We’re back! And booting off a busy season of No Tags content by speaking to 'professional music fan' Derrick Gee. You’ve likely come across Derrick on your feeds already. He’s a beacon of sophistication in the murky waters of social video, and a true enthusiast for music of all kinds – from audiophile sound systems to viral TikTok trends to his favourite bossa nova recordings. He’s racked up millions of views, toured Japan and America, lured huge names onto his YouTube show – and done it all by focusing almost exclusively on music outside the mainstream. So is he a music journo? A critic? A content creator? Derrick dialled in from Sydney to talk to us about his curious content niche and how he earns a living from loving music.

If you continue to get a kick of what we’re doing on No Tags, consider throwing us a fiver a month – or spread the gospel to your friends.

There was only one topic we could tackle this week. The argument boiling over around Boiler Room and the BDS movement is one of the most divisive and emotionally charged intra-scene disputes we’ve seen in a long time.

There’s a lot being said in public and in the comments, with much of it relegated to Instagram Stories with a 24-hour timer. So in the spirit of our mission statement – chronicling underground music culture – we’ve attempted to document what’s been going on, provide some vital additional context, and offer our own thoughts on what’s at stake.

In this episode we look at the relationship between Boiler Room and its owners – the global events company Superstruct and the private equity giant KKR – and their connections to Israeli tech firms and the Palestinian-led boycott movement. We talk about Boiler Room’s recent statement of solidarity with Palestine and the resulting backlash from fans, DJs and former BR employees, as well as Ben UFO’s defence of the platform, which triggered its own, unusually fierce backlash.

Can Boiler Room consider itself part of the boycott on Israel? What’s the right way for DJs, fans and BR employees to show solidarity with Palestine? Why has BR received so much flak compared to the 70-odd other brands and festivals in Superstruct’s portfolio? Can dance music be mobilised into a force for change? And what can Boiler Room – or any of us – practically do in a landscape where private equity firms have their claws in everything?

If you’re enjoying No Tags, thanks – we really enjoy making it. But we’d love you to help us out by leaving a review on your go-to podcast app, which really does help visibility. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue planning, recording and editing these regular podcasts. It also gives you a discount on our book.

We’re pretty confident about slapping the “AOTY contender” badge on this one: aya’s second album hexed! is out on Hyperdub next week, and it has blown our tiny minds to pieces.

The South London artiste joined us in the No Tags “studio” to reveal the pills, thrills and bellyaches behind the phenomenal follow-up to 2021’s im hole. We talked about shaking off the curse of drink and drugs, embracing her teen metalcore past, putting worms in your mouth in the name of Art, and just who is the best aya on Discogs?

We also debated donk as worship music, her plans to be the next Prince, and of course her favourite film.

Dive in – but before you do, final call for No Tags with Paul Woolford at AVA London tomorrow! We’ll be joined by AKA Special Request for a conversation at 1pm in the British Library’s Knowledge Centre. Taganistas get a 20% off code. Skive work and pop down? We’ll have a few No Tags books for sale too.

If you’re enjoying No Tags, that’s just GREAT. We really love making it. Why not rate, review and subscribe on your podcast app of choice? We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue bringing you these regular podcasts (and it gives you a discount on our book.)

No guest this week, but plenty of meat as we take our previous episode with Spotify chronicler Liz Pelly as a jumping off point to talk about the idea of independence.

We use the word ‘independence’ a lot on No Tags without really investigating what we mean by it. In a era when the major labels are all stake-holders in the biggest streaming platform on Earth, and are hoovering up indie labels and distributors like never before, how feasible is it to operate as a truly independent artist – whatever that means? And how can the term ‘independent’ apply to indie labels with multiple offices and millions in the bank as well as one-person DIY operations?

To explain, we think about the important history of independent distribution, catch up with the latest music biz headlines affecting independent artists, and ask ourselves… have the major labels simply won at this point?

It’s a little lighter elsewhere, as we talk ghosts (4:15) and debrief Anora’s Oscar sweep (49:52), followed by some thoughts on The Brutalist, Nosferatu and 1971’s The Working Class Goes to Heaven.

If you’re enjoying No Tags, please do rate, review and subscribe on your podcast app of choice. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue bringing you these regular podcasts (plus it gives you a discount on our book.)

No journalist has contributed more to our understanding of the streaming era than Liz Pelly.

A contributing editor at The Baffler and a lifelong DIY scene participant, she’s been investigating the inner workings of Spotify since 2016, writing a series of increasingly alarming stories that exposed the streaming giant’s black box of profit-seeking operations: mood-based playlists filled with mysterious fake artists, lean-back listening, algorithmic curation and ‘streambait pop’.

Her journalism has provided us with an arsenal of terms to better understand Daniel Ek’s dismal vision of context-free listening. And now she’s expanded her work into a new book, Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist.

It’s essential reading for anyone who wants to understand how we came to live in a world where ‘coastal grandma’ is a genre and where ambient electronica playlists are filled with cheap stock music by unknown artists.

We asked Liz to explain the pivotal moments in this decade-long transition, whether Spotify has changed the sound of the underground too, and what Daniel Ek’s endgame might be. Get your hard hat on.

Elsewhere in this week’s episode, Chal runs down the best music she saw on a trip to Ljubljana’s MENT festival (3:49), we talk the films that could potentially tank a new relationship (9:47), Tom highlights a new release on CDR’s Pathways programme (13:00) and we even briefly discuss get-rich-quick schemes. Niche music recs and iffy financial advice? It could only be No Tags.

As ever, if you’re enjoying No Tags, please do rate, review and subscribe on your podcast app of choice. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and offers you nothing but the warm glow of philanthropy and a discount on our book – the second pressing of which is finally out now! 

Still high off the fumes of January’s first Big Beat Cinema episode, we return to the scene of the crime this week for a follow-up film special with Finn, Manchester’s very own pope of trash.

In this episode, we start by diving into your feedback, ranging from literary theory to eyewitness accounts from big beat OGs. We expand the official BBC canon with even more movies, including Go, Twin Town and The Bourne Identity.

We then go deeper, asking what Big Beat Cinema tells us about life in the ‘90s and ’00s, how class fantasies and lad’s mags shaped the subgenre, and whether that UK government anti-piracy ad is a forgotten classic of the movement. Finally, we try to locate the last gasp of BBC and explain why Moby and Fatboy Slim fell out of favour with Hollywood.

If you’re enjoying No Tags, please do rate, review and subscribe on your podcast app of choice. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue braving some of history’s greatest slop to bring you these regular podcasts – not to mention honing our amateur Photoshop skills.

A jam-packed episode of No Tags this week, but we had a lot to catch up on. Central Cee’s debut album Can’t Rush Greatness is out (02:56) and it’s UK drill’s biggest album to date, almost by default. Eusexua (10:07) might be the record that finally sells us on FKA twigs? And we talk about the grey zones of desire in Babygirl over in film corner (18:32).

But then onto the main event: we’re joined this week by NYC DJ and virtual pop architect umru (30:09). A key member of SoundCloud’s class of the mid-2010s, umru officially graduated to the hyperpop top tier in 2017 with his work on Charli XCX’s game-changing Pop 2 mixtape.

He’s since worked with the likes of Hannah Diamond, Tommy Cash, Hyd, Dorian Electra and more while releasing his own music on PC Music and, this year, LuckyMe. He’s also one of our favourite DJs, with an anything-goes approach that feels firmly in the legacy of faves like Total Freedom, Evian Christ and Ryan Hemsworth. We also talked about his past life running parties on Minecraft, leak culture, pop’s Splice era, and the link between PC Music and Pirates of the Caribbean.

A little housekeeping: after a small delay the second pressing of No Tags: Conversations on underground music culture should be arriving in the next week, so if you missed out the first time, head to Shopify to place your order.

In the meantime, if you’re enjoying No Tags, please do rate, review and subscribe on your podcast app of choice. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue planning, recording, editing and transcribing podcasts like this one.

This week we kick off the first ever No Tags film season! Based on an original idea by DJ and NTS host Finn, Big Beat Cinema is our attempt to identify and decode a much-loved and entirely made-up micro-genre.

We begin by outlining the core canon and basic tropes of BBC, paying particular attention to the ultra-stylish heist movies of the late ‘90s and early ‘00s – think Ocean’s Eleven, Mark Wahlberg’s The Italian Job, Snatch and even The Matrix.

We also try to explain why big beat – the sample-flipping, chart-dominating, Hawaiian shirt-wearing sound of the millennium – became so integral to these movies’ portrayal of cool guys pulling off implausible heists.

From zany editing to Junkie XL, from Paul Oakenfold to the politics of cool, and from Skint Records to the correct shade of denim, this first episode lays out the core principles of BBC.

Let us know what you think in the comments – including on our Letterboxd list, where you can check out the full selection of BBC contenders, from Shallow Grave to Kneecap.

Heaving ourselves into 2025 like a rebuilt BILLY with half its dowels missing, No Tags returns to its usual schedule.

We kick off with a journey to the North Circular, where London’s biggest club is under investigation following two drug-related deaths and an alleged stabbing. Following the recent revelations about Drumsheds in Jim Waterson’s excellent London Centric newsletter, Tom and Chal ask: why is it so hard to have a realistic conversation about safety in clubs?

Next we indulge in one of our favourite anorak pastimes – arguing about arbitrary historical groupings of underground records! We contend that 2013 was the best year for album releases so far this century, with DJ Rashad, Oneohtrix Point Never, Sky Ferreira, Kanye West and Dean Blunt among the strong portfolio of evidence.

Finally, an announcement! ‘Tis the season for hibernating in front of the TV and racking up those numbers on Letterboxd, and in that spirit we are proud to present – adapted from an original opinion by DJ and friend-of-the-show Finn McCorry – the first ever No Tags film season! Introducing: Big Beat Cinema. Look out for that next week.

In the meantime, if you enjoyed this episode of No Tags, please do rate, review and subscribe on your podcast app of choice, as it does really help. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue planning, recording, editing and transcribing these regular podcasts – or in the case of next week’s episode, will go towards renting some seriously ropey turn-of-the-noughties films. Swordfish, anyone?

December comes but once a year, and sneaking in at the very last point we could probably get away with… it’s No Tags’ 2024 round-up!

Joined by regular guest Henry Bruce-Jones in what’s becoming a bit of a list-making tradition, we run down our favourite music of the year and tackle some of the year’s big consensus releases – good and bad.

Minimal intro required, really, but below is a timestamped run-down of everything discussed – so if Rap Corner’s not your vibe or you simply can’t hear the B-word one more time, we’ve made it easy to skip ahead.

This episode also closes the first full year of No Tags! Thanks to all of you for tuning in, especially our paid tier, those of you who came to our recent live show, and those of you who bought our book. The first edition is already sold out (!) but we’ll be printing a second edition in January 2025, and pre-orders for that are up now. It’s been a pleasure, see you in January.

Running order:

2024 consensus picks (04:15)

Dance music corner (26:30)

Something is vibing in the state of Denmark (56:54)

Underrated Pop (01:02:39)

Rap Corner (01:15:03)

One instrument in a really big room (01:40:15)

Marg.mp3 faves AKA What is this new vocal style? (01:43:32)

Assorted percies (1:48:52)