Button up my collared shirt
Might fuck around and wear a skirt
Darken the hair that shouldn't be there
Hide your kids, best beware

Get problems lifted off my chest
Or at least suppress 'til further notice
Not to be contained
Though I'm a fan of a boxy shape

Ooh-ooh
Ooh-ooh

Bind me up, but not for long
Adjusting to another thought, feels so wrong

Ooh-ooh
Ooh-ooh
Ooh-ooh
Ooh-ooh

Men who feel femme, am I one of them?
Jealous of arrows that hit the same target
Do they realize that their bodies are erotic

So many things that I'd like to change
But I don't mind if I stay the same
Maybe I'm a fag instead of a dyke
Or maybe I'm both at the same time

Ooh-ooh
Ooh-ooh

Bind me up, but not for long
Adjusting to another thought, feels so wrong

Ooh-ooh
Ooh-ooh

ARMAGEDDON (ALT edition) | Sola Guinto

https://solaguinto.bandcamp.com/track/armageddon-alt-edition-2

@music

#Bandcamp #DancePop #MusicToGetDolledUpAtTheEndOfTheWorldTo #Slay

1. Nafas : 00:00
2. Akshay : 05:52
3. Triton : 12:55
4. Illuminations : 19:37
5. Celebrating the Beautiful Lineage of Sound & Hypnotic States : 26:47
6. Mountain : 34:34

playlist link:

https://open.spotify.com/playlist/6F3sCPmocAQDMNRNg7TZZb

Alternative Links: https://redirect.invidious.io/watch?v=ffIZbxgSZP4

Michael O’Shea makes extraordinary music on an instrument he made from a door found in Germany and plays with paint brushes.

Following a two week run at the Ronnie Scott Jazz Club in London, experimental musician Michael O’Shea is a guest on The Live Mike.

Michael O’Shea was busking for a living on the London Underground when he was spotted by Will Sproule at Tottenham Court Road tube station. Will Sproule worked at Ronnie Scott’s Jazz Club and invited Michael to play for Ronnie Scott. He was subsequently offered a two week slot at the club. His music was first released on Gilbert and Lewis' Dome record label after they chanced upon O'Shea busking in the West End, or at the Jazz Club.

His music is, to say the least, unusual in that he entertains on instruments that he has created himself.

Michael O’Shea had played Indian sitar for about eight years and was looking for a new instrument to play so he made one. The instrument he is performing on was crafted from a door he found in a skip in Germany and he affectionately calls it ‘Mo Chara’ (''My Friend' in Irish). It has nineteen strings and is played with paint brushes.

This episode of ‘The Live Mike’ was broadcast on 22 February 1980. The presenter is Mike Murphy.

More Information about Michael O'Shea here - https://en.wikipedia.org/wiki/Michael_O%27Shea_(musician)

playlist link:

https://open.spotify.com/playlist/6F3sCPmocAQDMNRNg7TZZb

Lyrics

Palatable, unthreatening Because men know far better than me The glass ceiling ahead of me So I’ll take a backseat

Smile and ignore That my boss wants to fuck me The Wandering eyes At all times in the office

Blondes have more fun In company culture Pretend that I know how to use a computer Harassed in the workplace My cold resting bitch face When will I learn That men just do it better

(Don’t touch me)

Palatable, unthreatening Because men know far better than me Yet human resources Say I’m asking for it

Look over my shoulder indecent exposure My coworkers say I’ve got no sense of humour

Smile more and ignore That my boss wants to fuck me The Wandering eyes At all time in the office

Another day on the job Looking hot playing dumb When will I learn That men just do it better

(Michael I don’t want to suck you off on my lunch break)

Blondes have more fun In company culture Pretend that I know how to use a computer Harassed in the workplace My cold resting bitch face When will I learn That men just do it better

Blondes have more fun In company culture Pretend that I know how to use a computer Harassed in the workplace My cold resting bitch face When will I learn That men just do it better

That’s enough I’ll shut up I’ll look hot And play dumb That’s enough When will I learn that men just do it better

Discover our tracks Matera Release 2025-10-16

You can also find us on Beatport

___

So ive been on the Spotify train since pretty early on in its existence. I used to pirate a lot of music, but I also used to buy a lot of albums too, but once Spotify came along that was it, the rest sort of fell away.

I was listening to a band called Funkyverse on Spotify and it wasn't bad but there was something off about it. Something didn't feel right. It was too safe or something, and psychedelic music isnt usually particularly safe.

I investigate a bit, first thing that caught my eye was on Spotify the attribution was something like, "music by funkverse, arranged by [Redacted Name]". Note it was a real name on Spotify. No mention of AI anywhere but the arranged by thing set alarm bells ringing in my head.

Noticed then they were suspiciously prolific, with countless albums released since 2022. No mention of AI anywhere except one of (if not) their oldest youtube videos with something saying "i know its AI but its pretty good". I presume the references to AI were removed as the music started making money and sentiment turned.

Sorry that was a long preamble, but basically this whole thing has left me feeling a little violated by Spotify. They were feeding me slop, thank fuck my brain recognised its wrongness.

So how do I de-spotify? Last time I was in this position burning CD-ROMs and using slsk was the top of the musical tech stack.

I am happy to pay for music, in fact im happy to pay a lot more than I was paying Spotify. An order of magnitude more, but I will definitely miss Spotifys recommendations and radios etc.

How do I fill that gap? Give me the low down on the 2026 "fuck spotify" train.

Thanks in advance!

Lim Kim has spent the past decade figuring out where she fits — in the music industry, in adulthood, in the rooms she found herself in. Her new album, “Exit to Nowhere,” traces that search across seven tracks.

The 32-year-old South Korean singer’s second full-length album looks back on a decade of change as she moves from the uncertainty of her early 20s.

“It has seven tracks, and they reflect the emotions and feelings I’ve experienced from my early 20s until now — like a chronicle of my life,” Kim told The Associated Press.

The album, released seven years after her last major project, the 2019 EP “GENERASIAN,” marks a return for an artist who has spent her career shifting between genres and exploring questions of identity, belonging and self-discovery. It arrives 13 years after her debut full-length album, “A Voice.”

When Kim released “GENERASIAN,” she said global interest in South Korea and its music, including K-pop, was still developing. She said the album came from a desire to speak about her own identity and perspective as an Asian woman born in South Korea.

“That was a period when no one had really told that story properly,” she said. “I wanted to show that perspective properly — not through the way it’s usually seen from abroad, but from my own point of view.”

Kim said her new album represents a move away from the broader cultural questions of “GENERASIAN” and toward a more personal reflection.

“After I finished ‘GENERASIAN,’ I thought about my next step for a long time,” she said. “Each album feels like a record of what I was feeling at that time, and then I move on. This time, I wanted to focus more on my own individual story.”

Kim broke through in 2011 as part of South Korean folk-pop duo Togeworl before launching her solo career in 2013. She won two Korean Music Awards in 2020.

The singer said the album’s title reflects the uncertainty she felt during the years it covers — a period she described as moving through a “wasteland” while searching for direction.

The album’s title track, “Never Gonna Be Alone,” begins at a wedding and explores the paradox of feeling most alone when surrounded by a bride and her guests. Kim said that feeling became more familiar as she entered her 30s and attended more weddings. The song’s warm, string-laden sound belies its unsettling lyrical undertone.

“INSA” — the Korean word for “greeting” — features rapper Bree Runway and plays on the formality of everyday exchanges Kim encountered when she entered the music industry. She said she often felt a sense of distance from the people and glamour around her.

“It wasn’t that I felt like one of them, but more this strange sense that I was somehow separate,” she recalled.

Kim said she hopes listeners who are also navigating uncertain futures can find something familiar in her journey. The album draws inspiration from South Korean novelist Yang Gui-ja, American writer Joan Didion and Studio Ghibli film “Spirited Away” — works that similarly explore self-identity and transformation.

I was told about this band today and a coworker showed me a youtube video of what they're like.
My question is not a joke, but the existence of this band may be?
Help me understand? Wtf this is? Is this an attempt to troll the world that people have accepted as "rock music" so they kept going? Is this "real music" and I'm the idiot?

It feels like elevator music for people in the "Beavis and Butthead" universe.

WTF IS HAPPENING?! (And no I'm not just talking about their absolutely ludicrous appearance, I'm talking about the whole package. The music sounds like LSD fueled song intros looped together without ever reaching a chorus, ever.