The Best of March 2026
The Best of March 2026 TNAM Staff Top Tracks of the Month By Caitlin Taylor 31 March 2026 2026 so far has keen a killer year for small artists, and March was no exception. Listen to the full playlist to see all our favourite new releases, or carry on reading to hear about the best of the best you need to hear ASAP. mary in the junkyard – ‘Crash Landing’ Definitely the best video of the month if nothing else, mary in the junkyard have taken a beautiful turn with ‘Crash Landing’. Skewing more towards the sound of fellow London band Sorry than their usual tone, lead singer Clari Freeman-Taylor serenades someone who continues to cause her pain. Serving as a first taster from their new album ‘Role Model Hermit’, we’re eagerly waiting whatever’s to come. For fans of: Sorry, Honeyglaze The Itch – ‘Drugdealer’ With a fun synth-pop sound reminiscent of your parents favourite eighties track, ‘Drugdealer’ is one of the single from the bands upcoming album ‘It’s The Hope That Kills You’ which arrives early next month. Not too unlike their other singles, it sets itself apart by just being an incredibly earnest love song: “Of all the people in the world, I think you’re the best”. For fans of: Fabiana Palladino, Ebbb Sans Souci – ‘Trans’ I’ve been on the Sans Souci bandwagon ever since their incredible 2024 release If I Let a White Man Cut My Hair, and this EP is an excellent return to form. Featuring some gorgeous vocal effects while exploring their thoughts through poetic lyricism, the entire EP deserves a full listen through. For fans of: Lava La Rue, Sudan Archives RIPMagic – ‘5Words’ Seemingly just moments from truly blowing up, RIPMagic are a quintessentially London band. 5Words is a janky sounding track – in a good way. The plucky bass, thumping drum beat and bizarre backing sounds create an attention grabbing soundscape which would pull anyone out of the monotony of your TFL commute. For fans of: Lip Critic, Fcukers 1000 Rabbits – ‘Rubiks Cube’ Despite this only being their second release, Rubik’s Cube is an beautifully complex song filled to the brim with drama. Dripping with theatricality, the band take you on a ride from a soft plodding start to a final crescendo. On Instagram they describe it as containing “wetness, dancing, chewing and spitting. we hope you love it.”. For fans of: Geordie Greep, The New Eves
EP Review: Freak Slug ‘Freak Slug on Audiotree Live’
EP Review: Freak Slug ‘Freak Slug on Audiotree Live’ “Freak Slug on Audiotree Live” is one of the first times in a while that I’ve had to stop and listen to a whole project. By Ricardo Labrada Currently Listening to: When on the lookout for new tracks to review, I always wait for something to catch my attention. There are usually good tracks and some occasional bad tracks that catch your attention in the wrong ways, but normally just middling songs that go in one ear and out the other only to be forgotten immediately. This EP is the furthest thing from these examples. “Freak Slug on Audio Tree” is one of the first times in a while that I’ve had to stop and listen to a whole project. Indie, Rock and Pop rock are some of the genres that I’m extremely picky and pretentious about, yet after listening to their Audio Tree set I immediately looked it up on YouTube to re-listen with the interview. The last time I was left this impressed was Viji’s track “Karaoke”. Before that, it was over seven years ago with Soccer Mommy on Audio Tree as well. In other words, I was left very impressed by Freak Slug. The short set is nearly 23 minutes long, yet it remained in my head a lot longer than that currently being played on repeat as I write this review. It’s a work that instantly catches your attention. The first track “Ya Ready’’draws you in with slick guitar work that quickly gets loud when the band joins in. The drum and guitar work just flow so well together taking the spotlight for this track. The track is just an infectious work with the finale living in my head as singer Xenya Genovese repeats “Ye I’m ready” and finishes off with a flurry of perfect “ooooo’s.” Meanwhile “Sexy Lemon”, arguably my favourite track, brings out Genovese’s northern accent with the distorted guitars almost drowning her lovely voice. The track’s use of the quiet verse, loud chorus, and song structure popularised by the Pixies and Nirvana further illustrates their throwback style mixed with touches of modern. Following this are “Friday” and “Hello”, two tracks that bring a calmer vibe toning down the heavier sound some of the choruses contained. In particular “Hello” exemplifies this with the sound being accompanied by relatable lyrics: “Today’s the day I say hello Today’s the day I let you know” Hinting at building up the courage to speak to someone you have a crush on nor find attractive for a long time. While not a completely accurate representation of their sound, they are reminiscent of the Yeah Yeah Yeahs, particularly with this song reminding me of the track “Maps”. The final track “Killer” is another track that leaves an impression with Genovese’s soothing vocals mixed with distorted and loud backing instruments. They border on drowning her voice out yet, they do not. They honestly are the most fun aspects of the songs seemingly getting louder as the tracks continue. I can only imagine how fun these loud, almost deafening, choruses must be in concert. Overall this EP is one I checked out over a week ago and kept being drawn back into, feeling the need to praise and discuss Freak Slug here. The lyrics’ themes are subjects that are really relatable from “Hello” hinting at the courage to go say hello to someone while “Killer” deals with accountability for negative actions. I highly recommend checking out this live Audio Tree set as it leaves a great first impression on the group. Furthermore, I recommend the full Audio Tree YouTube video as the interviews give you a deeper understanding of Xenya and her group. The combination of the raw yet soothing vocals and slick guitar work leaves a sound reminiscent of the late 90s and early 2000s alternative and is very much welcome in what I perceive to be a bland alternative scene at the moment. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Night Tapes ‘babygirl (like n01 else)’
New Single: Night Tapes ‘babygirl (like n01 else)’ Walking a hair-raising tightrope between girlish and ghoulish, the latest in a package of singles dropped by Night Tapes balances the sexy with the ever-so-slightly sinister. By Scarlett Stokes Currently Listening to: According to Night Tapes, their single “babygirl (like n01 else)” is a sonic imagining of the dark feminine – taking to Instagram, they write that this femininity “is fluid, violent, nurturing, monstrous, beautiful, chaotic, and whole.” That’s a whole lot of adjectives for one song, and big boots to fill. Despite the high sell by the band, it’s a promise they mostly manage to fulfil. “babygirl (like n01 else)” is reminiscent of Portishead’s “Sour Times”, or Massive Attack and Elizabeth Fraser’s “Teardrop”; think Women crooning ominously romantic ditties overlaying an unnerving trip-hop beat. The song hails an upcoming album, “portals//polarities”, set for release on September 26. Released by Southeast London’s Night Tapes, a dream pop band that emerged from evening jams between housemates Max Doohan, Sam Richards and Iiris Vesik, they deftly craft delicately psychedelic, synth-spun soundscapes. Another of the recent singles, “pacifico”, was inspired by the Mighty Souls of Mischief’s “93 ‘Til Infinity”, given a haunted house treatment. Sampling the legendary hip-hop tune and reimagining it into a sweetly sung trip-hop bop lands Night Tapes slap bang into my good books. Iiris Vesik, the voice of Night Tapes, lulls throughout “babygirl (like n01 else)” with a gentle, quiet threat. Almost baby-like, her saccharine-sweet, ultra-feminine vocals are paired with minimal instrumentation: dragging kick drums, a sparsely plucked guitar, and arpeggiated synths. For a song depicting the chaos and beautiful contradiction of whatever exactly “dark femininity” is meant to be, the name “babygirl” in and of itself is apt. A term of affection, alongside a diminutive in the realest sense of the word, it does have intrinsic sexual connotations (the most memorable example of late is the eponymous film, starring Nicole Kidman, where an older woman is sexually liberated with the help of a hot younger man). There is much to be said for the infantilisation of grown women, but the title of the song, paired with Vesik’s unsettlingly ageless voice, both innocently pitched and icily commanding, wryly captures this irony. The music video of “babygirl (like n01 else)” unfolds like a demonically bad trip. Hyper-saturated with the Twilight blue filter and filtered through grainy clusters of pixels, Night Tapes are interspersed with churning visions of flames, forests, and rolling blue seas. Vesik’s face morphs from an old woman to her now, wrinkles uncreasing, before shots of her as a young girl floats on screen. Surprisingly absent when citing their influences for “babygirl (n01 else)” are any explicit trip hop mentions. The synths and slowness, alongside the subject matter (the terrifying enormity of what it means to be a girl), bear a startling likeness to Air’s The Virgin Suicides. The main inspiration for the tune was Madonna’s “Frozen” and Bjork’s “Hyperballad”; the brief was “simple, but captivating”. It is dreamy, bordering on nightmarish, with a 90s sound portending a post-apocalyptic future. “babygirl (like n01 else)” feels like a haunting – it is tense, egg-shell fragile, and could shatter into a scream in a given moment. Whilst Night Tapes don’t give a specific meaning to the lyrics of the song, they establish a clear vibe: “This song is about a specific energy and feelings of wanting to possess//control that can accompany it. In the right amount and in the right place and time this energy is sexy as fu*k, when off balance it’s fu*king diabolical.” Sensual and spooky, the song accomplishes just that. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Effy ‘2011’
New Single: Effy ‘2011’ Shimmering with early-morning rave nostalgia, the latest twinkling track from London-based DJ and producer Effy is grooving up a storm. By Scarlett Stokes Currently Listening to: For me, a very specific feeling is associated with 2011. Specifically, the mundane, extraordinary fact of entering into double digits for the first time (and the rest of) my life. That feeling is difficult to put into words; optimism for the future, for the rest of my life in the two digit lane, coupled with a tinge of childhood loss at bidding farewell to being 9 years old. Nostalgia is the most apt description of that feeling and that time, and the Blackpool-born Effy captures precisely that in the title and contents of her latest tune. “2011” is an effort, according to Effy, to capture her euphoric early days of clubbing in Northern England. It is the oldest triplet on Effy’s latest EP, The Syndicate, released on the 15th of May. The EP itself is a tribute to that youthful exploration of club culture; a little bit of sleuthing (taking a look at the EP cover, photographing a silver cube of a club, and googling said music venue), revealed the real Syndicate Blackpool club, formerly (allegedly) the largest nightclub in the UK. The track is 2cb technicolor. It starts like a shorting livewire, with glittering abruptness; a snatching high-hat intro buoys the track upwards, with percolating bleeps and bloops heralding a glorious piano break, a joyous hat-tip to old-school house. The tune erupts into a conventional house chorus, perfectly shoulder-shimmying and danceable. Chopped-up, distorted vocals pepper “2011”, “2011” strikes two songbirds with one stone, contrasting classic, smoother rave sounds with hyper pop-esque harshness at times. It is reminiscent of another time, retro-futuristic, glimmering with optimism for daybreak after a particularly adventurous night out, and tinged with regret that, with the morning, comes a return to everyday life. The two other tracks on the EP, “Persuade” and “So Sound”, deserve a mention here, too – both acceptable, building songs, anchored in two-step and house influences, they better soundtrack a house party than a dancefloor. “2011” is heartfelt and zappy. It is perfect for an ambitious prees, a lively party, or nearing a jubilant dawn, provoking an innocent sense of déjà vu. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Our GALA 2025 Top Picks:
Our GALA 2025 Top Picks: Going to GALA festival this weekend? Here’s who we think you should see. By Caitlin Taylor If you’ve never been to the Peckham Rye DJ-focused festival GALA, you’re in for a treat. It’s pretty small, but their lineups always pack a crazy punch. Last year saw Joy Orbison, Girls Don’t Sync and Chaos in the CBD take to the park, and this year is somehow even better. We’ve put together a list of our top picks, if you’ve not yet got tickets hurry up! FRIDAY Savssounds is truly up and coming with a really eclectic mix of experience behind her. Her live set for Art Beyond the Shell made Nirvana’ Smells Like Teen Spirit a song that you could grind to. She recently started the club night Altverse focusing on black alternative music featuring the likes of The Internet, Doechii and Kaytranada, and also somehow manages to juggle both being a DJ and a financial consultant – a seriously talented woman. View this post on Instagram A post shared by SAVSSOUNDS (@savssounds) SATURDAY Amaliah is super popular at the moment, playing a crazy run of shows over the summer. Other than GALA, catch her at Shangri-La, Maiden Voyage and Boiler Room in Ibiza. She started DJing in 2018 after record collecting since her teens. Her sets are varied, she plays around with house, techno and UK funky and she started the collective Borne Fruits to showcase some of the best underground music, something we can definitely get behind. If you’re maybe in the mood for something a little more retro, Portuguese-born London-based Mafalda is known for her brilliant taste in soulful disco tunes. She doesn’t believe in guilty pleasures, as she told Dust & Grooves “Good music is good music”. She radiates joy, so if you’re in the mood to feel good make sure you get to her set. View this post on Instagram A post shared by Mafalda (@mafaldafromthesun) SUNDAY If you’ve been DJing for over two decades you better be good, and Michelle Manetti certainly is. Self-described as a ‘genre non-conformist’, she loves to experiment with a variety of genres from house to disco to acid. She also promotes and helps to curate multiple female/non-binary-focused club nights in East London including Femmme Fraiche. If you tend to spend your nights at Dalston Superstore, this is the set for you. View this post on Instagram A post shared by Michelle Manetti (@michelle_manetti) Millie McKee is a standout on this list. Her taste skews more into the psychedelic, with percussive dub and spiritual jazz beats. Another decade-long vinyl collector, she even manages the record store Hidden Sounds on Ridley Road. Truly a Sunday vibe, and maybe a good one to add to your itinerary if you’ve attended all 3 days of the festival and are looking for something to chill out to. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Interview: Emma Bradley
New Interview: Emma Bradley British singer-songwriter Emma Bradley has never shied away from vulnerability, but her latest EP, Winona’s World, marks a bold new chapter—one that embraces shadow, solitude, and self-definition. Inspired by sonic auteurs like Imogen Heap, James Blake, Bon Iver, and Danny Elfman, Winona’s World is a cinematic, emotionally charged journey through themes of abandonment, queerness, mental struggle, and bittersweet memory. 19 May 2025 By Isaac Phelan Currently Listening to: What began as a reckoning with artistic identity—intense enough that Emma briefly considered changing her name—transformed into the creation of Winona, a fictional alter ego who gives voice to her darker emotions. Through this character, Emma explores the parts of herself often hidden or “swept under the rug,” using music as both refuge and revelation. Self-produced and independently released, the EP not only showcases Emma’s evolution as a musician but also marks her reclamation of creative control. I sat down with Emma to talk about the making of Winona’s World, building sound from silence, and why stepping fully into her own name — and voice — might be the most radical act of all. Winona’s World emerged from a deeply introspective period where you considered creating an entirely new persona. Can you share more about what sparked this urge and how you eventually reconciled with staying true to Emma Bradley? I made this EP honestly nearly by accident. I was in a very strange place where I felt really creatively uninspired, and nothing I made was feeling good to me. I was also pretty burnt out. I started messing around on my laptop and writing in a really different way from how I’ve previously approached making music, and that somehow triggered such a different sonic. When I had finished the final demos of the project, I felt a bit like… this was a big departure from the music I had out, but also this feels like music I’ve always wanted to make. It felt too different to my other music at first and also felt a bit too vulnerable, so I decided to release it anonymously under another name, ‘Winona’. She’s like my shadow, and I gave her all the darker feelings that I had carried around and had followed me in my life. I sat with it for months and months and got really close to releasing it as a side project. But after playing the music to some people and seeing the reaction, I was like wait, I am really proud of what I made and I want to own that. People were like ‘Emma don’t be stupid, you have to release this yourself’, I’m glad I listened to them. The EP explores themes described as “shadows of a feeling”—emotions often neglected or suppressed. How did immersing yourself in these emotions impact you personally and creatively? I think giving myself the space to be entirely honest with myself was very freeing and healing. I think I was too scared to go there in my music previously. But music has always been how I process things, and making music alone like this really allowed me to do it fearlessly without thinking ‘ah, is my co-writer gonna think this or that about me’. I tackled some topics on this project that I definitely wouldn’t have felt comfortable really delving into in a writing session, to be honest. The whole process has made me feel a lot more confident in myself and how I want to express things / how my own ideas for production and writing are just as good as anyone else’s ideas. ‘That Door’ is improvised, actually, I’m pretty sure the final vocal on there is literally the first thing that came out of my mouth when I hit record. So yeah, the whole thing was definitely intimate haha. In creating the alternate world inhabited by Winona, did you find yourself drawing from fictional inspirations or real-life experiences more heavily? I have been hugely inspired by Tim Burton films for my entire life. Alongside that, I’ve always been drawn to magical, eerie films like Coraline, E.T. and Donnie Darko etc. Those films are kind of my creative blueprint. I learnt piano by listening to film scores until I could play them. So I definitely was drawing from those worlds when I was making this project. It’s all super abstract but the actual meaning behind the songs is very rooted in and inspired by my real-life experiences. So I guess it’s a mixture of both. You mention artists like James Blake, Imogen Heap, Bon Iver, and Danny Elfman as influences. How did these influences guide the evolution of your sonic style on this EP? I am such a massive fan of all of those artists and I think I had just listened to their work on repeat especially during the time I made this EP so it felt like accessing that influence came quite subconsciously. Danny Elfman is a big one, especially on Bad Apple. I wanted that song to feel like a film score. His work makes me feel everything. Also, the plug-in I used on my vocals throughout the project was very Imogen Heap / James Blake / Bon Iver inspired. I never really want autotune on my vocals when I make more singer songwritery music but for this, it felt like it was just part of it and it kind of sets the scene sonically. I think all of those artists are just really unafraid to do something different and it made me not overthink my choices when I was writing. Like not once did I think ‘Is this too weird?’, I just sort of rolled with it and it was a lot of fun. Departing from your label and management to produce independently sounds both liberating and daunting. What were the biggest creative challenges you faced, and how did overcoming them shape your music? Honestly, creatively I didn’t really feel any challenges. I sort of just did my own thing and didn’t
New Remix: Nubiyan Twist ‘Reach My Soul (Bassline Version)’
New Remix: Nubiyan Twist ‘Reach My Soul (Bassline Version)’ British rave bubbles from “Reach My Soul – Bassline Version”. The second smashing single by Nubiyan Twist teases a classic rave album, brimming with textbook British sounds By Scarlett Stokes Currently Listening to: Bassline, somewhat predictably, lends its name to the distinctive bass that throbs under tracks. It induces a face-crumpling phenomenon known as “bass face”, and generally inspires a mindless, wobblingly good time. Nubiyan Twist’s latest single, “Reach My Soul – Bassline Version”, does precisely this. With a plinking, poppy four-to-the-floor beat, overlaying a burbling bass that thrums throughout the track, it is ridiculously fun. “Reach My Soul – Bassline Version” is the second single to be released in anticipation of Nubiyan Twist’s upcoming album, NT Soundsystem. The album, set to be released on June 13th, is the fifth from Nubiyan Twist, an electronic reimagining of their fourth album, “Find Your Flame”. This single comes hot on the heels of “Battle Isn’t Over – D’n’B Version”, and seems to set up the concept of the album: reconstructions of Nubiyan Twist tunes with an eponymous twist; tracks infused with classic sounds of British electronic music. Expect a sonic education in the history of UK rave culture. On rave culture history, Nubiyan Twist and bassline trace their roots up North. Sheffield, where the band hails from (although they now suffer the fate of many talented musicians, and are based in London), boasted Niche Nightclub, the epicentre of bassline, until a police raid led eventually to its closure in 2005. It seems fitting that, of all the tunes to herald Nubiyan Twist’s latest album, they chose a sonic sibling. That is not to say that “Reach My Soul – Bassline Version” bears any resemblance to Nubiyan Twist’s past sound, which is decidedly global (they count blues, soul, jazz, and afrobeat amongst their many influences). Rather, having a local favourite blast the path for their album, imbued with all the pluckiness of the old-school sound, is a nod to the rich dance music heritage this album seems to be elevating. In many ways, “Reach My Soul – Bassline Version” epitomises bassline. Take the archetypal feature of distorted female vocals on bassline tracks. Here, the chopped vocal samples are extracted from Aziza Jaye’s determined, sensual starring role in the original “Reach My Soul”. They are sped up, perceptibly pitched, but not quite to the level of nightcore. It is enough to lend “Reach My Soul – Bassline Version” a kick of energy, commanding instant response: feet tapping, heads bobbing. This is exactly the more poppy sound bassline was known for and built its following from. A note on the contrast here between the original tune and this latest instalment, “Reach My Soul” is a sultry, celebratory song of resilience and perseverance, dressed up with jazzy horns, seductive keys, and a cheeky, plucked guitar. It feels like sauntering into a smoky speakeasy, sexy, sly, and sincere. This version is far more playful – irresistibly moveable, demanding that listeners at least shuffle, it is borderline goofy in parts, especially when the bass receives proper treatment. But that’s the whole point of bassline – it is senseless, silly, and so, so fun. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Dalia ‘Hanging by a Thread’
New Single: Dalia ‘Hanging by a Thread’ London based singer Dalia is back with the single ‘Hanging by a Thread’ just in time for summer. The track is an exploration of self discovery, realisation, and emotional vulnerability. By Natasha Judge Currently Listening to: ‘Hanging By a Thread’ is an experimental track that starts with a voice note, and then weaves this into the song as a motif throughout. Speaking on the tune, Dalia expressed that the track was written “during a period of intense personal turmoil”, as she noted that she was forced to confront repressed emotions. She said: “Hanging By a Thread chronicles the breakdown of a relationship weighed down by unhealed wounds.” The track is a pop ballad that celebrates and recognises the strength in vulnerability and emphasises the empowerment that can come from owning your tears and subsequent emotions. The song was a result of Dalia realising she was still tied to a past relationship whilst with a new love, and the fallout of the unresolved connection. ‘Hanging by a Thread’ unravels her inner monologue of feeling lost, confused and guilty. Musically, the melancholy lyrics juxtapose with the rhythmic base of the tune. There is a build-up of guitar strumming, paired well with percussion to provide an electric feel to the single by the end of the track. This pop track is an excellent portrayal of self-reflection, and coming of age, and the catchy chorus makes us eager to hear more of this new sound from Dalia. Dalia’s tracks would be well suited to fans of Holly Humberstone, Phoebe Bridgers and Gracie Abrams. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Remix: Nubiyan Twist ft. Horseman ‘Battle Isn’t Over (D’n’B Version)’
New Remix: Nubiyan Twist ft. Horseman ‘Battle Isn’t Over (D’n’B Version)’ A DnB Spin on the invigorating tune, Battle Isn’t Over, comes just in time for summer, and serves as a bopping reminder of the UK dance music history and culture. By Scarlett Stokes Currently Listening to: “Battle Isn’t Over” croons Nubiya Brandon, main vocalist for Nubiyan Twist, over a smothered drumbeat that hints at the track direction of their new release with reggae stalwart Horseman. That is, assuming you didn’t read the track title – “Battle Isn’t Over – D’n’B version”, released earlier this month. The Sheffield-based 9-piece have never shied away from a collaboration, and “Battle Isn’t Over – D’n’B version” is looking to be the first in a sequence of more dancefloor-oriented tracks, with a bassline version of “Reach My Soul” released only a few days ago (and by dancefloor-oriented, I mean electronically-influenced tracks. Make no mistake, Nubiyan twist can electrify a dancefloor without electronics all by themselves). This pivot into a different sound isn’t a new move for Nubiyan Twist – “Battle Isn’t Over – D’n’B version” is the opener from their 2024 album, Find Your Flame, which included some juicy bonus house spins on the track Lights Out from the deluxe version. “Battle Isn’t Over – D’n’B Version” will sit in the “NT Soundsystem” album, set to be released on 13th June this year. It will boast a collection of remixes from the 2024 album Find Your Flame, Nubiyan Twist’s fourth album to date. As the track titles tease, these will pay tribute to the UK’s global dance music culture, with jungle, dancehall, dub, and UKG versions all represented. If that wasn’t enough, the name itself, ‘NT Soundsystem’, is a homage to the UK’s vibrant Soundsystem culture. Singles from albums are meant to tease the vibe of the album to come. It is a joy to see some old-skool DnB represented in the line-up. Whilst not an unsurprising genre to dabble with for Nubiyan Twist, given their embrace of multicultural British sound, this represents a new sonic direction for the band, with a refreshingly old-school feel. Thank Horseman, with his deep, honeyed MCing, fast-paced breaks, and three decades of musical experience in the reggae scene, for this summery tune, paying tribute to the historical roots of DnB in jubilant fashion. Horseman and Nubiya Brandon’s rich, commanding voices twirl into a fluid duet. There’s the steady softness to Nubiya Brandon, buttered with Horseman’s deliberate, toasted vocals. This overlays the rising and falling energy of the track, accompanied by, you guessed it, classic drum and bass sounds, poaching classic instrumentation like trumpet and keys from the original tune. It is exciting to listen to this new foray by Nubiyan Twist, bolstered by Horseman, and feels entirely appropriate with the band’s ethos. If this track is anything to go by, NT Soundsystem is set to be a riotous ode to UK dance music. Expect a vibrant, vivid summer season ahead. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
‘My producer and I had a phrase whilst creating the album, mouldy cream doughnut’: Interview with Joni on Her Debut Album ‘Things I Left Behind’
‘My producer and I had a phrase whilst creating the album, mouldy cream doughnut’: Interview with Joni on Her Debut Album ‘Things I Left Behind’ In light of her debut album, “Things I Left Behind,” we spoke to the American-born vocalist and songwriter, Joni, who discussed her creative journey following her heartbreak, the “mouldy cream doughnut” that shaped her album and more… By Jack Webb Currently Listening to: Joni, your album, “Things I Left Behind,” will be released tomorrow on April 11th. What can fans expect to hear? That’s hard to distill down to a few sentences. I guess fans can expect to hear a good variety of songs because this album was a big subject to tackle, with it being centred around my first heartbreak and the subsequent feelings of loss. I was going through a lot of change and growth in a short amount of time, and I think that can be seen with the big spread of songs, sonically. My producer and I had a phrase whilst creating the album, mouldy cream doughnut. That’s why my voice is sweet-sounding, we wanted to pull on listeners’ heartstrings, while the music feels a little off, a little mouldy. Nothing too perfect. That was how we guided the album regarding its sound. Your voice on the record is quite child-like. Musicians often talk about healing their “inner-child” in terms of their emotional journey. Although that’s not quite what you were doing on the album, to what extent was your voice partly reflecting that process? It’s funny because I have no idea how I sound – I just sing. You can’t judge your own voice, and I don’t think you can judge your own art too much. It’s always nice to hear outside perspectives, but for me it’s just my voice. It’s the only one I have! What helped me was finding a producer who could hold up a mirror and show me who I am as an artist. That was important, because it’s difficult to create when you try and do everything yourself. It feels like it alongside the healing process of your heartbreak. You were kind of on, like a developing process, musically. In terms of your music as well, particularly given that this is your first solo album. Did you, at any point, feel that these two journeys were happening at the same time? I guess it’s funny because the person that I was with for a decade of my life, and who the album is centered around, was my producer who I worked very closely with. Alongside our personal relationship, we had a working relationship, too. So, when everything fell apart I felt very lost within my own music. When you make music with someone you’re in a relationship with, the two of you begin to mould into one person, in a way. I lost a big part of myself – it took a while to get that back. I began to realise that my music wasn’t only good because of them. That was when I began to play songs on my own, acoustically, and people reacted well to them. Acoustic songs can be very good at evoking raw emotions, and in your case with your acoustics they appear to reflect an understandable feeling of emptiness. As I’ve said, making this album was very healing. I didn’t want to feel like all the pain that I had at the time was for nothing, so to take that pain and transform it was very satisfying. That’s not to say it didn’t take time – I didn’t immediately think to use this experience to start writing songs. I was very sad for a long time, but then I started to slowly write songs that would surprise me. A lot of times in the past I would write songs from an outsider perspective, things that weren’t really my experience, perhaps as a protective mechanism. But, once I went through my heartbreak, I felt like an artist who had something to say. My songs started to have little details in them in a way that they didn’t before. A lot of musicians rely on their personal pain to be able to create, but this seemed like a new process for you. Regarding the lyrical content, how was your approach different when making your album, compared to your collaboration days? You know, it wasn’t a conscious decision. It wasn’t until after I had written the songs when I realised there was less of a wall up in the songs. One of the tracks on the album, Strawberry Lane, contains lots of details from real events in my life. The title is an actual address. Not to say that I wouldn’t have written that song in the past, but when I did, the words came out very easily. Being American-born and now based in the UK, are familiar with the concept of leaving an old life behind and starting anew? If so, has that always shaped your music? Growing up, my Dad was a submariner, so we moved around a lot – every two or three years. It was weird because every time you leave a place you can reinvent yourself and begin with a clean slate. I’d approach things as an outsider, too. When you move around a lot you learn to look at the world and see what it’s like, so I think I’ve always been observing things. But then, you start to write about other perspectives and things that you see as opposed to your own internal experiences. London has given me another fresh start, which I needed after my heartbreak. I’m trying to stay more rooted now, and not run away when things go wrong! As we’ve already spoken about, part of this album’s journey involved finding your own voice. Being a woman in the music industry, how important is that feeling to you? I think women are less comfortable claiming their own space sometimes. I’ve co-produced a