NTS Morning Shows

A bright Monday in Flo motion: pastoral guitar and spiritual‑jazz sunrise (Blue Lake; Mary Lou Williams) opens into folk/alt and AM‑pop sparkle (The Waterboys; The Monkees; Sheryl Crow), with lovers‑rock/dub warmth and MPB breeze through the middle (Winston Edwards; Suzan Codogan; Sessa). Late‑morning lifts via art‑pop and classic soul/rock glow (Kate Bush; Commodores; Bruce Springsteen).

Tape‑worn dawn from candle‑lit folk and hypnagogic pop (Sina; Lizzie Hughes; Carla dal Forno) into library cues and minimal‑synth/ambient‑techno drift (Arthur Russell; Blue Chemise; The 7th Plain; Copeland). Mid‑show tilts to On‑U dub shimmer and witch‑house glare (Peaking Lights x Adrian Sherwood; SALEM), settling into a tender indie/folk close (Rosalie Sorrels; Soccer Committee; Chris Knox; United Bible Studies).

Palms Trax cruises through boogie and classic disco into island‑lilt and city‑pop shine: Haitian jazz and Japanese minimal warmth (Gifrants; Masahiro Sugaya; 菅野光亮) open into modern‑soul/boogie lift (Heaven Sent & Ecstasy; Total Contrast; Projection; Clockwork Band). Mid‑show glows with Cape Verdean coladeira/zouk tones (Djuta Gomes; Domingos Mustasse; Grace Evora; Luís Morais), then a gospel‑house pulse and Afro‑boogie/highlife run (New York Seminar Mass Choir; Peter Yamson; Lee Dodou & Kantata; Friction; Nel Oliver) before sunlit city‑pop licks (Toshiki Kadomatsu; Masaki Matsubara; Masayoshi Takanaka).

Jack Rollo opens on devotional hush and apocalyptic folk (monastic chant; Current 93), slipping into long‑string drone and private‑press guitar reveries (Ellen Fullman; Gimmer Nicholson; Daniel Hecht). Blue Lake’s fingerprints glow in pastoral minimalism and tape‑worn songcraft (Kath Bloom/Loren Mazzacane; Maxine Funke), with Carnatic violin raga light (Bhairavi Raman & Nanthesh Sivarajah) and chamber‑string shade (Pauline Hogstrand). The back stretch drifts through kosmische/experimental acoustics and lucid finger‑style (Carl Erdmann; Širom; Josiah Steinbrick; Giovanni Di Domenico) toward a soft, clear‑eyed close.

PAM traces a Thursday dawn from devotional minimalism and modern‑classical hush (Arvo Pärt, Wim Mertens) into ambient art‑song and jazz nocturne (David Toop, Brian Eno, Gerry Mulligan, Patty Waters). Mid‑morning blooms into shoegaze/dream‑pop and Japanese psych glint (This Mortal Coil, Pale Saints, Suishou No Fune), before a club‑wise lift—Tokyo/UK deep‑house inflections and 90s pop‑house classicism (Manabu Nagayama & Soichi Terada, Jimpster; Janet Jackson – Tee’s Club Mix)—cooling in hazy indie feedback (Mint Field).

Thursday lift‑off in Flo motion: a library‑jazz sunrise (Steve Gray) tips into German/Dutch new‑wave and synth‑pop sparkle (Fehlfarben; Spectral Display), post‑punk minimalism (The Lo Yo Yo) and dream‑pop/J‑ambient currents (Fishmans; Masashi Hamauzu). Art‑pop glow threads through (Molly Nilsson; Kate NV; Apple Boutique), before dub‑sweetness and street‑soul sway (Chieko Beauty; Jah Wobble ft. Sinéad O’Connor) land in radiant 80s shine and indie dusk (Madonna “Angel”; B‑52’s; The Cure).

A midweek lift that threads new wave, synth‑pop and leftfield‑pop sparkle, with bright hooks and soft‑focus electronics easing the morning along.

Spirit Blue & Alle trace a dawn glide from hushed ambient and fourth‑world haze into kosmische drift and minimal‑synth shimmer; mid‑morning leans into dream‑pop and post‑punk glint with a dub‑wise, UK club uptick to close.

Flo glides in on cosmic‑library funk and bassline swagger (Rubba; Tonio Rubio), slips into breezy MPB and tropical pop (Marcos Valle; Wanderléa), then toggles art‑pop/new‑wave sparkle and soft‑rock gloss (Virna Lindt; Robert Palmer; Phil Collins). Mid‑morning leans Balearic/city‑pop shimmer and disco‑boogie fixes (Mariah; RAH Band; Candy Bowman), lifting into gospel‑soul and jazz‑funk warmth (Stevie Wonder; Johnny Hammond) with an Americana‑blue comedown (J.J. Cale).

PAM opens on hushed chamber minimalism and modern‑classical drift (ensemble PTYX; Morton Feldman via ensemble recherche), then traces electro‑acoustic glow and J‑underground eddies (Kelly Moran; Ché‑Shizu; Dania). The middle darkens into cold‑wave/neofolk shade (FM Relic; Death In June) before brightening toward jangle and dream‑pop satellites (Rain Parade; Pram), closing on 70s/90s pop‑soul and art‑pop sign‑offs (Nick Drake; Lou Reed; Madonna; The Bird and the Bee; Dusty Springfield).