I’ll literally replace you with a Dyson wall-mounted rechargeable vacuum cleaner.

Sometimes you think you’re right, and other times you know you’ve been wrong before.

The week I learned smooth jazz is a jumping off point for nice kids from the suburbs but we still play indiepop about love and death, ambient music by painters and heavy metal bands, and radio jingles.

Featuring music from The Books, Lucky Dragons, Kelpe, Doronco Gumo, France, Sonic Youth, Monoshock, Liquorball, Spazz, Succumb, 7000 Dying Rats, Faxed Head, and Sternklang.

Yes, show #23 is here. Fret not, it’ll be dope when you hear The Yolks, Nein Rodere, Tenniscoats, Pastels, Freschard, Neutrals, The Tubs, Ex-Vöid, Bobby Brown, Richard Youngs, Renata Zeiguer, Kids on a Crime Spree, & Broadcast, y’know?

Much rocking and rolling to be done this week. Was done. To be had. Have yourself some rock and roll, pardner:

Apologies to our subscribers who didn’t get this last week. We have appropriately punished our administrators for missing this vital coverage.

Don’t you wish there a station played 80s Scottish indiepop, grindcore, and new music from Liz Harris and Jefre Cantu-Ledesma in the same hour? Well careful what you wish for bub.

Here’s a waterslide that doesn’t have quite enough water so your thighs sort of stick a few places going down, and when you get stopped, you notice the joints of the tube, which makes you realize the green growth on them, which is also where the sharp, scratchy sensations on your thighs are coming from, the lengths of pipe pushed apart by algae and moss growth that is resistant to chlorine.

Portland noise, broken English keyboards, indiepop from Oz. The usual, what you’ve come to expect. I hope. We hope. You hope. Hope is all we can do.

When everybody wants to go to heaven but nobody wants to pay, you start in Detroit and end in New Haven, via Lagos by way of Tokyo.

Wherein we explore how lo fi divas, ethereal 80s goths, and the happiest electronic band of all time intersect with a song on the radio in California’s central valley.

Choking on dust, turning into a monster, playing really long songs that are either about drugs or meditation or occult practices or the inability for a rational person to tell where the world ends and I begin because there’s no such distinction.

This show was made in a college town, under the influence of green salsa with way too much garlic.

It was easier to shape a show around a single song that I had in my head all week (Washing Machine by Sonic Youth) than it was to record the show inside, in a quiet room, without any interruptions. I don’t know if that’s a comment on my extemporaneous speaking skills, or a view through a windshield leads to better shows. We will collect more data and keep an eye on it.

I could probably have a wittier or more descriptive blurb here, but we prefer to let the Brazilian acid bubblegum and Detroit no wave, and, like, un électro souterraine aux voix embrumées, trace un sillon tourmenté speak for us, you know?

Get out your TDK D90s, we’ve got lots of great transitions where, when you hit record for your favorite Knoll song, when you hear what comes after, you leave it rolling.

All pop, all the time, with your favorites indiepop, indie pop, indie!p!o!p!, and all of the other pops.

Where you share a longtime tradition, and when you do, people are like, “wait, this is what fruitcake is?” and “You took 8 weeks to make this?” and you take it in stride, chalking it up to if you know, you know. And what you know is some people never get tired of the sound of Ozzy coughing at the beginning of Sweet Leaf.

Where your host declares an improvisational rock band’s style “raga hippie shit” and drops a reference to Köln minimal techno so naturally you’d think it’s the 90s, or 2021.

Patiently listen, knowing there will be jazz musicians back to back with Fortress Crookedjaw and Obey, only to be followed by Aphotic Mote, and an experimental percussionist who listens to Our Lady Peace?

Death twee remains elusive but we can help.

Answering the unasked musical question of whether there’s any such thing as “serious” metal, and if this is a spectrum, what level of seriousness is appropriate for accompanying garage rock ‘n roll, indie pop, and experimental composers whose compositions may precede or follow it?