Italian producer savnko delivers a high-octane treat with 'whyufallin', a breakcore number that mixes the symphonic heights of Balearic-leaning dance music with the murk and crunch of various lofi-infused '-core' offshoots. The beat scampers and soars alternately, intricate yet destructed, providing the jet fuel that underpins the rising synths and glimmering syncopated chord stabs, the pitched vocals like rare polygonal birdsong. And, despite the variegated textures and vitality of the track, there's conscious attention to a minimal soundscape here.
Ultimately, and if the title is anything to go by, in this track the Milan-based producer illustrates troubled flight and hindered movement — the desire to ascend or push forward while weighed down by futility, fear, anything that anchors us. 'Why are you falling? What is holding you back?' Or to put it another way: it's the last lap on Rainbow Road and you're in 11th but still you push on to the finish.
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'whyufallin' by savnko is taken from his BIGTHINGS EP, which you can listen to via spotify or apple music if you like.
🔔 You also might like to check out savnko's previous work, such as his notgood@sports EP for Milan label 51beats, where he exhibits a decidedly more analogue approach and aesthetic.
There is some joy in Wet Leg titling this song 'pokemon' (or should I say Nurse Joy, right?). Mostly because, when 'Chaise Longue' popped into this material plane back in 2022, I never clocked them for a band that'd name a song after this mega-franchise. But that's just a small joy.
Lyrically, the 'pokemon' weaves a low-key less on-the-run Thelma and Louise love story. "Oh, to be yours, to be driving away..." sings frontwoman Rhian Teasdale, painting a poetic picture with cute couplets like
But nothing hits like you and me
"I love you, " I say casually
and
You taste so sweet, like grenadine
You are my favourite human being
There are a couple of references to partying, what with the grenadine (above) and getting "another round". Starting the song with "Get lost, get loose..." feels like an echo of famed rock hedonist Jim Morrison, who utters the words "Get loose!" in the intro for 'Changeling', the first track on L.A. Woman (1971), his final album with The Doors.
A more obscure reference can be found: "Giddy up, you want to go faster? / Call me the demon headmaster" — quite a throwback to a British TV series from the '90s called The Demon Headmaster (it was about a headmaster who was a demon). It is followed by the line that names the song (and another '90s reference): "You just gotta choose me, baby, yeah, I'll be your Pokémon."
Showing how far the Teasdale (and the band) has come, the chorus features a line about driving from Isle of Wight to Tokyo, which is really quite a long way culturally, population-wise, and geographically. Ultimately, it's a driving song, a mood evoked not only through the road-tripping lyrics but in the galloping rhythm of the track, the gleaming guitars like a half-setting sun glinting on the metallics of a car.
The video for the 'pokemon' basically illustrates the thoughts and feelings evoked within the song, except in place of another human being it's about a woman who's in a relationship with a giant egg. Which, incidentally, makes it feel a lot more Tamagotchi-coded than Pokémon related.
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The video for 'pokemon' by Wet Leg was directed by Elliott Arndt (from the band Faux Real, who often support Wet Leg on tour). The woman in the relationship with the giant egg is played by Alice Longyu Gao, who is a DJ, producer and all-round artist in her own right.
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'pokemon' is, of course, taken from Wet Leg's much-anticipated second album moisturizer, which was released in July 2025 via Domino. You may stream the album, purchase it in vinyl form or digitally by heading over to Bandcamp.
⌾ LISTEN TO HIDDEN FORT, DREAMS FROM THE ROLLER PALACE ⌾
It's new music time. As you may or may not (probably not) know, YES/NO MUSIC has launched a record label. Called Pleasant Place, it is dedicated to all manner of instrumental music that summons worlds, allows listeners to escape or relax, and provides an undemanding but imaginative sonic space. You can learn more about it on our dedicated page or you could even head over to http://pleasant.place yourself to check it out.
Our first release is an album called Dreams from the Roller Palace by Hidden Fort. This is a "musical tour" of Maida Vale Roller Skating Palace and Club, which was to all intents and purposes an Edwardian roller disco and pretty much London's top spot for skating between 1909 and 1912 (when it closed). Many years went by and it later became home to the BBC and is now best known as Maida Vale Studios. It was up for auction recently; thankfully composer Hanz Zimmer brought it in partnership with several others, sealing the fate of the iconic studios, but hopefully for the best.
Hidden Fort, a transcontinental duo (one in Tokyo, one in London) who would seemingly prefer to remain anonymous, have created a pretty gorgeous love letter to the heritage of the studios. It's new music, of course, but Dreams from the Roller Palace feels utterly timeless.
We are very happy to be the label home for this rather stunning debut release; yes, we're biased, and yes, it would be a conflict of interests of we were to write a long, gushing essay about how intriguing the concept is, or what wondeful flights of fancy are summoned by the smorgasbord of vintage instruments are used throughout, or comment on just how unusual their mix of ambient and postclassical structures is. But it's cool, and we hope you think so too.
Tokyo-based singer and producer Cuushe (aka Mayuko Hitotsuyanagi) is summoning the ancient past with this slice of new music. 'Faded Corners' features her tradebmark vocals, a textural combination of a far-off call and close-quarters whisper, as they spin words based on 'Asobi wo sen to ya~', a famous poem that was included in the Ryōjin Hishō, a 12th-century anthology of imayō — lyrical poetry that was intended to be sung with music (and dancing).
It's an masterclass in atmosphere-making — the soothing ambient wash of chords, the urgent hush of the vocals — but it's also an excercise in creating a sense of propulsion and a vehicle of dance without actually using a constant beat (aside from the odd deep, bassy thud of a kick). The overlapping rhythms combine to create a complex footwork-adjacent web of energy, extra rhythm provided by the muffled splash of syncopated synth chords.
The stirring strings and plumes of bass, the scratching, glittering, richly textured soudscape reflects the violence and beauty that comes with the preservation of ancient culture through the centuries. Pages tear, fires burn, people forget, and yet scholars record, artists revive — marvellously mirrored in the dense yet flighty crescendo of 'Faded Corners', like a sky ripped asunder.
The single arrives with bonus remixes. Flau label boss aus takes the track to the boundaries of a frosty realm in his 'reprise', waves of ambient synth washing through a minimal landscape with cascading clusters of bleeping synths and snippets of harsh noise, ending with intense destructed glimmers of sound.
Elsewhere there's a chilled, almost New Age vibe to the remix by Korean duo Salamanda, complete with slow, deeply blooping drums spinning a relaxed groove. Melati ESP, on the other hand, makes things propulsive with a bouncing beat and tropical approach to its bubbling collection of iridiscent synths.
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'Faded Corners' by Cuushe is out now! It is available to download digitally from Flau's Bandcamp, or else you can purchase the CD, giving you access to a CD-only track called 'Tsuki to Sakana'.
New music from Gold Panda alert. It's called '222', which is fun because the song is also two-minutes-two-seconds long. It's a song of two halves, or thereabouts. We begin our journey into the minutiae-filled world of Gold Panda (aka the human Derwin Schlecker) with a whirl of dynamically wobbly, out-of-tune chords and masterfully cut glossy vocal samples sitting between them like half-said sentences.
At around the 1:11 mark it becomes a rapid fire stream of what may be guessed to be koto strings, the detail and design of it all underpinned by a minimalist garage shuffle, and occasional bass boops driving a groove like a gossamer stake into a patch of tofu-soft ground.
But that's not all. Alongside this single we get '0.2', like a coda to the strings that came before, except this time stuttering and decorated with a pitched-down melody, gradually swimming in hefty reverb and a touch of distortion. Buy the end, the sttuttering glitches have become the tickings of a machine, the hands of a clock; angst meets ambient. Together these two tracks present a well-studied soundtrack to everyday living, the movement and the stillness alike.
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This slice of new music from Gold Panda is available to own physically on a 6" transparent PVC lathe-cut disc, but you must buy it to possess it. Bandcamp is the place to go for all your purchasing options, which also includes a digital download.
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The art though. That shade of purple, more a lilac or lavender, really hits. The photo (taken by GP himself) of the abandoned kei van next to those half-toppled plastic crates gives you a good idea of the imagery that you should hold in your mind's eye when listening to these pieces of music.
