Video Interview: Chatting Music with SILVERWINGKILLER
Video Interview: Chatting Music with SILVERWINGKILLER At The Great Escape 2026 spoke with James and Yushang the electronic-punk duo SILVERWINGKILLER fighting hard in the music war They talked us through their releases, past and future, and recommended an eclectic assortment of artists. Watch the interview then listen to everything they mentioned on Spotify here.
Artist Playlist: SILVERWINGKILLER
← Back Artist Playlist,TNAM.UK Playlist SILVERWINGKILLER A playlist featuring artists chosen tracks and our TNAM staff picks from the electronic duo SILVERWINGKILLER. Alternative,Electronic {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Internet – Cloud – Digi – Drainer
Internet – Cloud – Digi – Drainer Electronic,Experimental,Rap A new TNAM series exploring the intersections between electronic music, cloud rap, and hyperpop, tracing the microscenes and sonic movements shaped and accelerated by online spaces. Sprung from the loins of drain gang, and early cloud rap torchbearers, a new generation of artists move through loosely defined collectives, online networks and shared digital atmosphere. Rhode Island’s Shed Theory are an example of this, a collective sound: experimental, ambient infused production, they have coined ‘nod’. Cross pollination replaces genre loyalty. Sounds circulate freely across networks, shaped collectively through shared tools, aesthetics, linked by autotune as texture, digital pristine, and a distinctly online emotional sensibility. In the shed, in the clouds, and on the web. TNAM.UK Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Artist Playlist: Silkarmour
Artist Playlist : Silkarmour Alternative,Electronic,Experimental A playlist featuring music made or selected by Silkarmour, plus some related suggestions from the TNAM team. Read the full interview here. TNAM.UK Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Artist Playlist: Just For Fun
Artist Playlist : Just For Fun Electro Pop,Electronic,Hyperpop,Pop Music from/selected by/inspired by Just For Fun – with help from the TNAM team. Find our original interview from Pitchfork festival over on our Instagram! TNAM.UK Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
In Conversation with Silkarmour
IN CONVERSATION WITH SILKARMOUR INTERVIEW By Eli Callingham 27 March 2026 Silkarmour is the brainchild of London-based musician and producer Enzo Samuel, a project that’s been active since the release of the debut single ‘Nervous Energy’ in 2020. Mutated over the years, but pushed by Samuel’s singular vision, Silkarmour combines earnest song-writing with experimental sound design, bombastic arrangements and tech wizardry. As a trio, their live set is formidable. After his March 14th headline show at the heralded south London electronic hub Venue MOT, he graciously answered some of our burning questions. Who are, or what is Silkarmour right now? Silkarmour is me, but I’m currently performing with two geniuses; Finn Murphy on organ synths and Joe Killick on percs/drums. How would you describe your music to someone who hasn’t heard it before? Textural and spiritual. Silkarmour’s sound has evolved a lot over the years. How has what inspires you musically or emotionally changed as the project has grown? I think for me the sonics all depend on what the song asks for and it changes per song. I like a lot of 60s and 70s music, especially psychedelic rock, soul and motown and I think those grand studio semi orchestral arrangements are really inspiring. I guess I like to lean into that more nowadays. Your visual identity feels inseparable from the music, do visuals come from the same conceptual starting point, or do they reshape the music after it exists? Or do they flow into one another like a figure of eight? I really enjoy making visuals and I think I have the same visual taste as I do musically. The visuals definitely come second but I often start to get an idea of how I want things to look while I’m working on the music. Context is the most important thing when it comes to art in my opinion and when I’m working sometimes I like to look on tumblr or go through art books and I’ll see images that reshape the context of the music and make me rethink what I’m listening to, that definitely helps to inspire me visually. My producer brain was geeking out a bit looking at your live setup, your use of equipment felt really meticulously curated, and of course maximal by design! You’ve previously mentioned being drawn to maximalist musicians and innovators in sound design and sampling, so I’m curious whether there are particular kinds of maximalism you connect with, whether emotional, sonic, or structural? And do those different approaches change how you think or feel when making music? I’m a big fan of 60s and 70s wall of sound arrangements, the sounds of Phil Spector and Joe Meek in particular are very influential for me. I think that ‘maximalism’ is maybe my poor way of describing deep emotive sonic texture. These days when I’m writing I am very minimal in terms of structuring my songs, particularly when it comes to melodic repetition. However I am obsessed with the sounds that come out when you really mess with a sample. That kind of overwhelming otherworldly texture and harmony is what I’m thinking of when I say maximalism. And while I do consider my current sound maximalist I would say that to me my setup feels minimal compared to what I’d ideally have in my dream band, I’d be ecstatic to play with an orchestra, a pipe organ or a full on folk band. Has the setup ever led you somewhere emotionally or musically you didn’t expect? I’ve recently picked up a harmonium and have been learning to play it which really impacted the way the set sounded, I only added it to the set up around a third of the way into the rehearsals and it has really completed the whole sound for me, I had already been recording on other harmoniums and I think now it might be a staple of what I do for the next period of time! Are there any underground artists you’ve been listening to, and you think others should know about? MM’99, a brilliant future alt pop star, Canty, a fantastic songwriter and performer and gegenpress a very powerful noise rock band. Are there any gig venues, spaces, or event series you’re excited about at the moment? Anywhere with a good soundsystem and I’m dead keen. All is Joy is pretty cool. What’s a song everyone should add to their playlist? Andy Stott – How It Was After a period of relative quiet (2022-2025), what has fundamentally changed in how Silkarmour makes decisions? I want to release more music! Which is what I am doing now, I am way too detail oriented so I’m learning to find a balance there. Is there anything you think audiences misunderstand about Silkarmour and do you ever try to correct that? That there is no space in the name ‘Silkarmour’.Aside from that it’s all open to interpretation. What’s something you’ve learned about making art that you wish you understood earlier? Working on other people’s music is the best way to better yourself at making your own. Any final words of wisdom? If you’re making tunes don’t stray away from ‘weird’ sonics out of fear of alienating people, it’s audible when something has been watered down. {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Back of the Club
Back of the Club Blurry nights split between standing front-left of the DJ booth and having a cig in the cramped smoking area soundtracked by these songs from some of our favourite artists making music for the current club scene. TNAM Playlist {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Avant-Club UK #2
Avant-Club UK #2 Club,Electronic,Experimental,Hyperpop,Industrial Part 2 of a monthly deep dive into the contemporary electronic artists working within the UK and around the frameworks/aesthetics of post-club, deconstructed club, UK Bass, and everything few and far-between (championing the fringe and experimental). My standout tracks, and words on them below: 1. The Twins: TURMERIC Identical twins Omar and Jamal are the Twins of the moment. Pulling influence from their South Asian heritage, they fuse electro-clash with desi sounds, sampling Bollywood to regional folk music. With Omar on vocals and Jamal on production, the duo have coined their style “Bollywood Electronic.” Their debut album ‘TUMERIC’ is a must listen, and so is the track of the same name. High octane and built around a fractured and reassembled sample, supported by pumping bass and dhol rhythms, with Omar’s vocals treated with glitchy processing. The tail end isn’t unlike something you would hear on ‘Go Plastic’ by Squarepusher. A distinctive take on hyperpop and the music of the adjacent indie sleaze revival. 2. Proc Fiskal: ADDICTIONZ Edinburgh based Proc Fiskal (real name Joe Powers) provides a different form of dance floor catharsis through his idiosyncratic strain of electronic maximalism. ‘ADDICTIONZ’ is the lead single and opening track from his recent project ‘Exchequer EP’. Released on acclaimed electronic label HyperDub, home to releases by cutting-edge electronic artists Burial, Kode9 and aya, it situates Powers within a lineage of forward-thinking UK club experimentalists. Intricate and rhythmically entrancing, the track starts with a slew of synths before giving way to gorgeously programmed MIDI strings and harp. A marriage of his grime roots and hyperpop sensibilities, interwoven with classical instrumentation in service of what he has described as “the utopian idea of the pastoral.” If you are enamoured by the dense, somewhat fantastical, and detailed sound design of projects like ‘Leo Line Eon’ by Iglooghost you may have interest in this one. It ventures into similar sonic terrain, but with different stride. 3. Another Country $$$$ – ANOTHER COUNTRY The new darlings of the UK underground band circuit, as the live electronics standouts. Manchester based duo Another Country $$$$ merge live drums with a distinct club vocabulary. Their live shows (I thankfully caught them during Pitchfork Music Festival at Cafe Oto) also feature live visuals, another cornerstone of their practice. With ‘ANOTHER COUNTRY’ (which I hope is their walkout song), a list of ‘another’ statements are read by text to speech, a mantra for pushing forward (it feels like) there will always be another something or other in life. Merging delicate sonics, not so dissimilar to ‘botanica’ with post-rave trance like lush synth chords which enter the fray with the driving kit. The track, its progression tastefully curated, feels imbued with nostalgic sentiment. If you ever get the post-rave blues, maybe they sound something like this. People’s Playlist by Eli Callingham Add Your Heading Text Here You Might Also Like Recent Posts
Abstract Electronic UK #2
Abstract Electronic UK #2 Ambient,Electronic,Experimental Part 2 of my monthly dive into 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. These works explore timbre and texture as forefront compositional components and demonstrate advanced approaches to sound design and signal processing. Non-linear form, wonky rhythms, and process-driven compositional systems take precedence over traditional structures/form, rhythmic or harmonic progression. 21st-century work that draws from the spectral, noise, and post-industrial 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. 1. BJ Holy: ‘Earth Sign’ BJ Holy is a multidisciplinary artist who seamlessly switches between roles: composer, producer, and instrumentalist. He effortlessly combines elements from electroacoustic, avant-club, ambient, and folk styles, performing live vocals, flugelhorn, and guitar alongside electronics. ‘Earth Sign’ (track nine from his debut album ‘Broken Horns’) offers just a snapshot of the record’s range. A structure built around an evolving motif alongside a patient build of texture that leaves you suspended, waiting for all the elements to converge (the drop), and for the full weight to be realised. With guest vocals from Charlotte Mandell, the pair move in call and response, their voices (at parts) intersecting in atmospheric bliss. Both vocalists recite abstract poetic musings, including fragments reprised from track three of the project ‘Clean Slate’: – “It’s my clean slate, perfect hideaway.” – “It’s my earth sign, it’s my third try.” Colliding fragments dissolve into one lingering question: What’s your Earth Sign? 2. Damsel Elysium: ‘Shoreline – Alex Faingold Rework’ ‘Shoreline’ is a cut from the London-based experimental sound artist’s 2024 EP ‘Whispers and Speaking’. Known for their multi-faceted practice, particularly their integration of strings, voice, electronics, and site-specific field recordings. Elysium weaves a textural composition that blurs the line between environment and instrument, grounded in their practice as an established cellist. Faint vocals like a siren song, electronic murmurs, and processed cello texture quietly bubble and recede. Tectonic audio plates shift beneath the surface, creating subtle drama. Saturated rhythmic stutters gradually move to the foreground, later swept away by sounds of the ocean. You’re taken on a real journey, like traversing a desolate landscape. Both Elysium and Faingold were in the short-lived band ‘Maine’. The release of their only album, ‘Barbary’ in 2023, strongly embodied my taste at the time, and I would still highly recommend it. It’s great to hear another collaboration from them, even in a different form. 3. MOBBS and Susu Laroche: ‘AXE’ Susu Laroche, one half of the currently inactive duo ‘The Fertile Crescent’ (with producer Oxhy), continues to carry the torch of a distinctly ritualistic strain of post-industrial in this collaboration with MOBBS. The ZEPO EP landed on Modern Love, a fitting home given the label’s history of atmosphere-driven releases from Demdike Stare and Andy Stott. ‘AXE’ is evocative, built on a driving, almost processional rhythm that thuds like distant war drums across the cavernous mix. Laroche’s vocals sit front and centre, layered chants upon a bed of vocal texture that sound plucked from antiquity. It feels less like a song and more like a rite, folkloric, a call to return to the primordial soup. 4. Myriad Myriads: ‘Fifth Shard’ Track five from the London-based producer’s ‘Shardcore’, an album intended to be the aural representation of taking consecutive keys of Ketamine. As K’s use on the dancefloor has exponentially grown, it’s a fitting concept. To give a curveball comparison, it’s not unlike DJ Screw and ‘Chopped N Screwed’ – where tempo drag, chopped repetition, and syrupy production aesthetics emulate the sensations of being under the influence of that purple drink. Every track on this project is brain nourishment (more so than K itself, which isn’t nourishing for your brain or for your bladder). This is my favourite ‘shard’ of the album, brittle and jagged synths sequenced with thematic wonky rhythms and motifs that stretch, condense, and resolve in the most satisfying way – replicating old Ken’s effects of time dilation. Like the Caretaker’s: ‘Everywhere at the End of Time’, but instead of slowly degrading memory, you’re moving closer to the K-hole. Released on ‘The Trilogy Tapes’. People’s Playlist by Eli Callingham Add Your Heading Text Here You Might Also Like Recent Posts
IN CONVERSATION WITH WOUNDER
IN CONVERSATION WITH WOUNDER ARTIST PLAYLIST By Eli Callingham 21 February 2026 Introduce yourself. I’m Sonny, I write and record under the name ‘Wounder’. I’ve been making music a very long time – 10 years. Been using this name the last two years for more metal-adjacent stuff. How was the show tonight? The show was cathartic as fuck I cant lie. Life’s been annoying recently and this was a really good outlet. It was one of them ones where you kinda go into it and you’re just like expecting it to be fucking hell to be that vulnerable but no, I got a lot out of it. It was nourishing for sure. How would you describe your music to someone who hasn’t heard it before? I kinda grew up on UK Bass music my whole life. Both my parents were into Drum & Bass in the 90s, I was raised on that from a very young age and I think for me the main point in my music at the moment is combining that – growing up on metal music and bass music. It’s kind of finding that – this sounds really wanky – but just finding a bit of catharsis in obnoxiously loud bass lines and combining that with the scream. For me that’s a way I can kind of get shit off my chest. Big bass, fucking screaming, guitars and shit. It’s a weird mix of genres and it’s cathartic to me, and hopefully it will be to whoever listens to it. [Later over voice note he clarified this idea more] “The main crux of it was sort of like, we use it [bass] in a very functional way. It’s supposed to get people moving, which I love, but there’s often nothing emotional about its use. It can be very clinical, and just serves this one purpose. From a young age, in the same way that I’d find listening to metal music cathartic, I found a fat banger will achieve a similar form of catharsis. You know if you’re having a bad day and you need to fucking shed something, I always found that music was quite good for it. You know the whole sound spectrum, it’s the range that drives the most force, and that can be harnessed emotionally. I think sometimes the violence of hard bass can actually do a lot for the soul and for release.” What inspires you? Some days it will just be like “I gotta get something off my chest” and there’s no sonic reference, it’s purely instinctual. But at the same time, sometimes it will just be that I hear a piece of music and I’m like “I gotta offer something to the world that’s similar to this”. It’s a really big mix but I’d just say like living in general, just consuming music, experiencing things. Music to me is just an outlet, a way to get things out.something, I always found that music was quite good for it. You know the whole sound spectrum, it’s the range that drives the most force, and that can be harnessed emotionally. I think sometimes the violence of hard bass can actually do a lot for the soul and for release.” Are there any underground artists you’ve been listening to? I got three actually. The first one is a more local person, 300SkullsAndCounting. He’s in this band Mitsubishi Suicide as well, he’s fucking amazing. I love his shit. He’s got his own lane, he’s doing something incredibly unique and it’s worth checking out. There’s a black metal artist I’ve been really enjoying called Volahn. He released an album called Popol Vuh last year and to me that’s like the most horrifying metal music I’ve ever heard. It’s like if you put a cosmic horror story into sound, it’s just terrifying. I want to shout out this album called Handwriting by Khonnor. It’s from like 2004, you might need to fact check that [FACT CHECK: it is]. I think if you look at a lot of the twee, indie electronica that’s really picking up motion now, you can really find a starting point in this guy’s music. Are there any gig venues, spaces or event series you’re excited about at the moment? I’m very excited about this one gallery in Haggerston called Final Hot Desert. In 2023 we did a show together. It was for a really good artist called John Knight. It was a homage to how he grew up in the Cincinnati hardcore scene and he was bringing different materials he would see in those venues. I played there at the private view and that was still my favourite gig I’ve ever done. I’m not even an art guy, I like music above all art forms because of the accessibility and no matter who you are, no matter what education you’ve had, the privilege of, if you hear something raw you’re just going to connect to it and that’s something that other art forms can’t really achieve. But I will say that at Final Hot Desert there is a baseline you can always connect with, even for someone like me who doesn’t have the context of reading a bunch of smart people books. What’s a song everyone should add to their playlist? The Myth Arc by The Body. The Body are one of my all time biggest inspos, so much of my sound I owe to listening to their shit since I was a kid. That song specifically, that’s so inspiring to me. It’s just a really good fucking juxtapositon of abrasive texture and really gut wrenching female vocals and melody – it’s just a perfect mix of the macho noisy side but it’s also got a real feminine touch to it. I’m not a big fan of overly macho metal music. Any final words of wisdom? Something that helped me was detaching my ego from what I do and not seeing good music as a way to validate yourself. I think