Podcasts about musically

In this episode of Electric Friends: A Gary Numan Podcast, I explore one of the most fascinating songs connected to Gary's early 80s world — ‘Love Needs No Disguise'. Originally released in 1981 by Dramatis — the band formed by Chris Payne, Rrussell Bell, Denis Haines and Cedric Sharpley after Gary's temporary retirement from touring — the track featured Gary on lead vocals and became their biggest chart hit, reaching number 33 in the UK.I talk about how I rediscovered the song during a recent trip to Brussels (and a very successful record shop haul), why it meant so much to me as an 8-year-old discovering Gary through the Best Of cassette, and why this track still holds a special place in my top 10.Musically, I break down what makes the song so distinctive — the haunting synth intro, Ced's drums, Russell's guitar, Chris Payne's viola, and that brilliant early-80s synth-pop atmosphere. But lyrically, it's even more interesting. As Rrussell Bell confirmed to me in a previous interview, the song wasn't really a romantic love song at all — it was written about their time touring with Gary.I look at how the lyrics take on new meaning in that context: the touring references, the emotional bond between bandmates, and the reassurance that “love needs no disguise” even after Gary stepped away.Plus, I revisit the video shoot at Shepperton Studios, read out your brilliant fan memories (so many of you were in that video!), and reflect on why this song remains quietly emotional and underrated.

Record Store Day is once again on the horizon. RSD is easily one of our fave days of the year. And part of the countdown is the release of the RSD list of special releases. So as is tradition around here we like to go over the list “on the air” and share which records are on our own (want) list. Go to www.recordstoreday.com and make your own picks. Musically,... The post Radioactive Metal 870: The RSD List appeared first on Shining Wizards Network.

Record Store Day is once again on the horizon. RSD is easily one of our fave days of the year. And part of the countdown is the release of the RSD list of special releases. So as is tradition around here we like to go over the list "on the air" and share which records are on our own (want) list. Go to www.recordstoreday.com and make your own picks. Musically, we crank some new and used from Obituary, Visigoth, In Defense, Delilah Bon, Death Dealer, Thron, Deliverance (UK) and we introduce Norwegian bashers Rioter in our "Indie Spotlight". Horns Up and Happy Hunting!

Zombie (1976) by Fela Anikulapo Kuti & Africa 70 is one of the most ferocious and politically confrontational albums in the history of African music. Built on Fela's signature Afrobeat—long, hypnotic grooves driven by layered percussion, cycling bass lines, stabbing horns, and call-and-response vocals—the album functions as both a musical marathon and a blistering act of protest.The title track, which takes up most of the record, is a biting satire aimed at the Nigerian military. Fela portrays soldiers as mindless “zombies,” trained only to obey commands without thought or conscience. Delivered in a mix of pidgin English and Yoruba-inflected phrasing, the lyrics are simple, repetitive, and intentionally chant-like, allowing the message to hit with relentless force as the groove stretches on. The band locks into a tense, almost militaristic rhythm, while the horns punctuate the song like alarms, underscoring the sense of confrontation and mockery.Musically, Zombie is a masterclass in controlled intensity. Africa 70 plays with absolute precision, maintaining deep-pocket funk while slowly building pressure over extended runtimes. Rather than chasing variation, the music thrives on repetition as resistance, using subtle shifts in rhythm and horn lines to keep the listener engaged while reinforcing the song's political stance.The album's impact went far beyond music. Its release directly provoked Nigeria's military regime, culminating in a violent attack on Fela's Kalakuta Republic compound—a moment that cemented Zombie as a cultural and political flashpoint. Today, the album stands as a towering example of how music can function as protest, satire, and communal rallying cry, embodying Fela Kuti's belief that sound itself could be a weapon against oppression.Website Support the show Contact

The verdict is in! The new self titled Megadeth album has found a regular spot on our stereos. And it's awesome! If this record is indeed the swan song for Dave and the Boyz, they can go out with their heads held high and their Horns in the air. This week we decided to take a cue from the amazing "High Fidelity" flick and share our Top 5 Megadeth albums from their vast discography. And where exactly this new record fits it, if at all. Always makes for a great conversation. In our "News, Views and Tunes', our home state university USC brought home the gold in the Metallica Marching Band Competition!! Musically, we crank some New and Used from Agnostic Front, MDC, Laaz Rockit, 7 Year Bitch, Carnivore AD, Axe Victims and we introduce Brazilian bashers Stygian in our "Indie Spotlight'. Horns Up!!

This project is inspired by a 1958 field recording of a Bamum girl singing a religious song in Fumban, West Region, Cameroon, recorded by Lois Mitchson on a ¾-inch reel tape. The archival voice forms the emotional and conceptual core of the project. The recording of the young girl singing praises about the Sultan Njoya who was part of the monarchy which dates back to the fourteenth century, is sampled and fused with layered percussion, reflecting the rhythmic richness of traditional African music, where percussion functions as both structure and communal expression. The title “Mwana Wevhu”, meaning “Child of the Soil” in Shona, draws from my Zimbabwean heritage and speaks to ancestry, land, and spirituality. Musically rooted in 3-step house, a South African subgenre of electronic music, the project blends Central African archival sound and culture, Southern African rhythm, and Zimbabwean language and identity. This intentional cross-regional fusion symbolises the idea that Africa is one, diverse in culture yet deeply interconnected. “Mwana Wevhu” bridges past and present, tradition and innovation, using music as a unifying force.Bamum girl singing religious song reimagined by NdiniBeatz.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Your weekly guide to the music biz and how it all works: don't forget - you can become a ⁠⁠Superfan of the podcast for free – and access an extra 20 mins of show each week!⁠This week, it's time for another interview with one of the people who make it all happen. Steve speaks to Niamh Byrne, who managed Blur, Elastica, and Turin Brakes, before founding Eleven management, which works with artists like Damon Albarn and Gorillaz – and she's also the chair of the Music Managers Forum, the global organisation that represents music managers.So... she is a great person to ask: what's it like being a manager today – and how is the role changing?(As ever, our Patreon Superfans⁠⁠ get a bit extra - you'll hear the full unedited interview, including Niamh's thoughts on AI and the future of management.)Niamh explains to Steve how:Great management is built on trust and vision — artists need operational backing while they create, and managers must hold the long-term destination and strategy.The manager role has expanded significantly — managers now carry much of the execution workload that labels historically handled.How labels are still important — even though managers can now replicate many label functions, access to capital keeps traditional deals relevant.Manager-led campaigns are increasingly viable — teams can now run marketing, digital, data and fan strategy directly (as with upcoming Gorillaz releases).Managers are undervalued — despite delivering end-to-end commercial and operational value, compensation models often still reflect a “deal-maker only” roleAdaptability is now a survival skill — with more release paths and tools available, managers must continuously evolve and build flexible, independent-capable business models.You can read Music Ally's full report on the chat here too: https://musically.com/2026/01/26/today-managers-could-probably-do-everything-but-funding-is-really-difficult===================================As ever, we welcome your feedback, emails and – in particular – any questions you might have about how the music biz works!Email us: ⁠⁠thepriceofmusicpodcast@gmail.com⁠⁠See you next week!Steve and Stuart======TPOM online: http://tpom.uk/Support The Price of Music on Patreon:⁠⁠https://www.patreon.com/ThePriceofMusic⁠⁠Follow Steve on X - @steve_lamacqFollow Stuart on X - @stuartdredgeFollow The Price of Music on X - @PriceofMusicpodFor sponsorship opportunities, please email - ⁠⁠joe@musically.com

When an Australian thrash band that never broke big in the U.S. gets compared to early Metallica, Slayer, and Maiden in the same breath, you know you've stumbled onto something special. This episode dives into Mortal Sin's 1986 debut Mayhemic Destruction—a ferocious, drum‑heavy, DIY thrash record from Sydney that plays like a missing puzzle piece in 80s metal history.Across the conversation, the hosts unpack how Mortal Sin emerged out of Australia's pub‑rock and Buffalo‑style heavy scene into a faster, more aggressive sound after drummer Wayne Campbell discovered Metallica through tape‑trading in 1984. They trace the band's rapid rise from self‑funded studio upstarts to landing a global deal, touring with Metallica, Megadeth, and Testament, and struggling with that classic “too big for pubs, too small for arenas” problem back home. Along the way, they dig into the band's revolving‑door lineup, eerie mystery around the original drummer's disappearance, and the evolution of Mortal Sin's sound across later records.Musically, the episode zeroes in on what makes Mayhemic Destruction such a compelling outlier in 80s thrash. The drums and low end dominate the mix in a way that completely inverts the American template, forcing listeners to dig for the guitars and exposing a strange, rewarding hybrid of thrash, New Wave of British Heavy Metal, power metal, Motörhead grit, and proto‑death‑metal experiments on the title track. There's plenty of love for the riffs, time‑changes, and dark modal choices in songs like “The Curse” and “Lebanon,” but also honest criticism of the limited, Hetfield‑ish vocal approach and the odd sequencing choices that bury some of the strongest material in the back half.If you're into 80s thrash metal, early Metallica, Slayer, Anthrax, Testament, NWOBHM, or obscure Australian metal bands that never quite got their due, this deep dive into Mortal Sin and Mayhemic Destruction is absolutely in your wheelhouse. It's a conversation about more than one album—it's about how geography, timing, and weird production decisions can turn a record into a cult artifact waiting to be rediscovered.Episode Highlights0:00 – Mayhem from Sydney – Setting up Mortal Sin, Mayhemic Destruction, and why this Australian thrash debut matters in the 80s metal landscape.5:05 – Battle jackets and logos – Gavin's origin story with Mortal Sin via patches, Kerrang! mags, and why some bands lived as imagery long before you ever heard a note.7:00 – Band history and lineup chaos – From Sydney origins and early rehearsals with Lino to global deals, tours with Metallica and Megadeth, and constant guitar player turnover.12:05 – DIY Mega Metal and Hetfield's stamp – Recording at 301 Studios, self‑releasing the album, mailing it out like a zine, and landing James Hetfield's 1986 endorsement.17:20 – “The Curse” – How the opening riffing, harmonics, and dissonant second‑guitar lines signal that Mortal Sin aren't just copying Bay Area thrash.22:30 – Drum mix from another planet – Why the massive, low‑end‑heavy drum sound flips the usual thrash hierarchy and changes how you hear the riffs and groove.24:50 – “Lebanon” – Dark, almost Slayer‑like scales, Dokken/Mr. Scary vibes, and how this track becomes a standout for mood and melody.25:30 – Thrash without a ballad – The near‑total absence of slow songs, the fake‑out intro of “Liar,” and what that says about the band's commitment to speed and aggression.30:15 – Honest strengths and weak spots – Praise for the riffs and rhythm section, plus a candid look at the limited vocals, buried mixes, and backward‑feeling sequencing.35:25 – Album art, demons, and Sydney in ruins – The Dungeons & Dragons‑style cover, nuked‑city imagery, and why this screamed “Tipper Gore nightmare” in the 80s.35:30 – “Mayhemic Destruction” (title track) – Proto‑death‑metal vocals and blast beats a year before Death's Scream Bloody Gore, and why burying it as the closer was a smart move.40:30 – Live vs. studio – What the 20th anniversary live tracks reveal about the band's true sound compared to the unique, drum‑heavy studio mix.[45:00 – Final verdict – Is Mayhemic Destruction a worthy album, a decent single, or a lost cult gem in the Australian thrash canon?Love uncovering 80s metal obscurities and lost thrash gems? Hit subscribe, leave us a review, and share this episode with a fellow metal nerd who still remembers drawing band logos on grocery‑bag book covers. Dive deeper into archives, polls, and bonus content at digmeoutpodcast.com and join the Union to vote on future episodes at dmounion.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe

If a little knowledge is a dangerous thing, then one member of the R 'n R ensemble is a weapon of mass destruction and he proves it beyond reasonable doubt when talk turns to the AFL State of Origin clash. It's self destruction at the T20 World Cup as the Aussies do a Bradbury - something they don't need at the Winter Olympics, where gold is easier to find than condoms. Speaking of that, romance is in the air as the R 'n R Love God reflects on his Valentine's Day activites. Musically, we take a deep dive into the music of Joe Cocker. Where does he rate? What are his best and worst songs? Kevin Hillier, Mark Fine, Stephen J Peak, Ken Francis Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2026See omnystudio.com/listener for privacy information.

Bad Bunny, the Puerto Rican superstar Benito Antonio Martínez Ocasio, remains at the center of headlines this week following his explosive Super Bowl LX halftime show at Levi's Stadium in Santa Clara. According to The National Desk, controversy erupted as Republican lawmakers like Rep. Andy Ogles of Tennessee demanded a Congressional investigation into the NFL and NBC, labeling the performance inappropriate and pushing for FCC scrutiny over potential indecent language violations. Rep. Randy Fine of Florida echoed this in a letter to FCC Chairman Brendan Carr, calling it vulgar, while Rep. Mark Alford noted ongoing probes into the lyrics. The New York Post's On The Money column reports the FCC reviewed the show, noting lyrics were censored to avoid references to sex acts and genitalia, and is shelving further action without new evidence. Ogles and Alford criticized it as an NFL bid to expand into Latin America over American patriotism.Musically, Business Insider details the epic setlist Bad Bunny delivered last Sunday, opening with hits like "Tití Me Preguntó" and "Yo Perreo Sola" from his albums Un Verano Sin Ti and YHLQMDLG. He mixed in tracks from his Grammy-winning 2025 album Debí Tirar Más Fotos, such as "Voy a Llevarte Pa PR," "Eoo," "Baile Inolvidable," "Nuevayol," "Café Con Ron," and "DTMF." Surprise guests included Lady Gaga for a salsa twist on "Die With a Smile," Ricky Martin on "Lo Que Le Pasó a Hawaii," plus cameos from Karol G, Cardi B, Jessica Alba, and Pedro Pascal. Other songs spanned "Safaera," "Party," "Monaco," and "El Apagón."Apple Music reports unprecedented buzz: listens spiked 7x post-show, with "DtMF," "BAILE INOLVIDABLE," and "Tití Me Preguntó" topping streams. The pre-show press conference shattered records with over 63 million views, and Shazam saw massive upticks, especially for "BAILE INOLVIDABLE" in the U.S. Spotify now hosts the live halftime single, keeping the momentum alive.Listeners, thank you for tuning in. Come back next week for more. This has been a Quiet Please production, and for me, check out Quiet Please Dot A I.Some great Deals https://amzn.to/49SJ3QsFor more check out http://www.quietplease.aiThis content was created in partnership and with the help of Artificial Intelligence AI

Chapter 1: Pipeman interviews Welsh metalcore band Bless Your Dead.Rising from the ashes of When We Were Wolves, the band announce their arrival with the release of their debut single “Everyone's A Target” — a no-holds-barred statement of intent from a band reborn heavier, sharper and more focused than ever.They've just announced their debut show, performing at Noizzefest in Cardiff this April.The track is due for release on 5th February and is the first single from a wave of new music lined up for 2026. Bless Your Dead are poised to make a serious impact, returning with a sound that is heavier, more refined and more confrontational than ever before. Formerly known as When We Were Wolves, the four-piece metalcore outfit have spent the past year tearing everything down and rebuilding from the ground up. The result is Bless Your Dead: a band delivering heavy riffs, crushing breakdowns and anthemic choruses, driven by a renewed sense of purpose and aggression. The band features vocalist Mitch Bock, guitarists Jay Coatsworth and Jack Adams, and drummer Kristian Eirsland “After taking a year away to write and record, it became apparent that the material we were working on was something completely different to what we'd done before — and that's when Bless Your Dead was born,” explains vocalist Mitch Bock. “Everyone's A Target” serves as the first taste of what's to come. Though it was the final video shot from an upcoming run of three singles, the band felt it was the strongest introduction to their new sound. “Being a band that mixes heavy and melodic, we felt this track was the perfect place to start,” says Mitch. “It's got riffs, a big chorus and a breakdown — everything that represents us right now. ”Lyrically, the track channels raw frustration and defiance. “It's about reaching breaking point with forced loyalty and surface-level behavior, and finally snapping back."With a wave of new music lined up for 2026, Bless Your Dead are poised to make a serious impact, returning with a sound that is heavier, more refined and more confrontational than ever before. Chapter 2: Pipeman interviews horror/industrial metal band Horror Scene. Our music blends aggressive metal with horror storytelling, characters, and cinematic themes. We'd love to come on your podcast to talk horror influences, creating dark characters through music, and the intersection of horror films and metal.Welcome to Your HellHorror Scene emerged from the underground of Harrisburg, PA with one mission: to turn fear into music. Formed by a group of musicians obsessed with horror cinema, psychological thrillers, serial killers and the darker edges of industrial metal and rock, the band fuses theatrical storytelling with heavy, atmospheric soundscapes. Their songs explore themes of dread, hauntings, obsession, and the monsters—real or imagined—that live inside us all.On stage, Horror Scene transforms the venue into their own chilling universe. Fog, distorted visuals, blood-red lights, and immersive sound design create a multisensory experience that blurs the line between concert and horror film. Their electrifying live shows have earned them a fiercely loyal fanbase drawn to the adrenaline, the spectacle, and the catharsis. Touring the US with such acts like Soulfly has helped the band have a better understanding of how to adjust to a crowd to give them the best entrainment experience the band has to offer.Musically, Horror Scene pulls inspiration from industrial metal, gothic rock, modern metalcore, and classic horror film scores. The result is a sound that blends cinematic tension with explosive energy: pounding drums, razor-sharp guitars, haunting synths, and vocals that shift from melodic to monstrous. Working with Producer Daniel Malsch has helped the band develop their sound into something unique with a twist.Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS! Pipeman in the Pit features all kinds of music and interviews with bands & music artists especially in the genres of Heavy Metal, Rock, Hard Rock, Classic Rock, Punk Rock, Goth, Industrial, Alternative, Thrash Metal & Indie Music.Pipeman in the Pit also features press coverage of events, concerts, & music festivals. PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

Pipeman interviews horror/industrial metal band Horror Scene. Our music blends aggressive metal with horror storytelling, characters, and cinematic themes. We'd love to come on your podcast to talk horror influences, creating dark characters through music, and the intersection of horror films and metal.Welcome to Your HellHorror Scene emerged from the underground of Harrisburg, PA with one mission: to turn fear into music. Formed by a group of musicians obsessed with horror cinema, psychological thrillers, serial killers and the darker edges of industrial metal and rock, the band fuses theatrical storytelling with heavy, atmospheric soundscapes. Their songs explore themes of dread, hauntings, obsession, and the monsters—real or imagined—that live inside us all.On stage, Horror Scene transforms the venue into their own chilling universe. Fog, distorted visuals, blood-red lights, and immersive sound design create a multisensory experience that blurs the line between concert and horror film. Their electrifying live shows have earned them a fiercely loyal fanbase drawn to the adrenaline, the spectacle, and the catharsis. Touring the US with such acts like Soulfly has helped the band have a better understanding of how to adjust to a crowd to give them the best entrainment experience the band has to offer.Musically, Horror Scene pulls inspiration from industrial metal, gothic rock, modern metalcore, and classic horror film scores. The result is a sound that blends cinematic tension with explosive energy: pounding drums, razor-sharp guitars, haunting synths, and vocals that shift from melodic to monstrous. Working with Producer Daniel Malsch has helped the band develop their sound into something unique with a twist.Click Here to Subscribe to The Adventures of Pipeman for PERKS, BONUS Content & FREE GIVEWAYS! Pipeman in the Pit is a music, festival, and interview segment of The Adventures of Pipeman Radio Show (#pipemanradio) and from The King of All Festivals while on The Pipeman Radio Tour.Pipeman in the Pit features all kinds of music and interviews with bands & music artists especially in the genres of Heavy Metal, Rock, Hard Rock, Classic Rock, Punk Rock, Goth, Industrial, Alternative, Thrash Metal & Indie Music. Pipeman in the Pit also features press coverage of events, concerts, & music festivals.Pipeman Productions is an artist management company that sponsors the show introducing new local & national talent showcasing new artists & indie artists.Then there is The Pipeman Radio Tour where Pipeman travels the country and world doing press coverage for Major Business Events, Conferences, Conventions, Music Festivals, Concerts, Award Shows, and Red Carpets. One of the top publicists in music has named Pipeman the “King of All Festivals.” So join the Pipeman as he brings “The Pipeman Radio Tour” to life right before your ears and eyes.Would you like to be a sponsor of the show?Would you like to have your business, products, services, merch, programs, books, music or any other professional or artistic endeavors promoted on the show?Would you like interviewed as a professional or music guest on The Adventures of Pipeman, Positively Pipeman and/or Pipeman in the Pit?Would you like to host your own Radio Show, Streaming TV Show, or Podcast?PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.The following are the different podcasts to Follow, Listen, Download, Subscribe:•The Adventures of Pipeman•Pipeman Radio•Pipeman in the Pit – Music Interviews & Festivals•Positively Pipeman – Empowerment, Inspiration, Motivation, Self-Help, Business, Spiritual & Health & WellnessClick Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials & Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

Pipeman interviews horror/industrial metal band Horror Scene. Our music blends aggressive metal with horror storytelling, characters, and cinematic themes. We'd love to come on your podcast to talk horror influences, creating dark characters through music, and the intersection of horror films and metal.Welcome to Your HellHorror Scene emerged from the underground of Harrisburg, PA with one mission: to turn fear into music. Formed by a group of musicians obsessed with horror cinema, psychological thrillers, serial killers and the darker edges of industrial metal and rock, the band fuses theatrical storytelling with heavy, atmospheric soundscapes. Their songs explore themes of dread, hauntings, obsession, and the monsters—real or imagined—that live inside us all.On stage, Horror Scene transforms the venue into their own chilling universe. Fog, distorted visuals, blood-red lights, and immersive sound design create a multisensory experience that blurs the line between concert and horror film. Their electrifying live shows have earned them a fiercely loyal fanbase drawn to the adrenaline, the spectacle, and the catharsis. Touring the US with such acts like Soulfly has helped the band have a better understanding of how to adjust to a crowd to give them the best entrainment experience the band has to offer.Musically, Horror Scene pulls inspiration from industrial metal, gothic rock, modern metalcore, and classic horror film scores. The result is a sound that blends cinematic tension with explosive energy: pounding drums, razor-sharp guitars, haunting synths, and vocals that shift from melodic to monstrous. Working with Producer Daniel Malsch has helped the band develop their sound into something unique with a twist.Click Here to Subscribe to Pipeman in the Pit for PERKS, BONUS Content & FREE GIVEWAYS!  Pipeman in the Pit features all kinds of music and interviews with bands & music artists especially in the genres of Heavy Metal, Rock, Hard Rock, Classic Rock, Punk Rock, Goth, Industrial, Alternative, Thrash Metal & Indie Music.Pipeman in the Pit also features press coverage of events, concerts, & music festivals. PipemanRadio Podcasts are heard on Pipeman Radio, Talk 4 Media, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcasts, and over 100 other podcast outlets where you listen to Podcasts.Become a supporter of this podcast: https://www.spreaker.com/podcast/pipeman-in-the-pit--2287932/support.Click Here to Subscribe for PERKS, BONUS Content & FREE GIVEWAYS!Follow @pipemanradio on all socials &  Pipeman Radio Requests & Info at www.linktr.ee/pipemanradioStream The Adventures of Pipeman daily & live Mondays, Tuesdays, Wednesdays at 1PM ET on W4CY Radio & Talk 4 TV. Download, Rate & Review the Podcast at The Adventures of Pipeman, Pipeman Radio, Talk 4 Media, iHeartRadio, Apple Podcasts, YouTube & All Podcast Apps.

Many are looking for ways to help the community while reducing food waste. After years in the music industry, Maria Brunner turned leftover catering into a saving grace. Brunner is the founder of Musically Fed, a nonprofit that takes unused catering and event food and donates it to the community.

Ep. 176: In 2026, labels, artists, musicians and creators are all working differently: generating millions of micro-royalties every month across global campaigns that involve multiple of partners across dozens of countries. Getting your music out there is easier than ever, but processing that increased volume of payouts becomes more complex – and we all have an expectation to get paid fast, and see what's going on and what we're owed at any given time. So to find out what's happening at the point where all those payment pipes meet, in this latest episode of Music Ally Focus, we partnered with a fintech company that processes tens of billions of payments each year – Tipalti, which works closely with labels like Ninja Tune to pay their artists what they're owed. We chatted to Tipalti's Travis Hughson about what labels need in 2026, what artists want when it comes to payments, and how to maintain trust and transparency to keep all parties happy.Some more Tipalti resources for the music business:Automated Royalty Payouts to Nurture ArtistsNinja Tune Enhances Artist Satisfaction and Cuts Payouts Processing Time by 50% With Tipalti Mass PaymentsFast, Secure Global Payments AnywhereRoyalty Rate Explained: How to Determine Your Royalties========This is a Music Ally Co-Labs podcast: ⁠⁠⁠⁠musically.com/music-ally-co-labs. Co-Labs content is created by publishing partners in liaison with the Music Ally Editorial Team. We work closely with partners to ensure that it adheres to Music Ally's high expectations of quality, thoughtfulness, and usefulness.

Failsafe are proof that age has nothing to do with impact. The Sydney trio are only 18, yet they carry themselves with the confidence, humility and purpose of a band far beyond their years (oh yeah and they have a whopping three releases under their belt already!). Formed while still in school, Failsafe began as three friends jamming in a bedroom in Sydney's Inner West, chasing connection and catharsis rather than polish or hype.Those humble beginnings quickly spilled into local bowlo shows before snowballing into a relentless run of gigs across the city. In just two short years, Failsafe have become familiar faces in their local music scene, earning a loyal following through sweat-soaked, bleeding-heart rock performances that feel urgent and alive. They're not just playing punk and rock, they're actively pulling it back to what it was always meant to be: community, expression and somewhat-controlled chaos.Their fiercely DIY ethos defines everything they do. From generator-powered skate park and park pop ups to all-ages gigs, Failsafe prioritise inclusion, even inviting fans to be part of one their music videos. Musically, Theo Fernandez's fast-footed pulse drives the momentum, Anna Morrow's groovy bass anchors it, and Liam Elwing's screeching guitar and raw vocals cut deep.As Anna explains, “Growing up I felt like I could really understand what other people put out, but not really express myself verbally… being able to do that through music is an entirely different skill… it's being really vulnerable and also incredibly dangerous and exciting.” It's that intelligence and drive to take hold of goal after goal that sets Failsafe apart from all the garage bands that never get beyond the garage.They may be young, but these guys are mighty. Check them out on spotify: Failsafe or Youtube: failsafesydneyBecome a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

It's Trouble with a capital T and yes, it does include the 1982 Lindsay Buckingham hit, but that's not all folks. Also on the menu is a Superbowl serving of Bad Bunny, a feast of T20 World Cup action, a slice or two of the AFL's financial pie and the Chef's Surprise is a little something from the Milano Cortina Games that might be hard to swallow. Musically, we visit February 1982 and the new romantics are making an impression. Kevin Hillier, Stephen J Peak, Ken Francis, Mark Fine Follow us on Facebook...https://bit.ly/2OOe7ag Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2026See omnystudio.com/listener for privacy information.

Shock rock band Caster Volor releases their new album, entitled Paracosm, via Pavement Entertainment. Paracosm is a raw, unapologetic plunge into the chaos of modern life, filtered through the fire of heavy rock theatrics. This album is a world of fantasy, defiance, and takeover—a soundtrack for misfits, rebels, and believers who know rock ‘n' roll is here to stay.Paracosm features six tracks with a dynamic range. From the excess-drenched swagger of “Hard R” to the defiant rebellion of “Wear The Black Hat,” the unbreakable spirit of “At Least We Still Got Our Rock N Roll,” and the vulnerable confessions of “I Can't Cry (So I Stand In The Rain),” Caster Volor blends power, satire, rage, and heart into one explosive package. “Bewitch My Body & Soul” offers themes of haunting devotion and “Black Leather Middle Finger” challenges conformity.Come see Caster Volor perform live at the Halloween Bash on Friday, October 31st, at D's Barn in Bristol, WI. This free show begins at 8 PM. The band also has a show on November 6th, where they will open for Scotty Austin (former vocalist of Saving Abel) at the Granada Theater in Minneapolis, MN. Caster Volor's album release party for Paracosm will be on November 22nd at Studio B at the Skyway Theatre in Minneapolis, MN. Doors open at 6 PM with advanced tickets priced at $12 and tickets at the door at $18.Hailing from Minneapolis, Minnesota, Caster Volor is a shock rock force that delivers a ferocious blend of hard rock and heavy metal wrapped in a theatrical spectacle unlike anything else on the touring circuit today. Known for their over-the-top, vaudevillian-inspired performances, the band fuses gritty, anthemic music with an immersive stage experience—turning every show into a raw, high-energy event that leaves audiences breathless. Musically, Caster Volor draws influence from the giants of hard rock and metal—both classic and modern. Their original material reflects the raw energy of bands like Motley Crue, Judas Priest, and W.A.S.P., while also channeling the darker industrial vibes of Rob Zombie, Alice Cooper, and Rammstein. Their sound is thunderous, infectious, and tailor-made for the stage. In addition to their original work, Caster Volor has gained attention for their powerful covers of rock and metal hits spanning multiple decades. Their setlists may include everything from KISS, Billy Idol, and AC/DC, to more unexpected twists like LMFAO, and even Enrique Iglesias—all reimagined through the band's hard-hitting, theatrical lens.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Announcing Season 8 of Parenting Musically! Parenting Musically is supported by Case Western Reserve University. The podcast is hosted by Dr. Lisa Huisman Koops, professor of music education at Case Western Reserve University.

1,2 F You! The crushing debut from the Canadian thrashers Slaughter is an all fave around the RAM office. "Strappado" is also the one of the most influential albums in the Death Metal underground. And, this platter of splatter is celebrating its fourth decade (!) of existence this year. So this week we're featuring it in our "40th Anniversary Album Spotlight Series". We do a track by track deep dive. Share how we first discovered the mighty Slaughter. And try to straighten out the whole monicker mess with the fake (s)laughter. Happy Bday to drummer/founder Ron Sumner who was celebrating his Bday when we pressed "record". In our "News, Views and Tunes', we share our chat with an A.I. music creator and put over the new Megadeth record. Musically, we crank some Slaughter, Nunslaughter, Kate's Acid, Dr. And The Crippens, Gravewitch, Outpost 31 and introduce Seattle's Rotgut in our "Indie Spotlight". Horns Up!!  

We're a little late off the mark. But we finally go the amazing "Stranger Things" series in the books. So this week we decided to discuss all the strange goin-ons in Hawkins. Apart from the usual thoughts about the show, we discuss the power of music, the Kate Bush fandom in Metaldom, share our own trials and tribulations from high school and ask the question - "Eddie Munson - Maiden or Metallica?" Musically, we crank some tunes we feel Eddie would've given The Horns to including Angel Witch, Razor, Power Trip, Destroyer 666, Skull Fist, Solanum, Riot City and we introduce Brazil's Grey Wolf in our "Indie Spotlight". Horns Up!!

Ep. 175: Mark Mulligan of MIDiA Research joins us to talk about labels in 2026. It's jam-packed with great advice for labels of all sizes and ambitions, including:The value shift between labels and streaming platforms in terms of the 'ownership' of the music consumerHow labels should "specialise" - and what that means for the labels who try to do it allHe advocates for labels to 'nurture' artists with long-term artist development. He explains why – and how a label boss might need to justify a three-year slow-burn strategy when they're under so much pressure to deliver nowWhat revenue streams or opportunities might labels be labels ignoring because they're too focused on protecting the streaming status quo?There's also a fairly unexpected chat about Nu-Metal, Limp Bizkit, and UK Garage.Midia report: The future of labels – https://www.midiaresearch.com/reports/the-future-of-labels-shifting-sandsRide - Vapour Trail – https://www.youtube.com/watch?v=pVhNi5cU8mo------

Exiles in Babylon Conference is coming soon! Join us in Minneapolis, April 30-May 2. Details at www.theologyintheraw.com/exiles26 nobigdyl. is a Christian hip-hop phenom. He's known most for combining concept driven lyricism with eclectic production. Musically he bounces from hard-hitting to ethereal—pulling from trap, jazz, golden era hip hop, underground and beyond to create his own sound. The Dove-Award winning, President Obama Playlisted, NPR Tiny Desk Contest Fan Favorite rapper is a storyteller at heart. His lyrics are part memoir, part stream of consciousness, as he wrestles with concepts such as faith, ego, love, and loss. Songs used with Permission:Stay by indie tribeTribe on the Move by DJ Mykael V and indie tribeimago interlude by nobigdyl. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What's up, dudes? Ever get sideswiped by a song you thought was just a vibe? Chad and Laura Wonsik are with me to talk Dan Fogelberg's 1980 quietly devastating holiday classic “Same Old Lang Syne”! It's definitely a Christmas song that sneaks up on you with feelings.Set on a snowy Christmas Eve, the autobiographical song tells the story of a chance encounter between old lovers in a grocery store. There's small talk, six-packs, and a late-night bar confession where life didn't quite turn out the way either of them planned. They toast “the innocence we lost,” share one last connection, and then drift back into their separate lives without a Hallmark-esque ending.Musically, it's deceptively simple. The verses move gently through familiar I–vi–V chords, giving the story a conversational, almost spoken feel. Then the refrain shifts to vi–IV–V, lifting just enough to underline the emotional weight without ever becoming sentimental. It's soft rock storytelling at its finest: restrained, adult, and painfully human.Grocery store meet-cute? Check. Beer-fueled confession? Yep. Emotional gut punch disguised as background music? Absolutely. So grab your winter coat, hum along quietly, and relive one of the most honest Christmas songs ever written with this episode on Dan Fogelberg's “Same Old Lang Syne.”Give us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Spotify is hiking prices again. Premium, Duo, Family, and Student users in the US will be charged more from their next billing date. Tragic and mysterious end for special education teacher, 53, who vanished near Lake Michigan. Stranger Things documentary reveals more red flags and information we already knew.Follow me on Twitter & Instagram: @siddavisPodcast IG: @thesocialintrovertpodcastPodcast Twitter: @SocialintroPodSend emails to: thesocialintrovertpodcastegmail.com

1986 was an absolute barnburner of a year. Numerous, now veteran bands and artists hit the garage for the first time. So many now classic albums hit the racks then onto our turntables and ghetto blasters. And there were new stories that rocked all of Metaldom. As well, this year, believe it or not, 1986 turns 40 years young. So as is tradition 'round here, we're doing a deep dive into this banner year. So for the young'ens, this will be quite educational. For the veterans, this will be an awesome strut down memory lane. Musically, we crank some Terrorizer, Hirax, Manilla Road, All Pigs Must Die, Kat, Traitor, Burning Path and we introduce Chile's Caprice Steel in our "Indie Spotlight". Horns up!!  

Ep. 174: What's going to give you or your artist cut-through in 2026? At the start of last year we published one of our most popular podcasts of the year: when we asked Liam James Ward, CEO/co-founder of content strategy studio Something Something to look ahead into 2025's upcoming marketing trends. Never let it be said that Music Ally Focus likes anything more than pushing against an open door, so when we had the opportunity to get Liam back on the show, we said yes. (It was a timely recording too, as Something Something were recently named Agency of the Year in Music Ally's 2025 Music Marketing Awards.)Thus in this special episode of Music Ally Focus we'll look beyond the bland and get clarity on the key changes and surprising developments in digital and social music marketing that emerged last year and what you can do in 2026, whether you're a big budget high-flyer or a scrappy and ambitious DIY-er. Liam also digs into fan accounts, the atomisation of content, and crafting fun and sticky videos that stretch the idea of authenticity into exciting new places. We'll talk about clipping, communities and crafting constellations of content, and we'll talk about how marketers already instinctively know what strategy they should take for their artist and that artist's audience.Something Something: https://www.somethingsomething.social/Contact Liam: hello@somethingsomething.social⁠ Music Ally Campaigns of the Year: https://musically.com/best-music-marketing-campaigns-of-the-year/

Shock rock band Caster Volor releases their new album, entitled Paracosm, via Pavement Entertainment. Paracosm is a raw, unapologetic plunge into the chaos of modern life, filtered through the fire of heavy rock theatrics. This album is a world of fantasy, defiance, and takeover—a soundtrack for misfits, rebels, and believers who know rock ‘n' roll is here to stay.Paracosm features six tracks with a dynamic range. From the excess-drenched swagger of “Hard R” to the defiant rebellion of “Wear The Black Hat,” the unbreakable spirit of “At Least We Still Got Our Rock N Roll,” and the vulnerable confessions of “I Can't Cry (So I Stand In The Rain),” Caster Volor blends power, satire, rage, and heart into one explosive package. “Bewitch My Body & Soul” offers themes of haunting devotion and “Black Leather Middle Finger” challenges conformity.Come see Caster Volor perform live at the Halloween Bash on Friday, October 31st, at D's Barn in Bristol, WI. This free show begins at 8 PM. The band also has a show on November 6th, where they will open for Scotty Austin (former vocalist of Saving Abel) at the Granada Theater in Minneapolis, MN. Caster Volor's album release party for Paracosm will be on November 22nd at Studio B at the Skyway Theatre in Minneapolis, MN. Doors open at 6 PM with advanced tickets priced at $12 and tickets at the door at $18.Hailing from Minneapolis, Minnesota, Caster Volor is a shock rock force that delivers a ferocious blend of hard rock and heavy metal wrapped in a theatrical spectacle unlike anything else on the touring circuit today. Known for their over-the-top, vaudevillian-inspired performances, the band fuses gritty, anthemic music with an immersive stage experience—turning every show into a raw, high-energy event that leaves audiences breathless. Musically, Caster Volor draws influence from the giants of hard rock and metal—both classic and modern. Their original material reflects the raw energy of bands like Motley Crue, Judas Priest, and W.A.S.P., while also channeling the darker industrial vibes of Rob Zombie, Alice Cooper, and Rammstein. Their sound is thunderous, infectious, and tailor-made for the stage. In addition to their original work, Caster Volor has gained attention for their powerful covers of rock and metal hits spanning multiple decades. Their setlists may include everything from KISS, Billy Idol, and AC/DC, to more unexpected twists like LMFAO, and even Enrique Iglesias—all reimagined through the band's hard-hitting, theatrical lens.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Over the years, the legendary Motorhead has been one of the most covered artists in all of Metaldom. But as beloved and influential as they are, Lemmy and The Boys are music fans too. So Motorhead has done their fair share of covers as well. Recently, we celebrated Lemmy's Bday and mourned his passing on the 10th anniversary. So this week we decided to discuss our favorite Motorheaderized cover songs. There are some absolute bangers! In our News, Views and Tunes, we discuss some Henry Rollins spoken word albums and the recent Vinny Vincent craziness. Musically, we crank some Whiplash, Raw Power, Old Funeral, Dissection (Can), Executioner Steel and we introduce Winnipeg black metallers Primordial Serpent in our Indie Spotlight. Horns up!! 

It's that time again! 2025 is in the books. So around here that means it's time for our annual Rammy Awards! To our newer listeners hopping aboard this year, there are the Radioactive Metal version of the Grammy Awards. You know, R.A.M...Rammies...Grammies. We're so clever. To the winners, sorry, there's no trophy or place in Metaldom infamy. We basically kick back and share our faves of '25 in the categories that mean the most to Metalheads. Best Band, Album, Live a.o. Aswell, we make our inductions into the Radioactive Metal Hall of Fame. Play along with your picks! Musically, we crank some Sacrifice, Unholy Grave, Hellion, Exxecutioner and Antagonizer. Horns up and here's to an amazing 2026!  

Full Moon Fever (1989) is Tom Petty's first solo album, though it still carries the unmistakable spirit of the Heartbreakers and the sonic fingerprints of producer/collaborator Jeff Lynne. The record is bright, warm, and breezy—full of chiming guitars, stacked harmonies, and the kind of effortless hooks that feel like they've always existed. It's one of Petty's most accessible and immediately lovable works, striking a balance between rock-and-roll swagger and California-sunlight charm.Musically, the album blends jangly power-pop, roots rock, and a hint of Lynne's polished, Beatlesque production style. Lyrically, Petty is relaxed, humorous, and reflective. You get big-hearted optimism ("I Won't Back Down"), mythic wanderlust ("Runnin' Down a Dream"), and contemplative melancholy ("Free Fallin'"). There's also a playful looseness throughout the record—Petty didn't seem weighed down by expectations, and that freedom comes through in the songwriting.The result is an album that feels both intimate and huge, personal yet universal. It became one of Petty's defining works, not only because of its hit singles, but because it captures him at his most open, melodic, and confident. It's the sound of a great songwriter leaning fully into his strengths and delivering an album that still feels timeless.Website Support the show Contact

Mark Rubin, Jew of Oklahoma is an Okie making music that’s mostly Americana and Bluegrass with a hint of Klezmer, Eastern European, and Middle Eastern flavors. His songs are often political, seeking to reach people’s hearts and minds with messages of conscience.  His new album is Dispatches: Songs from a World Gone Mad. Mark is a direct communicator.  Talking with him, listening to his music, one never has to wonder what he’s saying, he is as clear as a bell in his messaging.  His intentions shine brightly! Musically he’s about as down home as you’re going to find anywhere. • Mark Rubin on YouTube Music by: Mark Rubin The post Mark Rubin – “Dispatches: Songs from a World Gone Mad” appeared first on Paradigms Podcast.

In this episode, Paul Andrews digs deep into one of the most common questions beginner guitarists ask: “I know lots of scales, so why doesn't my lead playing or improvisation sound musical?” If you've ever felt overwhelmed by scales or are uncertain how to turn your knowledge into actual music, this episode is for you! Paul Andrews demonstrates how to sound more musical with only one scale and reveals why learning more scales isn't the secret to great jamming.Key Topics CoveredJamming January & PracticethonStart your year strong with Beginner Guitar Academy's January Practicethon! Practice daily, track your progress, and join a community aiming to improve together. There's also a charitable side: help raise money for Jesse's Fund, supporting children with complex needs through music. Myth Busting: Paul Andrews addresses the myth that learning more scales alone will make you a better guitarist. Instead, it's about how you use the scales you know.The Power of LimitationWhy sticking to just one scale (even a tiny section of it) can actually boost creativity, reduce overwhelm, and make your solos sound more intentional and musical.The Four Must-Have Musical Elements for Great Jamming:Repetition: Create memorable hooks by repeating phrases.Space: Let the music breathe; don't play constantly—leave room between notes.Rhythm: Change up the rhythmic feel of your phrases to add interest.Dynamics: Play with volume—soft, loud, or both—to add expression.Hands-On Example:Paul Andrews gives a practical, step-by-step demonstration of how to jam with just three notes from the A minor pentatonic scale over a backing track—creating musical phrases using only repetition, space, rhythm, and dynamics. He encourages students to keep it simple, repeat phrases, and experiment before ever moving on to more notes or scale shapes.Upcoming Events & Resources:There's a “First Steps Jam” happening live on Zoom for Beginner Guitar Academy members—perfect for those nervous to jam in public, as everyone will be muted!Backing tracks, scale diagrams, and a video of this episode are available on bgapodcast.com/268.Backing track used in the episode: https://youtu.be/bkMtp8vt6oE?si=n2G0fRXBNn5OCkJgA Minor Pentatonic Scale: https://www.dropbox.com/scl/fi/n6drxfruuf2yg4n1qi11w/A-Minor-Pentatonic.pdf?rlkey=evq8t819h1m7ak22qtq3qcck0&e=1&dl=0Action StepsJoin the Practicethon: Sign up at bgapodcast.com/january to track your practice, get motivational emails, and be part of the challenge.Support Jesse's Fund: Raise money with your own sponsorship page or donate directly at bgapodcast.com/charity.Practice Jamming: Use one part of a scale, focus on the four key elements, and try improvising over backing tracks for at least five minutes each session.Check Resources: For full lesson notes and backing...

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Microcosmos Records presents Gati, a new album by Six Dead Bulgarians — a deep, ritualistic journey where ambient electronics, ethnic instrumentation, and archaic memory dissolve into one continuous flow. The word Gati comes from Sanskrit and can be translated as movement, path, passage, destiny, the migration of the soul. It reflects a worldview where life unfolds as an endless current of transitions and rebirths. This idea resonates with the geography of the Russian North, where countless rivers carry names ending in "-ga" — Volga, Onega, Pinega, Vaga — as if echoing an ancient linguistic and cultural source. Musically, Gati is dense yet meditative. Analog synthesizer drones pulse like slow breathing, while flutes, didgeridoo, trumpet, guitar, ethnic percussion, and deeply rooted folk vocals form a living, organic texture. Field recordings from the archives of Kenozero National Park add a documentary layer, grounding the album in real landscapes, voices, and time. The album's concept revolves around the life and fate of a Russian woman during times of hardship — not as a narrative, but as a state of being. Each track feels like a fragment of memory: intimate, restrained, and quietly powerful. Despite its depth, Gati remains surprisingly accessible — music that can accompany daily life while subtly shifting perception.

Obviously, we love doing this show. For so many awesome reasons. One of our negative duties we take upon ourselves is the announcements and dedications for those of our fallen Metal comrades. Now its Year's End and we decided we wanted to dedicate this episode saying "Horns Up" for those who left us. Its a tough listen but well worth it. In our "News, Views and Tunes", we discuss vinyl reissues and the Spotify "scrapping" incident. Musically, we crank some Blitzkrieg, Mortician, Necrophagia, Heavy Load, Ragnarok, Virus, Lawnmower Deth, Sudden Impact and we introduce Swedish metallers Blazon Stone in our "Indie Spotlight". Horns Up!    

DJing is a craft. It reveals itself over time rather than all at once, and few embody that better than OK Williams. Active since 2019, the London DJ has built a reputation through steady accumulation rather than acceleration, becoming one of the city's most trusted and widely admired selectors in the process. Williams has never been interested in narrowing her taste into a single calling card, and it's no coincidence that her roots lie at NTS Radio. She learned to DJ at the Hackney station, starting out as a volunteer producer in 2017. Musically, she moves easily between moods—sometimes cheeky, sometimes deep—and tempos, playing everything from 160 BPM jungle and amapiano to baile funk, deep house and dub techno. For her RA Mix, Williams offers up her "purist" side. Despite her background in radio, Williams doesn't share mixes often and RA.1019 arrives as a relatively rare studio document. Recorded at home on vinyl, the 90-minute session mostly leans into '90s and early '00s techno and prog house. "Ten years ago I tried learning how to play [vinyl] on a friend's 1210s and gave up after a couple of weeks,"Williams tells us below. "Those same decks were then gifted to me years later and were used to record this mix. It's quite nice to see how far I've come." In returning to vinyl, and to the decks that once marked a rocky start, Williams' RA Mix arrives as a fitting marker for the year's end. As 2026 approaches and new resolutions begin to crowd the horizon, RA.1019 serves as a welcome reminder that the best things seldom arrive in a hurry. Find the tracklist and inteview at https://ra.co/podcast/1038 @okwilliams

Justin Bieber BioSnap a weekly updated Biography.Justin Bieber has been keeping a low profile over the holidays but made waves with a poignant Christmas message on identity and faith, declaring to Billboard via JubileeCast, "I'm not a product," as he reflected on industry pressures, healing through forgiveness, and hoping for a more compassionate music world that values artists as people. AOL reports he and Hailey cozied up for Christmas 2025, countering unverified rumors from less reliable outlets like emec.org.uk claiming he wanted a quiet holiday alone without her—no credible sources confirm any marital strain. In Tokyo earlier this month, Setlist.fm confirms Bieber performed a rare live set at the SKYLRK afterparty on December 5 at 1 OAK, tying into his fashion brand's five-day popup shop from December 4 to 8, which 3Dnatives and 3D Printing Industry hailed for debuting the innovative 3D-printed Earth Bender sneaker under his Skylrk label co-founded with Neima Khaila and design input from Hailey. The Hollywood Gossip notes he lost about 270,000 Instagram followers around December 3, prompting a defiant middle-finger selfie post with no explanation, while he vented frustration over Apple's iPhone dictation glitch interrupting his music, earning thousands of likes and an OpenAI invite. Business buzz persists from Hailey's Rhode sale to e.l.f. Beauty for one billion dollars in May, which Parade and AOL say boosted their combined net worth to around 500 million, with Justin publicly praising her hustle. Musically, The Honey Pop crowns his Swag album—his first in four years—a 2025 Spotify Wrapped triumph with R&B hits like Yukon and Devotion, signaling a mature comeback ahead of his confirmed Coachella 2026 headline slot, though no full tour is planned per insiders. These moves underscore Bieber's pivot to controlled ventures, health focus, and empire-building, far outweighing fleeting social media noise in biographical weight.Thanks for tuning in, come back next week for more. This has been a Quiet Please production, and for me check out Quiet Please Dot A I.Get the best deals https://amzn.to/3ODvOtaThis content was created in partnership and with the help of Artificial Intelligence AI

2025 won't be remembered as the year for love, peace and harmony. War and military attacks were happening everywhere - from the Ukraine to the Middle East to Venezuela to Nigeria. Natural disasters like wildfires and floods swept the U.S. And not only did we lose beloved celebrities like Diane Keaton, Robert Redford and Ozzy Osbourne, other popular figures - from Rob and Michele Reiner to Charlie Kirk to Melissa and Mark Hortman - died in devastating ways that shocked the world. Political differences polarized Americans with increasing intensity, AI made us increasingly unsure what was even real, social media became a toxic wasteland, and millions were facing the loss of health insurance at year's end as a result of the expiration of ACA subsidies. We could go on and on, but we know you lived through it, too. So this week your hosts of "How We Heard It" decided to highlight some positive things about 2025 with lists of the year's best songs and albums and movies and TV shows. They were riveted by movies like "One Battle After Another," "Sinners" and "Weapons" and intrigued by films like "Nuremburg," "Companion" and "Good Boy." On the small screen, your hosts were thrilled by "IT: Welcome to Derry" and "Alien: Earth," challenged by "The Bear" and "White Lotus" and tickled by "The English Teacher" and a revived "South Park." Musically, Kendrick Lamar and SZA teamed up on a sizzling tribute to Luther Vandross, the U.K.'s Wet Leg brought back rowdy alt-rock excitement, and Taylor Swift may have saved us from the fate of Ophelia. It was almost enough to inspire them to do that little Swiftie dance. If they could dance.

Metal Forces magazine, the amazing UK tome, is a fave of ours from our teens. They covered all the great underground HM, Thrash/Death and Hardcore outfits. One of their awesome features was the "Penbangers" section. Basically, the pen pal section looking for communication with other readers via the written letter. Some of the ads were pretty entertaining themselves. So this week we figured we'd read some of them courtesy of the www.sendbackmystamps.com websites. You'll laugh, you'll cry. You take a trip down memory lane. In our "News, Views and Tunes", we discuss the death of Rob Reiner and the "1987 Metal Forces Readers Poll Results". Musically, we crank some Frank Blackfire (Sodom), Living Death, Iron Angel, Exorcist, Witchkiller, Zombie Ritual, Gammacide, House By The Cemetery and introduce Florida's Living Fast in our "Indie Spotlight" section. Horns Up! 

Explore 7 ancient Biblical prophecies that foretold the birth of Jesus Christ in astonishing detail. The Christmas story was not a random moment in history, but a carefully planned rescue mission revealed centuries in advance through the prophets of Israel and fulfilled with stunninging precision.  This teaching walks through key Messianic prophecies from Isaiah, Micah, Genesis, and the Gospels, showing how Jesus was born of a virgin, born in Bethlehem, called Immanuel, descended from Abraham, announced by a herald, and ultimately despised and rejected—exactly as Scripture foretold. These fulfilled prophecies provide powerful historical and biblical evidence that Jesus is the promised Saviour and that the Christmas story is grounded in truth. Musically backed by timeless Christmas carols such as O Come All Ye Faithful, Silent Night, O Come O Come Emmanuel, and Hark! The Herald Angels Sing, this episode invites reflection on the true meaning of Christmas. #christmasstory  #JesusChrist #BibleProphecy #fulfilledprophecy  #birthofjesus  #tchristmas  Illustrated Bible based lessons through the lens of God's eternal love for humanity and His desire to reconcile all things to Himself. 

Corrosion Of Conformity's second full lengther "Animosity" was a benchmark effort. The C.O.C. of today is very different from forty years ago. Along with contemporaries like D.R.I. and The Accused, the then trio helped spearhead the "crossover" scene fans take for granted today. This year this amazing record also turns forty (!). So this week we're featuring it in our "40th Anniversary Album Spotlight Series". We go over the Pushead artwork. Do a track by track deep dive. And share the importance this record had on our personal lives. In our "News, Views and Tunes', we discuss the 80s camp classic flick "Hollywood Chainsaw Hookers" (!!) and "Laurie Partridge"'s more *ahem* obscure movie role. Musically, we crank said C.O.C. record plus Cryptic Slaughter, Beyond Possession, Bratmobile, Warhead, Struck A Nerve, Sodomizer, Hounds and introduce Florida's trad metallers Midnight Vice in our "Indie Spotlight". Horns Up!!

Whenever you're on social media, you get bombarded with memes. A lot of them can be quite annoying. While others like to pose questions and make you think. So lately we've been gathering some questions related to our beloved genre and are taking this opportunity to share our thoughts. Makes for great conversation. Be sure to play along too. In our "News, Views and Tunes",  we discuss the (in)famous "WKRP in Cincinnati" Turkey Drop episode. And Sharon Osbourne's creative response to Roger Waters. Musically, we crank Bad Brains, SNFU, Bitch, Coffins, Untimely Demise, Brainfever, Overture and go into the vaults for Montreal bashers Lankhmar in our "Indie Spotlight". Horns Up!   

The Bull Pups are reviewing part one of Second Stain on Sherlock & Co., Watson and his Literary Agent probably don't meet, and colorful phrases from one of Watson's earlier cases can serve as fandom titles.