Storm Stereo #36: Greek Remap I

Συνθετικοί (Synthetics) had tunes and style galore

What’s up my mellakas?

I’m very excited about this week’s show. Like all Storm Stereos, it’s directly connected to what’s happening in my life at the moment, and I’ve had the pleasure of being reintroduced to the past. It’s funny how you can listen to something and it won’t really register, or you’ll forget about it, or it’ll just get lost among the dozens of mentally, digitally and physically created lists of songs. Since I’ve been back in Athens, I’ve been remapping and rediscovering my connection to the city – whether through bands, historical accounts, neighbourhoods, show spaces, and friends old and new. It’s rather endearing when you can return to a place you had once all but written off to find there are actually a myriad ways to experience it, redefine your perception of it and ultimately strengthen your bond.

So when a friend played Orchestral Manoeuvres in the Dark for me and reminded me of how great they are (and not just for their use of the Mellotron!), it seemed apt to open with them. “Each time I look at you, is like the first time, each time you’re near me, the thrill is new.”

So, we delve into the past (briefly) and listen to Συνθετικοί and Χωρίς Περιδέραιο, two synthwave bands that were part of a larger (post)punk scene that incorporated (killer) synths, the most well-known being ANTI… but also Anypofori, Ausschwitss, Clown, Chapter 24 and more (more on these bands next week!). As with most Greek bands of the time, the music is steeped in melancholy and heart-squeezing melodies and introspective or challenging lyrics to match. On “Είναι Σίγουρο” (“It Is Certain”), Synthetics sing: “In my room, see colourful posters, heroes who fill you with memories, all heroes are fake, this whole world is fake, you feel alone, you are alone.” Pretty existential stuff, not surprising given the climate of the dying 1980s and the disillusionment felt by the leather-jacket-clad youth with the crazy hair. Also how good are the kaleidoscopic vocals at the end of that song?

Then we zoom back to the present and head to Thessaloniki, Greece’s beautiful and vibrant capital of the north. We listen to a new project, Mazoha (Masochist), which totally fucking rocks! Just on the first listen I could hear all these great influences coming through: from Wipers-esque guitars, to raw, ’80s drum machine beats, synths and bass that recall ΟΔΟΣ 55 and sarcastic lyrics (that reminded me a bit of Όρεξη για Τίποτα somehow). I could see it fitting perfectly on a split record with Gay Anniversary from Athens. Also wanna see this live so I can cry/dance along to “Υπεραναισθησία” (“Hyperanesthesia)! “I should not see you again, not think of you again, you give me all the things I don’t need, you bring me panic, so what if we were lovers, so what if I told you I love you?”

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We then skip along to the UK for a minute and listen to Retrofuture, a really great band from London that mixes beautiful vocals with indie guitars and dreamy synths – the vocals on that track for some reason reminded me of Belly and other 4AD bands, which is great ’cause 4AD is one of my favourite labels. Top stuff! In keeping with the synth theme, Fata Morgana also give us one hell of a catchy track with analog gear! Then we head to Turkey and listen to She Past Away, a band that’s been around for a few years now and that deserve your attention for their mix of moody post-punk and synth/coldwave. Likewise, Night Thoughts from Cardiff (feat. members of Chain of Flowers), and Cold i from Athens (feat. members of Valpourgia Nychta and Unfit Earth – the Volos band, not the metal band) and Chain Cult from Athens (feat. members of Archi tou Telous, Lifewreck, Dirty Wombs, on tour with Pol Pot whom we also listen to) will sit well with fans of dark, guitar-driven, bass-heavy post-punk (love the chorus vocals on every one of these songs!)

Also on this show we check out what’s happening on the hardcore front, starting with Asid from Sheffield, one of the city’s finest new bands, of which it has many! Sheffield also has a wicked show space that is under threat, so if you can, why not donate to help them keep the punk alive?

We continue with a web of punks making up a bunch of really great Athens bands. Let’s see, there’s Antimob, who have raging new material after a long time (damn you Panos, your solos are fire!), this time in the form of a split 7″ with brotherly-band Χωρίς Οίκτο (Horis Ikto) (their guitarist also plays bass in Antimob, the drummer also sings and drums in Paroxysmos, the bassist plays guitar in Sarabante, and the singer also plays in Cut Off), then there’s Μόλυσμα (Molisma) (featuring members of Sarabante and the Vagabonds 77, they’ll be playing with Arms Race here in Athens in February) and Παροξυσμός (Paroxysmos), who, in my humble opinion, have all the best elements of what Greek punk and hardcore means to me, bringing to mind classic GRHC bands like Antidrasi and Forgotten Prophesy, with top-notch vocals and grazing guitars. The singer/drummer is one to keep an eye on, as his playing is matched by his excellent influences and deep knowledge of punk, hardcore and metal music. Great stuff!

And, even though technically not based in Greece though informed by their Greek and New York punk and hardcore heritages, we also listen to Mati, from Queens, NYC. Mati along with Efialtis from London are the only two bands I know of that exist outside Greece who both have (sick!) vocals in Greek. Perhaps the most famous Greek diaspora punk band is Free Yourself, who started playing in 1992 in Dusseldorf, Germany, but after that my radar goes blank. If you know of any other Greek diaspora punk bands I’m not aware of, please do get in touch!

Until next time, don’t let the winter blues get you down! Next week we have Part 2 of the Greek special, with more post-punk, new wave, synthpop and more! Stray tuned, this Wednesday 10-11pm on

With love from outer space,



Storm Stereo #36 tracklist

ΣΥΝΘΕΤΙΚΟΙ / SYNTHETICS – Είναι Σίγουρο / It Is Certain
MAZOHA – Υπεραναισθησία / Hyperanesthetized
RETROFUTURE – Cult of the Sun
FATA MORGANA – Historias del Oriente
SHE PAST AWAY – Kasvetli Kutlama
NIGHT THOUGHTS – Owl in Daylight
COLD I – Flower Garden
CHAIN CULT – Empty Hearts
POL POT – We Need Lasers
ASID – Bastards
MOLISMA – Μάτια Γεμάτα Τρόμο / Eyes Full of Terror
MATI – Αυτοκτονία / Suicide
ANTIMOB – Με το Κεφάλι Κάτω / With Your Head Down
PAROXYSMOS – Μολυσμένα Ένστικτα / Infected Instincts


Storm Stereo #35

tonio_rubioWhat’s up dreamers?

Another show ready for your audio pleasure. We return to one-hour length, short and sweet, with more focus.

We kick in with a now-classic, almost timeless gem by Yves Tumor, a musical master of our times, truly. His whole record Serpent Music is brilliant. We keep it mellow with a sweet and charming track by Savages and something equally dreamy by Armen Miran (those vocal samples!) – a new discovery for me, who is opening me up to the world of underground Armenian electronic music. A special on the underground electronic scenes of Armenia, Georgia, and Morocco among other places will follow in the near future, so stray tuned if that’s your jam.

I’ve being a Parov Stelar fan for well over a decade and, though his swing-revival chill-out house (which many know him for) is not my cup of tea, I find what he does to be of consistent quality – plus I’m a sucker for violins and heartbreaking vocals like on “Beauty Mark.” We keep in line with my marimba obsession and listen to something from Tonio Rubio’s excellent (and only) LP Rhythms, and something by no-inroductions-needed minimalist Steve Reich, a fellow marimba-lover.

Seeing as the day of this show, January 31, was Philip Glass’ birthday, we also hear something from his Reworks album – which is an amazing compilation of reworked Glass tracks by some of the best – then transition via a brass connection and move further electronically afield into Tau City and a coming storm.

We close it all off with an all-time fave track of mine, “Do What You Want” from 2002 and some ever-enjoyable Timothy J. Fairplay.

Next week prepare for a gear-shift, as we enter the fast lane with some punk and hardcore! Until then, stay strong, fuck national pride, fight fascism!

With love from outer space




YVES TUMOR – The Feeling When You Walk Away
SAVAGES – You’re My Chocolate
ARMEN MIRAN – For Eternity
STEVE REICH – Mallet Quarter
PHILIP GLASS – Alight Spiral Snip (Dan Deacon Rework)
HODGE – There is a Storm Coming In
TIMOTHY J. FAIRPLAY – Messengers of Deception

Storm Stereo #34: Soundtrack Special

Screen Shot 2018-01-24 at 3.16.40 PMAll right now,

For all you boppers in the big city, this is the Soundtrack Special. Seems appropriate, as some really incredible music has been written for the big (and small) screen.

We kick it off with a retribution concept that’s dear to me, followed by the bombastic opening music to Preacher. I was thrilled when they announced that the amazing comic book series by Garth Ennis and Steve Dillon would be taken to the screen, though I was initially a bit disappointed with the result. I was expecting something closer to the graphic novels, though I did eventually warm up to the series and I look forward to the next season. Cassidy for eva!

We also listen to something from the empowering cult movie Faster, Pussycat! Kill! Kill! that made quite an impression on me when I saw it in high school. Another movie that really stuck with me was Sweet Bunch, by Nikos Nikolaidis, one of Greece’s greatest underground and experimental filmmakers. His whole filmography is deeply interesting and I highly recommend it. Fear and Loathing in Las Vegas could of course not be missing from this show – I’ve been a Gonzo fan for half my life, and the soundtrack to that movie is part of the fabric of the stories he tells, whether real or parts of an unwinding drug trip.

The Craft was also one of my favourite movies growing up (Fairuza Balk was my style icon!) and I always remember that scene where the mother says, “Since I was a little girl, I’ve always wanted in life a jukebox that played nothing but Connie Francis records.” How delightful. The proverbial adult apple didnt’t fall too far from the teenage entertainment tree, and now I indulge in Good Behavior, a show about a woman called Letty Raines and her poor choices. While I can relate to some of the storyline, I mostly watch it for the (mildly fucked up) relationship Letty shares with Javier. As with Weeds, the opening music of which we hear at the end of this show, I’m drawn to good-looking South American male characters.

If you’ve ever been to New York and not seen The Warriors, then what the hell are you doing with your life? The radio scene, with Lynee Thigpen’s face only visible from the nose down, is both weirdly sensual and also a highly appropriate way of showing the power of the radio. Familiar voices without a face, trusted company in dark or lonely times, and often a guide towards the light. Though we didn’t include the blind radio producer from the epic movie Vanishing Point, he alone is reason enough to prep a second soundtrack special in the future.

Of course we also check in with classic composers like John Carpenter, John Williams and Mark Snow (obviously I’m a massive horror, Star Wars, and X-Files fan), and though admittedly we don’t delve too deep into the soundtracks of cult Italian cinema from the ’60s and ’70s, we will be dedicating a whole show to the many great composers of that time (Morricone, Alessandroni, Umiliani, Piccioni, Ortolani, etc) as their scores deserves more attention.

We also pull some tracks from television, namely, the killer new show Stranger Things (a nod to the analog age, as evidently heard in the warm sound of the synths used in the theme music) and the equally addictive The Expanse, taking place in a future time of a colonized solar system and one of the few sci-fi shows that actually takes space physics into consideration (like different gravitational forces, time warping, vacuum pressure, etc). The song we hear is “de new banga, fresh outta Eros! … Hottest beats-maker on Tycho.” On that note, if you’re into string theory and/or the interaction of multiple dimensions, I recommend the movie Interstellar (with music by Hans Zimmer of course). Lastly, we couldn’t exclude Akira and The Ghost in the Shell, two Japanese anime movies that became famous for their stunning, detail-heavy animation and their gripping music scores.

We draw to a close with a couple tracks from The Nile Hilton Incident (an excellent 2017 Egyptian movie, a must-watch for noir fans), Only Lovers Left Alive (now a classic among Jarmusch and vampire lovers alike) and Baby Driver (an unexpectedly great movie with a sort of timeless aesthetic and well-picked soundtrack).

Of course there’s lots more to listen to, from Mulatu Astatke and Philip Glass to Goblin and T. Rex, so click that Play button for two hours of cinematic brilliance. This week and moving forward we return to one-hour shows (quality trumps quantity) and we’ve got a couple guest shows in the works in preparation of a special live show, hopefully coming to Athens in April – so boppers, stay tuned!

With love from outer space,



ALAN FORD – Nemesis (Snatch)
DAVE PORTER – Preacher main title theme
TEO USUELLI – Alla Ricerca Del Piacere Seq. 3
IGOR KANTOR, BERT SHEFTER & PAUL SAWTELL – Mysterioso Minor (Faster, Pussycat! Kill! Kill!)
RIZ ORTOLANI – Theme from Fantasma D’amore
ANGELO BADALAMENTI – Dinner Party Pool Music (Mulholland Drive)
GIORGOS HATZINASIOS – Theme from Sweet Bunch
JOHNNY DEPP & RAY COPPER – A Drug Score Part 1 (Acid Spill) (Fear and Loathing in Las Vegas)
CONNIE FRANCIS – Fallin (The Craft)
SEINABO SEY – Hard Time (Good Behavior)
TEO USUELLI – Alla Ricerca Del Piacere Seq. 15
LYNNE THIGPEN – All You Boppers (The Warriors)
BARRY DE VORZON – Theme from The Warriors
ZOMBIE ZOMBIE – Halloween main theme)
MICHAEL STEIN & KYLE DIXON – Stranger Things Theme (live at the ASCAP Screen Music Awards)
MARK SNOW – I Want to Believe (UNKLE remix)
JOHN CARPENTER – Theme from The Fog
CLINTON SHORTER – Eros Song (The Expanse)
TSUTOMU ŌHASHI – Kaneda’s Theme (Akira)
KENJI KAWAI – Chant 1 – Making of Cyborg (The Ghost in the Shell)
PHILIP GLASS – Mishima Closing (Mishima)
GOBLIN – Suspiria (Celesta and Bells)
KENJI KAWAI – Nightstalker (Ghost in the Shell)
RY COODER – Theme from Paris, Texas
T. REX – Cosmic Dancer (Billy Elliot)
ARIEL PINK – Baby (I Do…Until I Don’t)
LOVE – Always See Your Face (High Fidelity)
NICO – These Days (The Royal Tenenbaums)
THE VENUS IN FURS – 2HB (Velvet Goldmine)
LOUD REED – This Magic Moment (Lost Highway)
ANGELS & PETER SKELLERN – One More Kiss Dear (Blade Runner)
ANGELO BADALAMENTI – Rita Walks – Sunset Boulevard – Auth Ruth (Mulholland Drive)
BONNIE BEECHER – Come Wander With Me (The Twilight Zone)
MELINA MERKOURI – Agapi Pou Gines Dikopo Macheri (Stella)
IBTIHAL EL SERETY – Gina’s Song (The Nile Hilton Incident)
YASMINE HAMDAN – Hal (Only Lovers Left Alive)
MULATU ASTATKE – Gubèlyé (Broken Flowers)
DAVID MCCALLUM – The Edge (Baby Driver)
JOHN WILLIAMS – Binary Sunset (Star Wars IV: A New Hope)
MALVINA REYNOLDS – Little Boxes (Weeds)

Storm Stereo #33: Bowie Special

20160112-0202-2-friends-remembering-david-bowieHello my diamond dogs!

What could ever be said about the Thin White Duke that could ever be enough? Few have managed to explore music the way Bowie did, to bring to life such diverse characters and to remain artistically true to his own vision. Pushing the boundaries of his own creativity, he built up sonic worlds, whole universes even, and took us on a journey through his mind, heart and soul. By exposing his own humanity (however alien-like sometimes), he helped us explore our own internal worlds, creating music and lyrics with imaginative, playful and intelligent finesse – undoubtedly one of the most important sonic and lyrical masters of our time.

To discuss the diverse, finely tuned universe of sounds and experimentation found of every single one of his records could take up thousands of pages – from the inclusion of classical and jazz instruments (be it a single, sexy or sad sax, a booming orchestra or a quietly plucked koto) to the use of bird song, synthesizers and invented  language. His use of the English language is also spectacular, unparalleled even. Brilliantly subliminal, beautifully delicate and undeniably powerful, Bowie subtly weaves words of poetry, literature and philosophy into his verbal fascinations.

Whether it’s the existential lyrics on his anthem ‘All the Madmen,’ with its heavy guitars and loaded meaning juxtaposing the lighter sing-along ending complete which chorus claps (too good! If it doesn’t reach in a squeeze your heart maybe you don’t have one) or the obsessive yet prayer-like lyrics on his tribute to wandering cocaine hearts eager to connect with love ‘Station to Station,’ Bowie paints a picture like no other. Both these tracks, like ‘Moonage Daydream,’ with its sexy, futuristic lyrics and its inviting, daring attitude, are perfect examples of a Bowie universe in song form – and yet no two Bowie songs have ever been alike.

Screen Shot 2018-01-12 at 2.14.18 PM

When I was about 12, I got two Bowie compilation CDs, and have played them on repeat ever since. At that time electric blue was my favourite colour, and I was cutting out anything blue I found in magazines, taping the pages all around my room, making a massive, ever-growing collage of ‘blue, blue, electric blue, that’s the colour of my room”… true story. I remember ‘John I’m Only Dancing’ (along with ‘Suffragette City’) sounding like one of the most ecstatic things I’d ever heard in my life. The howling vocals, the electrifying guitar, the claps and sexy sax, that screeching, raw ending – a total banger and still one of my favourite songs of all time! Velvet Goldmine hit the silver screen about the same time and of course I was hooked.

I was enchanted and excited by every one of his personas – some closer to the heart than others but all carrying their own sound and vision that in turn uncovered a different side of my own self. His ability to wear different creative masks, then shed his skin and reinvent himself, while simultaneously framing his existence within an infinite universe of stars and possibility, giving a perspective to the concept of existence that encouraged embracing life, was a game-changer for me. Why be one thing other people want, when you can be everything you want to be? Why be one colour, when you can be a beam of light and channel a whole fucking rainbow? The collective impact of songs like ‘Starman’ and ‘Life on Mars,’ ‘Rock’n’Roll Suicide’ and ‘Velvet Goldmine,’ ‘Rebel, Rebel’ and ‘Modern Love’ literally shaped who I am today, a testament to how Bowie affected his listeners, deeply altering their perception of…well, everything.

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And yet, even when Bowie is singing in a language we can’t even understand (as he does on Low), or when he delves into avant-garde territory (as he does on ‘Neuköln’ for example), whether dripping with classical influences or brimming with electronic innovation, he still creates something totally unique and soul-shattering. When it comes to composition, his influences beautifully shine through, be it Scott Walker, John Lennon, Charles Mingus, John Coltrane, John Cage, Steve Reich or Tangerine Dream.

It’s hard to single out just one Bowie record as the best because it’s hard to even compare some of them, he’s so consistently diverse. To me, however, Low, written in Berlin in an almost destroyed state, stands at the centre of his creations. His records before and after are equally impressive and impressionable, total classics I love, but Low from The Berlin Trilogy to me sounds like the ultimate sonic evolution: the highest state of his creative self-actualization, borne of a phoenix-like incineration, never to be the same again after it. Along with Heroes, Low was reworked by Philip Glass, two sublime pieces of work to say the least. Glass’ signature repetition, cyclical progression and pizzicato playing (think Glassworks) come through wonderfully in his rendition of ‘Some Are (Part 2)’.

Screen Shot 2018-01-17 at 6.47.02 PM

Also on this show we hear pieces from the soundtrack Bowie did with Syuichi Sakamoto from Merry Christmas Mr. Lawrence, Aphex Twin remixing Glass reworking Bowie, a very dark collaboration Bowie did with Massive Attack covering ‘Nature Boy’ for the Moulin Rouge soundtrack, and (a match made in heaven) Bowie with the absolutely fabulous Pet Shop Boys on ‘Hallo Space Boy’ (I was obsessed when it came out). We basically skip everything else (because there simply wasn’t enough time!) and close it all off in the year 1997 (a good year for music), that finds Bowie pushing his electronic boundaries and delving into drum and bass (the opening to ‘Little Wonder’ could have easily fit into Prodigy’s The Fat of the Land that came out that same year).

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Until next time, ‘don’t fake it baby, lay the real thing on me. The church of man, love, is such a holy place to be.’

With love from outer space,

—Stardust Rebel

Storm Stereo #32: Along the Silk Road and Beyond

Screen Shot 2018-01-09 at 3.14.32 PMHello my loves and happy new year!

First Storm Stereo for 2018, and we start off our first hour with some current Greek electronic acts: PS Stamps Back, whom I saw live recently and was mighty impressed – definitely check out his releases and live shows if you can – followed by Athens’ dark darlings The Rattler Proxy, and a remix done by one-half of the Rattler, Lucas Savidis. Then we pay a small tribute to some current acts on PAN Records, followed by two highly inspiring, badass forces in techno right now, both of whom I’ve had the pleasure of meeting (while trying not to gush), Umfang and Aurora Halal.

The second part of our show had been in the making for a while, and we explore diverse and unique musical traditions from along the Silk Road and beyond, with a one-hour set curated specially for Storm Stereo by my friend, painter and musician, Yiannis Panoutsopoulos (Sun of Nothing). Since we first met in 2005, he has shared with me unusual music from around the world and opened my ears to weird, beautiful and often rare sounds from remote locations and unknown cultures – so much so, I requested he gather some of his favourites in a set for your audio pleasure.

Starting in one of the coldest places on Earth, we travel to the snow-capped mountains of southern Siberia and visit the nomadic tribes of Tuva, with artists Radik Tyulyush, Chirgilchin and Huun-Huur-Tu, then explore Japan’s national instrument, the koto, with music by Zumi-Kai. The word koto might look familiar, as koto music was recently rediscovered by many thanks to YouTube’s algorithmic autoplay of this rather obscure record by blind koto player, Kimio Eto.

Afterwards, we delve into the rhythmic world of throat music (locally know as kai) from the Altai Republic, with songs by Alta Kai sung in their native Altai language and featuring native musical instruments, then move around the globe to listen to more throat singing, this time in Inuit by Inuk artist Tanya Tagaq.

We also listen to the Tibetan monastic choir Phurpa, and their ritualistic compositions based in the pre-Buddhist Tibetan Bon tradition, and revisit the deep and sorrowful sounds of Iran, with heartbreaking vocals (and moving strings and chords to accompany them) by one of Iran’s most respected classical singers, Mohammad-Reza Shajarian, and contemporary Kurdish-Iranian tenor Shahram Nazeri.

For me, however, the most moving track from this list was ‘Midnight Tale’, the collaboration between Tuvan band Huun-Huur-Tu, the Moscow Art Trio (who have collaborated with the Bolshoi Theater Orchestra, among others) and Angelite, the absolutely stunning Bulgarian Voices Women’s Choir. Perhaps you recall the sound, made popular by Stefka Sabotinova with this incredible song:

To close it off, we listen to Yiorgos Katsaros and his masterpiece ‘Vre Ti Mangas Poume Go’, a rebetiko whose chords and riffs are ever so slight but ever so powerful, piercing straight to the core of the wandering hedonist soul. For more Greek pre-war and diaspora rebetika, check out this excellent mix by Death is Not the End.

Discovering new instruments (whether old or contemporary) and hearing different approaches to music is definitely an obsession for me, so perhaps in the near future we’ll dedicate a show to the weird and obscure sounds of unusual vocals and native instruments.

Until then, apologies for the delay in the Bowie special that was supposed to air this week. It’s not the side-effects of the cocaine.

With love from outer space




DIRTY BEACHES – Love Is the Devil
PS STAMPS BACK – Todo los Fuegos el Fuego
ANTONI MAIOVVI – Autoguerra (Lucas Savidis remix)
PAN DAIJING – Act of the Empress
STILL – Sound Boy Test (Interlude)
M.E.S.H. – Inspired by True Story
UMFANG – Where Is She
CHROMATICS – Yes (Love Theme from Lost River)

Along the Silk Road and Beyond:
RADIK TYULYUSH – Er-le Changys
ALTAI KAI – Warrior’s Words
VLADIMIR OIDUPAA OIUN – The Girl of the Tes River
ZUMI-KAI – Midare
PHURPA- The Visualisation (Trowo Phurnag Ceremony)
TANYA TAGAQ – Qiujaviit
ALTAI-KAI – Koionok
HUUN-HUUR-TU & ANGELITE – Fly, Fly My Sadness
(Outro) YIORGOS KATSAROS – Vre Ti Mangas Poume Go


Storm Stereo #31

Screen Shot 2017-12-27 at 5.41.30 PMHello my loves!

Last show for the year 2017, with our usual autobiographical mixed bag of tunes. We’ve got extinct bird songs, old cosmic synths, new minimal beats, northern electronics, a mini-special to Ascetic House Records, and more! You can listen back below.

Hopefully yall had a great time kicking out the old year and seeing in the new. I danced until morning to incredible techno music at a penthouse party overlooking Athens with a massive New Year full moon hanging in the sky — start as you intend to finish I’ll say!

Wishing you all the best for 2018; may it be a creative, revolutionary year! Until next week, I’ll be binge-watching The Expanse.

With love from outer space,



TOTAL CONTROL – Cathie and Marg
KAUA’I ‘Ö‘Ö – Bird Song
RE TEU – Darling
CHRISTOS – Forever No
YUNG VAN – I Tried So Hard to Love You But You Pushed Me Away
LORN – Acid Rain
FLÖKOSH – Milkyway Casualty
ЛУНА (LUNA) – Free Love
HELM – Blue Scene (Laurel Halo Remix)
JOCK CLUB – Cruising the 110 (instrumental)
DIN – Saturate
SOREN ROI – When I Come to Die
GLOCHIDS – Mossoão
dE – Tabla Aneurismo
JON ANDERSON – Qoquaq En Transic Naon Taransic Co
THE BELBURY CIRCLE – Departures Int.
KOMODO KOLEKTIF – Djakarta 3001
THE BLACK MADONNA – He is the Voice I Hear (excerpt)

Storm Stereo #30: Greek Noise Special

kavvadiasHello my little freaks!

We have a very special show for you this time, paying tribute to contemporary Greek noise musicians and sound artists. This show was curated and put together by Andreas Kavvadias, and all acts featured are currently active in the underground electronics scene, which seems to be going nothing but strong. You’ll discover a variation of sounds, noise and melody on this show; from claustrophobic harsh noise and meditative drone to modular electronics, analogue beats and breaks, spacey ambience, and avant-garde experimentation. Three of the acts included (AZA, d E, PS Stamps Back) will be playing a live show tomorrow in Athens, and you can find more info here.

The last couple years have seen many scenes and sounds resurface – history repeats itself after all – whether for the first time or as a second or third wave of regeneration, not least among them beatdown US hardcore, noise as art, experimental trap and witch house, African psychedelia, Arabic pop, Eastern EDM, early UK house, and minimal techno to name but a few. For me what was interesting was the rise of electronic music among punks. Sure, a lot of us have been listening to electronic music in all its forms since forever, but that wasn’t the case for everybody.

Whereas in the past, “shitty dance music” or “Eurodisco” was laughed at (two unfair blanket terms often used by punks I know to describe electronic music, often played after punk shows at European gigs), things have changed. Electronic music, be it funky disco house or heavy industrial noise, is increasingly moving from bedroom projects and house party mixtapes to indie radio shows and underground basement shows, with electronic projects playing alongside punk bands, headlining festivals and releasing material on typically punk-leaning labels.

Fine examples I witnessed recently are the B-side of Limp Wrist’s most recent record Facades, Pharmakon headlining (and perhaps polarizing) a punk fest, more and more punks getting into and playing techno, exploration and reissues of early electronic acts like Delia Derbyshire. I will attempt a future show with electronic (side)projects done by punks, so stray tuned if that’s your jam, and if you’re a closeted punk electronic music producer (whether you use analog or digital means) send me your projects  – I wanna hear them.

This is not to say punks weren’t listening (many of us have been) just that we weren’t necessarily congregating around or collaborating with our respective electronic music scenes the way we have done with punk. Things have changed and personally I couldn’t be happier. Surely the mix of punk and electronic music has been happening since the inception of both those sounds, and I find this crossover of ideologies, practices and ideas can only lead to better things.

Collective and personal electronic projects currently exist across most punk scenes around the globe – whether mixed with rap, techno, funk, disco, hip-hop, ambient, noise, folk, field recordings or anything in between. What was often (narrowly) misunderstood by a lot of punks to be a one-dimensional genre made of inorganic 0s and 1s (“digital computer music”) created by obnoxious, trendy DJs lusting after mainstream success, has been acknowledged as a diverse, driving and longstanding force of music history worldwide. And in part I think that’s because, much like punk, a lot of these underground electronic scenes are and have been independent and working on their own terms. When talking about techno for example, what was often thought of by many as a wannabe-mainstream genre made to satisfy drug-fueled party people with little taste for quality has in fact proven time and time again that it is an extremely musically varied scene with a rich history and astonishing output across nations, decades, formats, and subgenres.

Punk often closes itself off from other scenes, assuming it is the only one to function in an underground, anti-conformist and DIY manner, but that has never been true. Since the beginning, the global underground electronic scene (like rebetika, or early hip-hop and disco culture), has supported and amplified voices often silenced or marginalized, and operated outside the mainstream, creating communities of solidarity and havens of creativity. And while capitalism encourages the popularization and ‘legitimization’ of sub- and countercultures, that lead to their appropriation and ultimate erasure or normalization and control (the punk MET Gala a couple years ago was one inescapable example of the mainstream co-opting and capitalizing upon something it once opposed) I believe that this crossover, the exchange of information, experiences and knowledge ultimately creates and uncovers opportunities which might have previously been overlooked. Free the beat, “amplify each other.”

We live in dark times, but I read recently that perhaps this is not the dark of the tomb, but the dark of the womb. Much could be said (and better) about the history and impact (and future) of electronic music. For now I’m just happy I get to share some of it with you, and be part of a growing wave of interdisciplinary, global musical thought.

Until next time, do what you do with love and believe in yourself. With love from outer space,



GRIM MACHINE – Untitled 12, from Heterodoxa (E.D.A. / E.C.T, 2017)
LAST DAN’S MOTE – Spoiled Penny’s Dream, from VA – Συνθετικό Παράγωγο, (E.D.A., 2015)
EMDY – Os2 da kos 4 Synchropainted Penalties, from Synchresis (self-released, 2012)
FUN WITH NUNS – Vinyl Side B Part 1, from Fun With Nuns (Wax / More Mars, 2012)
POPI’S ORCHESTRA – Once Again, the Dream in the Garden, from Popi’s Orchestra (B-Otherside, 2015)
THE ZYKLONS – Doxology I, from (Still) Unknown Traditional Music (self-released, 2017)
LOVE EXOTICS – Love Suite (Part 1), from Mediterrana 3 – Exotic Sounds From Athens (Lampros Tsamis Archives / Kworks, 2017)
CHRISTOS CHONDROPOULOS – Sequence of Three Stars, from Fingerpainting (self-released, 2013)
ADAM_IS – Mars Attacks (excerpt), from Mars Attacks (self-released, 2014)
KOSTADIS – Part 1, from Slumber (self-released, 2017)
COEL – Athens Fahrenheit 110 (unreleased)
DROG_A_TEK – I Sea Things, from Homeland (Inner Ear, 2010)
ΦEY – Ηχω 1 (excerpt) (unreleased)
ILIOS – Gis Mi Trovita Vian Lumon, from El Amor Es Mi Motor (Αntifrost, 2009)
PS STAMPS BACK – Περτούλι – Νεραϊδοχώρι, from Μουσική Για Διάσχιση Δασών (1000+1 Tilt, 2014)
AGGELIKI K. – ΕΛΔΧ (excerpt) (unreleased)
d E – Overload (unreleased)
AΖΑ – The Bitt (excerpt) (unreleased)
GRIM MACHINE – Exotera Schemata, from Heterodoxa (E.D.A. / E.C.T, 2017)
Z64 – B5, from Xtematic/Z64 split (E.D.A., 2016)
MEZZO COPRANO – The Four Of Us Are Dying (Retreat) (unreleased)
PANDELIS PANDELOPOULOS – V – Trio (unreleased)
LOST BODIES – Έτσι Μίλησε Ο Ζαρατούστρα, from Υποτροπή (Lazy Dog / Res Integra, 2002)