No Tags Chal Ravens & Tom Lea

We’re witnessing a breakthrough moment (again) for Brazil's funk scene, an ever-expanding universe of bone-shaking low-end, CDJ theatrics, synesthetic drug cocktails, barking MCs, extreme production choices and a fuckton of wraparound sunglasses.
It's incredible music, but it's not always easy to keep up with what's going on, so in this episode – the first of a two-part interview – we speak to GG Albuquerque, a journalist and researcher from Recife, who last year accompanied São Paulo’s DJ K on tour in Europe.
We begin with a dive into the trajectory of funk over the past decade, from KondZilla to 150 to bruxaria, with detours into music distribution, DJ culture, the pacification of the favelas and the real favourite tipple of funkeiras.
Tom and Chal also get into the Warhammer mailbag with internet thinker Jay Springett and, inevitably, take a moment for Brat.
If you like what we’re doing on No Tags, please do all the good things: follow, rate and review on your podcast app of choice, correspond with us on Substack, and consider subscribing to our paid tier.



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Some say that algorithmic content has fragmented our social media feeds to the point that we no longer exist in a shared culture. Others say, ‘Has anybody else noticed that bald dude in a dressing gown all over Instagram suddenly?’ We think you know who we mean, but either way, let us introduce you to the one-man DJ phenomenon that is Fish56Octagon.
Who is the Fish? What does he want? And what can he tell us about music in 2024? In this episode, Tom and Chal talk about the sudden rise of the country’s biggest DJ-influencer, how club culture has become dependent on social-first Moments™, and how Fred Again walked so Fish96Octagon could… swim.
Plus, Tom recommends Danish producer Astrid Sonne, Chal reports back on cult classic movie Party Girl, and we have further thoughts on Billie Eilish’s SoundCloud takeover.
We’re still gathering your communiques for our mailbag episode, so send any feedback, questions or topics you’d like us to talk about via email or the Substack comments section.
As ever, if you enjoy what we’re doing on No Tags, please do follow, rate and review us and consider subscribing to our paid tier to help keep this show on the road.


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As if we hadn’t gorged enough on lore last week, this time we welcome one of electronic music’s boldest world-builders, Iglooghost.
Iglooghost’s new album Tidal Memory Exo takes place in a punk-dystopian vision of a British seaside town that’s been cut off from the rest of society. It even comes accompanied by an online forum where users debate the politics and micro-genres of the local “tidal scene” (sporestyle, tektonikore, foamtek) and an online marketplace where people sell mysterious sea creatures and offer theories about their origins, among many other diversions. 
Something else that interested us about the project is that while Iglooghost’s early releases took place in full-on fantasy world, recently he’s started creating parallel universes based in Britain, bringing his lore-making closer to his own reality. Prior to Tidal Memory Exo, he created a whole world around “Lei Music” – a supposedly ancient musical style performed to summon “strange, squeaking entities” in rural Dorset, the part of south-west England where he grew up.
Naturally we spoke to him about all that and about lore in general, as well as getting his insights on the ever-changing nature of the online experience, his obsessive fans, TikTok as a ghost town, and the risk of world-building becoming too cynical. Never go full Marvel, basically.
As ever, if you enjoy what we’re doing on No Tags, please do follow, rate and review on your podcast app of choice, correspond with us on Substack, and consider subscribing to our paid tier. Now that we’re weekly, £5 a month works out to less than £1.20 per episode, which is basically a bag of crisps these days – and it really does help us out. Thanks for listening/reading!


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We’re still reeling from last week’s Reynoldsmania, but in the wake of our conversation with the great music scribe about the past and future of electronic music, this time we’re firmly in the present.
First, Chal puts forward a thesis about the genre trend of the moment – a movement that brings together Taylor Swift, Disney Adults, A. G. Cook and Warhammer freaks. Welcome to the lorecore era.
Next, we wade knee-deep into the sludgy waters of NYC band Couch Slut’s new album You Could Do It Tonight, a must-listen for fans of metal and hardcore’s scuzzier side, equal parts uncomfortable and funny. We chat about why bands like Couch Slut feel so refreshing compared to so much of the extreme music that came before them.
Speaking of humour, is Chappell Roan’s The Rise and Fall of a Midwest Princess the messy pop masterpiece we so desperately need in 2024? Maybe not, considering it actually came out last year, but we only just discovered it and we’re both obsessed. Old school FACT fans might remember our love for Miley’s Bangerz era and Sky Ferreira’s Night Time, My Time, and this LP is in that lineage, offering ridiculous tunes and modern dating advice to boot.
Thanks for listening to No Tags. If you like what we do, consider following us on Substack and social media (we’re @notagspodcast everywhere) or rating and reviewing us on your podcast app of choice.


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For millennial music journos like us, Simon Reynolds is one of the Goats. 
He’s a writer best known for his era-defining book on dance music, Energy Flash and the ultimate history of post-punk, Rip It Up And Start Again. But there’s barely a genre that Simon hasn’t touched, from hip-hop, shoegaze and glam rock to pivotal essays on Auto-Tune, “conceptronica” and the hardcore continuum.
Reynolds’ newest book is a collection of essays, interviews and reviews on the idea of “futuromania” –his word for electronic music’s obsession with the manifesting the future. Futuromania kicks off in 1977 with Donna Summer’s ‘I Feel Love’ and sweeps up half a century of electronic genius, with writing on household names (Kraftwerk, Daft Punk, Future), underground icons (Acen, The Mover, Omni Trio) and nebulous trends like the ambient revival.
Unsurprisingly, we couldn’t squeeze all of that in a single episode. But we did talk to Simon about the lure of accelerationism, dance music’s middle-aged desires, Daft Punk’s yearning for the “mass synchrony” of the ‘70s, the uncanniness of Boards of Canada, and how he learned to stop worrying about retromania and start loving Dry Cleaning. Plus: he gave us the scoop on his next book! We think it’s an exclusive!!
Thanks for listening to No Tags. If you like what we do, consider following us on Substack and social media (we’re @notagspodcast everywhere) or rating and reviewing us on your podcast app of choice.


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No Tags is going weekly!
Since launching last year we’ve managed to stick to an episode every fortnight, but the time feels right to try and make things more frequent. So in that spirit, we’re going to be recording more regular Tom-and-Chal-only episodes. Anything you particularly want us to tackle in these? Email, comment or DM us.
This week: we tackle Cindy Lee’s Diamond Jubilee and the revelation that Pitchfork isn’t only still going, is still able to break albums! Is it the best long-player since Fetch the Bolt Cutters, or is its success simply nostalgia for the last embers of the pre-streaming age?
We bed-rot with claire rousay and her new album sentiment, perhaps the most 2024 album of 2024 so far. It all boils down to porn bots and the numb, over-scrolled horniness of existing online in 2024.
There’s also thoughts on Coachella, the haunted nostalgia of the modern-day festival circuit, and why there might be more DJ sets like that Grimes disaster-class to come. 
Thanks for listening to No Tags. If you like what we do, consider following us on Substack and social media (we’re @notagspodcast everywhere) or rating and reviewing us on your podcast app of choice.


Get full access to No Tags at notagspodcast.substack.com/subscribe