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?