Even voorstellen – Bonakar – single ‘Airgun’, album ‘the sauce’

Bonakar is een ontembare "djensband" die steeds verrassend uit de hoek komt met hun onvoorspelbare kracht.
Hun inspiratie schommelt heen en weer in een beweeglijk doch stevig schuitje op het spectrum tussen psychedelische rock en punk: een mengelmoes waar ze zich volledig op GESMETEN hebben.
Een live-set van Bonakar toont hun verschillende invloeden die zo samenkomen tot een ijzersterke 21ste-eeuwse combinatie van zweterige, schreeuwerige, muzikale garagerock: veelal over gerstenat consumeren en semi-verward ronddolen op een wereld gevuld met scampi's en gesprongen snaren.

Dit jaar brengen wij in het najaar ons debuutalbum “The Sauce” uit, en wij releasen tussendoor wat singles van het album. 

Op woensdag 18 maart, brachten wij onze nieuwste single “Airgun” uit : een eerlijke, licht ironische kritiek op de massaconsumptie van vlees in de westerse wereld en op het feit dat de slachtdatum van een dier al bij de geboorte in de agenda lijkt vast te liggen. Met dit nummer willen we vooral bewustzijn creëren. 
We proberen niemand te overtuigen van een bepaald gedachtegoed: als we al een stap kunnen zetten richting meer bewustwording rond de gruwelijkheid van het slachtproces, dan is dat vandaag de dag al heel wat. 

Deze release wordt gekoppeld aan een tour doorheen het land, met een internationale show (afgelopen weekend) in Tarragona. Onze persoonlijke invloeden komen van bands als: The Kids, Gang of Four, maar ook The Chats en de Dead Kennedys. 

V2 records news – The Radar Station - Announces New EP with 3 Reworks of "Birds Of Choice (2025)"

"So Many Faces"
EP OUT 6 MARCH
FIRST REWORK "SILENT FACE (SEE US CHANGE)" OUT NOW
Silent Face (See us change) - Single by The Radar Station | Spotify

So Many Faces is the first of four EPs The Radar Station will release in 2026. The band is known for its unique live performances, where they reinvent their songs rather than simply replicating the studio versions. They love to experiment and explore different approaches - from stripped-down interpretations to radically reworked arrangements. This distinctive trait has now been brought into the studio: each EP embraces its own concept, rangingfrom an alternate-universe approach to stripped-down and redesigned covers, and even an authentic live session. So Many Faces features three completely reimagined tracks from their second album, Birds of Choice (2025).

After all, don't we all show different faces depending on who we're talking to?

Silent Face (See us change) is a completely new and reimagined version of the same song from The Radar Station's successful second album 'Birds of Choice' (2025). This album got a lot of airplay on several national radio stations in Belgium with sold out release shows to top it all.

Is love or friendship a waste of time just because it might one day pass? Leadsinger Brent Buckler ponders about this with his deep and nostalgic voice, carried by a hypnotic groove and moody waves of a Sequential OB-6 synth played by Sander Cliquet.

This is one of The Radar Station's most vibey tracks to date. Think Radiohead, Balthazar and Nick Cave.

Tracklist
1.Silent Face (See us change)
2. Somewhere Out There (Still believe in you)
3.The Cheapest Seats (The weight of the world)

More About The Radar Station
The Radar Station emerged in 2017 from the musical collaboration between brothers Brent Buckler (vocals, guitar) and Sander Cliquet (guitar, backing vocals, synths), creating a distinctive blend of indie rock with cinematic soundscapes. Their sound has always been full of ambition, intensity and raw emotion - drawing inspiration from artists like The National, The War on Drugs, Sam Fender, Nick Cave and Big Thief.

In 2020, they won De Nieuwe Lichting, Belgium's top music contest, launching their debut album Life Inside A Tornado, which hit the airwaves on stations like Studio Brussel, Radio 1, Willy and Radio 2. With sold out shows at venues like AB, Trix and Het Depot and appearances at festivals including Dranouter and Labadoux, The Radar Station made its mark in the Belgian indie scene.

After a few years of reflection and late night writing sessions in the south of France, The Radar Station returned in 2025 with a brand na new album, Birds Of Choice, produced by Koen Gisen (The Bony King Of Nowhere, Oscar & The Wolf, Nordmann). With Birds of Choice The Radar Station reached several radio playlists such as Radio 1, Radio Willy, and Classic 21 and had the chance to bring the music live at De Roma, De Grote Post, Charlatan, Bar Dada,...

V2 records news – Lee Scratch Perry & Mouse On Mars
LEE SCRATCH PERRY & MOUSE ON MARS£
Announces New Album "Spatial, No Problem
First single "Rockcurry" is out now
Rockcurry - Single by Lee "Scratch" Perry, Mouse On Mars | Spotify
ALBUM OUT 5 JUNE

Mouse on Mars (L: Jan St. Werner R: Andi Toma) and Lee "Scratch" Perry, photo credit: Constantin Carstens
After the passing of Lee "Scratch" Perry, a deluge of recordings appeared claiming to be the "last" or "final" project of the Jamaican icon. However, his last official album project took him to Berlin, Germany where he landed on the doorstop of electronic pioneers Mouse on Mars (aka Jan St. Werner and Andi Toma). The resulting album Spatial, No Problem. will be released on June 5th.
Alongside the album announcement, the first single from the record has been shared today, "Rockcurry." The opening song from Spatial, No Problem., "Rockcurry" is indicative of Perry's time in Berlin, where he was drawn into the soundworld of his "German Professors" in their "German laboratory," taking to the group's blend of motorik rhythmic elements with free improvisation, digital glitches, dada poetry and the dubby "voodoo" he always insisted haunted our machines. Whilst Perry was keen to not do a reggae album with Mouse on Mars, he was too much a part of reggae to disavow it, and the weight of that legacy is present in every track they recorded.
The video for "Rockcurry," directed by Studio Sparks, uses photos from the recording sessions, drawings and found objects collaged together to create a vibrant and energetic ode to Lee "Scratch" Perry and Mouse on Mars' time in the studio.
Back to Berlin - the first question was why Lee "Scratch" Perry was coming in the first place. Reasons were vague then and remain so now. Rumours of a record label connection. A backstory about a friend who'd worked with Mouse on Mars on Tromatic Reflexxions, their 2007 collaboration with late postpunk luminary Mark E Smith under the name Von Südenfed.
Mouse on Mars prepared as much as you can for the arrival of someone who had attained mythic status while still very much alive. Still, Lee "Scratch" Perry's arrival at Mouse on Mars's Paraverse Studio in Berlin, December 2019, was a surprise. Dates kept fluctuating. Schedules kept shifting. There was also that infamous unpredictability. If he was coming, which one of his personae would arrive? The Upsetter, Pipecock Jackxon, The Super Ape? Maybe Inspector Gadget, or The Firmament Computer.
Behind these masks was Rainford Hugh Perry, often described as one of the single most important figures in the history of Jamaican music. Producer, engineer, label owner, performer, his impact traced ska to rocksteady to roots reggae, to sound systems, to dub, to Bob Marley and Junior Murvin and Max Romeo and The Congos and so many other legends. Generations passed through him and his ears. And beyond them his influence included punk, funk, electronic music, hip and trip hop as well as his own uncategorizable career as explorer of words, sounds and esoteric concepts. Such a man could only be imagined through science fiction, surrealism, bush magic and what some still call Afrofuturism.
At some point this innovator made the decision to collaborate with Mouse on Mars. But did he really know who they were? That was the second question, also still unanswered. Mouse on Mars are recognised as one of Germany's most defining and versatile electronic music projects. Across more than 3 decades, they've released over 10 albums including Niun Niggung (1999) and Idiology(2001) - the former was declared the Album of the Year by The Wire – several EPs, an imagined film score for Werner Herzog's Fata Morgana and many more idiosyncratic projects. They're also known for their work with Stereolab, Bon Iver, Tyondai Braxton, The National, Matthew Herbert, Modeselektor, Tortoise - had Lee heard their music? All the group knew was they had been chosen.
Perry wasted no time. He opened his traveling suitcase and brought out knickknacks, icons, images, stickers, talismans. With pens and markers, he wrote further slogans and ideas on walls and surfaces. Perry also transformed the studio with sound. Chanting, singing and mumbling in rhythm, communicating in murmurs, coughs and sly glances. Doing rude and loving damage to words. The musicians followed him, recording all the time. Jan St. Werner talks about the instinctual recording process: "We hardly spoke about what we were doing. We met and got going. He was laughing a lot and we laughed along. We also cooked and ate fish soup and papayas."
As devout explorers of sound themselves - Jan St. Werner is a professor of Sound Practice Research at Folkwang University – perhaps Mouse on Mars working with Lee "Scratch" Perry was always destined to happen, a match made in the cosmos.
Once upon a time, Mouse on Mars asked Lee "Scratch" Perry about space, Jamaican fish stew was in the air. Specifically, they asked of his familiarity with Spatial Audio and multi-channel sound diffusion. His response provides not only the title of this epic collage of genres, but the very method of its making. "Spatial," he said, grinning, "No problem." And then just like that he was gone. Back to Switzerland where there were rumours of a second Black Ark Studio and then to join his and our sonic ancestors. Spatial, No Problem. is the story of what Lee "Scratch" Perry left behind in Berlin in his encounter with Mouse on Mars. It's a story of spaces mixing, and cultures morphing towards a different kind of future.

Additionally, as part of the Barbican's Project A Black Planet exhibition, The Pit will be transformed into a specially commissioned immersive environment that will explore Spatial, No Problem. from June 5th to June 13th. This world-exclusive installation will present the album in spatial audio on a specially installed D&B Soundscape soundsystem alongside in-person events which foreground how the music became a resonant medium for Black consciousness, cultural resistance, and the expression of a shared African heritage across the diaspora. More details here and further info to be announced.

Album Artwork
Tracklisting:

1. Rockcurry
2. Hallo Shiva
3. Economic Train
4. Spatialee
5. Fire Dali
6. Yayaya
7. To The Rescue
8. State Of Emergency

Even voorstellen – VLB – ‘Race tegen mezelf’ EP
Sinds 25 maart is Race Tegen Mezelf, de nieuwe EP van de Gentse rapper VLB, volledig uit. Tegelijk schuift hij 'Beetje' naar voren als focus track. Die EP is vanaf nu te beluisteren.

'Beetje' is een introspectieve track die vertrekt vanuit een diep gevoel van onbegrip. VLB schetst hoe het is om zich niet gehoord te voelen door de buitenwereld, om zich een buitenbeentje te weten in een samenleving die snel oordeelt. De frustratie tegenover die constante stroom van verwachtingen en commentaar sijpelt door in elke lijn. Toch evolueert de track gaandeweg: van weerstand en vervreemding naar een vorm van berusting. In de slotfase maakt die spanning plaats voor zelfaanvaarding en een voorzichtig vertrouwen — het besef dat het misschien volstaat om jezelf te zijn, los van wat anderen denken.
Beetje - song and lyrics by VLB | Spotify
Race Tegen Mezelf - EP by VLB | Spotify

VLB - Lange Dagen

Met Race Tegen Mezelf bundelt VLB deze persoonlijke zoektocht tot een samenhangend geheel. De EP voelt als een innerlijke dialoog waarin twijfel, zelfreflectie en groei elkaar afwisselen. Waar eerdere singles al de toon zetten, brengt de volledige release extra gelaagdheid en context, met 'Beetje' als emotioneel ankerpunt.