Better Beatles. Luv ’em or loathe ’em, there’s plenty to revel in here!
The usual minimal-synth vibes hit Bristol’s Noods Radio for the ninth time, including a little smattering of Irish bedroom experiments, a great Nena song which isn’t 99 Red Balloons, and some Soviet shoegaze to boot! 🎹 ❄️ 👌
The 1990s was that special moment in video game soundtracks, that sweet spot between 16bit chiptunes and the modern demand of Hollywood scores, whereby the giant leap was made in musical possibilities yet were still able to sound like, well, videogames.
These are the tunes that are seared into the psyche of any millennial more than pop music ever could. The eerie throbs of Oddworld, knicker staining gothic hellscapes of Nightmare Creatures, MIDI prog rock of Final Fantasy VII, all soundtracks to hours and hours of time gloriously wasted.