Glubdub Radio is a collection of unique and amazing music, and other aural delicacies.  Here, you can browse artists and songs from the menus below.  You can also turn on "Random Radio", and listen to a continuous stream of random songs.
 
For two months, every night as sleep denied, turned to hallucinations, I scoured Myspace for interesting bands.  The 1500 songs from nearly 300
bands we have, make up a really eclectic mix.  And because one band is so different than another, they'll blow you away in so many different ways.  

 Click Here to Listen

 
I've spent a lot of time sitting and listening to Glubdub Radio, and maybe I'm bias, but I still gotta believe this is the one of the best "radio stations", I've ever heard.

Along with the music there's a lot of great stories that we've written about the people who make such cool music.
Check it out we hope you like it, and if you want to have your music played, please tell us , we'd love to hear it.  

Tiff, better known as the Human Marionette performs an act that is part performance art, part mad theater, and a decayed deadly delight surely to defy gravity your senses and possibly pull toward her spooky little dollhouse she calls her mind. She “escapes from straight jackets, fits into small places, and bewilders Christians and small mammals.”

Glubdub:
I have two browser windows open so I can watch your videos and type to you at the same time. I totally dig what you do. I see your avatar switch from one cool picture to another. And then I look through your photos, and between, the scenes you create and the poses you become, there's a lot of cool eye candy.  How did the Human Marionette come about?

The Human Marionette:
Human Marionette came about in the Summer of 03.  I was in Costa Rica talking about my puppet obsession with my friend Paul K of the Imperial Butt Wizards.  Shortly after coming back to LA, I began working on a marionette rig for myself.  I have disjointed limbs and although my back was near the need for surgery, I still had contortionist abilities.  I fit into small trunks and escaped from straight jackets, so I thought of using those skills as a puppet.  My friends all went to this club called Sqrewball at the time, and I talked to the dj, and he booked me for the following month. 



It was me, human marionette mangor the puppet master Paul K and Sugarpie, a former bassist for the cramps in a tutu.  The piece lasted 10 minute piece, I have no idea how I did that; my pieces now run about 2-3 minutes.
The puppet obsession came from the Bob Bakers marionette theater which I saw as a child, and is now nearing foreclosure; poor puppets, poor puppet economy.  I’m trying to see if we can hold a puppet fundraiser though they need $30,000 and that’s quite a lot of puppetry work.  But its a landmark here in LA, and nothing ever seems to last here save for the gap.

GD:
Have you ever been approached by a band, or thought about doing your performance as part of a bands music video.

THM:
I originally was with Insecto Circus back in my contortionist days
at 18. They were a performance art rock band like Mutaytor, only a lot smaller. They where awful, but I was under 21 and getting to go to clubs before I was of age, and really getting a tour of LA like I was in a band.  Since then I’ve done freelance at all kinds of clubs, and a few really good cooperate gigs that paid well, but mostly photo shoots.
I’ve found that in order to be part of a band you either gotta really dig the music to perform to it, or just do the music video.  So yeah, I’m open to the idea as long as it doesn’t suck.

My inspiration for the city goes back to my childhood.  I used to love to build tree forts. When my family moved to Virginia Beach back in 1981 there weren't any trees in my neighborhood to ply my trade.  So, I started tinkering around with toothpicks.  I built several small structures and eventually, through trial and error, I developed some helpful techniques. 

I think it was 1984 or 85 that decided to build an entire city.  Over the next several years, I would go through creative spurts for a few months at a time and then let it sit and collect dust. (it does get monotenous sometimes)  But, about seven years ago I decided to really focus and apply myself to get it done.  I average about four to five days a week gluing, cutting, sanding and building. 

When complete, I would like to sell the city to a museum (although my wife says she won't let me because we've been together since I started my wooden metropolis)  Here are some details:  The city consists of three phases with phase-1 and phase-2 basically complete.  Phase-3 is about 80% finished and I hope to have it done by the end of 2009. The city is approx. 270,000 toothpicks currently and I have spent at least $2,000 on toothpicks, hundreds of sheets of sandpaper, hundreds of razor blades and 6 gallons of wood glue. 

The city is a series of buildings and towers complete with staircases, many unusual windows and doors, walking paths and tunnels as well.  The setting for the city is based on a "port" theme so it includes a number of boats and piers and a large seawall made of over a thousand "toothpick rocks."

You can see more of Bob and his Toothpick City Here  

Cartoonist Jesse Reklaw turns the dreams of strangers into the most insightful, humorous, and clever four-panel comic strips you have ever read in The Night of Your Life. This hardcover volume captures the sublime pleasure of tumbling through the freewheeling narrative of our sleeping lives. Each strip is an adaptation of the many dreams submitted to Reklaw from all over the world, every one a unique and compelling journey into a landscape to which we all travel. The Night of Your Life is a testament to the ability of comics to illuminate the corridors of the imagination with wit, sincerity, and joy.

Often difficult to categorize, Alu's sonic explorations and confessional lyrics - sometimes playful, often bizzare, and always captivating - take the listener on a strange and surreal journey to deepest realms of the body, mind and soul. Her highly cinematic music is a kaleidoscope of classical, jazz, electronic, pop, world, avant-garde, singer/songwriter, and goth. Though comparisons sojourn through the likes of Bjork, Portishead, Tori Amos and Massive Attack, these are not based on likeness of style, but on originality.



Lobotomy Sessions features 10 cinematic soundscapes comprised of Alu's brilliant lyrical observations on modern humanity along with her crystal clear, jazz-tinged vocals and whimsical Fellini-esque compositions. Tracks range from Alu's confident cabaret swagger on "Buzzin' In My Brain" and "The Metrosexuals," to the medieval carnival vibe of "Circus Cosmos" and the gothic rhythms of "Black Cloud" and "Aahhh." Make no mistake, though, because the most important instrument on the CD is Alu's voice and it sounds no better than on the emotional masterpiece "Amy." It's simply breathtaking music from beginning to end.

Lobotomy Sessions is the follow up to Alu's critically acclaimed debut album Infomercial Gasmask. Regarded by the press as a "dark shaded masterpiece," Infomercial Gasmask launched a strong international fan base and led to vast interest from music supervisors and filmmakers worldwide. Consequently, Alu has lent her highly visual music to the film world on many occasions. Her soothing song "Last Lullaby" features in the controversial action thriller "Juncture," and this summer, a haunting remix of Alu's brand new single "Recluse" is included on the soundtrack to Clive Barker's latest film "The Midnight Meat Train."

Glubdub:
How did you get involved in music an where did that lush and haunting sound you have come from? 

Alu:
Music has always been a big part of my life. I studied voice and piano as a child, and continued my studies in college, where I focused on composition, songrwriting and vocal performance. I can't quite say I know why my sound is what it is. It is simply what I hear in my head, and I do my best to bring these sounds to life. I guess you can say that I am drawn to the darker side of the spectrum, but I also love observing the absurdities of humanity and blending the lighter side of life with the darkness.

GD:
Where do your lyrical ideas come from?  You must have had an interesting childhood.

Alu:
My lyrics come from everywhere and are very healing to me. A lot of the songs are based on real life experiences. Some are observations on modern world. Others are many tales that have been woven together to make one new story. I love searching the dictionary for new words that I might want to use in a song! My childhood was fantastic! I grew up in a family of visual artists, animators and film makers, so the environment was very supportive. Plus I think my exposure to so much visual art as a child really shaped my music, and plays a huge part in why my sound is so cinematic...

Check out Alu's music on Glubdub Radio