The Mosfets return with “Radio, Turn Me On,” an electric and frenetic garage rock track and the second single to be shared from the band’s upcoming self-titled EP (out May 29th, 2026), following the release of “Take A Chance” on March 6th. Driven by pounding drums, fuzz-drenched guitars, and a euphoric sense of chaos, the track captures the band’s love for playful storytelling while channeling the raw spirit of classic garage punk. It’s a call to action to turn the radio on while also being a sexual innuendo.

The idea for the song arrived at an unexpected moment. While riding to a gig with the band, frontman Keith Mosfet casually asked his bandmate Ilari to “turn the radio on.” The phrase instantly sparked an idea. “I remember laughing because it sounded like a sexual innuendo,” Keith explains. “I’m always looking for interesting concepts to write about, and I liked the idea of blending humour with romanticism.” Inspired in part by the surreal charm of The Who’s “Pinball Wizard,” The Mosfets leaned into the playful absurdity of the concept, leaving listeners free to interpret the title however they like.

The music video was inspired by classic skate videos such as Almost Round 3, Baker 2G, Flip Sorry, and the skate adventure series, Thrashers – King Of The Road. Keith brings his friends, both old and new, to the forefront. Skateboarding deeply inspired many of Keith’s early music tastes, so naturally he wanted to turn “Radio, Turn Me On” into its own kind of skate video.

What makes the track stand out musically is its unexpected rhythmic twist. The song opens with a breezy Bossa Nova groove, a beat drummer Maarten often plays during tuning breaks, before exploding into a high-voltage garage rock sprint. The contrast adds a moment of playful misdirection before the band launches into its signature frenzy.

“Radio, Turn Me On” was recorded the day after The Mosfets’ first show in Hamburg, Germany; a sold-out performance at Komet Musik Bar that set the tone for what would become an incredibly productive studio session. The following day, the band headed to Yeah Yeah Yeah Studios where they recorded with producer Dennis Rux. “The hangover gods blessed us,” Keith laughs. “It ended up being the most productive recording day of our lives.”

To capture the band’s raw chemistry, the sessions were recorded on a Tascam 388 reel-to-reel machine, embracing what Rux describes as a “mid-fi” sound, sitting somewhere between lo-fi grit and polished studio clarity. The approach helped achieve the exact sonic character the band had been chasing: warm tape saturation without sacrificing energy or punch. The technique echoes the spirit of records made on the same machine by artists like The Black Keys, Ty Segall, and Dr. Dog.