Just like regular music, only free.

Reinvention is an essential part of being a forward-thinking band, especially one that is held in high regard the world over. It can't be easy to keep coming up with new guises to drape yourself in, especially when you're working to a record company schedule. One way around this problem is to become a member of Tenniscoats, set your own schedule, collaborate with whoever you like, and release 5 or 6 albums in the space of half a year.

Tailor Made for a Small Room... how's that for a band name? In these seemingly modern times, when most bands opt for "The", followed by the weirdest noun they can come up with (The Loving Oven, anyone?), it's kind of refreshing to come across a band whose name not only breaks with dull convention, but also sums up their style and sound succinctly, endearingly, and with a touch of poetry thrown in for good measure.

In a happy coincidence, the TADA office was tripping to the sound of Nika Soup & Saya Source's Ipiya album when news first broke of an accompanying documentary, Harmonies. We received our copy from Ontonson yesterday, wrapped in the kind of slapdash way you wouldn't usually associate with a Japanese company. Our name scrawled in spidery English on the recycled envelope, the presentation was so informal we imagine Nika & Saya are sat somewhere, warbling and wrapping orders with the childish abandon so prevalent throughout the movie.

A real treat for the ear-goggles on the 6th full-length release from the inventors of "pajama pop". Lullatone Presents the Bedtime Beat is a concept album with a twist. None of your Rick Wakeman wankery here, Shawn and Yoshimi have conjoured up a 20-minute homage to sleep and the everyday preparations that precede it. Uninspiring? Hold your tongue! Like the childlike dreams that inform much of this genre, Lullatone's new collection is out of this world.

It has been said that the best way to prove an artist's true talent is to deprive him of the tools he relies on the most. In this way, Mothercoat's latest offering, + birdless, finds them jumping through hoops without falling too heavily along the way.

Known primarily as the male half of experimental pop-electronica-jazz duo Rimacona labs, Marihiko Hara departs from structured pop-song writing and dives ears-first into ambient soundscapes.

Nanbanjin are a truly global band, with their multi-cultural line-up, (a tri-national trio, if we’re counting Wales as a country), art-work imported from New Zealand, (as were their previous rhythms), and fans from as far-flung as Cairo and Chicago. Their name may literally mean ‘Southern Barbarians’, but as well as taming the Japanese indie (w)hordes, their appeal is far from local, and with their new album soon to be available for free to anyone with a computer and an internet connection, their international appeal looks set to continue.

I recently picked up a copy of fatblueman’s new release Back to Winnipeg. I was in the middle of my second listen when I stopped and sent an email to front man John Janzen to tell him how,