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
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: TheAdult, Lonestar & SleepyC
Artist Playlist : TheAdult, Lonestar & SleepyC Rap Music from/selected by/inspired by TheAdult, LONESTAR & SleepyC – with help from the TNAM team. Find our original interview 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
The Sounds of UK Underground Rap #4
The Sounds of UK Underground #4 Part 4 of a monthly TNAM series exploring the current sounds and sub-genres of UK rap music: Jerk, Rage, Cloud Rap and ‘UK Underground’. *Now including Republic of Ireland artists.* People’s Playlist by Eli Callingham {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
The Sounds of UK Underground Rap #3
The Sounds of UK Underground Rap #3 Part 3 of a monthly TNAM series exploring the current sounds and sub-genres of UK rap music: Jerk, Rage, Cloud Rap and ‘UK Underground’. Here are my notable artists and song picks: 1. W0nderthug: #KNIFEWORK South London rapper W0nderthug is emerging as a new forerunner of the ever-evolving metal influenced rap sound, merging UK drill flows with the blown-out abrasiveness of rage production. Appearing on underground line-ups from Post Party to Antivision, a live circuit that favours the cutting-edge and confrontational, which W0nderthug leans into. His debut project METAL GANGSTER RAP, released February 2026, leaves little ambiguity about where W0nderthug is positioning himself sonically. ‘#KNIFEWORK’, built around a barrage of distorted 808s and blown-out textures which create a deliberate sensory overload. The bars feel knowingly exaggerated, tongue-in-cheek, threatening and ironic in equal breath, channeling Gen-Z surrealism and internet-age absurdity. 2. Magnus Brandt: Selfie London-based artist Magnus Brandt first built an underground following through releases under the aliases ‘Mag’ (2017-21) and ‘Magthegod’ on SoundCloud, where his DIY aesthetic gained a cult following. Moving fluidly across genres from trap and alternative pop to slacker indie, Brandt has developed a reputation as something of a sonic chameleon. From Genius user ‘@mungorse’ (suspected to be a Brandt burner account), the change of artist name is framed as a kind of “Jungian integration of the whole” – multiple approaches consolidated into a single identity and under a single name. The Smile EP (July 2025), his most recent project, feels like the outcome of this process, an extensive hodgepodge of influences siphoned through Brandt’s particular lens. ‘Selfie’ exemplifies this integration. The production is sparse yet intricately detailed, punctuated by digital chirps and camera snaps that mirror its title and thematic concerns. The lyrics are earnest and confessional, circling questions of self-identity and the uneasy act of comparison with another. 3. Mnwa Echs – bullets At just 20 years old, Mnwa Echs (pronounced “Man Wa Ex”) is an artist whose trajectory feels difficult to ignore. Echs has steadily built a catalogue defined by consistency, experimentation, and a clear sense of authorship. Regularly releasing new material and collaborating across the underground UK rap scene, including work alongside ‘Llondon Actress’, he occupies a space within the loose lineage of post-emo SoundCloud rap, drawing on its emotional directness while pushing its sonic palette somewhere stranger and more individual. His ‘Emergence EP’, released in January 2026, crystallises much of what makes his work compelling. A fully self-contained project, Echs takes on every role himself: artist, producer and engineer, resulting in a record that feels both diaristic and meticulously assembled. Hazy melodic fragments, brittle percussion and sudden ruptures of distortion pair emo rap’s confessional impulse with a sharp ear for texture and atmosphere. ‘bullets’ stands out as the EP’s emotional centre. Over a sparse instrumental, Echs delivers the line: “Music is the only thing I really love”, a fervent sentiment, heard within the context of a project he has built entirely himself; it reads as a statement of intent. 4. iamawakesorry: Making It Out At just 20 years old, Mnwa Echs (pronounced “Man Wa Ex”) is an artist whose trajectory feels difficult to ignore. Echs has steadily built a catalogue defined by consistency, experimentation, and a clear sense of authorship. Regularly releasing new material and collaborating across the underground UK rap scene, including work alongside ‘Llondon Actress’, he occupies a space within the loose lineage of post-emo SoundCloud rap, drawing on its emotional directness while pushing its sonic palette somewhere stranger and more individual. People’s Playlist by Eli Callingham Add Your Heading Text Here You Might Also Like Recent Posts
The Sounds of UK Underground Rap #2
The Sounds of UK Underground Rap #2 Rap Part 2 of a monthly TNAM series exploring the current sounds and sub-genres of UK rap music: Jerk, Rage, Cloud Rap and ‘UK Underground’. The “underground” in the title refers to both the status of the artist across multiple UK rap styles and to the emerging UK underground sub-genre spearheaded by artists such as Fakemink, Feng, and Jim Lxgacy. This series functions as a curated snapshot, a macroscopic view of standout tracks shaping the current moment. Since the last mix, the UK Underground scene has rapidly approached mainstream visibility, rendering the label ‘underground’ almost antithetical. Masked rapper EsDeeKid, in particular, has reached new levels of notoriety. At the time of writing, he ranks among Spotify’s most-streamed rappers, globally, bolstered by industry co-signs and a now put to rest online conspiracy claiming his true identity to be actor Timothée Chalamet. View this post on Instagram A post shared by Timothée Chalamet (@tchalamet) EsDeeKid’s rise feels inseparable from both his Scouse accent and the sleek, futuristic production of the ‘PHANTOM AUDIO’ collective (more on them later). His success highlights the importance of regional accents in rap music and underscores the need for broader mainstream representation of differing vocal identities in the UK. American rap has long embraced regional variation as a strength, so why not the UK? PHANTOM AUDIO operates with deliberate opacity. For producers Wraith9 and Lancer, anonymity is inseparable from the project’s aesthetic, even as both maintain visible stakes across a broader creative network, including the brand ‘No Fear’ and ‘Virus London’ events. Wraith, in particular, obscures his face with an array of head coverings across visuals and live appearances, reinforcing the collective’s spectral branding. Both producers’ solo releases prove just as compelling as their collaborative production work. Standout tracks, and words on which below: 1. Lancer: White Stag I came to Lancer’s ‘White Stag’ before registering his affiliations, which in hindsight the sonic connection is unmistakable. His solo releases pull from alternative, footwork, and modern rap styles, resisting easy categorisation. On White Stag, Lancer is personal, vulnerable, and introspective. He talks about a misalignment in a relationship and in action, frozen like a deer in headlights, yet whipping through red lights. Where Jerk production defined much of Summer 2025, with LV Sandals by EsDeeKid, Rico Ace and Fakemink emerging as a defining anthem of the UK underground. White Stag demonstrates the breadth of PHANTOM AUDIO’s sonic palette. A glassy, rompler-style digital piano anchors the track, invoking the spirit of pluggnb’s melodic haze, while skittering percussion draws from footwork’s restless rhythmic language. Interjections of vocal samples act like call and response and play off Lancer’s musings. – “Slackjawed lost my keys on the 202, why the fuck am I in Blackheath?” As a South London native, I was often dragged here, I can relate. It speaks to the anguish in my heart. 2. Jaxzun: oneofone interlude Little information is known so far about rapper Jaxzun, including where he is based. According to Genius, his debut track, ‘Speakerz’, appeared in May 2025. Yet from his output, he doesn’t sound like a novice. Much like earlier algorithmic finds such as TheAdult and LedByHer, his music appeared unprompted and demanded attention. Instagram Reels remains an unexpectedly fertile space for discovery, even through the noise of endless “reels music.” His listener base has grown rapidly, reportedly surpassing 20,000 streams within a week of this track’s release. The discourse surrounding Jaxzun online is intriguing: equal parts admiration and confusion, with listeners debating possible influences and production techniques. Is it Sstepteam? Does he use tremolo, ring modulation, or sidechaining? What is clear, however, is that he produces his own material. On ‘oneofone interlude’, the sonic palette is unstable; the 808 erodes the instrumental around his voice, collapsing the sense of spatial depth as he explains why he is “oneofone.” As we move into 2026, I think he is an artist we should all keep an eye on. 3. Trellion: Fresh Paint In a conversation about under-rated UK rappers I was reminded of Trellion, the Sheffield rapper whose work occupies a singular space within UK Hip Hop. Active since the mid 2000s and closely affiliated with cult label ‘Blah Records’, co-run by Lee Scott, Trellion has long operated outside mainstream visibility, despite reported collaborations with heavyweight producer ‘The Alchemist’. His sound and approach feel increasingly rare in today’s landscape: ‘boom-bap’ built on skillful sampling and steeped in moody atmosphere. Online discussions about Trellion hold a mythic quality. The r/ukhiphopheads thread ‘Anybody know what happened to Trellion?’ had users speculating about his disappearance during a lengthy absence from solo releases, with rumours placing him either working or running an Italian restaurant somewhere in Sheffield. After roughly a decade without a solo project, Trellion resurfaced in 2025 with a trio of releases, Ok, the fire, Big Sur and The Man Who Couldn’t Die, reasserting a presence that never faded among devoted listeners. ‘Fresh Paint’ exemplifies his return. Built around a dust-covered piano sample reminiscent of a vintage horror soundtrack, the sparse production leaves deliberate space for Trellion’s laid-back delivery and introspective bars. Themes of renewal, identity and surreal rebirth run throughout: 4. LONESTAR: PERFECT TIMING ‘PERFECT TIMING’ is a single from West London rapper LONESTAR’s upcoming January album, ‘LIFE IN COLOUR’. A release he told me to watch out for when I interviewed him with Sleepy C after their performance at Antivision Vol 3 in November. Rooted in the UK rage sound, with hard-hitting, confrontational production, LONESTAR nonchalantly raps about his position in the scene, a mix of braggadocious musing and vulnerability: “I was never meant to get this far. I am an anomaly”. He also keeps the mood light with quips like “sending that boy back to the lobby”. The LONESTAR and SleepyC Interview. View this post on Instagram A post shared by The UK Playlist Collective (@tnam.uk) People’s Playlist by Eli Callingham {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }}
The Sounds of UK Underground Rap
The Sounds of UK Underground Rap (2025) Pt.1 A beginner’s guide to the burgeoning UK underground rap scene, spotlighting a diverse group of artists and sounds. Expect the sounds of Jerk, Rage, Grime, and Cloud Rap, ranging from the experimental to the more grounded. TNAM.UK playlists by: Eli Callingham Instagram Grime,Rap 6 December 2025 {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
New Single: Night Tapes ‘babygirl (like n01 else)’
New Single: Night Tapes ‘babygirl (like n01 else)’ Walking a hair-raising tightrope between girlish and ghoulish, the latest in a package of singles dropped by Night Tapes balances the sexy with the ever-so-slightly sinister. By Scarlett Stokes Currently Listening to: According to Night Tapes, their single “babygirl (like n01 else)” is a sonic imagining of the dark feminine – taking to Instagram, they write that this femininity “is fluid, violent, nurturing, monstrous, beautiful, chaotic, and whole.” That’s a whole lot of adjectives for one song, and big boots to fill. Despite the high sell by the band, it’s a promise they mostly manage to fulfil. “babygirl (like n01 else)” is reminiscent of Portishead’s “Sour Times”, or Massive Attack and Elizabeth Fraser’s “Teardrop”; think Women crooning ominously romantic ditties overlaying an unnerving trip-hop beat. The song hails an upcoming album, “portals//polarities”, set for release on September 26. Released by Southeast London’s Night Tapes, a dream pop band that emerged from evening jams between housemates Max Doohan, Sam Richards and Iiris Vesik, they deftly craft delicately psychedelic, synth-spun soundscapes. Another of the recent singles, “pacifico”, was inspired by the Mighty Souls of Mischief’s “93 ‘Til Infinity”, given a haunted house treatment. Sampling the legendary hip-hop tune and reimagining it into a sweetly sung trip-hop bop lands Night Tapes slap bang into my good books. Iiris Vesik, the voice of Night Tapes, lulls throughout “babygirl (like n01 else)” with a gentle, quiet threat. Almost baby-like, her saccharine-sweet, ultra-feminine vocals are paired with minimal instrumentation: dragging kick drums, a sparsely plucked guitar, and arpeggiated synths. For a song depicting the chaos and beautiful contradiction of whatever exactly “dark femininity” is meant to be, the name “babygirl” in and of itself is apt. A term of affection, alongside a diminutive in the realest sense of the word, it does have intrinsic sexual connotations (the most memorable example of late is the eponymous film, starring Nicole Kidman, where an older woman is sexually liberated with the help of a hot younger man). There is much to be said for the infantilisation of grown women, but the title of the song, paired with Vesik’s unsettlingly ageless voice, both innocently pitched and icily commanding, wryly captures this irony. The music video of “babygirl (like n01 else)” unfolds like a demonically bad trip. Hyper-saturated with the Twilight blue filter and filtered through grainy clusters of pixels, Night Tapes are interspersed with churning visions of flames, forests, and rolling blue seas. Vesik’s face morphs from an old woman to her now, wrinkles uncreasing, before shots of her as a young girl floats on screen. Surprisingly absent when citing their influences for “babygirl (n01 else)” are any explicit trip hop mentions. The synths and slowness, alongside the subject matter (the terrifying enormity of what it means to be a girl), bear a startling likeness to Air’s The Virgin Suicides. The main inspiration for the tune was Madonna’s “Frozen” and Bjork’s “Hyperballad”; the brief was “simple, but captivating”. It is dreamy, bordering on nightmarish, with a 90s sound portending a post-apocalyptic future. “babygirl (like n01 else)” feels like a haunting – it is tense, egg-shell fragile, and could shatter into a scream in a given moment. Whilst Night Tapes don’t give a specific meaning to the lyrics of the song, they establish a clear vibe: “This song is about a specific energy and feelings of wanting to possess//control that can accompany it. In the right amount and in the right place and time this energy is sexy as fu*k, when off balance it’s fu*king diabolical.” Sensual and spooky, the song accomplishes just that. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
｡✦✦ New EP Release ✦✦ : BXKS “One Time”
｡✦✦ New EP Release ✦✦ : BXKS “One Time” BXKS’ newest EP ‘One Time’ is solidifying the Luton-rapper as one of the most electrifying artists on the scene all while she crafts a new stage for female UK rappers to thrive. 06.03.24 Words by Amalia Castle https://www.youtube.com/watch?v=JLUGvemxqag Over the past few years, under the smokey Luton sky, one of the most exhilarating voices in UK rap was being forged. Throughout BXKS’ rise within the uk rap scene – leading to endorsements from Skepta and a show at Boiler Room Amsterdam – the Luton-hailing rapper has taken on the scene with a sure-confidence, despite its historical fixation on her male counterparts. Now as she enters 2024, BXKS is not only honoring her music as a space for experimentation but undeniably crafting a new stage for female UK rappers to thrive. Since her inception, BXKS entered the rap game with power. Having looked up to legendary grime artist Skepta in her youth, the sound she showcased in her debut performance – her 2018 Mixtape Madness freestyle – comes as no surprise. At the time BXKS was revealing her prowess as a new-gen ‘drill artist’. However, following the performance’s success, she took some time away. She tells The Face “My entry point into music, though, was church” even beginning her journey with music wanting to sing. Drill wasn’t a genre she wanted to be confined to; BXKS had other plans for her sound. Six years later, in 2024, the Luton-born artist has cultivated a catalouge full of heavy, gritty basslines, fragments of smooth, spectral, jazz and shades of high-tempo dance influence. And with her self-assured flow – that’s almost cocky in the best way – she seems to have found her sound. With a list of high-grade releases and a host of collaborations that call for rejoice from any UK underground fans – such as Joe James, P-Rallel and Bawo – there’s been a level of excitement surrounding BXKS’ name this year. Which brings us to last week and the release of her eight-track EP titled ‘One Time’, which is nothing short of a masterful depiction of her artistry. BXKS takes centre-stage, telling stories of the come-up and her experience of the London scene through her slick storytelling, inviting Joe James and vocalist Sie to feature. The project is a cohesive collection of tracks spanning grime, alternative, electronic-club and jazz-fusion with BXKS’ signature hard-hitting flow and gritty basslines in tow. A clear showcase of her ability to break sonic-boundaries within her area of the scene. The mid-point of the project perfectly highlights this, with a transposed sample of Radiohead’s ‘Everything In Its Right Place’ playing as BXKS’ relays the chilling realities of being a woman in London. While track two, ‘Excuse Me’ with Joe James, is a classic jazz-infused alt rap release that’s reminiscent of the saxophone smoothness in a CowBoy Bebop episode. BXKS continues to show the multifaceted nature of the project with ‘Back It Up’, a pumping club-inspired track full of choppy vocal samples and a vibrant bassline. The ‘One Time’ EP is a unique and exhilarating journey for UK rap fans to embark on, and an exciting starting point for new listeners of BXKS. In the heart of the UK rap scene, BXKS is already carving out a distinctive space for herself, defying the narrative for female rap artists. View this post on Instagram A post shared by ⭒{(BXKS)}⭒ (@bxksintokyo) You Might Also Like
｡❁ New Single Release ❁ : RUBII “Jealousy”
｡❁ New Single Release ❁ : RUBII “Jealousy” ‘Jealousy’ is the latest and first single from Birmingham-born artist RUBII since the release of her ‘Olive Green’ EP last year. 04.03.24 Words by Gabi Machen This new song offers a laid-back yet vibrant beat overlayed with delicate keys and relaxed vocals, blending old-school hip-hop, jazz and R&B influences to create her signature sound. Rubii’s music creates a perfectly chilled vibe you can tap into no matter your mood, its mellow rhythms and smooth vocals provide a soothing soundtrack to daily life. Showcasing her conversational lyricism with an air of unbothered, Rubii lays out her experience of career jealousy interfering with a romantic connection. Though wise to the competitiveness coming from other musicians, she recites ‘I’ve been told differences but I think that it’s jealousy’. This single gives insight into the themes that her upcoming EP will explore, with a strong focus on self-empowerment you can expect to hear more honesty from Rubii. Alongside an EP in the works, Rubii recently supported the Wasia Project on their UK tour and is embarking on her first headline tour in April. Rubii’s success to date has paved the way for her to increasingly bring her creative vision to light, demonstrate her artistry and affirm her imprint in the alternative R&B space. If you are a fan of ENNY and JGrrey, you will want to keep RUBII firmly on your radar!