A big bumper edition of BPM Pod to close out 2020. We talk to multi-instrumentalist Kris Sinister about his work across a range of bands, why The Beatles might be the best band ever, and how important good gear and horror films are to his music.  Plus we spend a while looking back at the achievements of BPM Pod over 2020 and hand out the first BPM Pod awards. Timecodes and award categories are below.  Happy new year! Timecodes 00:00 Introduction and review of BPM Pod over 2020 05:30 BPM Pod Awards Song of the Year = Phoebe Bridgers, I Know The End Album of the Year = Fiona Apple, Fetch the Boltcutters BPM Pod Song of the Year = Molly's Peck, Hope You Don't Mind + Moves Johnson and the Boxhoppers, Wet BPM Pod Album/EP of the Year = Heavy Heavy, Wait Where Is My... Oh There It Is BPM Pod Interview of the Year = Birgit Jones Most Gushing Moment of the Year = King Buffalo episode Best Guest Gift Award = Orange Utan for a vinyl copy of their album Katastrophil Most Airtime Award = Chris Weinhardt 23:45 Kris Sinister interview 

BPM Pod

Ep.54 - Kris Sinister + BPM Pod 2020 Awards

On the podcast we regularly hear from upcoming artists. Don't get me wrong: there are some interesting, compelling stories there. I love them all. But what we don't hear all that often about is how to become a better musician - what pros are out there to help you tap into your potential. One of these true musical guardians is Kara Johnstad, a talented, inspiring voice and music coach. With over 30 years experience, as well as her own stocked back-catalogue of releases, Kara comes to BPM Pod to talk about why finding the why in your music is so important, how you can become a better musician and person through your musical journey, and how strategically thinking about your musical career might ironically be the most creative thing you can do.  Find out more about Kara and School of Voice Berlin

Ep.53 - Kara Johnstad of the School of Voice Berlin

So when you're podcasting there are a few things you hope for: Decent recording quality (meh, sometimes this happens) Good questions (again I think it happens sometimes) Decent guests (oh this one happens a lot!) But another perhaps fourth hope is this: an easy time editing. Editing is hard. Even though it sounds like I just rocked up, recorded and left, it's not like that at all. Dear listener you see, like much of your entertainment out there in other forms, podcasting is also a lie. It sounds like the conversation went smoothly, without hesitation, without error or retakes. Rarely is this the case though.  Now a podcasting pedant might say BPM Pod is too rambling - and that might be true. But when you have such a good time with your guests it's really hard to limit the conversation. And that's why editing this episode was really, really hard. Birgit Jones are awesome (or should I say is awesome as Birgit herself is a person?) This hard-rock-glam-doom trio not only absolutely kill it on stage but they kill it in a conversation too. Open, funny, down-to-earth and not all too serious, I had an absolute blast recording this session and editing it too.  A wonderful band, Birgit Jones have just released their first proper single 'Fire' which you can hear in the podcast. For more information check out their website.  And of course a woman as damn badass and sexy as Birgit is all over social media. Find out more on Instagram, YouTube and Facebook. 

Ep.52 - Birgit Jones

On this episode I am delighted to talk to Sean McVey of the mighty stoner-psych-heavy-blue-rock-jam band King Buffalo. Sean joined me from his home in Rochester, New York, and we talked about the beginnings of the band, how their awesome jams come to fruition, and what the musical future holds for the band and the industry. Plus we answer your audience questions. Check out Kingbuffalo.com to listen to their latest release, Dead Star, plus find out what they're up to with their Quarantine Sessions. Also on this episode is a review of the latest EP from the band Heavy Heavy. The EP Wait where is my... Oh there it is is brilliant and well worth checking out wherever you get your music. Buy the album today from Bandcamp.  Next time: Birgit Jones (which was supposed to be this week originally but we made a switch).

Ep.51 - King Buffalo

Reupload due to previous issue with the podcast.So I usually like to script my own intros here, but today I cannot do this better than the band have themselves. So here goes:Straightforward blues punk.Not mainstream, German lyrics, danceable, and loud.FragFrank distills the essence of rock music and appeals to hedonistic instincts. Like an engine, the band is best appreciated revved hot and live. The essentials are the energy of the fast riffs, crisp drum beats, and independent bass rhythms.FragFrank has a number of suggestions for improving the world, is bursting with political statements, but mostly blasts heavy music straight to the brain. No more and no less.”FragFrank have just released their album – titled number 1 (stylised as # 1) – and are currently in the process of promoting that. Joining me on this episode is Martin (guitarist/songwriter), Andre (bassist/singer) and Keith (drummer).We talk musical beginnings, how to make the world a better place in the post-covid world and what's next after number one for FragFrank. To listen to FragFrank, go to Soundcloud or wherever you listen to your music. For more information on the band, go to FragFrank's website or Facebook.Also on this episode, we review the debut EP from singer-songwriter Noir Yon. Worth a listen for sure. Check it out.

Ep.49 - FragFrank (reupload)

Quick update on bpmpod.com which is no more.Why?A combination of cost, time, return on investment, energy levels and anxiety. Listen to the podcast for mroe information. 

Ep.50 - A quick announcement on the fate of bpmpod.com

So I usually like to script my own intros here, but today I cannot do this better than the band have themselves. So here goes: Straightforward blues punk. Not mainstream, German lyrics, danceable, and loud. FragFrank distills the essence of rock music and appeals to hedonistic instincts. Like an engine, the band is best appreciated revved hot and live. The essentials are the energy of the fast riffs, crisp drum beats, and independent bass rhythms. FragFrank has a number of suggestions for improving the world, is bursting with political statements, but mostly blasts heavy music straight to the brain. No more and no less.” FragFrank have just released their album – titled number 1 (stylised as # 1) – and are currently in the process of promoting that. Joining me on this episode is Martin (guitarist/songwriter), Andre (bassist/singer) and Keith (drummer). We talk musical beginnings, how to make the world a better place in the post-covid world and what's next after number one for FragFrank.  To listen to FragFrank, go to Soundcloud or wherever you listen to your music. For more information on the band, go to FragFrank's website or Facebook. Also on this episode, we review the debut EP from singer-songwriter Noir Yon. Worth a listen for sure. Check it out below.

Ep.49 - FragFrank

 Tarzan Grip: pretty original band name there. Not one I would have thought of quickly. What's behind the name though? Is the music something that Tarzan would like? Perhaps the band members love swinging on vines? Who knows. But certainly one person who has a grip on me is guitarist and singer Dom Jones. Dom and I go back a couple of years, thanks to a shared love for the (currently on hold) Laksmi Bar open mic night. I hosted it a few times, introduced Dom, shared a few drinks and caught coronavirus. (Just kidding, though certainly nowadays it seems like our previous social habits would lead to this unpleasant fate.) We hung out a fair bit at Laksmi, chatting absolute musical nonsense and congratulating one another for our acoustic musical performances. Yet despite our circles overlapping from time to time, we never found the time to sit down and properly talk music in this podcast format. Until now. Dom and I had a lovely, long chat that covered a bunch of topics, some of which have been edited out here due to length. However the primary reason for a lot of the editing was the poor sound quality on the episode this week. I am not sure why it was so poor -- it certainly did not sound like this on the call -- but it unfortunately means a lot of our conversation had to be deleted. A shame as you'll never hear the story about Dom, the donkey, the hosepipe and the LSD. Good story, that. What you will hear a lot about though is how Tarzan Grip are kicking your punk ass, albeit at a leisurely pace, from their 2016 EP Members of the Bored up to their upcoming EP release. Also Dom and I talk about musical beginnings, the past, present and future of Tarzan Grip, how the coronavirus pandemic has affected creativity and what's missing from the life of musicians right now in this weird, fucked up world we're in. For more Tarzan Grip go to: Facebook Bandcamp Also on this episode I've been feeling quite down and pissed off recently around the pandemic and, unfortunately, a lot of my rage is towards my musician friends. There are so many people I cherish and respect seemingly going about life as if everything is normal - organising large gigs, packing out small rooms for their vanity projects, travelling to some exotic country and uploading bullshit Instagram pictures. It's driving me insane. Partly jealous? Maybe, I don't know. But partly annoyed because, in an ongoing pandemic, it's wholly irresponsible and indefensible? Yes. There's a long, long way to go in fighting this coronavirus fuckery and if we cannot even now stick to what are pretty simple rules, we are fucked. There won't be any kind of normal, let alone a new one. So please, please, please: wear a mask, wash your hands, keep your distance, avoid unnecessary contact and stay the fuck at home unless you need to go out for something. It's tough on us all - I for one have missed gatherings, weddings, parties, vacations, introducing our newborn daughter to our family - but it is necessary. Your actions affect everyone, not just your little bubble. For anyone still in doubt, the Startalk Radio podcast on covid (though US focused) puts it pretty bluntly. Finally, to start the episode, I want to quickly mention the sad passing of Eddie Van Halen, who died at the age of 65 after a battle with throat cancer. Rest in peace, guitar god. 

Ep.48 - Tarzan Grip (Dom Jones)

 Usually I've got a good description of the people on the podcast. I can scribble something witty, poetic, elegant and the guest (typically) won't do a better job. Not in the case of Jem, who goes by the moniker of Rookling. Jem is such a poet, such a storyteller, his way written expression goes beyond anything this aging 31-year-old writer can muster. Having moved to Berlin in 2018, Jem has already gained quite the popularity and following in the local music scene. With a wonderful Joni Mitchel, Fleet Foxes, Leonard Cohen inspired blend of folk-rock tales, Jem is becoming quite the sought after talent. And despite the heavy lyrics, mature reflections and somewhat old-timer tales, he's only 23. (Age is only a number of course, but christ.) In this episode, Jem and I talk folk inspiration, keeping in touch with fans through tender letters, and what we won't miss about the music industry once things establish some kind of normal. (And to prove a point about storytelling and how good Jem is at it, I'm going to post his bio below as he wrote it. You'll agree it's much, much better than mine.) In the autumn of ’18, Rookling swapped the spires and hills of England for the Berlin underground.He stepped off the plane with a guitar, a suitcase, and a dream: to share his music with the world.The city sent him reeling. He escaped into his songbook and the solace of storytelling, evoking love, death, and landscapes strange and dear. All the while, the hearth-fire warmth of Fleet Foxes and Nick Drake were helping mould his harmonies.Each Rookling song blends the solemnity of an altar with the urgency of a church bell. The influence of the greats is unmistakeable: he channels the uncommon poetry of Joni Mitchell and Leonard Cohen, adding a more archaic thrill of his own. At a tender twenty-three, Rookling is a folk-prophet in the making.   

Ep.47 - Rookling (Jem Bosatta)

Hans and I first met back in 2014, in Malmö in Sweden. I was nervous ahead of an acoustic gig at a club I had never played - a gig attended by a bunch of my colleagues who did not even know I sang my own music.  Right before I was due on stage, coming ahead of the band Shuvit, this guy bounded up to me and asked if I could join him in the studio sometime. "It'll be fun," he said, and gave me his card. I called him the next day. Now, years later, we've exchanged a bunch of musical stories, helped each other write, record and release songs, and become friends. (Though we don't see each other as much as we should these days, what with one thing and another.) There's no easier way to say it: Hans is somewhat of a musical genius. Unbound by genre, musically knowledgeable like no one I have met before, and incredibly humble to go with it, Hans perhaps hasn't found the fame or fortune he wants or deserves, but by god he has a legacy for sure.  Singer, songwriter, guitarist, pianist, drummer, producer, mixer, teacher, and one of the biggest Frank Zappa fans you'll find, we talk all that and more in this episode. It's a long journey but a great one.  For more of Hans' music, go to: http://www.annellssongs.com/

Ep.46 - Hans Annellsson

 While I spend a little more time editing the upcoming episode with Hans Annellsson, here's a quick mention of some of the newest music out there currently from some people you might not have heard of before. We kick things off with Molly's Peck and their album Hope You Don't Mind. Smooth, soulful, sensitive yet playful, it's certainly worth your time. https://www.youtube.com/watch?v=QwDIG-c3rxA Weinhardt, who are friends of BPM Pod, also released a new track titled Sunset Rails. Summery, indie-rock anthem which will stick in your head, for sure. https://www.youtube.com/watch?v=XpBDPQV-LEA Thanks to Weinhardt, I was made aware of something called Strock.tv and their series of concerts from Huxley's in Berlin. Weinhardt did a great set there, which led me down the rabbit hole to discover more artists, notably Nader Rahy and Birgit Jones. Nader Rahy has some kind of cool quality about him which I cannot quite put my finger on. His acoustic stuff in the performance I saw is somewhat like Cat Stevens, albeit modernized. Really quite pleasant stuff. https://www.youtube.com/watch?v=JU5uJ6Fms_0 And what to say about Birgit Jones except: THEY ARE KICKASS. Heavy gloom-doom-jam-stoner-alternative-heavy-rock from a group of amazing female badasses. https://www.youtube.com/watch?v=-LhHm1eYAiY Finally, I turn my attention to the wonderful Phoebe Bridgers, who released a track not too long ago from her brilliant album Punisher. The track - I Know The End - is not only one of my faves this year, but of the past decade. It's simultaneously haunting, inspiring, melancholic and hopeful. And the ending is absolutely superb. https://www.youtube.com/watch?v=WJ9-xN6dCW4 

Episode 45 - Reviews of Molly's Peck, Birgit Jones, Nader Rahy and Phoebe Bridgers

 Balancing music at any time in life is tough, let alone with a family, job and (currently) a pandemic to keep in mind. Yet somehow, superheroic singer-songwriter Alex Spencer does it all - forms bands, plays shows, looks after the kids, and remains positive and optimistic through it all. It's pretty inspiring. Recorded back in March 2020, before the world all went a little crazy, Alex and I sat down to talk about keeping the musical spark alive, harnessing the energy of live music gatherings to form bands, and how one defines oneself in a field of singer-songwriters. Alex is currently working on an EP, which has been delayed with the coronavirus pandemic. Until then though, I completely recommend checking out her work on Spotify, Bandcamp and more, beginning with her most recent jazz-influenced release Shine. Also on this episode: Haim and My Morning Jacket So the reviews aren't exactly random these days; they tend to be of artists I appreciate. This time it's no different. Haim's latest effort, Women in Music Pt.3, is great and well worth checking out if you need a breezy soundtrack to your summer. Also out now is The Waterfall II from My Morning Jacket - a sort of collection of b-sides to their previous album, The Waterfall, which is just as stunning as the origin. Plus a word from our correspondents A new feature on BPM Pod is our lockdown/home correspondents. (Thanks to the Kermode and Mayo Film Review for the idea.) It's pretty simple: if you're got something to say on anything you've listened to recently, and you can keep your opinions to around 30 seconds or so, send a clip in. The very first home correspondent is a friend of the show: the fabulous, sassy Chance Bair of the band Heavy Heavy. (Check out their episode here.) He reviews War With the Newts track Refugee. Get ready for a smack in the chops indeed (listen below). https://www.youtube.com/watch?v=4HsMfS6ByqE 

Ep.44 - Alex Spencer interview + Haim and My Morning Jacket reviewed

 And so the time has come - we are into the final two parts of the Chris Weinhardt marathon. (Except it has four parts, not 26 miles of audio, so that doesn't really work as a description, but you get what I mean.) It's been a long journey from lip-syncing, to autotune, to Led Zeppelin, to The Smurfs. Yup, The Smurfs. In the final two parts of the interview - combined here into one 30-minute episode - the Weinhardt weirdness does not let up. Dishing the Durst For whatever reason, Limp Bizkit (specifically the antics of Fred Durst) turn up a lot on BPM Pod. But so far the stories have been urban legend, with no one really knowing the guy personally. Until Chris Weinhardt comes along - the damn hero has met the guy. Yes, the actual Fred Durst. It's quite a claim to fame. In this episode, we talk about that meeting backstage (which sounds like a terrible family reunion, quite frankly) and what it meant for the music of Weinhardt. Is the album format dead? The first topic we tackle in this episode is the album format. There are a bunch of artists still putting out wonderful albums which take you on a journey, but it's an exception rather than a rule. Today the single is king (the Kingle? Bad joke.) Albums usually flow, but not in an adventurous, journey sense. Instead, they represent a compilation of previous bi-monthly released three-minute singles. Gone are the long cuts, the middle-album jams, and the little secret tracks. But is this really a bad thing? Has the album died at all? We discuss. What a country Final topic we talk about is country music - because we were a few beers down at this point, so why the hell not? Country music isn't necessarily reflected in the music of Weinhardt, but Chris loves it all the same. We exchange views on the topic and discuss some of the country artists we like today. (Not Ryan Adams, though he does get a mention, albeit in a disdainful way. Prick.) Revisit the previous parts Listen below if you missed the previous parts of the interview with Chris Weinhardt. And, of course, don't forget to check him out. There's a new single out too called 'Sunset Rails' which is also below. Sunset Rails - Weinhardt https://www.youtube.com/watch?v=XpBDPQV-LEA Parts 1 and 2 

Episode 43: Chris Weinhardt (pt. 3 and 4)

A while back, before the whole coronavirus thing, I went drinking with long-time podcast regular, Chris Weinhardt. As expected, we talked for quite a while about a long list of random topics. Was it all good? No. Not at all. But some of it was, in between pizza, regular toilet breaks, beer resupplies, and a hell of a lot of podcast mistakes. Still our wide ranging conversation was fun and enlightening, as I am sure you will agree. So here's part two of our chat. In this part, we discuss the use of autotune in live performances and if it makes you less of a singer. Plus, we discuss what our first music purchase was, the first music videos that we fell in love with, and the first album we bought. Check out part 1 here. Coming up on BPM Pod We'll be looking at parts 3 and 4 with Chris Weinhardt, plus we'll be hearing from one of my favourite music producers in the entire world, Hans Annellsson. Also Berlin-based singer-songwriter Alex Spencer swings by. 

Episode 42: Chris Weinhardt pt.2

Hello and welcome to this episode of BPM Pod, the podcast where we get behind people's music.   I hope you're doing well out there in these strange times and am glad you're taking the time to listen to the podcast. Thanks for your continued support, love and dedication. Remember if you want to get in touch with me here at BPM Pod, you can do so via the social channels, so definitely check those out. And I'd like to know what music you've enjoyed recently too so, if you want to submit a quick 30 second clip of you reviewing some music you've encountered recently – good or bad – then head over to the Facebook page at BPM Pod and drop me a message.   So for now, it's time for another episode of The Pulse here on BPM Pod, where I look at some of the music I've recently encountered – some new, some old, some finished, some not.   On this episode, I look at new music from Haim, Perfume Genius, and Fiona Apple. But first, I want to turn my attention to one of my favourite singer-songwriters today, and someone we've heard a bit of before on this podcast, and that is Jason Isbell with his album Reunions.   Jason Isbell – Reunions The fourth album from American alt-country soft-rock blues-rock singer-songwriter Jason Isbell, accompanied here by The 400 Unit. Follows The Nashville Sound – a great album – from 2017.   Now I read somewhere that Isbell thinks Reunions is his strongest work yet and that set me up for expecting a lot, so do keep that in mind. But overall, Reunions for me was good, not great.   On the plus side, the sound here is different and has a lot more resemblance to a well produced Jackson Browne album, or offcuts of Dire Straits. There's a lot of overdubbing and layering here with some dreamlike effects, stereo landscapes and so on.   In terms of the songwriting, it's largely strong, with stand out tracks such as Overseas, Be Afraid and Only Children really stealing the show. A couple for me fall by the wayside, including St Peter's Autograph, Running With Our Eyes Closed, and controversially What've I Done To Help – a track which people seem to love for the Bill Withers slash Walk on the Wild Side blend, but is a track I think is overly long, repetitive and quite weak lyrically.   There are excellent performances from the band members, as always. Dave Cobb does brilliantly with the production too. But unlike his previous releases – Southeastern and Something more than free particularly – there's something in Reunions which brings distance and unrelatability. It's not somehow as touching or heartfelt, even though individual elements are excellent, whereas his other releases demand repeat listens to understand all of the emotions underneath.   So I overall like the direction Isbell has taken with this album, particularly in terms of the new sounds he has created, but for me it is not his best. Still a very worthy addition to his catalogue, and I recommend fans buy it, and newcomers give it a listen at least.     Haim women in Music Part 3 Now this is not strictly a review, as the album has now been delayed until June sometime, due to the current nonsense in the world. But with that said, I want to talk about it because the first handful of tracks from the upcoming album really point to something special.   Now I have been a Haim fan for a long time, even when I had people saying they were poppy Fleetwood Mac rip-offs. To me they've always had some kind of sense of humour and gravitas about them, as well as a tonne of talent. And while I still don't fully understand or hear the influences that Haim tout so often – such as Destiny's Child, TLC and so on – I do get the pop sensibilities that they evoke.   The tracks that are out there so far are Summer Girl, Now I'm In It, Hallelujah, The Steps, I Know Alone, and Don't Wanna. So there's almost half the album out there right now.   For me, the strongest tracks are Don't Wanna and The Steps, but I guess this is because it appeals to my previously mentioned Fleetwood Mac tendencies. Summer Girl was released a while ago now kind of out of the blue and has a definite – again I mention this – Walk On The Wild Side vibe. It's very non-Haim but also very Haim.   One track that sounds very non-Haim is I Know Alone, which has a strange but somehow alluring music video of the sisters dancing in a socially distant manner. It's a song that sounds more akin to something from Caroline Polachek, notably the song Doors, and therefore is not so far removed from the Haim sound, but is a little different. Lyrically, I find the Haim track I Know Alone pretty weak, and it's too repetitive for my liking, too generic, and too electronic for my taste. However, a bit like the directional change I praised Jason Isbell for earlier, I like that Haim are trying something new.   So the album Women in Music Part 3 is not out for a little while but, based on the tracks so far, I think we're in for an absolute treat from Haim and I cannot wait to get stuck into the album for real.   Perfume Genius Set My Heart on Fire Immediately Perfume Genius, the moniker of singer-songwriter Mike Hadreas, released this album this week to absolute critical acclaim.   I confess: I had never heard of Perfume Genius before. But I guarantee you I will be tracking music from Perfume Genius in the future.   I wasn't blown away by this album quite to the gushing same level of reviews from Alex Petridis in The Guardian and so on, but I enjoyed it nonetheless. The tracks here are certainly pop, but of a candied late seventies early eighties vibe, somewhat like Paul Young or Bryan Ferry.   Vocally, this album is excellent. There's real longing, hurt and strain across the album, particularly on songs like Just A Touch. The singles – notably On The Floor – have an almost Vampire Weekend vibe to them. And for an artist who writes a lot about addiction, bullying, and sexuality, there's a happiness in many places on this record.   A couple of tracks here can't be put into the same synth-driven slick pop bucket as the rest though, notably Describe, which is a kind of noir-ish pop-grunge track, which I actually kind of feel like is what Neil Young was trying to go for with his eighties New Wave slash grunge idea but never really achieved. It's a weird track for sure, and I heard someone describe it as 'gay grunge' which I don't know is an appropriate or correct description, but equally I cannot quite put my finger on how to describe it either.   I do think the album is a little long, with 13 tracks stretching the limit a little, although they are all short pop affairs.   And yeah, it is a strange album for sure, and won't be at the top of everyone's list. It's not the top of mine either, but I will say that as a throwback to an era which never existed kind of sound, this certainly hits the mark.   Fiona Apple Fetch the Boltcutters This is one I only just got around too, released back in April. Fiona Apple is someone I've dabbled with in the past, and someone I knew about, but not someone I paid much attention to musically. So when I was faced with album, not knowing all that much about her previous work, you can probably sympathise that this very atypical, bizarre album hit me like a train.   And I loved it. Musically, it's like a part-improvised, percussion poetry session. Fiona cries out, scratches, scowls, shouts, and rages on the topics of bullying, sexual assault, confinement, lies, truth, friendship and more. It's angry, yet oddly darkly humorous   What's more, this album is largely recorded on the fly and at home, and that could be a criticism but it really isn't. It helps breed the unpredictability, the explosiveness, the sudden changes in rhythm, tempo and keys. I hear shades of Joni Mitchell here, of Suzanne Vega, even of something completely different like J Dilla or Sharon Van Etten. It's a maddening yet exciting mix of music. It's not polished, it's not perfect, and that's what makes it great. There's no messing around here, and for an album about getting the boltcutters and cutting yourself free from whatever prison you've created, the sound does exactly what Fiona preaches – it breaks free of the usual routines and structures and offers something unique, insightful, and certainly divisive. I love it, and would urge you check it out, that's Fiona Apple with Fetch The Boltcutters.     And that's all for the Pulse for now here on BPM Pod. You can find all of the releases I just mentioned on BPM Pod dot com, and on the social channels (Facebook and Instagram). And you can read more on BPM Pod dot com, and revisit all of the previous episodes there, or on Apple Podcasts, Google Podcasts, Spotify or wherever you listen to your podcasts.   On the next episode, we'll have part two of the extended podcast with Chris Weinhardt, so stay tuned for that.   Stay safe and stay lucky, and thank you for listening to and supporting BPM Pod.    

The Pulse reviews: Jason Isbell, Haim, Perfume Genius, Fiona Apple

Getting behind people's music to hear the unsung voices of the music world

hubhopper

BPM Pod

hubhopper