Abstract Electronic UK
Abstract Electronic UK An introduction to the contemporary experimental electronic practices within the UK, artists producing at the intersections between post-ambient and power-ambient composition, electroacoustic methodologies, and the frameworks of deconstructed club (Lanark Artefax). These works explore timbre and texture as forefront compositional components (Flora Yin-Wong) and demonstrate advanced approaches to sound design and signal processing. Non-linear form and process-driven compositional systems (Roly Porter) take precedence over traditional structures/form, rhythmic or harmonic progression. 21st century work that draws from the spectral (Joshua Sabin), noise (Emptyset), and post-industrial (Drew McDowall) lineages of the 20th century. This approach to composition is shaped by an informal pedagogy transmitted through technology, online channels, production techniques and club contextualisation rather than through formal institutional structures or genre formulae. The studio as an instrument. Pt 1. People’s Playlist by Eli Callingham Ambient,Electronic,Experimental {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
UK dark wave? <3
UK dark wave? <3 Yes yes yes yes yes. Songs that sound like they were made in caves. People’s Playlist by Isla Mcrobie Alternative,Dark Wave,Electro Pop,Electronic {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
London Underground
London Underground A beginners guide to artists who make underground electronic (or electronic adjacent) music in the UK, mainly London. It’s the revival of indie sleaze, or whatever you want to call it. Your mum will probably ask you to turn it off, we say turn it up. TNAM.UK playlists by: Caitlin Taylor Instagram Electro Pop,Electronic,Hyperpop {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
You Are Here
You Are Here Ambient,Electronic,Experimental Today, the balance between attention and distraction is more fragile than ever. We’re overwhelmed by information and trapped in feedback loops, caught in a collective noise that drowns out perspective and presence. But is it always necessary to be present? When can escapism offer clarity? And what might it really mean — to be here, now? People’s playlists by: Pilot Magazine Instagram {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
The UK artists playing Pitchfork 2025
The UK artists playing Pitchfork 2025 *chefs kiss to the bookers* [Tickets Here] By Isla Mcrobbie 24 October 2025 Pitchfork Music Festival London returns for its fifth edition from 4–8 November 2025. This year includes a Young Label Showcase with Two Shell and Mechatok at HERE at Outernet, plus the new Pitchfork London Selects — a four-day takeover at 93 Feet East spotlighting artists you’ll find across Pitchfork’s weekly new music playlist. A mainstay in London’s cultural calendar, Pitchfork London continues to light up the city with diverse and original programming. The week builds from specially curated weekday events to a full Saturday takeover at the Roundhouse and the renowned Dalston Takeover, spread across five of East London’s most-loved venues. Check out our playlist of all UK residents booked for this year’s events as well as our hot 7 ones to watch below. holybones holybones snuck up on us, sudden, incognito, and supreme. Single-tone narration, babied in the arms birthed by The Streets then revolutionised in the AI-voiced side project of electro artist Vegyn’s Headache (2023), has been crossed out and rewritten once again: less existentialism, more human touch, glossed in palpable synth-funk, but keep the ecstasy to the gram. Cinematic and textural in soundscape, holybones shine through instrumentals so blended they’re deceptively simple. It’s our Human Traffic — the one where Danny Dyer has a beer belly and we fear climate collapse: “Ah, forget it.” Anonymous for now, the London-based group may one day unwrap the mask as the culture cults follow. For now, we remain ravelled in the mystery. For fans of: Headache, Real LiesFriday 7 November – Roundhouse (Studio Theatre) – with Nick León & Loukeman – tickets to this event has now sold out, sign up to join waiting list Lauren Duffus Meteor and NTS Artist Development Programme graduate Lauren Duffus is still smoking from impact since her self-produced EP Can’s Gone Warm (June 2025). The six-track project floats borderless — dark synth and trip-dancehall stitched together with Duffus’ alien, or maybe angel, breath. So silky it’s razor sharp. Adored off the back of this release, the North London talent caught the eye of Miu Miu, performing at Milan Design Week 2025, while also landing coverage from Pitchfork, Crack, and Metal Magazine. For fans of: Malibu, System OlympiaSaturday 8 November – Roundhouse (Studio Theatre) – with Beatrice Dillon & Elaine Howley Deathcrash Deathcrash bleeds through the feeling of “You Went Away”, room-corner, isolated slowcore. Having toured with Codeine, The Jesus and Mary Chain, and fellow South-Londoners Black Country, New Road, the four-piece stand firmly in the alt/post-rock continuum.Playing with a dazzle of melancholy numbness, surprising cloud-cracks of hope-core shine through amid the bleak drones — 2022’s What To Do, for example. “I was terrified to tour again but it’s going great. The band I have are fantastic, and the drummer is my best friend for like 20 years or more. Um, all the shows have been selling out and… it’s fantastic.” Encapsulated in live performance, the band’s most recent manifestation came in the form of their 2023 extended album Less+, which garnered a respectable 7.1 from Pitchfork. With a slot on the 2025 lineup, the horizons of deathcrash, at least from the commentator’s view, are blue. For fans of: DusterWednesday 5 November – KOKO – with Divide and Dissolve Jadasea Lofi, sub-dust crackles spin through 2024’s folder 3, the third instalment from Peckham dashboard rapper Jadasea. He’s earned recognition for his paper-mâché sampling style — snippets and textures reminiscent of East Coast mid-’90s production. Humble within an extensive peer collective, Jadasea has credited Earl Sweatshirt (the pair currently on tour), Wiki, and MIKE as inspirations and collaborators, alongside a colourful history as a founding member of the Sub Luna City collective with Jesse James Solomon and Edgar the Beatmaker — better known as King Krule. This is “roll down the windows to let the smoke out” music. Jadasea isn’t in a rush; he’s said he enjoys creating more in the crib than the studio — a truth that seeps into his lyrical ease and intimacy. For fans of: Earl Sweatshirt, Wiki, MIKEThursday 6 November – Colour Factory – 10K Global x Pitchfork London with duendita, Niontay, Anysia Kym & more Sydney Minsky Sargeant You may recognise Sydney Minsky Sargeant (‘Syd’) as the frontman of electronic post-punk success Working Men’s Club, however winds seemingly shifted as the Yorkshire singer-songwriter, composer and producer traded city streets for green grass in his long-anticipated woollen album Lunga (Sep 2025). It’s a soft hamper approach of sincerity left on the doorstep — unimposing yet powerfully thoughtful — a tale of adolescence to adulthood with tracks that had ink to paper when he was just 14 years old. At just 23, this feels like a homecoming for the artist — breathing space with birdsong, but still the abuse of intrusive insecurity that comes with the realisation of parallel versions of oneself and past lives lost in early adulthood. The body of work takes natural progression before calling the curtains on New Day, a final entry of faith placed in a greater plan — and I can certainly agree on a bright future ahead. For fans of: Bill Callahan, Mazzy StarFriday 7 November – 93 Feet East – Pitchfork London Selects Just For Fun Just For Fun is a twinkling, experimental electronica fuck-you club-escapade from Charlotte Boyle (Elphi) and Neave Applebaum. Having debuted their first live show in March 2025, the duo has already triumphed, appearing on posters for The Great Escape Festival, All Points East (alongside George Clanton), and, of course, Pitchfork Festival, with self-hosted 2000s-alt-Brit-culture basement parties wedged in between. Zest-hot, la seda production JFF lets bubbles burst from the champagne bottle as Boyle takes any flat surface for a dancefloor. Euphoria meets crying in the bathroom; chaos becomes the story across their current singles “Boys” and “Catch Me If You Can.” For fans of: The Dare, Charli XCXSaturday 8 November – Multiple Venues, Dalston – Pitchfork London Another Country
RALLY 2025 Festival Review – An Incredible Display of Fresh Music
RALLY 2025 Festival Review – An Incredible Display of Fresh Music A triumphant rain-free return for the Southwark Park festival. [2026 Ticket Sign up] By Caitlin Taylor 14 September 2025 {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} I’ve been to a lot of festivals this year and RALLY is the one I’ve been looking forward to most. As was the case last year, the lineup was incredible showcasing both emerging talent and established stars of the alternative scenes. It’s admirable how dedicated they are to supporting local artists, bands, and venues with a stage dedicated to Skehans pub (providing pints of Guinness!), copies of the Toerag newspaper scattered around the site and situational art pieces provided by local artists. The Agnes stage remained the best of the festival, both in terms of aesthetics and lineup. With a slight rejig, in my opinion an improvement from last year, the artists were much more accessible and easy to view. The first artist we caught there was Astrid Sonne who took to the stage accompanied by Emma Bradlet on the cello. She let the crowd know it was her birthday, and the crowd gifted her with a soft rendition of the birthday song which was sweet to experience. She’s a gentle performer who embraces fragility in her work. This delicateness allows you to focus on her beautiful violin playing and diary-like lyrics. Moving to the main stage, it was an emotional display for Porridge Radio’s final show of their tour, and one of their last performances ever before their looming breakup. Dana Mangolin gave it her all, belting out lyrics and swinging round her guitar, joined by Georgie on backup vocals who was back for their final date after 9 months away. They began by showcasing some of their more recent songs, but the crowd really kicked in as they brought back some tunes from Every Bad. Moin were absolutely mind-blowing. They took to the stage pretty casually, and then proceeded to blow out everyone’s eardrums with their incredibly tight instrumentation. They followed by bringing out Sophia Al-Maria to give a beautiful spoken word performance. From our angle we could see a stressed worker giving them 5 more minutes, which they took pretty liberally, but how could you shut down such an intense performance with an equally captivated audience? Definitely a highlight of the day. Some of the artists we stopped briefly by but still deserve recognition include Asha Puthli who opened the festival for us, Taahliah giving an ethereal performance on the Agnes stage, and The Speakers Quartet who provided a beautiful celebration of the work of Arthur Russell. Exploding onto the Agnes stage at 8pm was the rising star duo Bassvictim. Producer Ike Clateman remained comfortably at his decks while front woman Maria Manor took hold of the stage, strutting around and twirling while the front row desperately reached out their hands. It was undeniably incredibly fun. My personal favourite song Alice elicited screams from the crowd and a sea of raised hands. It’s always exciting to see a band this reasonably new with such a dedicated crowd. Closing out was the icon that is Floating Points who was accompanied by some captivating visuals. We managed to get a spot in the front row and felt ourselves consumed by the music. It was a beautiful send off to probably the best RALLY so far, at the very least the one with the best weather. You Might Also Like Recent Posts You Might Also Like Recent Posts
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 13 May 2025 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: 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 ⋆⭒˚.⋆
⊹⊱• 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
₊✩‧₊ Glastonbury Interview ₊✩‧₊ Meg Ward
Credit @meggyward Instagram ₊✩‧₊ Glastonbury Interview ₊✩‧₊ Meg Ward 26.06.24 Words by Hannah Naismith I actually saw you at Glastonbury last year at Glade and it was incredible, I absolutely loved your set! I believe it was your first time playing Glastonbury so how does it feel to be going back? Ah I’m glad you enjoyed my set, it was a truly emotional experience for me last year. It feels amazing to be back – I actually feel like I belong there. It would feel weird to not go every year now.. It’s a magical place. So your latest EP release is called ‘Sancturance’ – I really like ‘Basix’ off it, it’s just a classic groove along track. But I’m curious as to what inspired the name ‘Sancturance’? It’s actually a mashup of the words ‘sanctuary’ and ‘dance’ because the whole vibe of the EP was to create a space where people feel safe and at peace at the rave. Now this might be a bit of a hard question, because all of your tracks are ones that you can dance to, but do you have a favourite track to play that you think really gets the crowd going? My fav track to play at the minute is actually my new single (out 21/06) ‘KEEP U’ which is out on my brand new label ‘mega wavy’. I’m actually not just saying that to plug the track too it is genuinely the one tune at the minute that has really been going off in my sets. Very excited about it! We’ve actually got a project in the works at the moment in The New Age Magazine making a documentary about female artists playing festivals. What does it mean for you to be playing Glastonbury, out of all festivals, as a female DJ? Glastonbury, to me, has always been the ultimate festival, and arguably the best festival in the world. The anticipation behind it, the fact that I’d never been able to get a ticket before I played last year. It means a lot to play there. Last year I didn’t feel like a minority. I think the crowd tends to be a lot more evenly split (rather than certain other UK festivals where the crowd is full of shirtless boys). Also, I do feel like as a woman, especially a queer woman, playing any festival can feel like I’ve been added to a lineup as an afterthought to diversify it. I can’t help feeling like a ‘quota-filling’ act sometimes. I can say though that the times I have played at Glasto I haven’t ever felt like that. I feel like I’ve been booked for my music, rather than to tick a box. That really is down to the promoters running the stages though. And what do you think of the Glastonbury line-up this year and who are you most looking forward to seeing? The lineup is always so chocka it’s hard to pick faves, but some highlights for me are Charli XCX on Friday night (obsessed with her new album brat), Little Simz and Olivia Dean on the Pyramid stage, Jamie xx in the Woodsies, and acid house legends Orbital. One quick final question! When you’re not performing, where are you most likely to be found at Glastonbury? Through the day, sat at one of the main stages eating good food, drinking a pint. In the evenings, somewhere sketchy in the SE corner. Making mates with strangers. View this post on Instagram A post shared by Meg Ward (@meggyward) You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆