Wednesday, September 11, 2019

Rodon Underground vol.61 - 11/09/2019

Rodon Underground vol.61 - 11/09/2019
Rodon FM 95 (Serres, Greece),
Wednesdays 21:00-23:00 CET+2

1. Orville Peck - Dead of Night
2. True Moon - Poison
3. New Model Army - Where I Am
4. Fontaines D.C. - Hurricane Laughter
5. Off With Their Heads - Be Good
6. Pussy Stench - Full Circle
7. Shellac - Steady as She Goes
8. Calabrese - Let Doom Overtake Us
9. Silvertomb - Love You Without No Lies
10. Nothing Is Real - Existential Crisis (Nihilism)
11. Hippie Death Cult - Sanctimonious
12. Saint Karloff - At the Mountains of Loudness
13. Devil's Witches - Love Is Doom, a Fistful of Napalm
14. Nyt Liv - Aske og Blod
15. Refused - Blood Red
16. Antimob - Αλυσοδεμένη Ανατολή
17. Agnostic Front - You're Gonna Pay
18. Higher Power - Seamless
19. Dispyt - En Man i Sina Bästa År
20. Fatalist - No Glory
21. Sect - Skies Wide Shut

Wednesday, September 4, 2019

Rodon Underground vol.60: A tribute to Roky - 04/09/2019

Rodon Underground vol.60: A tribute to Roky - 04/09/2019
Rodon FM 95 (Serres, Greece),
Wednesdays 21:00-23:00 CET+2

1. Chelsea Wolfe - Night of the Vampire
2. Queens of the Stone Age - Bloody Hammer
3. Ghost - If You Have Ghosts
4. Madrugada - Slip Inside This House
5. The Jesus and Mary Chain - Reverberation (Doubt)
6. A Place to Bury Strangers - Tried to Hide
7. Spacemen 3 - Rollercoaster
8. Roky Erickson & The Black Angels - Rollercoaster
9. Dead Meadow - Kingdom of Heaven
10. The Devil's Blood - White Faces
11. Butthole Surfers - Earthquake
12. The Nomads - I Have Always Been Here Before
13. The Flaming Sideburns - The Interpreter
14. The Hellacopters - Cold Night for Alligators
15. Foo Fighters - Two-Headed Dog
16. Baby Woodrose - I Don't Ever Want to Come Down
17. The Lords of Altamont - Don't Slander Me
18. Deniz Tek and the Golden Breed - Bermuda
19. Radio Birdman - You're Gonna Miss Me
20. The Cynics - She Lives (in a Time of Her Own)
21. The Meatmen - Don't Shake Me Lucifer
22. Entombed - Night of the Vampire

Thursday, August 29, 2019

Rodon Underground season premiere: A tribute to Roky

New radio season starts this Wednesday with something that we feel we owe to do. Rodon Underground pays tribute to the great Roky Erickson who passed away this year right on summer's eve.

Tune in at
on Wednesday 04/09/2019 at 21:00 CET+2!

Tuesday, August 27, 2019

The Boys

It's been a cruelly hot summer here in Greece and everything has been drastically toned down, including music developments. But, although we already get glimpses of an at-least-interesting fall musicwise, my first post after so many weeks and amid the dying breaths of this last unbearable and stubborn heat wave that torments the country, is not regarding music, but it has to be a TV one instead.
The Boys crashed down on all of us last month through Amazon Prime, and I can't remember the last time I've been so fulfilled as a fan by a comics-related film or TV series (I won't compare with other genres, for obvious reasons). Of course, the reason it grabbed me like that has a lot to do with the fact that the Boys is hands down one of my favourite comic series ever and, ever since I read the whole saga, I always fantasized about a film or TV series based on it, always with the condition that it would be done right.

Which of course leads us to a whole different conversation under the subject "what does 'right' mean?". Well, if we put aside the whole MCU saga which, in my opinion, should be treated as a whole and, due to this, it's a non-comparable huge entity in itself, we've had more than our fair share of comic adaptations on the screen. Talking about TV then, I'm sad to say that these adaptations were not always ideal; Daredevil and the Punisher are the ones that stand out (although they too had moments where you couldn't wait for the damn episode to finally finish), while Jessica Jones, Luke Cage and Iron Fist took great amounts of sheer will for someone to watch; with the latter being practically unwatchable. I won't even get into the DC adaptations which all fell into a hole of TV-induced mediocrity and boredom. As for more independent comics, things didn't look better as American Gods and Lucifer (to name a couple) basically targeted specifically fans of the comics, while on the screen they were overloaded and tiring. The last hope was Preacher (the other one of Garth Ennis' work that found its way on TV a couple of years back), but, if you have to use all your compulsion reserves in order to finish one season, well that's not a good sign. And it was really a shame for such great material with exciting characters to get so much numbed down on its TV adaptation.

So, the stakes were high with the Boys; would another great work of Garth Ennis' get a mediocre transition onto the screen? The short answer I scream full of relief is: HELL NO IT DIDN'T! From the very first episode, it bursts in with all the abruptness and cynicism it deserves, always according to the original material. Visually, the characters look almost identical to the comics and, although Simon Pegg, due to his age now, can't play Hughie Campbell, the character he was supposed to (short historical info: Ennis based the visual appearance of the character Hughie Campbell in the comics on the actor Simon Pegg's looks), he couldn't be missing from the cast, as he plays Hughie's father. From then on, Jack Quaid depicts Hughie just perfectly, while the same applies to all the main characters, especially Antony Starr's Homelander (looking like the guy was born for this role) and Karl Urban's William Butcher, who, although differing considerably in appearance, he fully nails everything that the character Butcher stands for in the comics.

As for the story, although most main events stay true to the comic's narration, there are some considerable differences otherwise that could disappoint some; for instance, in the way the Boys' team is assembled and in the background of some of the characters. My opinion is that all these differences are absolutely beside the point and those who vote down the series because of them are just missing the wood for the trees. The transition on-screen has happened in a way that it can serve the TV medium, while at the same time it avoids all the possible traps that could emasculate it or make it trite; the series holds the comic's edge and extremity (it's rated 18+, by the way, so yay) in a remarkable way, something that constitutes nothing less than a feat. Also, the successful appropriation of today's technology into the TV show is another plus, something not very easy, as the comic first came out more than 10 years ago and the use of technology then was very different from today.

I don't know how else to compel you to get down to watching the Boys as soon as possible, and even better, also check the comics and admire Garth Ennis' sharp writing along with Darick Robertson's expressive pencils. Well, if it being superhero-related is a reason to hold you back because you're tired of all the comics being adapted on TV all around or you're just not a comics fan, let me tell you that chances are that it's nothing like you would expect, as the real heroes (or should I say anti-heroes?) here are our good old Boys who are trying to hold the careless and full-of-themselves superheroes accountable for all the collateral damage they induce on defenseless and innocent everyday people. Because, if you knew half the shit supes get up to... FUCKING DIABOLICAL.

Thursday, July 4, 2019

Riffs for Reproductive Justice - a compilation (2019)

"'Riffs for Reproductive Justice' is a new compilation of metal, hardcore, punk, and dark folk songs from a wide range of artists who have united to raise money for an extremely important cause: abortion access. 

Abortion clinics across the country are being forced to close, robbing people of the ability to access crucial healthcare services. A theocratic fascist regime is working overtime to control the bodies of those who have uteruses, to force us into unwanted pregnancies, to wrest away our human rights. We cannot stand by and let this happen. All of us—people of every gender, with every kind of body—need to fight back against this horrifying attack on bodily autonomy, by any means necessary. 

This compilation is just one small effort made by a few dozen people who care, who are intimately affected by this, and who love other people who are afraid of what the future will bring. There are so many other brave individuals and groups who have been putting in work around this issue for decades, and my hope here is to raise a significant amount of funds from within the metal, punk, and overall music fan communities to allow them to continue that necessary work. 

100% of proceeds from this compilation will be donated to the National Network of Abortion Funds (NNAH: and the Yellowhammer Fund ( Donation receipts will be posted in a Dropbox folder which will be shared with the bands and with anyone who requests access. 

Say it loud, with distortion, with fucking feeling: 


Thursday, June 6, 2019

Belated obsessions: Dredg - Catch Without Arms (2005)

In no way do I stand here to speak as a Dredg fanboy or anyway someone who always followed them from the start, so they know and can pinpoint all small details this album carries and what they meant for the band and its history or whatever. I feel the need to write about this because it's one of those albums that, for some reason, stay with you for a whole lifetime; not always depending on its pure somehow "measureable" musical or historical value, but mainly for sentimental and/or conjuctural reasons.

2005 was a time that I had zero contact with anything post-punk. Not that Dredg were ever categorized as post-punk, but, according to today's musical standards, I think that Catch Without Arms would quite easily qualify for the term. Nu-metal was still around strong, and Dredg had a considerable deal to do with it, especially in their debut album Leimotif (as I retrospectively checked out), although they always had a more mellow and more "substantial" side. So, as I was mainly surrounded by garage punk noise on my speakers, Catch Without Arms stuck with me in an unexpected way. Back then, fans were accusing Dredg of imitating Radiohead or even somewhat going towards Coldplay, but, coming from a "virgin" musical environment in relation to the specific genre, I found a record that I could not stop listening to for months. Not complicated but direct warm melodies, supported by dynamic orchestration and Gavin Hayes' powerful vocals made for an album that can be with you everywhere; in friendly gatherings as much as in lonely cardrives. I couldn't exactly specify favourite tracks as I always devoured this album as a whole and it's full of beautiful ideas and memorable moments, but I guess I have to mention the incredible closer "Matroshka" or "Bug Eyes" with its amazing melody.

This is the only album I loved from Dredg, as I hadn't caught them before that and the next ones were kind of too "proggy" for me; but the musical timing on Catch Without Arms sounded just perfect. I have to say again that a Dredg fan would most probably have more to say about this album or its significance in the band's discography or why it is (not) their best one etc., but me, I found myself compelled to write a few words as to me this is a collection of tunes that has kept me company since their release and that it would surely be among my definite all-time favourite albums, had I ever been forced to make one. You would do very well to discover it, I think.