RALLY Festival 2025 Ones to Watch
RALLY 2025 Ones to Watch Our top picks from one of the best London festivals this year [Ticket Link Here] 21 August 2025 By Caitlin Taylor Last year RALLY arguably had one of the best festival lineups and this year is no different. If you’re in the know or desperately want to be, this is the festival for you. Merging alternative and electronic sounds, from indie rock veterans Porridge Radio to party-focused newcomers Bassvictim. If you studied art at Camberwell, spend nights at the Nags Head, are a regular at Ormside or just grew up watching Skins – this one’s for you. BASSVICTIM Instagram A duo who met in Berlin and formed outside of Peckham Audio, Ike and Maria have been making music since 2023. Both their EPs have been named after their self-defined invented genre Basspunk, a mix of EDM, electroclash, hyperpop and indie sleaze sounds. Cool party music. ASTRID SONNE Instagram Danish singer Astrid Sonne’s lyrics are simple but touching, raw and stripped back, paired with creative and layered instrumentation influenced by her classical training. “Do you wanna” has been stuck in my head for months. MOIN Instagram A real mish-mash of genres, MOIN are a trio made up of Tom Halstead and Joe Andrews from Raime with the added talents of Valentina Magaletti on percussion. Their most recent EP was just released in June and features an incredible spoken word opening track featuring Sophia Al-Maria’s voice. Really interesting and creative stuff. TAAHLIAH “I wanna be a star, simple as that” is how Glaswegian artist Taahliah opens her 2024 album Gramarye. She’s versatile and fun, an impressive DJ and producer who also manages to remain emotionally vulnerable within her poetic lyrics. PORRIDGE RADIO Instagram If there’s any reason to attend, you need to come in order to catch Porridge Radio at one of their last ever gigs. I am personally incredibly devastated about the whole ordeal and probably go on about it too much, but still, it’s very sad. Their 2020 album ‘Every Bad’ is one of my all time favorites and their 2024 release ‘Clouds in the Sky They Will Always Be There For Me’ is equally special. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
GALA 2025 Review – Friends, Flags, & Farts in the Club:
GALA 2025 Review – Friends, Flags, & Farts in the Club: GALA is still a guaranteed fun weekend, even after 10 years 6 June 2025 By Caitlin Taylor GALA is a strangely comforting festival to me, as I’m sure it is to others who’ve spent a decent chunk of their lives walking distance from Peckham Rye Park. It attracts a loyal crowd – you’re going to encounter the same faces year after year, especially on a Saturday when most are off work. This was my first year not in a large group, which felt slightly alien, and I stand by that likely being the best way to enjoy yourself. Most people here are in eclectic, eccentric and impeccably dressed friend groups, but there’s also a growing movement of people finding new friends to go with. Sometimes people are hesitant about DJ-heavy, dance music festivals due to a fear of being the oldest there but users like Slaypril on TikTok are doing their best to dispel this anxiety. She started a group for those over 25 who aren’t yet ready to give up partying and recounts in one of her videos how she found a beautiful community of people feeling the same at GALA. The crowd we experienced was much more akin to one at The Cause than Ministry of Sound if that means anything to you. We walked in and were immediately met with Amaliah, a tiny figure on the enormous Main Stage. She captivated the growing crowd though, starting with a few early attendants sitting closely swaying along and finishing with a large audience almost spanning the entire length of the stage. Before we arrived, we’d been keen to spend time at the Pleasure Dome, a large geometric tent situated right at the centre of the site. The lineup here was very fun and very queer but unfortunately, after the first few hours there always seemed to be a large queue when we walked by – rightly so, but no less annoying. If we weren’t so keen to catch as much as we could we may have waited it out, and from what we heard inside it would’ve been worth it. DJ Fart in the Club was a highlight, as usual. It will never not be entertaining to see the confusion on people’s faces when one of their friends loudly announces that she’s playing. Her backdrop featured a Palestinian flag – like most festivals so far this year, GALA’s Pro-Palestine message was clear from flags on stage to scrawled messages on tents. dreamlike feminine quality. One key highlight was the Sunflower tent, offering a starkly different vibe to most of the rest of the festival with its sparkly balloons and vinyl DJs. Their lineup was announced partway through the day on a scrawled piece of A4, including two surprise sets by Floating Points and Giles Peterson – a regular name at UK festivals this year. We camped out here a few times, catching Mafalda’s B2B. It was a refreshing break in between heavier sets especially as the night went on. Avalon Emerson closed out, keeping her foot on the ball by featuring remixes of up-and-coming French darling Oklou. The crowd were captivated, a sea of grinning faces and bodies in motion. GALA 2025 was a lovely celebration of the 10-year anniversary of one of the best London festivals still going. It manages to feel fun and fresh, intimate and casual – a crowd-pleaser, and rightly so. We look forward to year eleven! You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Låpsley “Hurricane”
New Single: Låpsley “Hurricane” 9 years since her debut record ‘Long Way Home’, Låpsley has consistently found success by crafting a version of ambient pop characterised by bold vocal manipulation and the seamless melding of synthesisers, skeletal drumbeats and delicate piano sections. 5 April 2025 By Callum Lidington Currently Listening to: With 3 full-length LP’s under her belt, she operates in a space that is accessible enough for the casual listener, but dynamic enough for serious listeners to dissect and find satisfaction in the instrumentals she creates. However her latest single ‘Hurricane’, reaffirms the shift to a new aesthetic and a new sound, bringing with it a distinctly free-spirited medieval energy, we’re talking chainmail, churchyards, ancient runes, bows and arrows. The track is accompanied by a Jeanne Buchi-directed video which sees Lapsley as this mythical enchantress-like figure on horseback surrounded by 40 nude men (it’s an intense watch, but there is no denying the commitment to the medieval vibes)! The track in Låpsley’s own words is “an unapologetic expression of the love from a woman. An omnipotent, unbridled love. A love that’s feared and revered. Pierce your flag into the ground to affirm. Love to return. Love for the sake of free will. Love in protest. Love in chaos. Love in peace. A wild, misunderstood magic.” Starting with a tenderly delivered acoustic ballad, which patiently builds to its final energetic crescendo the structure of the song is symbolic of the quote above, that longing feeling of wanting to share the love you have, the search for the right person, and the release of all the built up emotion once you find that love. This track along with previous singles ‘Church’ and ‘Better’ marks the start of a journey for Lapsley into uncharted territory, leaving her old self behind, and venturing into a new evolution of her artistry. Despite its differences from the last 9 years of Låpsley’s discography, the most welcome constant is her fantastic vocal performance and uniquely rich and soulful tone. Låpsley’s 4th full length record ‘I’M A HURRICANE, I’M A WOMAN IN LOVE’ will be released on the 2nd May through ‘Her Own Recordings’, a label founded by Låpsley, specifically for women and non-binary-led projects. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Charli XCX- Brat and it’s completely different but also still brat
Charli XCX- Brat and it’s completely different but also still brat (Re-Uploaded) Brat Summer just received a new season with Brat Autumn and the release of “Brat and it’s completely different but also still brat” this past weekend. Like a phoenix rising from the ashes, the new remix album is a new lease on life for arguably the best album of 2024. 11 March 2025 Words by Ricky Labrada Currently Listening to: To understand the significance one has to understand the cultural phenomenon that was the original album. Charli XCX dominated this last summer with her latest album “BRAT”, an inescapable and catchy, last hoorah for the hyperpop scene realising to critical and commercial success. It was an absolute phenomenon spawning the iconic “Brat Summer” phrase and making lime green become associated as brat green. This album was Charli fully embracing her impact on pop while giving it a nostalgic hyperpop sound embracing early 2000s club and EDM scenes. I also view it as her magnum opus after More so it also created anthems for the summer with tracks such as “365”, “Von Dutch” and “Apple” all achieving worldwide popularity. Tackling the issues of her party persona, hard drugs, a desire to be a mother and the conflict it creates with her career, “BRAT” is a truly raw album lyrically. On the musical side it embraces its synth sound, hard hitting baselines and autotune. It is at times meant to be played at 4 A.M. in a grimy club while in its timid moments it is a moment to sit down and cry. The initial album already received a bonus track version with “Brat and it’s the same but there’s three more songs so it’s not” adding the immensely popular “Guess” amongst the tracks. Simultaneously the singles “Von Dutch” and “360” received remixes. More importantly this “deluxe” version demonstrated what was coming in the ever expanding brat world. Shortly following the album “Girl, so Confusing,” “Guess” and “Talk Talk” remixes released building anticipation for the now announced remix album. The build up was one of the most anticipated as Billboards worldwide started appearing in the iconic green with the names of the artists featuring. This latest version “Brat and it’s completely different but also still brat” (third for those keeping track) takes a different approach almost completely reimagining the album while featuring a star studded guest list of Ariana Grande, Caroline Polachek and Tinashe to name a few. Putting it simply the rollout for the remix had almost as much, if not more, emphasis than the initial album. In many ways it was a massive event as I can’t recall the last time a remix album occurred, let alone one with this amount of marketing. The push for “BRAT” has been so massive that in the time since I started this review a second version of the remix album was announced and released featuring a Kesha led remix of “Spring Breakers” on top of the 13 new tracks. This latest update further pushing the impact the album has on pop culture. “They all wanna sound like me, All wanna be like Lean ” commences the opening remix to Charli XCX’s “360” featuring Yung Lean and Robyn giving us a taste of what is waiting. The three artists go back and forth having fun with their lyrics with examples such as “Hey why you do it so cold? They say I’m the realest ever, yeah, Thats what I’ve been told,” involving all three in a playful manner. On the whole it is a remix in the traditional sense maintaining the original beat while adding both features and updating Charli’s own verse. It’s a fantastic introduction to a brand new version of a track many of us grew familiar with over the summer. What I couldn’t imagine was how drastic some of the tracks would be. Overall much of the album tracks lyrically are natural thematic extensions with the artists chosen for each track serving a purpose. Lorde’s feature changes “Girl, so Confusing” from a monologue into a dialogue between both artists, while showing us who the track was originally about. Similarly, Ariana Grande on “Sympathy is a Knife” flips its meaning into a commentary on how media can easily change the perception of someone, something Ariana is familiar with. Meanwhile, The 1975 featuring on the piano tinged “I Might Say Something Stupid” serves somewhat as a cheeky nod to Matty Healy’s tendency to say sometimes stupid things that cause controversy. Other tracks change their original meaning such as “So I”, the slow emotive track honouring the late Sophie. Initially a song expressing regret of how Charli treated Sophie, now becoming a positive reflection, reminiscing about the good times they shared. As for “I Think About It All the Time” it similarly shows us the progression of Charli’s psyche over the last few months and how this new level of fame affects her. It is a continuation of the initial fears of her career, persona, and desire to be a mother, while adding in the pressure of focussing being amplified from this new fame. Both tracks are beautiful, if not a bit of a heartbreaking change from the mostly party centric vibes of the original album. This version of “BRAT” is still very much in early on in its life and while I do not like every remix, I appreciate the distinct changes most tracks take. Significant highlights include “Club Classics” with Bb trickz, “Von Dutch” with A.G. Cook and Addison Rae, and “Mean Girls” with Julian Casablancas. In fact I vastly prefer these to the original versions. Some of the songs are deeply removed from their original becoming works of the featured artist rather than Charli XCX’s as seen with the 1975 and Caroline Polachek. The latter in particular gives the best verse on the whole project, it is truly beautiful both lyrically and melodically. Another track being vastly different from its original counterpart is “Club Classics,” sounding more of
NATTY LOU: “It meant that I only had one day to plan my set and little time to practice, but it turned out to be one of the best sets I’ve ever played.”
“It meant that I only had one day to plan my set and little time to practice, but it turned out to be one of the best sets I’ve ever played.” 26 September 2024 A conversation with Natty Lou, the natural-born performer turned global trailblazer of drum and bass, as we dive into her unforgettable Boomtown Hidden Woods set and her journey through the worldwide rave scene. Words by Isla Mcrobbie Your set at Hidden Woods had the most packed crowd I’ve ever seen! How did this year’s show compare to others? Honestly… best set of the summer! I was incredibly nervous because my hard drive containing all of music had broken a week before Boomtown and I had to take it to the computer repair shop. It meant that I only had one day to plan my set and little time to practice, but it turned out to be one of the best sets I’ve ever played. Texas MC was supposed to host my set that night, but he couldn’t make it due to an injury, so Tiny K jumped on last minute. As you can imagine, the lead up to the night was quite stressful, but as soon as I was on the decks, in front of that crowd, Ifelt at ease. Boomtown is my favourite festival in the UK – the vibes are just something else! I love how much time and effort they put into their production – the performers, the stage design, the secret stages… I can keep going! I’ve been super fortunate to have played Boomtown three times now and each year it keeps on getting better and better. It really has the best crowd – I still get people coming up to me at events saying that my set was one of the best sets of the weekend and it makes me happy to hear that. I’m really hoping to make it onto Origin stage one day…cross fingers! We loved the video of two fans raving during your set. How does it feel to see a sea of people having the time of their lives to your soundtrack? Haha I am so glad you captured that video! It makes me so happy to see everyone dancing, having a good time and enjoying my selection. I think it must have been the biggest crowd that I’ve ever played to. It felt so surreal seeing all those people out there who came to see me play. I find it difficult to take it all in whilst I’m playing because I’m so focussed on mixing and not messing up. It’s only until after my set that I think “wow, that was incredible!”. I couldn’t believe it when people were saying that there was a queue to get into the Hidden Forest during my set. Looking back at my friend’s videos, it really put things into perspective. View this post on Instagram A post shared by NATTY LOU (@nattylou_dnb) Your background as a dancer seems to add to your energy and stage presence behind the decks. How much of your set is improvised, and do you like taking risks during your performances? Thank you. I often get commended for my high energy behind the decks. I believe that I wasborn to perform, and I can’t help but dance to the tracks that I love. I’m super passionate about what I do, and I hope that shines through whilst I’m playing. I plan all of my sets but often change and adapt them when I feel that it’s necessary. I think it’s important for a DJ to be able to think on the spot, for example about what’s working and what’s not. It really depends on the crowd, where you’re playing and at what time. These are all factors I take into consideration. How did you start your journey as a DJ? What made you switch from dancing to mixing, especially starting in Hong Kong just before the pandemic? I started learning how to mix in 2018 whilst I was living in Hong Kong. I was a touring backing dancer back then, so it was hard to find the time to fully focus on it. Then the pandemic came, and I moved back to the UK. I was unemployed so as you can imagine, I had a lot of time to practice, concentrate on the craft and build up my skills. I started streaming my sets online, entered several mix competitions, and had the support from brands such as ‘Concrete Junglists’. I still dance and take on jobs from time to time, however, I’m fully focussed on a career in music now which, I feel, has more longevity. Your tracks “Alpenglow” with Lottie Jones and “Galactic” with Sebotage are amazing! When can we expect more singles? Are you working on anything new? Thank you! Yes, I’m sitting on so much music right now. I have music coming out with Tengu, D*Minds and up and coming producer, Leemo. I’m working with incredibly talented vocalists such as Mila Falls, Nathan Smoker and Ayah Marar. My release schedule is already looking busy for 2025 – I’m so excited for you all to hear! Your music is rooted in DNB, jungle, liquid, and other sub-genres. What’s your current sub-genre obsession? I love all sub-genres of Drum and Bass, but I mainly produce melodic, dance-floor Drum and Bass with powerful vocals. I make music that is uplifting, energetic, includes melodic hooks, atmospheric pads, a catchy topline that people can sing along to, and drums that people can dance to. As a magazine promoting UK female, non-binary, and trans artists, could you shout out another DJ, selector, or musician making waves in the industry? Or is there a track you currently have on repeat? Firstly, I’d like to give a shout out to the likes of Storm, Kemistry (RIP) and DJ Rap who have helped pave the way for females in Jungle & Drum and Bass. There are so many artists making
⊹⊱• Glastonbury Interview •⊰⊹ DJ Gracie T
Credit @djgraciet on Instagram ⊹⊱• Glastonbury Interview •⊰⊹ DJ Gracie T Set to play two sets at Glastonbury this week, DJ Gracie T has come a long way since they first dipped their toes into mixing in 2018. 26.06.24 Words by Alekia Gill From heavy dubstep to South Asian callbacks, Gracie T’s repertoire places them as a pioneer in the DJ scene today, cemented by their dedication to creating safe spaces for underrepresented artists. Here we explore these spaces further, figuring out what’s missing and how DJ Gracie T aims to fill those gaps. It’s clear that you’re carving out your own space in today’s music scene, but who inspires you? There have been so many artists who have shaped the artist I’m trying to become, a few stand out to me such as Anz, Sherelle, Jyoty, Manara & the Pxssy Palace crew. It’s always a joy to see these artists being authentically themselves on stage but I also respect the way they all stand up for themselves when they’re faced with the negativity that can often come with being marginalised in the music scene. You are part of the management team for The Beatriarchy, which provides a platform for underrepresented artists. What, to you, defines an inclusive community? What do you look for and aim to provide? I run The Beatriarchy alongside Kitsta, Shannon From Admin, Colecta, MYNA, & Beetroot and we have always tried to create a space for the people in the music scene who struggle to find a sense of belonging. An inclusive community means a space to be authentically yourself, share knowledge and support the successes of each other. While pursuing music, you’re also doing a lot for marginalised communities – is this ever draining? Championing marginalised communities is incredibly meaningful but it can be draining when it’s coming from a super personal place too. The racism, sexism, and homophobia I’ve experienced in the music scene has been exhausting at times but it’s definitely made me more determined to create a safe space through open decks, workshops, events and my own sets.What’s your dream gig/venue?Glastonbury was definitely one of my dream gigs so it’s crazy to be going! Other than that I always try to seek out the hidden gems, the small DIY venues and the queer spaces in different cities – those are always my ideal venues to play! Credit @djgraciet on Instagram You have recently made the move from Sheffield to Manchester. Do you see a difference between the two music scenes and is there anything still lacking in either place? I was sad to leave Sheffield after being there for almost eight years but the Manchester scene has been super welcoming. I think the two cities are very similar, however Sheffield has definitely seen the disappearance of several important DIY spaces, which has created a hole in the community. Spaces like Gut Level in Sheffield are building this back up again and they deserve all the support people can give to making the scene more inclusive! I’m incredibly excited to be working with Dialled In to put on our first festival in Manchester on the 20th July. The lineup is filled with South Asian talent from the North, particularly platforming women & queer people who are often forgotten like the legendary DJ Radical Sista, House of Spice & many more. What can we expect from your Glastonbury set? I’ll be bringing a fusion of genres like usual to Glasto this year. In my set b2b with Shivum at Silver Hayes we’ll be bringing the Funky/Jersey Club/Garage vibes and expect loads of fun edits with a South Asian spin. At my set on the Arrivals stage I’ll be going a bit harder with lots of Bassline, Dubstep and Jungle – think silly & speedy! Could you describe your 2024 so far in one word, and give us another word to describe your hopes for the rest of the year? Whirlwind – I moved to a new city, started a new job & it’s been hectic! I’m hoping the rest of the year will be chilled – I’m trying to find a good work/life balance with teaching/djing/resting, so wish me luck! DJ Gracie T is playing The Lonely Hearts Club at Silverhayes, Glastonbury on Thursday from 11:45pm-1am, and Arrivals at Shangri-La, Glastonbury on Friday from 4am-5am. View this post on Instagram A post shared by Gracie T (@djgraciet) You Might Also Like
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’
NEW EP RELEASE – Bel Cobain ‘Radical Forgiveness’ Bel Cobain cuts through the noise with her radical energy and vivid storytelling in new EP ‘Radical Forgiveness’ 11.12.23 Words by Amalia Castle https://www.youtube.com/watch?v=WXcMQ7KEX_8 Last week, East London-born singer-songwriter Bel Cobain uncovered her highly anticipated 5-track EP ‘Radical Forgiveness’ , after teasing with the addicting jazz infused drum and bass release ‘Unlikely’ and poignantly honest ballad ‘Pressure to Exist’. Bel Cobain’s sonic evolution, over the past five years, has led her to a place where integrity and consciousness find the perfect solace in her sultry vocals. The rising singer-songwriter has settled into an important seat within the UK’s growing Neo Soul and Jazz scene. Not shying from sometimes uncomfortable, but necessary, social and political truths, Bel’s most recent project is a true testament to her musical progression. ‘Radical Forgiveness’ sees her exploring the sounds of Jazz, R&B and Drum and Bass, while bringing a clarity to her message through her striking vocals and hard-hitting spoken word. This most recent release showcases the 22-year old’s perceptive understanding of not only the world around her, but of those far from her. Having crafted ‘Radical Forgiveness’ between London, Mexico City and Oaxaca at an artist residency, she tells i-D how inspiration spurred from the striking communities she encountered and their untamed creativity. ‘Wordly Bliss (Interlude)’ is an example of Bel’s evolved consciousness, where she dives into a commentary on the copious atrocities taking place in other parts of the world. She questions her own circumstances, in which she is warm and well-fed and she contemplates that with the current state of the world, for many, ignorance appears to be bliss. In the first track ‘Pressure to Exist’, Bel enters with her evocative vocals and keys that ooze a grounded, tender soul. Setting the tone for the EP, she crafts a sense of release and escapism through her expansive melodies. She looks back retrospectively at a breakdown she had in her late teens, recalling her search for answers;“Is this a breakthrough, or is it a breakdown?”. Having spent most of her life in London, Bel recently decided to move away from the chaos of the capital to the Kent coastline, prioritising her connection with nature and spirituality. Her escape to the tranquil pace of the coast shines through in the slow burn of ‘Pressure to Exist’ and track four, ‘Came Over Me’. As ‘Unlikely’ plays, immediately a new story unfolds. Carried by an exhilarating drum and bass rhythm and a jazz-heavy bass, we hear Bel’s haunting vocals deliver the story of a paranormal encounter she had during her time in Mexico. She intertwines her experience with a poignant commentary on the injustices towards Mexico’s own indigenous people as she sings “feeling sorry for my people who got rigged by the systematic default”. At the EP’s half-way point, Bel strips it down with ‘Worldy Bliss (Interlude)’, which intros with a striking, moody bassline and her ghostly distorted vocals. She holds this same enigmatic energy in ‘Came Over Me’, as she speaks closely to the listener. This time however, injecting a sure sensuality into her cadence and painting pictures of lonely late nights calls that often lead to a momentary bliss – whether it’s good for us or not. Bel wants her listeners to know that ‘Radical Forgiveness’ is more than just an EP, it’s a message bigger than her. “I want to make sure that if there’s anything I leave, it’s a clear message for people to wake up, smell the coffee and do something about it. I’m on radical energy,” she tells i-D. Ending the EP on that same high, she finishes on the hopeful, lo-fi dance track, ‘Awakening’ calling listeners to join her on a path to a higher understanding of the world around us. You Might Also Like
NEW SINGLE RELEASE – PinkPantheress ‘Mosquito’
NEW SINGLE RELEASE – PinkPantheress ‘Mosquito’ 02.10.23 Words by Scott Rudd Glitz and glamour can only keep the London pop queen so happy in the lead single for her upcoming debut studio album To say that PinkPantheress has had a successful 2023 would be an understatement. She’s collaborated with the likes of Troy Sivan, Destroy Lonely, Skrillex, Trippie Redd, and Ice Spice, with whom she released her most successful song to date, “Boy’s A Liar Pt.2,” which not only peaked at No. 3 on the Billboard 200 but also earned her her first platinum record in both the UK and America. While these collaborations have propelled her to stratospheric levels of success, she has remained true to her original sound, refusing to compromise for the sake of rapid success. This dedication to her unique style is evident in her latest single, “Mosquito.” Produced by Pantheress herself, alongside Mura Masa, who was also behind “Boy’s A Liar,” and heavyweight in the music world, Greg Kurstin, known for his work with artists like Lily Allen, Adele, Sia, and most recently Gorillaz. Even with these highly influential producers, the single maintains the trademark PinkPantheress sound, albeit slightly polished sonically. Accompanied by a music video featuring actresses Charithra Chandran, India Amarteifio, and Tara Shahidi, alongside Pantheress herself, shopping in for high-end fashion such as Valentino and Fendi. The song is a lyrically introspective piece about her relationship with wealth and materialism. It’s sung over a neatly crafted 90s drum and bass beat with R&B undertones, retaining all the nostalgic qualities that made her debut mixtape, “To Hell With It” (Parlophone), the critical success it was. Lyrically, the track implicitly uses money as a double entendre for love and obsession, with Pantheress singing on the refrain, “On a Monday, can I see you?, Can I check my numbers? ‘Cause I want to, I know it’s annoying how much I do, Spending you the day that I want, the day that I want, Another day then, maybe Tuesday?” The themes of obsession and wealth both carry a negative connotation with love, but the song employs this familiar and sometimes overt gimmick with elegance and just enough ambiguity that it doesn’t become grating. PinkPantheress’ bedroom pop sound appears to be consistently improving in quality with each new release, and considering her initial success with songs like “Pain” and “Just For Me,” which became overnight hits thanks to TikTok, it’s remarkable to see that she has transcended the TikTok artist label that many people might have initially associated her with. PinkPantheress seems poised to maintain her prominence within the music scene, and her debut album is highly anticipated, likely to solidify her position even further You Might Also Like Uncategorised
NEW SINGLE RELEASE – Romy ‘The Sea’ (TDJ Remix)
NEW SINGLE RELEASE – Romy ‘The Sea’ (TDJ Remix) 15.09.23 Words by Scott Rudd Ballad of lost love injected with bassline makes you forget what was sad in the first place Fresh off the release of her critically acclaimed debut album, “Mid Air,”(Young) which saw the artist revisiting her nightlife experiences in the queer clubs of London, The XX’s Romy has collaborated with Montreal-based trance and rave producer Geneviève Ryan-Martel, professionally known as TDJ. Geneviève last released her “BACK TO 123” (Collection Disques Durs) EP in March, featuring a diverse range of tracks spanning house, trance, and even punk elements. Together, they have crafted an electrifying remix of the final single from “Mid Air,” titled “The Sea.” Produced alongside the house music wonder boy at the moment, Fred Again, the original album version is a slow-tempo dance-pop ballad with Romy singing wistfully about a lost love she encountered “by the sea.” Despite its mellow and straightforward nature, it retains a danceable quality. However, what TDJ has accomplished is increasing the speed at which the people will dance, though manipulating the vocals, gently echoing them into the background, and infusing the beat with elements of bassline, trance, house, and ambient sounds. This transformation is sure to evoke nostalgia among clubgoers, both from the past and present, harkening back to the early days of 90s rave culture. This song checks all the boxes for what makes a great club tune. It features cleanly chopped-up vocals that seamlessly integrate with the instrumental, lyrics that explore themes of love (whether it’s finding it or losing it, both perspectives work in dance music), and a relentless four-to-the-floor drum rhythm. The revival of bassline music in the UK has been dominating the charts lately, from the energetic tracks of Bad Boy Chiller Crew to the more understated and softer variations exemplified by Eliza Rose, whose “B.O.T.A. (Baddest Of Them All)” spent two consecutive weeks at the top of the UK singles charts. Although “The Sea” hasn’t achieved the same level of commercial success as “B.O.T.A.,” it doesn’t really matter. These songs are meant for the club scene, where lost souls seek companionship and connection. Tracks like “The Sea” thrive in the right environments, and with the current resurgence of dance music, it’s bound to find its audience. Romy has also recently unveiled a series of tour dates in support of her debut album, spanning across Europe, the UK, and North America, aptly named “Club Mid Air.” The tour is set to kick off in Paris on November 9th and will culminate in New York on December 7th with her London date at Electric Brixton sitting at the end of the first leg on November 18th . You Might Also Like Uncategorised
NEW SINGLE RELEASE – Loraine James feat. RiTchie – ‘Déjà Vu’
NEW SINGLE RELEASE – Loraine James feat. RiTchie – ‘Déjà Vu’ 31.07.23 Words by Amalia Castle Loraine James releases genre-bending single ‘Déjà Vu’ featuring RiTchie, ahead of new album ‘Gentle Confrontation’ IDM, ambient, math rock, drill, R&B, jazz, techno, club. If someone were to throw this list at you, chances are, finding links between all or any of these genres would be testing. To my delighted surprise, London-based producer Loraine James has created a space for all of these genres to co-exist, continuously pushing their stylistic boundaries. Over the past 5 years James has been tailoring her unique sound, receiving not only praise but awe from the industry. The Guardian labeled her a “genre-splicing genius”, while MixMag said the London composer is creating “sounds that seem impossible”. Lorraine James does all this while using her music as a vehicle to discuss anxiety, self-confidence, and her experience as a young, queer woman. Earlier this month James brought listeners a brand new single titled ‘Déjà Vu’. The track sports her signature distorted breaks and ambient IDM, but switches in and out of a melodic R&B fusion, reminiscent of Smino and bLAck pARty. James also welcomes RiTchie onto the track (⅓ of Arizona rap group Injury Reserve), rapping with his serene cadence that brings a confident soul to the record. These R&B moments harmoniously blend RiTchie’s own style into James’ chaotically calculated production. On first listen, I thought the track felt like the perfect car tune. It seems I got the right idea as James pairs the track with visuals of the vocalist RiTchie, on a pensive car journey observing the exterior, and delivering his lyrics with a sure tranquility. Lorraine James’ recent 2023 singles, ‘2003’ and ‘Déjà Vu’, come alongside the announcement of her new album ‘Gentle Confrontation’, out 22 September. A list of her 2023 shows can be found on her bandcamp. You Might Also Like Dance, Electronic, Greater London, Loraine James, New Releases, North London, On the Rise, Single, Uncategorised