Tens of thousands of people that came on May 16th evening on their own or in the small groups to see Depeche Mode, have turned into a big collective that instead of emphasizing their differences has been celebrating their similarities in one undeniably relatable fact – we are all mortal.

They might be opening the evening with a tongue-in-cheek commentary on how they are now “puncturing the bubble of relatability with [their] horrible new sound”, but their new sound is still greatly drowned under the time-tested songs. Frankly, I have been wrapping my head around it all and it has made… no perfect sense.

After two years since their self-titled EP, De Witte Kunst proves that their existence is not for spek en bonen – not for nothing, not for the laugh and definitely not for the show.

“It’s mostly darkness in there, but there are light parts too.” Even if it didn’t tickle everyone’s fancy that came to see Fugitive TV’s debut appearance, it did manage to sweep someone off their feet, and that is a legitimate achievement for the start.

It's only a second album for Parcels - there's enough potential for at least a decade to eventually be remembered as the Beatles of our generation.

It's an upside down world where a good boy helps you out of your clothes just to get into your closet.

If you do believe in Rushium - no matter how hypothetical it is - you will experience time in slow rush.

It doesn't matter who is the most goth in the audience of Boy Harsher - it's about letting go of any issue that you have at that point and your ego, and just moving/screaming in your own way together with the music.

Molchat Doma might mean houses that are silent, but inside they store a lot of noise that is released as much through the music as the way they perform.

An interview with Ioana Iorgu, one of the up-and-coming alternative names in Groningen about her latest EP, sparks of inspiration, and finding solace in discomfort.

The self-titled EP by the Dutch duo De Witte Kunst is a half-hour-long David Lynch-like contemplation about the world that quickly transforms from mundane to surreal.

Hiding behind the name of a synthesizer dial, Mod Envelope, the duo (that is actually a trio including the visual artist Jan Herman de Boer) is striving for a modulation in time that would bring them to the 80s, the dawn of the machines, which is what their self-titled EP is about.

Part 3 of the trilogy “How do I listen to music made by problematic artists?

Part 2 of the trilogy “How do I listen to music made by problematic artists?”

Part 1 of the trilogy “How do I listen to music made by problematic artists?”