After the success of her breakout EP, ‘Water-Based Lullabies’, a playful, Zodiac-inspired odyssey through life and love, Mancunian fan favourite Abbie Ozard is back with a bang. The last release hinted at an evolution in sound, and as she starts to release tracks from her forthcoming album, we see all that potential realised as Ozard’s musical and personal growth is laid bare.

Growing pains and the overwhelming first steps into adulthood stand out as overarching themes in this more serious, introspective body of work, in which Ozard explores beyond her bedroom-pop origins and lays bare the vulnerabilities that will resonate with so many young women becoming adults in a complex, confusing and ever-changing world. Even without the transcendent vocals that could belong to no one else, Ozard is present in every second of this album – from musical performances from close friends to samples of old family videos, she is enshrined in this spellbinding debut that could not be more authentic to its creator.

It will no doubt be lapped up by a supportive indie scene that has welcomed and lifted Ozard from her early outings with the likes of Lauran Hibberd, Whenyoung and Phoebe Green. She is also proving somewhat of a press darling, with glowing reviews and features in broadsheets (The Times), indie bibles (The Line of Best Fit, DORK) and music blogs. Radio support is snowballing – BBC Radio 1 are giving Ozard frequent airtime, with Jack Saunders and Huw Stephens offering consistent support and a recent Track of the Week feature for latest single ‘Ford (drive)’ on BBC Introducing. Following her first headline tour in December 2022, this year also saw her first appearance at Glastonbury Festival.

Now Ozard is entering into a new era, of life and music, taking what she describes as a “more mature approach” to songwriting, drawing on her own life experiences, her hopes, anxieties and daydreams, and taking more control in the studio. This new reflection and introspection has allowed the music of Ozard’s childhood to enter the fore, with influences creeping in from New Order, The Smiths, The Cure, Debbie Harry and Bruce Springsteen. Musically, she’s turning to “more natural, organic” sounds, less programming and a focus on the live experience, writing and working with Ben Matravers and Pale Waves’ Hugo Silvani.

Her debut album, Everything Still Worries Me, is set to drop early next year and is a celebration of love and relationships of all kinds – though particularly friendships and sisterhood, which has taken on new significance for Ozard. Lead single ‘I don’t know happiness without you’ perfectly encapsulates the struggle of navigating life in your mid-twenties – it’s a celebration of friendship as a tonic to the chaos, contradiction and confusion of life. Ozard speaks to a universal experience of growing up – of the excitement of striking out on your own, a tension between the urge to let loose and have fun, to be young, the desire to be taken seriously and the guilt of not having figured yourself out yet. A similar thread runs through the follow-up single, ‘Days like these’, which offers timely commentary on the internet as a source of connection but also comparison.

Taken as a body of work, a clear theme emerges, that of being overwhelmed by life. The excitement. The optimism and hope. But also the fear, uncertainty and anxiety. These are themes that reflect a generation grappling with an intimidating, fast-paced world in which connection is everywhere but nowhere – Ozard’s voice will cut through the noise and speak to a cohort of similarly overwhelmed young people wanting, in their exhausting quest to find meaning, identity and purpose, to lose themselves for a while in music.

Ozard will be taking these new songs on the road and no doubt winning an army of new fans, with an upcoming winter tour in the UK and Europe supporting Briston Maroney. New single ‘I don’t know happiness without you’ will be released in September ’23, with the album due early in 2024.

Audio Slugs is a producer from Portsmouth. Starting out in 2015 he quickly established himself in the Grime scene, and his consistency over the years has scored placements with the likes of P Money, Little Dee, Jammer and Hardy Caprio to name a few, whilst also releasing his own feature singles with JME, Tommy B, Coco, Manga Saint Hilare and more.

In 2017, Audio Slugs produced arguably one of the most notable modern day Grime classics titled ‘Back 2 Back’ with P Money and Little Dee, racking up an impressive number of streams across all major platforms and being featured across a range of editorial playlists culminating in the ‘Grime Classics’ playlist on Spotify. After a string of successful placements Audio Slugs worked closely with foundational Grime legend, Diesle D Power, and had a number of releases distributed on his label EB Records.

Although predominantly successful in Grime, Audio Slugs is not just a Grime producer. He can and has produced across a wide range of genres including, but not limited to, Rap, Garage and Drill and as a keen pianist keeps an open mind about breaking boundaries between genres.

Benjamin Haycock blends melodic, percussive and fingerstyle guitar with honest, personal and accomplished lyricism that is up there with the best. He laces this with incredibly tight rap flows and raw, emotive and powerful singing vocals. This is all interwoven to create a truly unique sound with strong character that derives from his personal experiences growing up in inner city Birmingham, and moving to the Devonian Coast in his early 20s.

Starting out, Benjamin was the songwriting front man to a successful eclectic band that performed at the likes of the 02 Academy, which included instrumentation from ‘Little Comet’s’ drummer Nathan Green. In 2018, he released his debut EP called ‘Time’s Transgressions’. Off the back of this, he was announced as one of Fender’s ‘Undiscovered Artists of the Year’ and later played at Ad Week Europe. Throughout this time, his music videos were watched by hundreds of thousands of people on large Facebook platforms’ such as ‘Music Crowns’.

In 2021, Benjamin appeared on ‘The Voice’ and blew away everyone with his original song ‘Restlessness’. Suffice to say, all four coaches turned for Benjamin. He subsequently released ‘Restlessness’ and his sophomore EP ‘Enigma’s Quay’, which both topped the Singer-Songwriter charts. He subsequently partnered with Australian guitar company ‘Maton’ and became one of their prestigious artists and global ambassadors. Some names on their roster include the likes of John Butler, Tash Sultana, Josh Homme, Keith Urban and Neil Finn.

Benjamin finished the year with his single ‘Force for Nature’ which he released in collaboration with The Tree Council’s environmental campaign ‘Be a Force for Nature’. The music video premiered to over 2,500 schools, with the song later featuring within the prestigious NOTION magazine. Subsequently, Benjamin was commissioned to produce a musical composition for a film which was displayed at the COP26 Climate conference in Glasgow. He finished the year with 2.5 million Spotify streams, and over 200,000 listeners.

Benjamin’s latest endeavour was in his single ‘Homeless Winters’, which he partnered with the biggest homeless charity in the UK, Shelter. The music video was filmed/directed by Jonathan Pears, who has worked on some of the biggest films over the years in LA and was fresh off a set with Morgan Freeman and Gerrard Butler. Such was the quality of the video, it was exclusively released by VEVO.

Brighton based Big Spring was originally formed as a three piece in late 2015 by brothers Ollie and Alex Loring along with drummer Chris Steele. Taking influence from 90’s-esque fuzz drenched guitar riffs, Big Spring soon after released their debut single ‘Buzzards Leave the Bones.’

Upon hearing the song, Radio 1 Rock Show host Daniel P Carter made it his ‘Rockest Record’ and labelled the band as ‘the best new band in Britain.’

At this point Big Spring hadn’t played a live show, so they spent the first half of 2016 working on their live performance and writing more material. They then recruited guitarist Jack Rowan, completing the line up as a four piece.

After releasing their second single ‘On a Bamboo Sleeping Mat’, the band were invited to play at Reading & Leeds festival for only their fifth and sixth ever live performances.

This was followed by tours with Black Foxxes, Decade, The Xcerts and Turbowolf alongside various single releases.

The band announced at the start of 2018 that they were recording their debut EP which would be released mid 2018.

Big Jest aka Big J Boogie! Listen Carefully! #Punchline King

Billy Sullivan is a singer/songwriter from Watford. Previously frontman of The Spitfires, Sullivan has embarked on a solo career since the band split back in 2022 – releasing his critically acclaimed first album ‘Paper Dreams’ back in March 2023.

Brand new single ‘Winter Of Discontent’ was released earlier this month, setting the theme and lyrical direction for Sullivan’s new material.

“In our country, the rich and powerful suffer no punishment for lying to us, breaking ministerial codes, profiting from conflicts of interest, stealing from the public purse, breaking the law. While families struggle to pay the bills, children go to school hungry and the working class feel hopeless and defeated.”

“I set out to capture a darker sound to match the current mood. Edgy, electronic but still uplifting”. Recorded at Nave studio in Leeds with Alex Greaves (Yard Act, Bdrmm, Working Mens Club.

Originally formed in 2012, The Spitfires played their final show at a sold out Electric Ballroom in London back in February 2022, a fitting punctuation mark for the quartet who built a cult fan base on their own terms over the past decade with their five albums Response (2015), A Thousand Times (2016), Year Zero (2018), Life Worth Living (2020), and Play For Today (2022).

The band received support from BBC 6music, Radio X, CLASH, Louder Than War, Gigslutz, Classic Rock Magazine, Fred Perry Subculture and many more, with both critical acclaim and their independently-won commercial success underlining Sullivan’s own credentials as a songwriter of exceptional merit.

For North London MC, Capo Lee, music has always been second nature. With a father as a mic man and old skool garage and house lover, a slow jam and reggae enthusiast for a mother as well as a ragga artist as an uncle, it is evident that Capo’s passion for music is indeed one that runs through the family.

Capo’s own personal musical journey began as a pre-teen delving through his Uncle’s CD collection and discovering Hip-Hop through the likes of Dr Dre and Nas; developing his own taste in music. At age 16, Capo took to the decks, mixing on vinyls, DJing on AX Fm with fellow deck master DJ Scope. His first introduction to grime came when his cousin played him a Nasty Crew tape, sparking a new found love that led him to dig further going through more tapes, listening to pirate radio and even making his own tapes. Soon influenced by the likes of Mac 10, Nasty Crew, Begg, Scholar and more, Capo started to take his DJing hobby seriously and began mixing grime. Sacrificing his lunch money to buy vinyls, Capo began holding his own sets at home where he would drop an odd 8‑bar or 16-bar here and there.

Having earned his stripes as a master behind the decks, Capo began to test the waters on the frontline as an MC, participating in various sets from bedrooms to the settings of his local pirate radio station Heat FM, alongside Chip, Scorcher and Black The Ripper to name a few. His new found hobby would find him in the studio once a year, but it wasn’t until the December of 2014 that Capo began to take his career as an MC seriously. Frustrated by the lack of fresh talent in the scene, Capo decided to take things into his own hands and began writing bars again. He went on to hit the studio and make the tune Ain’t The Same which landed a placement on the Grime Forum Compilation after Capo had sent the tune to his friend Kwam. After seeing the positive response his track received, Capo began to build relationships with DJs, attending sets regularly at underground radio stations to practice his skills on the mic.

Capo continued to build a buzz around his name with the release of his take on 666 God before the release of his summer hit Liff which saw him dominate the airwaves, receiving spins on BBC 1Xtra, Rinse FM, Radar and more. The Mystry production that became a viral hit saw Capo Lee position himself as the next big star to come out of the grime scene, becoming one of the most sought for MCs of the year. In no time, Capo Lee became a regular name on line ups, seeing him perform alongside grime legends such as DJ Logan Sama, Chip, Jammer, Flow Dan, P Money and more.

Since the success of Liff, Capo’s distinct flows and undeniable work ethic has warranted collaborations with legendary DJs such as Spooky with their joint EP Welcome to Clartsville and Spyro on the Why Not? mixtape which dropped earlier this year featuring a revolving cast of grime artists. Capo has also collaborated with grime God, D Double E on his trail blazing track Muad and Prez T and P Money on the spinoff of Liff; with his most recent appearance being on P Money’s 10/10 remix alongside AJ Tracey, YGG’s PK, Jammz, Discarda, Coco and Saf One.

It‘s an exciting time to listen to Cam Cole and follow his journey. From the streets of Camden in London his songs, his guitars, his Farmer footdrums and most importantly his followers have taken him across the world. Shows in Sweden, Norway, the Netherlands, an Irish tour, a 20 date UK tour, a standout performance at Festival Vaiven in Mexico which gained him thousands of new fans at the other end of the world and most importantly his first 3-month USA tour where Cam sold out venues in cities he had never been to before are all part of an incredible journey that only two years ago seemed impossible. All these experiences have taken Cam’s stagecraft and musicianship to another level which are at display in his new single “Truth Be Told”. Take the feel from the Mississippi Delta, mix the soaring guitars of White Stripes with the stomp and aggression of Rage Against The Machine, then add the lessons learned after a decade of living on the road and you got a whole new take on these old 12 bars. Mixed by long-term producer Markus Stretz and mastered by Brian Lucey (The Black Keys), dirty rock fans are in for the song that will get them out of bed this fall.

Dutch Criminal Record are an indie surf pop trio from Portsmouth, UK. They have created their own brand of guitar driven surf anthems that have been gaining attention from widening audiences.

DCR have been championed by Tom Robinson of BBC 6, Its All Indie, Amazing Radio, and Radio X.

They have just set off on their current UK headline tour, selling out Bristol Rough Trade on the first night. The past year has also seen them support names such as Sea Girls, Ra Ra Riot and Spinn.

DCR have also received recognition from Spotify Official playlists such as Fresh Finds, Six Strings, Hot New Bands, and Happy Stroll. This has helped them gain a worldwide audience and they even managed to climb into the US Viral Top 50.

The Declan Swans are a comedy Indie band from Wrexham who are passionate about Football and Wrexham FC.

They have been creating popular tunes relating to Wrexham and its wider Community for well over 20 years.
The original concept of the Band was to turn Michael’s poetry into catchy humorous tunes.

Early influences include Paul Giovanni (The Wicker Man) Paul Heaton and Half Man Half Biscuit.
When you put these 3 together in your head, the result is unsurprisingly unique and hilarious.

The Swans had early successes appearing on Channel 4’s ‘The Big Breakfast’ and appearing on Radio 1.

In December 2020, the Swans released ‘Always Sunny In Wrexham’ which transformed them from a local Wrexham/ North Wales Band to gaining Worldwide recognition.

The tune featured heavily on Disney Plus’s ‘Welcome to Wrexham’ series and enabled the Band to expand their fan base to a global audience, including North America and Europe.

The song is regularly played and sung at Wrexham FC fixtures and has been shared on social media platforms by Wrexham FC owners Ryan Reynolds and Rob McElhenney.

ome how a veteran and one of music tasting rising prospects at the same time North West London based rapper/songwriter Dpart has managed to carve his own lane in a heavily saturated scene.

From humble beginnings in the Perryfiled estate in West Hendon Dpart who lost his mother to alcohol at the age of seven while his day was in prison is first to admit that music saved his life.

Workrate is something Dpart has never shied away from being on of the first rappers to appear on linkuptv and sbtvs warm up sessions due to the impact of his concious hip hop.

Since Dpart has focused his attention the dance scene particularly with Drum and bass amassing millions of streams in a relatively short time doing it and creating multiple viral moments across social media it seems like the work is about to pay off in a big way!

Derby based Grime MC Eyez, has been steadily building and crafting his place in the Fashion, Sports & Music scene, and pushing the UK sound forward over the past 8 years. Eyez was ranked 1st on Instagram for the most influenced profile in Derby & 4th over all in April/May 2018

Whether it’s dropping one of his trademark high energy tracks, such as ‘Top Boy’ (Which can be heard on FIFA19), or Modelling for fashion brands, Eyez never fails to deliver. Whilst fully focused on music, Eyez’s infectious lively personality, has also led to presenting and hosting opportunities. After his team were crowned champions of Redbull’s Grime-A-Side tournament in 2016 Eyez was recruited to co present the following year, and he can currently be found as a presenter for Championship club Derby County FC. 

Ellie Bleach is an Essex born, London-based musician with a flair for the dramatic. Her affections lie in the era of easy-listening, with her storytelling lyricism cutting through the narratives of false naivety. Combining sardonic, astute observations with silky vocals and shimmering instrumentals, Ellie’s music is reminiscent of an older elegance without sacrificing its relevance to the sometimes harsh modern reality.

Eva Lazarus is best known for the expert navigation of musical moods through her larger-than-life vocals. Truthfully though, her trajectory is more nuanced than most ‘multi-genre’ artists.

Eva certainly finds joy in dexterity, and spontaneity, and experimentation. She just never felt satisfied expressing herself via any one single genre. Shifting the momentum when a crowd or session demands it is the precise sweet spot in which she thrives, and while the results are often kaleidoscopic (and completely delicious when plated up correctly), Eva recognises the need for continuity when delivering entire album works. Subsequently, she is entering into a new chapter on her creative quest, one driven by career-defining sounds.

Growing up in a house full of music lay the grounding for Eva to become the artist she is today. It gifted her a deeply emotional connection to how different genres make her think and feel and set her on a life-long path of discovery.
The most recent chapter in her songwriting canon feels like something of a homecoming because it hones in on key pillars of her musical upbringing. The result is a wave she has wanted to create ever since those seminal sounds filled her family home.

Starting with voice and guitar, before expanding through breaks, samples, orchestras and beyond, Eva stands at a wonderful crossroads; calling upon everything she has learnt across genres when distilling a new sound that is her most stylistically acute to date.

South London raised artist & producers Ess West and Els (of Poorhouse Studios) command attention from the transatlantic rap world and the UK indie scene alike.

With roots in production for UK rap, drill and emerging R&B artists over the last 3-4 years, they have honed an individual soundscape which is now something they implement in full force through ‘Ess West’s own music and visual experiences, with a string of further releases and production work in the pipeline.

What goes around comes around… After 10 years of grafting and crafting away at the controls, dabbling with a variety of styles from hip-hop to dubstep via grime, London producer Fixate – AKA Declan Curran – is now respected as one of drum & bass’s most innovative, left-sided artists operating around the 170 axis.

Old news: he’s been easing himself into this position since he first officially emerged in 2014 on Diffrent and followed it up with the massive Throwback Therapy EP on dBridge’s Exit. Status galvanised by his role in last year’s evergreen gully project Richie Brains, he’s since delivered two more fizzy fusions in the form of March On and, this week, What Goes Around Comes Around.

Flexing a blend that tastes just as much of techno, house and dub as it does drum & bass, Fixate releases are rife in unusual grooves and never follow formula. What Goes Around Comes Around is no exception. In fact it could be his broadest statement to date as it ranges from the loose-limbed celebration of every roller ever made….

When FEET self-released their debut album in 2019, the group offered up a particularly oblique title: What’s Inside Is More Than Just Ham.

But once fans and casual listeners alike delved into the record, it didn’t take long to realise that the band were offering something far meatier than wafer-slim slices of that eponymous sandwich filling. Instead, here was a record that saw them carving up thick slabs of guitar music that careered wildly between flavours of indie-pop, psych, and even subtle shades of new wave across an exciting and brilliantly unpredictable 35 minutes.

The album attracted acclaim from music titles across the land, but there was praise for the band’s bold visuals too. The video for ‘Petty Thieving’, one of the band’s early standouts, came accompanied by a video that saw them donning armour and chainmail to stage the silliest Medieval fight since Monty Python and the Holy Grail.

Since then, FEET have been slowly readying themselves for a grand return. 2021’s Walking Machine EP showed that their reputation for jagged guitars and spiky lyrics remains firmly intact, while prominent live shows have seen them supporting the likes of Inhaler and even The Rolling Stones at their huge 2022 Hyde Park shows.

But all of it, the band say, has been leading to this: the start of a new era that will beckon in their anticipated second album.

The first taste comes today in the form of comeback single The Real Thing, which bounds along with spiky guitar lines, an endearingly wonky groove, and the razor-sharp pen of frontman George Haverson.

“Am I in-between, something more like a dream, or is this The Real Thing”, Haverson posits on the track.

The answer to his question, you sense, is that it’s very much the real thing in all senses. It feels like a massive step up for a band who are clearly ready to make their anticipated return and grab it with both hands.

As Haverson explains, it’s the sound of a band who have become more regimented with their approach in the search for greatness.

“There’s no throw away ideas on this album and everything has to have its place. It has to be ironed out and perfected,” he says.

“I don’t like to say polished, but it is perfected to a point where everything can be done in its fullest form. I feel like we’ve got 12 complete songs on this album and not 12 ideas. We’ve made the FEET machine and now it’s a case of inserting the right idea and the output is a great song. Before, it felt a bit more like we were throwing shit at the wall. This time round, everything feels a bit more refined.”

One full listen to their second album – the upcoming Make It Up which arrives on Submarine Cat Records – shows exactly what Haverson means.

It’s a cohesive and fully formed record that builds on the sonic DNA of their debut, while effortlessly taking it to the next level too. The first track ‘Better Than Last’ is defined by its flitting guitars and airy groove, while another standout comes in ‘Greasy Boy’ – a charming slow-burner that grows into something quite magnificent.

All of this, the band explain, is defined by a newfound identity and understanding of what the nature of their own friendship as bandmates is too.

“We spend a bit less time together,” he explains – having written their debut album in eclectic places such as a caravan and even a brief spell when the band stayed in a Bournemouth retirement village.

“But the time we spend together is valued so highly. In fact, I wouldn’t say that this album took five years to write. It just took three or four years for us to gel in an entirely different way. We’ve shed our skins and we’ve developed in quite a major way, which I think we need to do before we began working on a second album. Instead, I think there’s a lot of our lived experience in there and that made this album really easy to write.

“Everyone’s roles in this band are so defined now that we’re coming at the same ideas, but we’ve each got our own perspective.”

He adds: “Being in a band is a big chunk of time in your life, but this is a choice we all make, and we don’t ever have to even think about coming back to FEET. It’s like our child, really, and we’re all the surrogate fathers of this band! That keeps us together, this desire to create and make something that’s truly great.”

Another thing that comes across in the record is Haverson’s confidence as a lyricist too. The bold visions of their debut album remain, but it’s tempered with the life experience of a man who has been up to other things in the last five years.

“I saw this whole other side of George in these songs,” says drummer Ben Firth.

They also boast a great producer in Andy Savours, who has previously been behind the mixing desk for some of Britain’s most boundary-pushing bands of the last decade – including Black Country New Road and The Horrors.

“Spending five weeks with him as well as in the studio, it felt like a home from home and he created the atmosphere of the album. He’s the one who created the sparseness of it and added the bells and whistles on it,” says Firth.

And the through-line through it all, they explain, is a desire to create great guitar music.

“When we constructed this album, we wanted to keep it very simple in the way we did everything and that’s because I want people to listen to the album and be able to play it too. I want kids to pick up guitars like we all did when we were 14 or 15 and sit in the practice room and learn them at lunchtime,” says Haverson.
“That’s our whole ethos as a band and our general creative output. It needs to be accessible and repeatable.”

A very welcome return, then, for one of Britain’s most inventive bands, starting a new chapter afresh that builds on the brilliance of their first outing and takes it to a new level entirely. 2024, it’s fair to say, is ready for Feet to stomp all over it.

Los Angeles-based pop artist Brieanna Grace is best known for her energetic live shows and modern grunge style. With lush soundscapes, hints of lofi and big choruses, her music draws influence from artists like Lady Gaga, Sia, Lana Del Rey and Billie Eilish.

Brieanna’s work in live music and corporate events found her performing on the main stage of Heart of Rock Festival, the City Of Houston’s NYE, MGM Grande Casinos, and the Alamodome in front of over 80 thousand people. Playing along side artists such as Alice Cooper, ZZtop, DJ Avelon, Trigger Proof and more.

Soon after, her debut album release “Good Machine” Grace was coined as KTSW radio described, a Pop Sensibility artist.

In a world of Bubble Gum artists, Brieanna explores pop using the darker side of modern life as her biggest inspiration and influence on her lyric content. “We all go through difficult times, heartbreak and mistakes. Someone needs to sing about them in a way that their listeners know that they’re not alone, and that we will get through it together.”

Grim Sickers isn’t your average grime MC. Born in Bristol with a half-Indian and half-Jamaican heritage, he burst onto the scene in 2013 as part of Lord of the Mics V, taking part in one of the series’ most entertaining clashes.

Since then, he’s worked tirelessly to establish himself as one of grime’s most unconventional and distinctive voices, appearing on tracks and sets with other up and coming MCs as well as going bar-for-bar with grime legends such as Ghetts, Jammer and Discarda. 

Making the transition from pirate radio regular to stageshow don, Grim Sickers quickly became known for his electrifying live performances, lighting up stages across the country with his inimitable energy and enthusiasm.

Grim Sickers has also carved out a reputation for writing memorable hooks and rhyme sequences, peppered with pop culture references, a dark sense of humour and incredible detail. His biggest success so far has been “Kane”, the Swifta-Beater-produced single released on the label of Birmingham creative Despa Robinson and legendary The Streets frontman Mike Skinner. The track went on to be featured as KISS FM’s Track of the Week, as well as being spun heavily on Radio 1Xtra and more.

Whether it’s on air at 1Xtra, Rinse FM or Radar Radio, onstage at festivals, raves in the UK or as far-flung as the Czech Republic, you can expect to see plenty of Grim Sickers in the future, dressed head-to-toe in black with a mic in his hand, delivering bar after bar with the swagger and presence of a WWE superstar cutting the promo of his life.

Manchester’s own glue70 is poised to become the soundtrack to modern life: an historically DIY approach has already garnered him over 30m streams (Casin), high-profile industry attention, and a loyal online following. And his newest release, 2070 (Majestic Casual Records), is set to propel him and his signature blend of mercurial electronica (aka “gluestep”) to new heights.

glue70’s sound is a rich musical tapestry: from a childhood of reggae, French house, breakbeat and sampled hip-hop comes this warm and unique intersection of feather-light house and kick-laden R&B. It’s no surprise that Dilla, Doom, Daft Punk and Boards of Canada feature heavily on his list of formative influences – but it may be more surprising that he learnt his craft making music on video editor Sony VEGAS.

Years spent in the visual arts have woven a visceral thread of soft-focus ‘80s nostalgia into glue70’s music; the result is wistful, introspective and undoubtedly human lo-fi breaks. Through improvisation, silken vocals and loop-based music creation, glue70’s deceptively minimal sound flits from house to hip-hop and jazz to disco in inimitably chill fashion. Lean in and turn it up – you’re listening to the future.

Bristol dubstep mainstay Gemmy has been a key figure in pioneering the city’s electronic music identity since arriving on the scene in 2008. His debut release ‘Bk 2 The Future’ on Peverelist’s legendary Punch Drunk imprint was followed up rapidly with the anthemic ‘Supligen’, released on the equally seminal Planet Mu. He has since released work on numerous respected labels including Tectonic, Bandulu, Soul Jazz and Earwax, as well as forming his own label ‘World Of Wonders’; all showcasing the distinctive purple sound formulated and popularised alongside fellow Bristolian contemporaries Joker and Guido.

Following a short hiatus, Gemmy came back to the scene in late 2021 with the self-released ‘We Still’ where he expertly blended his signature purple sound with the UKG stylings of his youth, recruiting garage legends Kie & Troublesome along with rapper Jaz Kahina on vocal duties. He’s keeping up the pressure moving into 2022 with the imminent release of the ‘Irreversible Culture EP’ (featuring fellow Bristol legend RSD) on Infernal Sounds, and a slew of independently released vocal tracks in the pipeline. Known for his melodic funky, grime- inflected rhythms and punchy sub bass lines, Gemmy has long established his position as one of dubstep’s most influential producers.

Harvs Le Toad is a Brighton based MC, producer and Yogocop Records resident.

Idolising Nova are a 3-piece indie pop band from Peterborough. Their big, catchy, anthemic tracks and their great live show has made them one of the most exciting upcoming bands in the UK at the moment. Having supported The Vamps on their European tour and recently signing to United Talent Agency, Idolising Nova are going from strength to strength.

Their latest release “Run Away” has had over 25,000 streams on Spotify as well as being played on national TV and radio. It’s also being played in Accessorize, Monsoon, Dunelm, Carphone Warehouse, Virgin Active, Butlins and more all around the UK.

JyellowL is a conscious hiphop artist/ rhythmic poet quickly rising up the ranks with his thought provoking yet mind soothing music. Based on Ireland, this artist speaks on topics that transcend Irish borders and are relatable to people across the globe. Following his break out singles ‘Life Right Now’ (2016) and ‘yellow thoughts 1’ (2016) he released his debut EP titled “Bulletproof”, a project centered around inspiring mental strength and resilience amongst his listeners through the lyrical content of his music. He speaks about his personal experiences while relating back to the general population. JyellowL makes his intentions clear in the first track of the EP ‘Falling’ by saying “let it be clear im not here to scare I’m here to enlighten”. He has made his intentions for greatness and longevity clear and judging from his music JyellowL is on the right path.

JiKay is a British music producer whose sound is the culmination of a broad music taste and influences from living in both the UK and US. His music brings together influences from rap, electronic music and R&B. In 2012 JiKay founded ‘All Trap Music’, a Youtube channel (then later, label and live events brand) devoted to showcasing the best in new Trap music. After launch the channel grew rapidly, amassing millions of views due to popular tracks from Flosstradamus, Baauer, UZ, Hucci, Stooki Sound and more. This ran alongside the growing popularity of JiKay’s own material that went on to gain him support from Earmilk, THUMP, Complex, Mistajam, Trap City, BBC Radio 1Xtra.

Alongside his own projects, JiKay has recently been producing records for a variety of other artists such as Novelist, Jazz Cartier, Thouxanbanfauni and many more.

Looking towards the future, JiKay wants to push himself even further by delving deeper into his sound and creating projects that take listeners through a journey of his life sonically. He aims to work with more vocalists and producers to create things people have never heard before.

Multi talented, multi genre artist Jafro brings a huge host of flavours to the table. Leicester based but of Scottish and Guyanese descent, Jafro manages to create a gratifying fusion sound – effortlessly tying together elements of Grime, Afrobeats and R&B and lacing them with his sultry vocals and raw rap style.

Jay0117 is a Bristolian artist who made a name from himself in the grime scene. He has performed all around the world. After tearing up Redbull’s ‘Grime’A’Side’ then going on to clash on the famous Lord of the mics Platform in London, Jay0117 has well and truly put Bristol grime back on the map. Jay0117’s showed versatility over the recent years, doing other genres of music including drum and bass and hip hop. Jay0117 owns a label called ‘Cheese&Bread Records’ – #Bristol2TheWorld.

For the under-represented and the misunderstood – for those who’ve always felt out of place in their towns, in their bodies, in this world – King No-One want to offer a safe space to come together and celebrate difference.

“Our drive from the beginning came from trying to prove there’s an alternative way to do things in society as opposed to this traditional, masculine way of living,” begins vocalist/guitarist Zach Lout. “A lot of my early songs were about feeling like you don’t belong to earth, so we want people to really champion themselves and have this ownership over their own identity.”

Initially starting life as an important childhood friendship between Zach and guitarist Joe Martin, from the beginning the pair’s bond was an integral lifeline in a small Yorkshire town that offered few others. Both are neurodivergent, and Zach recalls the difficulties of growing up in a community with little understanding of either’s point of view. “It wasn’t a particularly supportive town or very diverse in any sense. Joe was the only other person who understood me and I understood him; we both offered what each other was missing,” he explains. “Our relationship is more like a brotherhood than a friendship.”

Songwriting, he continues, swiftly became a method of escape. Collaborating as a duo from the age of 11, Zach speaks of the writing process as one that would help untangle the web of emotions stemming from his then-undiagnosed ADHD; “You can get completely lost in your imagination with ADHD. It comes with quite a lot of emotional confusion, and writing has this absolute clarity where what you write becomes this puzzle of what you’re actually feeling,” he explains.

“Because I’m quite a feminine person, it manifested in different ways to your more typical masculine ADHD. I always found that I never fit in at all, and never understood men, but was a lot more at peace with females and a feminine mindset which made me quite ostracised in school. But that ended up giving me a desire to be more flamboyant and own it, which then began to influence the songs quite heavily.”

Along the way, the pair had invited drummer James Basile to join the fold. Having already begun to take the band they’d christened King No-One for its egalitarian principles (“It’s about the idea that no-one is above anyone else, no matter your gender, sexuality, race or anything”) seriously, the then-17-year-olds decided not to buy tickets for that year’s Leeds Festival, convinced they’d find a way to play. A few months later, having won a battle of the bands, they were on the Leeds stage with a renewed belief in what they had started to create. “That small action was enough for us all to have full confidence in us as a band,” he nods.

If there’s a second thread that weaves itself alongside King No-One’s (completed by recently-joined bassist Rob Gration) message of hard-earned self-celebration, it’s one of an equal sense of hard work and determination. Having had a taste of success, but with no financial backing or support behind them, the band decided to take matters into their own hands, busking on the streets of York and building a fanbase in the most grassroots way possible. The money they made went back into the band to fund recordings; by the time they’d put some early songs online and announced a self-promoted gig in a small local venue, they’d already earned a following that was queueing down the street to get in.

“The shows went from 100 people to 600 people in no time, and before we knew it every show was selling out,” Zach says. “York’s a funny place but it just seemed to connect with people, and then that moved over to Leeds and Manchester and London and everywhere we went. When we sold out the [1,500 capacity] Ritz in Manchester we thought, maybe we don’t need to still be busking?!”

Yet though their busking days are over, the frontman credits those early years as integral to shaping the unstoppable live force that King No-One are today. Playing endlessly taught them to be tight and streamlined, whilst moving onto ‘proper’ stages gave Zach the opportunity to lean into his role as a performer with a platform and a voice. “The most important thing is that people who come feel part of something, that these shows are giving them a real sense of power,” he says. “I don’t want to be celebrated, I want the people at the show to be the stars and the heroes in their own stories, and that’s where the new music comes in.”

And so to forthcoming EP ‘Dead Hotel’. Having drip-fed a series of singles over the past few years following 2019’s debut ‘OOMM’ EP, the release marks the first step towards King No-One 2.0. The signature infectious pop-rock riffs and stadium-sized hooks are still present and correct, but this time, following a productive period in which Zach earned himself a Masters in songwriting, everything is souped up – from the probing lyrical world he creates to the ‘80s goth-indie drama that tinges its wares.

“We’re trying to create a little world with this EP, from the songs to the imagery to every idea that comes out – it’s all come from us,” Zach enthuses. “When you listen to that vinyl, you’re opening the door to the Dead Hotel and you can hear these concepts of nihilism and ego death and fragility. They’re the pillars of your typical societal human male all shattering because they’re a construct anyway.”

From the euphoric synths of its title track, via the tongue-in-cheek probe into the fragile mental ecosystem of the performer on ‘I Am Jesus’, via the existential earworm of ‘Forever Young’, ‘Dead Hotel’ is a place to spend the nights until the band’s long-awaited debut album arrives in due course: “a step,” says Zach, “towards the universe” that people can expect from that release.

However, having become the first unsigned band to ever get booked for the NME/ Radio One stage at Reading and Leeds; having nurtured their fanbase from nothing to selling out shows up and down the country whilst remaining completely independent; having cultivated and built a band that really means something, not just for its members but for all the fans that are also seeking something truer and better from life, expectation is something that King No-One are never ones to be bound by.

From the outskirts of Manchester, living with his single mother and two brothers – Kinkai’s music reflects his witness to poverty, social, and various family issues. Taking influence from his Jamaican and Sierra Leonean roots, the rapper’s ear became attuned to a wide range of West African music, Reggae, Jazz, and Hip-Hop. Highly fascinated with his mother’s vinyl collection and the obsession with creating, he would eventually make his own. Originally gaining popularity via a Soundcloud freestyle atop Tom Misch’s ‘Windmills Of Your Mind’, hard work and persistence allowed for Kai to be found performing at Outlook Festival in Croatia as well as prominent stages in the UK. Such  demand saw Kai independently launch ‘Roll The Dice’ in 2017, before his sophomore release, ‘Mellow Mermaids and Malibu’, which fetched over a million streams online.

The 0161 resident releases his indisputable project “A Pennies Worth.” Meticulously produced by long time glue70, the album features Children of Zeus, [K S R] & Blue Lab Beats amongst others. Bandcamp described this LP as “an impressive collection of chill hip-hop tunes with breezy hooks and gorgeous, jazz-infused production” Due to his heartfelt discography, the witty wordsmith has attracted the likes of Majestic Casual and intends to take his music beyond the UK Shores! KinKai continues to carve his way as a bonafide gem of UK underground HipHop. With a rich sense of quality “A Pennies Worth’ is another priceless piece to the puzzle.

KeepVibesNear is an alternative R&B artist from London. With the looks of a 90s R&B superstar and a delivery that owes more to King Krule than to D’Angelo, KVN is different. Raised in Romford with family ties in Nigeria, he calls his music “noir R&B” due to the low, melancholic vibes.

His mixture of lyricism and a sultry melodic sound makes for honest and heartfelt listening. With the theme of troubled love running through the river of KVN’s story, he brings a refreshing vulnerability to his music.

Laura Greaves is a singer-songwriter who began her music career in 2016 with her debut EP ‘High Tide’. It was written in her bedroom, just after she dropped out of University and was living back at her family home.

‘High Tide’ gave her the confidence to pursue music full-time and since then she has been writing and recording alongside other artists and producers.

In 2018 Laura was part of the ‘Flux Pavilion Presents: Earwax’ album alongside producer Khwezi with their track ‘Fragile’, this threw her into the world of EDM. She was featured on Suicide Sheep’s YouTube channel and received over half a million views from his large following, and in 2020 ‘Fragile’ passed one million streams on Spotify.

She is now working with Circus Records to release an EP in 2021 that showcases how her sound has evolved since her first release. 

As a rapper, author, producer and co-founder of record label Blah Records, Lee Scott has been described as ‘an integral part of Hip-Hop in Britain’, with reviewers praising his albums for their ‘thick layers of peculiarity’ with ‘contradictory and self depreciating satire’.

He has been making Hip-Hop since 2003, and followed on from this by starting Blah in 2006. As well as Blah artists, Lee has worked with veteran rapper Jehst on his label YNR and has released music on High Focus Records. In early 2020, Red Bull selected Blah Records as one of its ‘seven UK-based independent labels worth shouting about’.

Returning with new music, stalwarts of the indie live circuit Louis and The Shakes continue to evolve, yielding a darker soundscape of arrangements and pop sensibility.

Written over the last year, these 5 new singles will be part of the “Everything That Glitters Isn’t Gold” EP, a glaring introspection with scintillating sounds, contemporary production and deep meaningful lyrics that all together display a band that have matured immensely since their debut LP “How Badly Do You Want It?” Louis and The Shakes have transformed into a new beast which will surely see them propelling into more mainstream audiences as 2023 rolls out.

Manish Khullar / Maniscooler. English born mix engineer and music producer, with indian roots. Born in kent and raised in leicester. Influenced by synthesizers and ethereal soundscapes from 80s music and the roots of his punjabi background. Maniscooler started making music at 14, and mainly focuses his production towards pop, r&b, soul, trap , grime and drill.

Producer, singer/song-writer and multi-instrumentalist MAX RAD has been putting out self-reflective and heartfelt electronica alongside deeply emotional lyricism for the best part of 3 years. With a string of very well received singles and a double EP entitled ‘Save Me From Myself’, Max’s self-produced works have been championed by the likes of Annie Mac (BBC Radio 1) and John Kennedy (Radio X), as well as strong playlisting across all streaming platforms, and have led to sold out shows in the UK and Germany, as well a BBC Introducing live Session at London’s Maida Vale Studios.

Brought up in the rural setting of Stroud in Gloucestershire, Max began writing and recording songs aged 6. Moving to London in 2018 and working out of anywhere he could find to set up, Max began producing, co-writing and mixing for other artists, including UK Dance music royalty Faithless, as well as Nathan Ball, Icarus, Laura Welsh, Havelock and Elle Yaya. When writing music for his own project however, Max sought out the peace that he was used to from his childhood, often disappearing down to the coast of Devon allowing for less distractions and therefore reaching much deeper places emotionally. With a love of electronic music, mixed with a passion for words and melody, this combination of melancholy lyricism and upbeat production is what separates Max from the crowd.

Now Max is living in Cornwall, with COVID-19 disrupting what would have been a busy year of live shows, he has escaped the city and is concentrating on producing new material and working remotely on various other projects, with new releases in the works for 2021. 

DJ / Producer Mystry hails from Birmingham and cut his teeth on the airwaves of legendary city-centre radio station Silk City.

A pivotal moment for Mystry was his track ‘Pulse 8’ getting it’s first play at the Red Bull Culture Clash courtesy of Boy Better Know, during the infamous moment where Skepta was joined on stage by Stormzy. Since then, Mystry’s music has gone on to receive heavy support from Huw Stephens, Annie Nightingale, Mistajam, Sian Anderson, Logan Sama, DJ EZ, Sir Spyro, Toddla T, Maximum and many more.

‘Pulse 8’ was premiered ahead of it’s release on i-D Magazine’s Soundcloud, and further success came when it was voiced by JME for the opening track on his latest album ‘Integrity’, which reached number 12 in the UK album charts. The instrumental was used again by Jammer with an all star grime lineup for ‘Royal Rumble’, the lead single on the latest Lord of the Mics compilation; and another Top 20 album position.

Mystry then struck again with Boy Better Know on the Skepta lead track ‘Athlete’, with a feature video from Matt Walker. On top of this, he has been making music & collaborating with various companies such as Wagamama’s, Nike, LOTM and Nandos, and has produced music for artists such as Ocean Wisdom, Durrty Goodz & Foreign Beggars to name a few – meaning he is more than just a Grime producer as some would assume.

Just as at home behind decks as he is in the studio, Mystry has already made his Boiler Room debut and played Fabric Room 1 at their 16th Birthday weekend, their rooftop with Big Narstie & Izzie Gibbs, Reading & Leeds Festival, House Of Vans, Lovebox, Bestival and Parklife.

2019 saw the continual rise of Mystry as he was selected as one of ’22 most influential young stars of the future of Birmingham’ and placed on an amazing permanent mural in Digbeth. He ended the year being responsible for producing ‘Lowrider’ ft. Ocean Wisdom & Ghetts which was placed on ‘NBA 2K21’. 2020 rounded off with Mystry producing the Pepsi Max Christmas advert, and 2021 awaits eagerly for his anticipated collaborative album.

UK based, multi genre producer MNKN has been writing music since he was 13 years old, growing up in bands and learning the craft of playing instruments, writing and recording songs. Over time, this evolved into producing music and lead him to work with local rappers in the North of England. After years of experimenting and developing his craft, he started to find success in working across genres including UK Rap, Grime and EDM Trap.

After several years of steady growth and dedicatedly sharing his process online, he started to attract attention from the likes of Timbaland, Martin Garrix and Professor Green – leading to his first major record label single in 2020, ‘Grandmotha Grave’ by Kevin Gates (9+ million streams).

MNKN has also produced music for household brand names such as Adidas, Braun, and Sky TV, and shows no signs of slowing down his winning streak.

Hailing from Adelaide, Australia, Nelson Dialect has been on a determined path to pursue his craft across the map. Cutting his teeth in the freestyle battle circuit at just 13 years old Nelson has been writing, recording and touring his own music since he was 16. He has received critical acclaim for his work with producer Must Volkoff and their album ‘Magnetism’ which was played on Eminem’s radio station Shade45 by DJ Premier and DJ Eclipse respectively.

For the last 3 years Nelson has lived and worked in New York releasing music with Bronx label Red Apples 45 started by AG of DITC and Ray West. Before moving to New York, he toured extensively in Australia supporting some of the biggest international Hip Hop acts including Mobb Deep, Lupe Fiasco, Ghostface Killah, Gza, Rza, Pharoahe Monch and DJ Premier among many more.

In 2019 he toured Europe with French producer NuTone. His album ‘Opal Mind’ released in August 2020, with NuTone hit number 3 on Australian Independent album charts and was included on Bandcamp’s new & notable list received widespread critical acclaim. In June 2021, Nelson released a full length album ‘Time Means Nothing’ with Bronx producer Ray West on the iconic NYC Hip Hop label Fat Beats.

After his time in New York and abroad sharpening his penmanship and live show performance, Nelson has connected with UK producer Mr Slipz who he sets out to release new music with in 2022. With an already decorated list of achievements and acclaimed releases under his belt, Nelson sets a relentless creative work ethic for himself which indicates there is no limit to where will take his craft.

Nia Wyn grew up in a small seaside town in North Wales. Despite breathtaking views, she found herself battling with demons relating to isolation, identity and mental health. In local junk shops she sought solace in old soul records discovering the likes of Billie Holiday, Bob Dylan and Marvin Gaye to hip-hop artists such as Nas and Lauryn Hill. Nia took inspiration from an eclectic range of music, helping her craft her unique story-telling abilities into her songwriting. Blending that with her unique and raw vocals, it instantly puts her out there as one of the top emerging female artists coming out of the UK.

Nia’s music has gathered plays from BBC Introducing, BBC Radio 1, BBC Radio 2’s Blues Playlist and Reprezent Radio, been featured by Fred Perry Subculture, CLASH and EARMILK, as well as playlisted on Spotify’s ‘Jazz UK’ and ‘Sweet Sunday Soul’. Tipped by Huw Stephens as one of BBC Introducing’s ‘ones to watch’ in 2019 after opening for Paul Weller and Paloma Faith, Nia has had 3 tracks make the BBC Introducing Hotlist. Off the back of releasing her debut EP ‘Love I Can’t Ruin’, she will be joining Paul Weller on his sold out UK tour in March 2021.

Singer, model, videographer, rapper; there is seemingly no end to Nah Eeto’s talents. The Nairobi native has spent the last couple of years bridging the gap between Kenyan and UK Hip-Hop, creating a fusion style of rap which draws on influences from both cultures. Tracks like ‘Judge Judy’ have shown how effective that blend of styles is, bringing a refreshing new energy to the UK scene in the process. That energy is forged in part by Nah’s production choices, which display an experimental and exploratory flavour. Her bilingual bars also play their part in Nah’s appeal, as she seamlessly switches from Swahili to English. A multi-talented force to look out for.

Formed from corners of the UK’s industrial second city, this midlands four piece came together at a young age with an undying desire to create. Some 3 years later, they have surpassed every milestone and expectation and are putting the region back on the map. Riding in the wake of Editors and Peace, overpass combine influences past and present to create an entirely fresh take on indie. Their precocious clarity on the world captures the essence of their generation, trapped in helplessness whilst experiencing the same lust and heartbreak as generations before.

Baldeep Ghuman (born March 7th, 1991) professionally known as Prince Baza is a British record producer and studio engineer with over 90 million streams (combined) to his roster.

He has produced popular hits such as “False 9” by AJ Tracey, “Capri-Sun” By AJ Tracey & Chip, “How It Goes” by Remtrex, “Daily Duppy” by Mowgs, “A Girl From Erdz” By Mowgs and many more. Baza has also collaborated with popular urban artists such as Hardy Caprio, Bad Boy Chiller Crew, Wiley, Prez T, Bossman, Big Zuu, Jaykae, Milli Major, Meridian Dan and Moelogo..

Aswell as production, Baza has helped craft many talented upcoming artists around the East Midlands by recording and executive producing their projects. Making him become a household name in the music world.

Formed in Bristol, UK, Profiler is a three-piece nu-metal band that has been pushing the boundaries of the genre since the band’s formation. Signed to SharpTone Records with their own distinctive blend of raw aggression, infectious hooks, and emotionally charged lyrics, the band have carved out their own unique space in the music scene and have built a devoted community that resonates with their cathartic sound.

Emerging in late 2019, it didn’t take long for the London and Manchester group REAVE to establish themselves on the popular music streaming platform Spotify. The self released debut single ‘Get to know Me’ has so far become a fan favorite, with streams to date comfortably into the millions. Eager to keep up momentum, the synth-pop trio released their energetic second single ‘Arms Length’ in 2020, bagging the band their first spin on BBC Music introducing. With five singles already under their belt, the band are set to release more material throughout 2022 and beyond.

Blending classic reverbed guitar, nostalgic synths, and punchy electronic drums, it’s no secret REAVE’s sound has been influenced from the 1980’s pop revolution, but far from a tribute; the band have captured a fresh take on the era by combining modern vocal styles and current music production techniques. This unique balance has allowed the band to write in a wide range of styles, while fundamentally retaining what makes them stand out.

Having already sold out crowds in some of the country’s most well known venues, including Manchester’s Night and Day Cafe, Brixton’s Hootananny, an appearance at El Dorado 2022 gave the band their eagerly awaited festival debut.

Born and raised in Newham, East London, Rosé is the latest in a long line of talent to hit the UK music scene. Curating a versatile blend of rap and UK Drill, Rosé has a distinctive sound that will undoubtedly grab the attention of many.

Having previously showcased his versatility on his releases to date, it is evident that the Newham native is set for higher heights. Unburdened by his skill to deliver varying flows and content, Rosé captivates the listener and enables them to lose themselves within his refined bars and wordplay. With more music on the way, 2022 looks set to be a breakout year for Rosé.

Following on from the recently released “Live at Cult Studios” EP, and his extensive world tour (including a groundbreaking performance at Glastonbury Festival), the grammy nominated musical / socio political powerhouse, that is Seun Kuti presents us another new release, however this time, it is like nothing we have ever heard before from the frontman of the Afro Beat movement.

As mentioned in his interview on BBC Radio 6, this new release sees Seun delving back into his 2018 grammy nominated album ‘Black Times’ – presenting a handful of scorching hot new Hip Hop versions, featuring none other than Roots frontman and MC extraordinaire Black Thought – carrying on the musical camaraderie discovered on Common’s groundbreaking smash single ‘When We Move’.What follows is the perfect marriage between blistering verses and the powerful call & response of Afro Beat.

As first seen via exclusive premiere on the esteemed OkayPlayer platform as well as being selected for the FIFA 23 video game soundtrack – The triumphant first single; ‘Kuku Kee Me’ is setting the airwaves ablaze, clocking over 74K streams in a matter of days and priming a hungry audience for the next instalment of this new infectious Afro Beat / Hip Hop hybrid formula.

At only 3 tracks deep, this EP follows the ‘less is more’ trope. The duo have brought together a tight cohesive package. including the rapturous call to arms ‘African Dreams’ which sees the two artists take a militant approach to the scorching rhythm as well as the summery/feel good vibes of ‘Bad Man Lighter’ where you can literally feel the hot Lagos air coming through the speakers and tales of ‘Sparking Revolution.

Stray Ghost is Anthony Baden Saggers; a composer, musician and producer based in Brighton UK.

During a highly prolific decade of music making in which every album seemed to top the last, Anthony has released albums on a variety of labels, self-released several ambitious projects and featured on compilations alongside artists such as Peter Broderick and Nils Frahm.

At the age of 31 his discography stands at an already impressive 12 full length albums, and numerous other releases.

Despite having no formal or classical training and coming from an underprivileged background, Anthony creates elegant soundscapes hovering on the border between classical and experimental and capable of affecting an immediate emotional connection with the listener on an incredibly deep level. From the earlier ambient minimalism of Nothing But Death, through the contemporary pastoral sound of Those Who Know Darkness, See The Light and the two hour long So Much To Remember, So Much To Forget up to his recent masterpiece A Shade Under Thirty, Anthony is a restless spirit, his music evolving in texture and scope, exploring global and social issues with a personal, intimate resonance which is truly, truly unique.

One of the leading young voices of serious and challenging modern British music; he is someone who takes his work very seriously and who also takes a very active approach to forming a dialogue with the anguishes of the society around him; both in his music and otherwise.

Broaching subjects with unmistakable honesty, UK rapper Skeamer documents life in Battersea, south west London. Whether he is lamenting the past, recounting the present, or prophesying the future, Skeamer shines a heavy light on the many challenges he and his peers face on the notorious Winstanley Estate in Clapham Junction. Delivered with lyricism that can resonate with even the further removed listener from his own environment, he embraces hardship and narrates that this is where the foundations of unbreakable social bonds are forged. 

The idea of the ‘difficult second album’ often revolves around building on the foundations of your debut record, and slowly making steps forward. For Ethan Barnett – aka Ten Tonnes – though, it was more a case of taking stock and reflecting on the past chapter of his career.

Barnett released his self-titled debut album as Ten Tonnes in May 2019 via Warner Bros, before embarking on sold-out tours and a summer of festivals on the back of an immaculately-produced pop-rock record which saw him work with The Maccabees’ Hugo White and Dan Grech.

In September of that year, Barnett stopped working with Warner, and an all-encompassing stock check followed. Just days after the news, he headed out on a European tour, which he says was a “really really tough” experience. At the time, I thought, ‘What am I doing? What the fuck is going on?’” he says, before taking time off at the end of 2019 and into 2020 to examine his next moves.

Moving back to his hometown during the first six months of the pandemic, Barnett slowly began writing music again, a process he likens to his early days as a teenager, making music in his bedroom for no-one but himself, blocking out the idea of any outside input. “Last year was really important for me personally,” he says, “just to have a break and sort myself out a bit.”

When he did start writing, the revelations poured out, and his next steps became more concrete in front of his eyes. Since then, Barnett has launched his own record label, Silver Heat Records, with a five-track EP due in the summer, and his second full-length album set to follow in early 2022.

“It’s given me the creative freedom to do whatever I want,” Barnett says of his new independent status, with the time he took off allowing him to reflect on the whirlwind period of his debut album, and digest the personal growth that came off the back of it.

Barnett says: “I think regardless of what job I had, if you’re in your early 20’s you’re just working out what you want to do and who you are. I got signed at 19 years old, and it was nice to just have a bit of a break and think, ‘Okay, who am I? What do I like? What don’t I like? What do I actually want to do next?’”

The song that leads the charge for this period of growth is the new EP’s first single ‘Everything You Got’, which sees Barnett making a fierce statement of intent for his future, and throwing everything he has at it. Influenced by the “massive” sounds of ‘80s power-pop and new wave, the track encapsulates the singer’s commitment to full-blooded passion.

Describing writing the song as “a really cathartic experience,” Barnett says: “Looking back on it, it’s about that period of time where I was completely lost, and then reevaluating everything. It’s like, ‘Just go for it and stop thinking so much.”

Thriving with the increased control of being an independent artist – Barnett is commissioning his friends and peers to work on artwork, videos and other material for his upcoming music, and working with a trusted inner circle of collaborators and producers – the last year has seen Ten Tonnes reflect upon the hurricane-like exiting of his teens in the major label ecosystem, the freedom that comes with deciding to do things yourself instead, and the bonuses of slowing down and trying to work yourself out.

“I’m proud of myself for going through all that stuff,” he reflects. “Regardless of music, you still need to work on yourself and grow. I’m in a really creative, fulfilling place.”

At the age of 18, Zac Skinner left home for the bright city lights of London with only his guitar for company. Inspired by the likes of The Jam and Frank Carter & The Rattlesnakes, he grinded away, called on some favours, and did everything he could to make the band a reality. Although operating entirely independently, the band gained early traction with support from new music champions This Feeling, an early tour supporting The Libertines, and three self-released albums.

The band’s line-up changed over time, but with the final line up of Joe Fisher (guitar), Perry Meadowcroft (bass) and Alfie Clayton (drums), the band started to rise to the next level with an array of tastemaker tips and airplay across the likes of 6 Music and Radio X. Their shows with Kasabian and The Streets saw The Skinner Brothers raise their profile from an underground tip to show that they have everything themselves that it takes to become the UK’s next essential guitar band. Although headline shows have been limited due to obvious restrictions, they sold-out two London shows at the 100 Club as gigs returned in late 2021.

With swaggering indie anthems such as ‘Iconic’ and ‘Put Me Down As A Maybe’ plus huge reactions supporting Kasabian and The Streets, The Skinner Brothers spent 2021 establishing themselves as an essential new hope for British rock ‘n’ roll. Highlighted at #5 in The Sun’s Artists to Watch in 2022, the band capitalise on their rising status as they today (17 Jan) announce that their new album ‘Soul Boy II’ will be released on February 18th.

Collectively, ‘Soul Boy II’ provides a sonic snapshot of young culture in contemporary Britain. The album features numerous of the fan favourites and live staples that the band have established their reputation with, including ‘Low’, ‘Culture Non-Stop’, ‘Mountain High’ and an acoustic take on ‘Away Days’. But there’s plenty of essential new music for fans to discover too, whether it’s with the baggy, indie-dance grooves of ‘Way Too Far’, the power-pop bounce of ‘1000 Reasons Why’ or the groove and grit of ‘Give It All To Me’.

The Clause are a four-piece from Birmingham who bring together the swagger of the 60s, the rolling groove of the 80s and the riotous verve and attitude of the 90s. Pearce Macca (front man), Niall Fennell (drummer) Jonny Fyffe (bassist) and Liam Deakin (guitarist) effortlessly combine huge hooks with gritty verses, indie sensibilities and rhythm and blues groove and melodies to create an altogether different beast.
The music defies categorisation, rolling seamlessly from crashing percussion to huge, swinging bass. There are epic singalong choruses destined for stadiums and packed festival main stages, and darker, edgier moments evoking late night cruises down dingy back streets. The band have been together since they were kids and they have matured into one of the UK’s most exciting new bands.
They are about to embark on their latest headline UK tour, taking in cities up and down the UK and iconic venues, on the back of the critically acclaimed release of live favourite Hate The Player, a strident, shouty monster anthem about sex, love and modern life – and strong, strong women.
The band also hit the road throughout the autumn and winter of 2022 supporting The Reytons, on their sold-out nationwide tour, following main support slots for the Pigeon Detectives, DMAs, The Enemy and The Snuts.
They completed a 16 date solo national tour in March 2022 and then embarked on a series of gigs to finish the year with a seven date solo tour culminating in a sold out 1300 capacity home town gig in Brum at the O2 Institute in late December.
The band have been featured, to date, on Radio 1, 6, X and XS as well as Soccer AM & Clashmusic.com. They were also honoured to play on Radio 1’s Big Weekend last year. In 2022 they released the single Electric, which has been played across BBC Radio Leicester, BBC Radio Derby, BBC Radio Nottingham, Student Music Network and more, and they followed this with their summer release Forever Young in July.

Previous to this, two singles have reached No1 in the iTunes rock chart and just outside the Top 20 on the main chart and they have been playlisted by Spotify on All New Rock, Deezer’s Hot New Rock and YouTube’s Your New Alternative Playlist. The last three singles have witnessed real growth with over 4million streams and 65k monthly listeners. There are plans for a release in early 2023 with a high-profile collaboration in the offing later in the spring. Watch this space!

The Clause have had extensive support across all media – Soccer AM, BT Sports, This Feeling, Gigslutz, Band of the Day on Maximum Volume Music and Scottish Music Network among many others, plus a cover feature in the Sunday Mail and two-page interview on the Daily Record. They have also recently been awarded the BMA ‘Best Band’ for the second year running, as well as ‘Best Indie and Alternative’ act.

2023 is off to a flying start in the press with strong support across the UK for the Hate The Player release and the tour around it, from a coveted Clash Music video premiere to a Scottish radio tour and major national press features with the likes of Sunday Mail and Daily Record.

To find out more about The Clause check out the following links or search for them on Spotify.

Spotify:
https://open.spotify.com/artist/7KpYPnMoADYtIMt1XPvmzZ?si=D6y8CRNQRUqWD3F-SZKgOQ

Apple Music:
https://music.apple.com/gb/artist/the-clause/1080747114

Youtube:
https://www.youtube.com/channel/UCt67eHe_NOt3XHCbhzo9x3Q/featured

Press & The Industry View:

Perry Farrell – ‘When I talk to some musicians I can tell they’ve been touched by God, some, God has given them a back message and the CLAUSE – I think God really sunk his claws into them.’
Geoff Ellis – TRNSMT and DF Concerts – “The Clause have really got something and they’re a band I am excited to work with. It’s only a matter of time before their dream of playing TRNSMT comes true.”
Skream – “I think as a band they’re cool as fuck.”
Simon Foy, Nordoff Robbins – “One of the most exciting bands I’ve heard in years – The Clause are going places. The single and video are incredible, they really stand out. I have no doubt they will be winning awards in future!”

Chris Beltran DF Concerts – “From the minute I first heard The Clause’s music I knew they’d be a band that would matter to people. Catchy indie rock anthems delivered with an effortless cool.”

The Sunday Mail – ‘The new feelgood single is the perfect time to get us all dancing out of lockdown’

The Birmingham Music Awards – The biggest winners of the night, best band, best indie band, best single’

Welcome to the world of The K’s. If you’re unfamiliar with one of the biggest underground success stories in rock & roll, make yourself at home.

If you haven’t encountered their impassioned bangers, catch up: The K’s have sold out their headline tour months in advance including the iconic 3000-capacity Manchester Albert Hall. They’ve opened the MainStage to a staggering 8000 people at Neighbourhood Festival, opened the Isle of Wight Festival MainStage and are set to join the ranks of music legends on the MainStage of Reading and Leeds Festival 2022. Their streams are comfortably in the millions- not bad for a band who’ve only released seven singles. Their gigs are a guaranteed riot, but that shouldn’t overlook the sophistication that gives The K’s the immediately identifiable blueprint all special bands soon develop. Debut single Sarajevo is one of the few rock & roll songs to namecheck Austro-Hungary, notching up over 3 million streams in the process.

As singer/guitarist Jamie puts it: We’ve crafted our own sound. Even if I’m not singing, you’ll know it’s a K’s song. We want to leave a legacy, to be more than just a band. I’ve seen it with my dad’s love of The Jam, where it becomes a lifestyle for people. We want it to be so much more than just listening to the music, it’s developing so that everyone is united, in a room with three thousand other people who share a common interest, all having a mint time. That’s what The K’s are about.

The K’s began in earnest with frontman Jamie and bassist Dexter growing up together, from nursery all the way until present – in and out of bands together through their school years. When Jamie met Ryan, who’d already shared stages with huge bands including The Who, The Killers and Aerosmith as a session guitarist in his brother’s band Slydigs, that’s when things started to click. Although Ryan was living the dream of enjoying one big party while playing arenas and the biggest stages around the world, he wanted to seek out his own creative outlet in joining The K’s. The missing piece was session drummer JJ, a dream drummer equal parts John Bonham powerhouse and Reni fluidity. We had nine other drummers due to audition, but there was no point seeing anyone else. As soon as he played, we were like “How has he just done that?”

The signs were there straight away that The K’s were special. Not only did they instantly sell out their very first gig, but the show was so wild that fans tore it’s ceiling- not to worry any future venues. The intensity has only grown since, spreading thanks to sensational festival sets at Exit in Serbia and Croatia’s INmusic, headlining a rammed tour organised by influential new talent club network This Feeling, followed by heavy hitters in the music industry Solo Music Agency. Now, playing every inch of the UK selling out months in advance, leaving everyone hungry for more.

The songs rich lyricism of everyday life continue the tradition of Paul Weller, Stiff Little Fingers, The Strokes and The Libertines, evident in the bands most recent single Hometown. Initially, Jamie would take the skeleton of a song in for the band to develop, but The K’s is increasingly a songwriting democracy, with Dexter’s loves from Talking Heads to Quincy Jones and JJ’s art-rock, linear tastes coming into play. The shimmering Aurora incorporates about 20 ideas and develops them into one huge anthem, while Ryan’s gigantic anthem riff of Hometown was an instant smash when it was boldly debuted at Manchester Albert Hall.

All the fans are asking; When’s the album, when’s the album. You can’t be a classic band without a classic album, and we’re confident enough not to rush ours. We won’t release an album until it’s right. The songs are there, we have enough for 3 maybe 4, and the way we’re writing songs, they keep getting better, it’s choosing the right ones, that’s gonna be the hardest part.

It’s clear The K’s are going to keep growing, a cult sensation ready to blossom in the mainstream. It’s an irresistible, irrefutable spirit, welcoming to anyone who wants to escape into a better, more hopeful world. After all, they’ll be playing all your favourite songs, put em on, put em on, put em on, put em on.

Metropolitan & melodic, The Chase are a blend of cultural influences that pay tribute to their council estate roots. Over the years, the band have gained a dedicated fanbase that has launched them into the indie music scene & beyond. 2021 saw debut shows at some of the best UK festivals (Isle of Wight, The Great Escape) & a sold out UK tour. 2022 has seen support slots with The Rifles, The Skinner Brothers & The Clause. The lads have been tipped as one of the best new bands on the scene by press, promoters, radio & anyone who see’s them live.

Formed in their pre-teens, the multi-instrumentalists have a multicultural background that has inspired their sound. Brothers Tyler (frontman) & Dion (drums) were born & raised in Notts with Scottish & Caribbean heritage. With cousin Luke on the bass & keyboard warrior James, the result is a sound that is both uniquely British & undeniably infectious.

From The Beatles to Damian Marley, you will hear the impact their upbringing has on their writing & performance. Frontman Tyler is equal parts rugged, glam & real. By day a labourer, but by night he’s commanding the stage in leopard print bringing strong Marc Bolan vibes. He describes his fashion as “Champagne taste with a lemonade budget” – which is the most accurate thing we’ve ever heard. “Our live show is theatrical & full of showmanship, I couldn’t do it any other way. We want the crowd involved, we love it when they’re singing back at us, it’s part of the experience for us & them.”

Teenagehood, brotherhood and a genuine love for alternative music has united THE GOA EXPRESS from the off. Hailing from the industrial towns of Burnley & Todmorden and adopted
by the Manchester culture carriers, their teenage years can be viewed as something of a
hedonistic pilgrimage into the underbelly of suburban rock and roll. Their first gig blasting songs out of their mates garage and their second taking place on top of a local vintage shop where the floor nearly caved in. “When there’s fuck all to do, you make do with what you got”. This sentiment is nothing new but in an age where artists and bands often exist as heavily
constructed facsimiles, it certainly feels new.

Their genuine joy in the everyday harks back to the glory days of the NME. If they talk about a
night out, you want to be there. This purist approach to creating music through experience and
stimulated good times is married with the plain fact that they are very much young people of this generation. While they see its flaws, hyperreality and sheep-like tendencies, they still
understand the importance in the immediacy of pop music.

In their own words,“we’re melodic but instant. Our music stops you in your tracks. You can hear
it coming from a mile away, but it’s still extremely hard to get out of the way in time.”

Yizzy is the next gen of grime. Pushing the genre past its self-imposed boundaries while nodding to its roots, the Lewisham MC is running the baton for the scene’s new wave. At just 19, Yizzy displays a talent beyond his years and an ambition that few of his peers can match. Wrapping his tight, teeth-gritting flow and memorable hooks around gold standard grime production, his live mic skills and ability have earned him co-signs from the genre’s biggest names including Ghetts, Dizzee, Wiley, and Devlin.Few 17-year-olds can claim national radio play, but Radio 1 spun Yizzy’s ‘Grime Kid’ ten days after hitting that age. It’s just one in a string of successes for the MC: his S.O.S EP amassed one million streams in just three months, while he’s been featured by the Fader, NME, Complex, Trench, SBTV, RWD, Red Bull’s best grime tracks of ‘17 and Sian Anderson’s 1Xtra ones to watch. Initially hailed by Glastonbury’s Emerging Talent Contest and BBC Introducing, Yizzy has built on these early achievements, performing alongside grime royalty at Printworks’ Eskimo Dance, featuring on the ninth edition of Lord Of The Mics – plus his own headline show at Islington Academy 2

Emerging in 2017 from the heart of Norwich, Youth Killed It swiftly commanded attention and has been making waves ever since. Armed with infectious riffs, razor-sharp wit, and unabashed bravado, they’ve solidified their place within the UK music scene.

Their journey boasts performances at prestigious festivals like Isle of Wight, Stockton Calling, and Teddy Rocks. They’ve shared stages with renowned artists including LaFontaines, MassMatiks, Goldie Lookin Chain, Scouting for Girls, The Snuts, The Sherlocks, The Skints, and The Kooks. Their European tour alongside The Frights showcased their dynamic presence beyond the UK.

The band’s sonic tales have resonated across major platforms like Radio 1 with Jack Saunders, Phil Taggart, Huw Stephens, and Neyls Hylton. Their tracks have found homes on screens too, featured on Sky Sports, BT Sports, Eastenders, and Tattoo Fixers.

With over 3.5 million Spotify streams and a dedicated following of 6k on the platform, their music, often likened to the energy of Hard-Fi, Soft Play, The Streets, and Jamie T, has struck a chord with music enthusiasts.

Youth Killed It proudly boasts two albums and one EP, commanding sold-out headline shows at iconic venues like Camden Assembly, London, and The Waterfront, Norwich.

Their sonic arsenal blends indie and punk rock, delivering an electrifying fusion that demands attention from anyone craving high-octane, infectious music.

Youth Killed IT are:

– Jack Murphy – Vocals
– Danny De-Ara Torres – Guitar
– Paul Gaul – Guitar
– Joel Mullin – Drums

From the very beginning of Zoka The Author’s career in 2017, his uncommon lyrical
precision has set him apart from his contemporaries. In these first few years, not only did he
successfully tour a collaborative Hip-Hop/poetry album around the UK, but he also achieved
recognition in news outlets across the world, including BBC News and Der Spiegel, for
creating a rap album for his dissertation – and getting a First for it!
After graduating in 2019, he brought the skills he had learnt back to his hometown of
London, selling out his first headline gig at the O2 Academy Islington, which was described
by the promoters as “one of the best performances (they’d) seen.” He also co-founded his
own artist showcase and jam night, Sail Out, which is rapidly becoming one of the most
exciting and innovative live music events in London. On top of all this, he released his debut
single, The Mindset, which, as well as being played by BBC Radio London and Norfolk, was
made Rellik Tha Don’s track of the week on Reprezent radio.
Then, as we all know, COVID19 hit. But Zoka was determined not to stop, even when the
rest of the world did, and he dropped his debut EP, Reflections, as well as a music
video/documentary for The Mindset. This unyielding resolve paid off, resulting in his
achievement of national radio play by Jo Whiley on BBC Radio 2!
Since then, Zoka has released a slew of singles, gaining him support from the likes of
EARMILK, Link Up TV and Wordplay Magazine. These built the momentum that allowed him
to do the biggest gig of his career in Colours Hoxton in 2022, as well as get signed by Max
Music Publishing! Now, with an ambitious, 2-part concept EP entitled ‘Flower, Girl’ in the
works, Zoka seems set to continue to continue his relentless pursuit to establish himself as a
lyrical heavyweight capable of standing with the best in the game.