The End Of DKFM…For Now

As 2015 was winding down, shoegaze and dreampop fans all over the world had their usual year-end routines of reading Top 10 lists and sorting out their own interrupted by some pretty sad news.  California-based independent radio station DKFM, a staple within the shoegaze community, had announced that at midnight Eastern time the station would cease to be on air. 

As 2015 was winding down, shoegaze and dreampop fans all over the world had their usual year-end routines of reading Top 10 lists and sorting out their own interrupted by some pretty sad news.  California-based independent radio station DKFM, a staple within the shoegaze community, had announced that at midnight Eastern time the station would cease to be on air.  The reason came down to the expiration of the Webcaster Settlement Act, established in 2009, which enabled small and mid-sized webcasters (as determined by a revenue threshold) to pay special, more manageable rates.  With the expiration of the current agreement and the Copyright Royalty Board’s newly increased rates, DKFM and its small webcaster brethren are left with uncertain futures, removing from the music world a group of valuable and highly appreciated resources.  

Anyway, it’s 2016 right now and no last-minute miracles occurred.  DKFM is silent and the shoegaze community is pretty bummed out about it.  For the purpose of this post I’ll spare any “little guy getting squeezed out” rants.  

I had originally talked to the station’s owner, Greg Wilson, around the time of the first issue of Muso Planet.  It was around that time that I’d first heard of DKFM, and I adored the station’s concept.  Tuning in for the first time, it occurred to me that good radio was something that was I seriously missed – I’d never really listened to much Internet radio to that point, Chicago had been without a quality radio station for probably a decade, and what I’ve listened to of Japanese radio hasn’t been pleasant.  A station devoted 100% to shoegaze and dream pop was just the thing I needed.  On top of that, the station’s mission to promote new music from all over the world via its New Tracks Weekend programming was on a much larger scale than what I had intended with my own project.  I admired the hell out of what DKFM was doing, and tuning in made my life a little better every time.  

A year and some change ago, I was fortunate enough to have been adopted into the DKFM family and given a bi-monthly hour-long slot during which I could share choice tracks from Japan and around Asia.  DKFM had no lack of Japanese music in its database, but Greg, fueled by a love of Kensei Ogata and Tatuki Seksu among others, wanted to have programming dedicated to it and I was happy to oblige.  Having recorded my own radio shows on a tape deck when I was a child, the opportunity was something of a dream come true.  I had a blast working on Muso Asia over the following year and throughout 2015, and for that I’ll always be grateful.

Other members of the DKFM family included Mikkel of Danish new wave/post punk trio The Foreign Resort, Amber of the essential shoegaze and dream pop blog When The Sun Hits, and the somewhat mysterious DJ Ariel.  The family was getting bigger, the programming was expanding, and DKFM just kept getting better and better.  What seemed like a sudden announcement by the CRB put an end to a good thing, and what we’re left with following the station’s final broadcast on New Year’s Eve is a big hole that all the YouTube spam and description-less Soundcloud links in the world can’t replace.  

I get that that last bit’s a little dramatic.  The disappointment could very well just be a temporary thing, as there’s reason to believe that DKFM’s absence from our airwaves may be short lived.  There are alternatives, and while returning to its previous format isn’t likely, a somewhat modified version of DKFM is preferable to none at all.  Twitter activity indicates that the powers that be are working hard to find a solution.  While there are no guarantees, shoegaze and dream pop fans can and should hold out hope that the planet’s foremost purveyor of all things blissful will be back sooner than later.

[Hong Kong] Thud’s Debut EP “Floret” (6/30)

Late last year, Thud was a little-known band from Hong Kong whose single “Lime” had drawn intrigue from just about every shoegaze fan who came across it on social media.  On the back of their first single, the band’s popularity had continued to grow and with it the demand for more music.  A second track “Venture” was released, which was an encouraging sign that perhaps a proper release was in the works.  Fast forward to June and the exciting news that they will, in fact, be releasing an EP.

Late last year, Thud was a little-known band from Hong Kong whose single “Lime” had drawn intrigue from just about every shoegaze fan who came across it on social media.  On the back of their first single, the band’s popularity had continued to grow and with it the demand for more music.  Early this year a second track “Venture” was released, which was an encouraging sign that perhaps a proper release was in the works.  Fast forward to June and the exciting news that they will, in fact, be releasing an EP.

去年末、当時あまり知られていなかった香港のバンドThudはSNSで紹介された初シングル「Lime」によって賞賛を受け始めた。曲がリリースされてからどんどん人気が出て、新曲の需要も高まった。今年の始めにセカンドシングル「Venture」がリリースされたことによりアルバムが制作中かではないかと期待が高まった。そして6月、ついにThudがEPをリリースすると発表された。

Floret will be the maiden release for both Thud and Hong Kong-based label Records For Children.  The EP will feature four tracks from the quartet, whose sound features an extremely appealing marriage of ‘classic’ shoegaze guitar textures and blanketed atmospheric synths.  Shades of Slowdive and M83 – whose influence becomes especially apparent on the charmingly woozy “Venture” – can be heard throughout Floret, and though comparisons can be made to any number of influential shoegaze/dream pop outfits, Thud’s debut is an imaginative display of a sound that they’ve uniquely constructed as their own.  The whirring instrumental blend is entrancing, the rhythm and synth pop melodies danceable from start to finish, and the breathy female vocals are a thing of beauty.  Simply put, it’s a fantastic EP with no discernible flaws, that should be among the year’s best when all is said and done.  As an added bonus, the fifth track on the CD is a chilled out remix of “Lime” done by Max Bloom of Yuck, for whom Thud opened in Hong Kong this year.  

FloretはThudと香港インディレーベルRecords For Childrenにとって初のアルバムリリースとなっている。4曲が収録され、彼らの90年代シューゲイザーを代表するようなギターテキスチャーと多層のシンセサイザーで作られた雰囲気のある組み合わせをショーケースする作品である。Slowdiveの影響が伺え、気持ちよく渦を巻くような「Venture」ではM83の影響も感じられるが、他のバンドと比べるのは公平ではない。Thudのデビューは非常に想像力のある独特のサウンドの展示である。ギターとシンセの相性がぴったりで、リズムとシンセポップ的なメロディでダンス向きの特徴もあり、かすかなボーカルは本当に美しい。簡単に言うと、欠点のない素晴らしいEPである。更に、5曲目にはThudが今年香港のライブでサポートしたYuckのMax Bloomが手がけたリミックスバージョンの「Lime」も入っている。

In addition to a digital release, physical CDs will go on sale at the EP Release Show in Hong Kong on June 30th.  To follow news and updates regarding this release and future releases follow Thud and Records for Children on Facebook.  

このEPは6月30日にデジタルリリースされ、当日行われるリリースパーティではCDも販売されるそうである。今後の情報はThudとRecords For Childrenのフェイスブックで発表されますので、是非フォローして下さい。

Here is a preview of the EP via Thud’s Soundcloud page:

Muso Planet volume 7 coming 11/1!

Muso Planet will be out one week from today on Saturday, November 11.  It’s our first issue in a while and as always, will feature some really cool bands from all over the world.  The band list is as follows:

Dead Leaf Echo (USA)
magic love (Japan)
JAGUWAR (Germany)
Puna (Peru)
Man in Rug (New Zealand)
CHICAGO TOYS (Chile)
Divided (Czech Republic)
rev rev rev (Italy)

[Spain] Sexores’ Debut Full Length “Historias de Frío”


Hailing from Quito, Ecuador, but currently based in Barcelona, Spain, Sexores have released their long-awaited debut full-length album Historias de Frio.  Though the album has been finished for some time, it has finally made it to the Internet and can be purchased at Sexores’ Bandcamp page.  It’s a gorgeous 8-track effort showcasing Sexores’ dreamy shoegaze sound with big noisy textures, warm synths, and stunning vocals.  Give the title track a listen and prepare to get hooked: