Sounds of The UK Underground
Sounds of The UK Underground ‘The Sounds of UK Rap’ returns in a new format with a broader scope. A curated guide to the essential new releases and artists you need to know. By George Ginn 3 August 2026 ‘The Sounds of UK Rap’ returns in a new format with a broader scope. While the series remains centred on UK rap, it now expands to explore the wider landscape of British underground music. From jungle, grime and the dance music adjacent. Writer George Ginn supplies a playlist of essential new releases, alongside a breakdown of artists and projects you should be listening to. Kibo – ‘Kwengletaria: Ragamyff’ London-based artist Kibo is no unknown MC in the grime scene. Known for his high-energy sets, lyrics, and humour, he makes music that fuses deep cuts with his philosophical, radical self-expression, ‘Kwengletarianism’. Appearing on various sets from TRAVS Presents, Balamii Radio, and Victory Lap, Kibo’s unstoppable lyrical force showcases the thoughts in his head of the legend, MF DOOM, whom he credits as an influence on his latest album, ‘Kwengletaria: Ragamyff’, but not in a way that feels mélange. The bars and production on ‘Kwengletaria: Ragamyff’ feel like a channelling of creating a new sound of the Eskibeat and Mixing Records DVDs era. Kibo executes and polishes this in a way that stays true to the scene he grew up on while showcasing it to a new generation. SIMMS – ‘Traversal Tapes’ Your favourite artist’s favourite DJ. SIMMS has delivered a wide range of production since the days when he first released his jungle flip of ‘Would You Mind’ by Janet Jackson. SIMMS · Janet Jackson – Would You Mind (SIMMS Jungle Flip) The NW London artist found his love for production in 2023 after DJing for 2 years prior, showcasing a myriad of genres including footwork, grime, dubstep, jersey, and hardcore. His ‘Traversal Tapes’ EP, released in May 2026, solidifies his exploration of movement through sonics. Professionally, SIMMS takes on every role with ‘Traversal Tapes’. From production, engineering, and having practical involvement in the visual aspect of his own work, resulting in an EP that feels authentic and melodically converged. ‘Perpetual Motion’ stands out the most on this EP as an energetic ambient breakbeat that truly feels like you’re gliding across Splash Canyon on Sonic Riders (2006). Nori – ‘file_1_is_loading…’ If SIMMS is Sega, then Nori is Nintendo. Growing up in St. Albans, Nori is the opposite of a grime artist but spins it his own way, having come off his release ‘i_aint_fly (G6)’ at the beginning of 2026. Using the foundations of grime, he keeps the UK scene intertwined and developing, with each track shaking legs. His next project, file_1 will show the faith he has in himself and the team around him by turning up, having fun, and talking from the heart. This is just the start of the beginning for Nori, and he is only getting started. Each Instagram post feels like he’s hungry and ready to conquer the new wave of grime. The streets will not be keeping their eyes off Nori. In years, he will go down as a legend to the scene, and just like in the Legend of Zelda franchise: “the courage need not be remembered, for it is never forgotten.” PlutoOrHades – ‘Heswall spoons’ Sampling the beautiful ‘Ivy’ by Frank Ocean, PlutoOrHades has documented his way into the London scene, having only moved to the capital from his roots in Liverpool last year. In the last year, he has paved his way into the underground, making a name for himself by constantly releasing new music, leading him to perform at The George Tavern for ‘Excavation’. ‘Heswall spoons’ is decorative yet so honest and confessional, circling questions of individuality within himself and his music. PlutoOrHades has released 16 other tracks so far this year, and with a run like this, we could be in for a run of 2024 Fakemink when the Essex artist dropped hit after hit every other day. You Might Also Like Recent Posts
Review: Ground Rules Festival – “The Past, Present and Future of the Hardcore Rave Scene”
REVIEW – GROUND RULES FESTIVAL 2026 An exploration of the past, present and future of the hardcore rave scene [Festival Info] By Imogen Sleith 26 July 2026 Ground Rules Festival was the next logical step for Singularity Uk, who started off putting on nights in a Stoke Newington basement. The festival is a passion project born of a need to recreate the old skool rave scene, and emerged from a postlockdown rave series at Grow Tottenham with Albion Audio. Located in Deene Park, Corby, a site which previously hosted Illusive Festival in 2024, an undoubtable amount of thought and care went into this first year of Ground Rules. With four main stages and a heavy focus on sound system, the festival was a three day love-affair with UK underground dance music and the cultures that surround it. Most attendees looked around my age (mid-late twenties), but there were enough millennials letting loose to indicate the team definitely achieved the old skool feel they were after. Photos by Maddie Corleone The days started gently with live dub, funk and soul at Terra Firma, the festivals 2nd largest outdoor stage powered by Firmly Rooted. After having my aura cleansed by The Purificators and watching a heated game of twister with The Clamor Clowns, I bounced between happy hardcore at Crashsite (rig by Shakedown Audio) and jungle at Gridlock. (Scotland Yard and Albion Audio). I mainly floated between two groups of mates, but every stranger I spoke to was keen to yap and share who’s set they’d loved and who they were excited to see next. I had a few solo side quests to attend the workshops at The Living Room Yurt. My workshop highlight was an introduction to Vinyl DJing with fairy godmother of the scene Louise Plus One, and Singularity’s own Silver Snipa. My set highlights were Chinese Daughter spinning vinyl at Crash Site and Midrib’s smokey set at The Living Room. Tokio Station also cast a bit of a spell on me during their sunday night sunset slot at Terra Firma, before the whole festival reconvened a couple hours later for ‘the last dance’, a final send off and a reprise of the weekend’s musical highlights. The attention to detail was unmatched; from The Womb Tomb (a tent dedicated to sanitary products and a place to wash menstrual cups) to the range of food stalls and a gluten free pale ale for all the celiac baddies, everything decision from the Ground Rules team seemed thoughtful and practical. Photos by Maddie Corleone The detailed visual world of the festival, from merch to staging and decor was created by lead illustrator Dani Nova, and harked back to the DIY culture of the UK rave scene. I wasn’t alone in finding the androgynous aliens dotted about the site kinda sexy, and the relentless queue outside the merch tent spoke for itself. Ground Rules really felt like an exploration of the past, present and future of the hardcore rave scene. It was a marriage of Bristol to London and everywhere in between, with endless energy and love poured into every element. You Might Also Like Recent Posts You Might Also Like Recent Posts
“Laxatives and poppers” – In Conversation with Lifeloose
“LAXATIVES AND POPPERS” – IN CONVERSATION WITH LIFELOOSE INTERVIEW By Caitlin Taylor 25 April 2026 Aldi Ho and Josie Silverman are Lifeloose, a dance-focused duo from London who are undeniably interesting. They’ve supported SilverWingKiller and Ashnymph, played on Foundation.FM and are on the lineup for The Cause’s new concept show at The Greyhound next month all while just having one single out. It’s a track that begins with the line “you’re not a virgin if you listen to my music” over a beat that sounds like something Kylie might’ve made if she frequented MOT. In between their crazy run of April shows they were kind enough to answer a few questions about who they are and what they like. I read that you first met at Guildhall, do you remember how it happened? We went on a double dumpster diving date with our exes, didn’t find anything good except for friendship!!! Aldi, you have a background in opera, whereas Josie also DJs as MIDRIB. What impact do you think those separate backgrounds have on your sound now? The Impact is like if you had 2 pieces of bread and then you had ham and cheese, then you also put in pickles and mustard and a bit of cream cheese, except the ingredients are DJ Spanish Fly (ham), Roy Orbison (cheese), and Lady Gaga (pickles, mustard, cream cheese). It’s like the best thing that you could do. You currently only have one single out on streaming. What made you choose that as your debut into the wider world? Because it’s called Lifeloose, and it’s funny because we also happen to be called Lifeloose. How do Lifeloose define letting loose? Laxatives and poppers. As I write this you’re in the middle of a crazy run of April gigs. How does it feel to play live? It’s so fun because we get to fake fight on stage; someone gets slapped in this one song (don’t worry, not the audience!), and we have a little argument about limes in another song. It gets our anger out. What’s your favourite local venue? It’s hard to choose one – Sebright Arms because we’re here right now, The George because that’s where we did our first gig, Windmill Brixton because Tim is cool, and Shacklewell Arms because we’re throwing a party there soon #antifavouritsm Your ‘BEST SONGS EVER’ playlist on Spotify features some crazy pulls. In an ideal world, who would you love to play a gig or collaborate on a song with? Rammstein and Skrillex on the same song, I think we’ll all get along. Are they any underground artists you feel deserve more attention? Mukbang Ray. They are so sick, try to catch them playing at a show. THIS IS GOO GOO GA GA. What’s a song everyone should have on their playlist? Lifeloose!! Only joking, I Am Not a Whore by LMFAO. Any final words of wisdom? Fuck money, get bitches. {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Lifeloose Recommends
Artist Playlist : Lifeloose A playlist featuring music made or selected by dance duo Lifeloose, plus some related suggestions from the TNAM team. TNAM.UK Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
UK House, Techno and Everything Inbetween
UK House, Techno and Everything Inbetween Some of my favourite UK based producers right now. People’s playlists by: TNAM.UK Contributor Instagram Club-House,House,tech-house,Techno {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
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 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. 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. 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 a remix 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.” 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 waves in the