Some bands sound better on record; others make more sense the moment they step onto a stage. The Howlers fall firmly into the second category. Have a listen to some of their songs on Spotify while you read about their live show at Nottingham's Bodega on February 13th! There’s something cinematic about their sound — dusty guitar tones, swaggering rhythms and vocals that feel dragged straight through the smoke of a late-night bar. Their music leans into desert rock textures while still carrying the restless pulse of UK indie. It’s gritty, melodic and just rough around the edges in the best possible way. But it’s live where things really click. A Howlers show isn’t perfectly polished in the glossy, stadium-ready sense. Instead it’s raw and immediate — the kind of performance where the room warms quickly, bodies edge closer to the stage and the band seem to feed directly off the crowd’s energy. The guitars snarl rather than shimmer, the drums land heavy, and frontman Adam Young holds the centre of it all with a presence that feels both effortless and unpredictable. There’s a confidence in how they move through a set. Songs surge forward with a loose, rolling momentum, building that feeling that something could tip over into chaos at any moment — but never quite does. It keeps the crowd locked in, riding every riff and chorus. In the right venue — dim lights, sticky floors, a crowd pressed shoulder-to-shoulder — The Howlers create the kind of atmosphere that reminds you why small gigs still matter: and the Bodega was the perfect [lace to do this! It’s loud, sweaty, a little wild, and exactly the sort of night that lingers long after the amps switch off. If Nottingham thrives on bands that bring character as much as sound, then The Howlers are a perfect fit: a group that understands that live music should feel energy and alive , not just performed. Following their "Towns and Cites" tour over February/March, The Howlers are said to be dropping a new album in April- so keep an eye out for that on their social media and streaming platforms! Instagram Facebook Words by Holly Surguy

MirrorMouth  doesn’t write songs to reassure. His latest release, ‘Honest Emancipation’, sits deliberately outside the language of slogans and instant alignment, favouring instead a slower, more considered form of confrontation. Framed within alternative pop, the track is calm, restrained, and quietly intense — a piece that trusts thought as much as feeling… What sets ‘Honest Emancipation’ apart is its refusal to dramatise its message. It doesn’t tell the listener what to think, nor does it seek approval. Instead, it creates space — for discomfort, reflection, and conversation. In an era where urgency often replaces nuance, MirrorMouth offers something rarer: a song that slows the pace, sharpens the focus, and asks whether truth still matters when it’s inconvenient. The song avoids dramatic peaks or overstated hooks. Guitars move with purpose rather than flourish, the rhythm section holds steady without demanding attention, and electronic elements are applied sparingly, creating tension without excess. This economy of sound mirrors the lyrical intent: nothing is added unless it earns its place. The result is a track that feels disciplined, almost architectural, allowing the listener to focus on meaning rather than momentum. ‘Honest Emancipation’ interrogates the idea of fairness itself. It questions whether equality can exist when standards shift depending on who they’re applied to, and whether emancipation loses its integrity when filtered through ideology or bias. The writing is direct but not didactic, philosophical without drifting into abstraction. These are questions shaped by lived observation, not theoretical positioning, and that grounding gives the song its authority. MirrorMouth’s background in high-level international finance is not used as a talking point, but it quietly informs the work. There’s a sense of someone who has spent years listening rather than speaking, absorbing how power, responsibility, and incentives operate behind closed doors. That perspective translates into songwriting that feels deliberate and unsentimental, yet deeply human. FACEBOOK  | INSTAGRAM  | X  | YOUTUBE  | SPOTIFY  | SOUNDCLOUD

There are some songs that arrive like a carefully planned statement. ‘Bésame’ is not one of those songs — and that’s exactly the point. Released on 5th February 2026, Daniela’s latest single feels more like a raised eyebrow across a dancefloor than a press-ready proclamation. It flirts, it loops, it refuses to over-explain itself. Built from warm guitar strokes, soft percussion, and hypnotic rhythmic cycles, ‘Bésame’ thrives in that delicious grey area between intention and impulse. The track’s repetition isn’t accidental or lazy — it’s the musical equivalent of saying “just one more song” and meaning it every time. Daniela leans into the dopamine rush of a new connection: the music gets louder, the lights get softer, the night starts to feel infinite. In a culture obsessed with screenshots and timestamps, ‘Bésame’ opts for touch, movement, and presence. No filters. No overthinking. Just chemistry doing what chemistry does best. INSTAGRAM  | YOUTUBE  | SPOTIFY Daniela herself is no stranger to worlds colliding. Born in Mexico City and now based in Houston, Texas, her sound reflects a life lived between cultures, languages, and creative disciplines. She’s built her catalogue independently, with releases like ‘Ni De Aquí, Ni De Allá’, ‘Contigo’, and ‘UNFORGETTABLE’ establishing her as an artist drawn to emotional clarity over spectacle. If pop is often about chasing the moment, Daniela prefers to sit inside it. That instinct deepened in 2025, when she took a step back from releasing music to study at the Royal Academy of Dramatic Art. It shows — not through theatrical grandstanding, but in restraint. ‘Bésame’ knows when to hold back. It lets groove do the talking. It trusts the listener to meet it halfway. The track moves between subtle R&B, Latin pop, and tropical warmth — perfect for playlists that lean towards Karol G, Camila Cabello, or Kali Uchis, but with Daniela’s own conversational softness at the centre. Her vocal delivery is confident without shouting, playful without performance-face. ‘Bésame’ doesn’t demand commitment. It asks for a moment. Preferably one involving dancing, good lighting, and zero notifications. And really, what more could you want from a song? If this is Daniela warming up for what comes next — with more releases already lined up — consider this the spark before the fire.

Designer Melissa-Kate returns to her hometown with her debut solo fashion show, unveiling her SS26 collection titled ‘London, Paris, New York, Birkenhead’ on 19th February at Future Yard, the Birkenhead-based CIC dedicated to uplifting local creative talent. After showcasing collections across three seasons of London Fashion Week, Melissa-Kate’s SS26 show marks both a personal and cultural homecoming. Collaborating with an expansive network of performers and creatives from across Merseyside, the event champions the idea that success in fashion and the arts does not require relocation to traditional industry capitals — instead, it thrives through community, collaboration, and regional creative power. Melissa-Kate SS26: ‘London, Paris, New York, Birkenhead’ 19th February 2026 | Doors 6.30pm Future Yard, Birkenhead Tickets: https://www.eventim-light.com/uk/a/629dc481da0a110632e6a3c5/e/69663b11f0f9b525f16b166d?lang=en Set to be an ultra-feminine, flamboyant party, the night invites guests into Melissa-Kate’s world of “Hun Couture” — where excess is encouraged and dressing over the top is the only dress code. Melissa-Kate by by Binh D @Binhsdump " “The collection is what I call Hun Couture — it throws together 50s Hollywood glamour with 00s Scouse WAG. The collection is a fusion of one-off designs created from scraps and deadstock fabrics, alongside ready-to-wear pieces made using zero-waste patterns,” says   Melissa - Kate. “ I intend to sell the ready-to-wear pieces via my website on a made-to-order, limited-stock basis, with occasional limited drops of one-off pieces.” SS26: ‘London, Paris, New York, Birkenhead’ reflects both aesthetic confidence and ethical intent. The collection blends nostalgic glamour with local cultural references, while embedding sustainability through deadstock materials, zero-waste pattern cutting, and limited production models. Hosted at Future Yard, a cornerstone of Birkenhead’s independent creative scene, the show reinforces the event’s wider message: creatives do not need to leave their communities to succeed — they need support, visibility, and collective belief. COVER IMAGE: Johnathan Padi @padis_photos

‘ Love Sound’ marks a significant milestone for Dace Silina, not only as her debut English-language single, but as a clear articulation of her artistic identity. Self-written and developed organically, the track reflects an artist stepping into new linguistic and emotional territory with confidence and care. Rather than overreaching, Silina allows the song to unfold naturally, guided by instinct and emotional clarity. The production, crafted alongside Gints Stankevics, favours warmth and balance. Clean pop structures anchor the track, while subtle melodic shifts and dynamic builds keep it fluid. There’s a sense of openness in the arrangement — space for the vocal to lead without crowding, space for emotion to resonate. Silina’s voice sits comfortably at the centre, expressive and controlled, blending professional training with a natural ease. Facebook , Instagram , TikTok , YouTube , Spotify Influences from contemporary pop figures such as Dua Lipa and Ariana Grande are present in the song’s melodic accessibility, but ‘Love Sound’ avoids imitation. Its strength lies in sincerity rather than spectacle. The lyrics are direct, reflective, and emotionally grounded, focusing on connection and expression rather than grand narrative. This restraint allows the song’s authenticity to come forward. The decision to avoid AI-assisted creation further reinforces the track’s organic quality. Every element feels intentional, shaped by human touch rather than algorithmic design. ‘Love Sound’ doesn’t attempt to overwhelm; it invites listeners in gently, offering a glimpse into Silina’s creative world. As an introduction to English-speaking audiences, the single succeeds by staying true to its emotional centre. ‘Love Sound’ positions Dace Silina as an artist driven by feeling and craftsmanship, setting a thoughtful foundation for what follows.

There’s no mistaking the tension running through Arsenal of Democracy, the latest album from New York avant-electro project Energy Whores. From its opening moments, the record refuses comfort. It hums, pulses, advances. It doesn’t invite you in so much as ask what you’re doing here — and whether you’ve been paying attention… Led by Carrie Schoenfeld, Energy Whores has always operated in a space between art-rock, electronic experimentation, and political provocation. But Arsenal of Democracy feels sharper, more distilled. The title track — which also serves as the album’s lead single — sets the tone with restrained defiance. Over a steady electronic groove layered with electric guitars and programmed rhythms, Schoenfeld delivers a warning rather than a rallying cry. Democracy, the song suggests, doesn’t collapse overnight. It erodes quietly, when people look away. The album was recorded in a DIY basement studio in New York City, and that hands-on process gives the project its edge. There’s no gloss here, no corporate sheen. Synths grind against guitar lines. Electronic drums feel mechanical but urgent. The production builds through layering and experimentation rather than formula. It’s meticulous without sounding polished into submission. FOLLOW: INSTAGRAM  | WEBSITE  | TIKTOK  | YOUTUBE  | SPOTIFY Across the record, Energy Whores dissects modern spectacle. Pretty Sparkly Things skewers consumer distraction and the cult of surface. Hey Hey Hate examines the machinery of outrage and how easily it can be weaponised. On Mach9ne and Bunker Man, the lens shifts toward technological dominance and elite survivalism — dystopian themes that feel less speculative than observational. The closing track, Two Minutes to Midnight, slows the pulse into something heavier, almost funereal, meditating on proximity to irreversible consequences. Comparisons to Talking Heads, Radiohead, Massive Attack, St. Vincent, and Rage Against The Machine make sense sonically, but Energy Whores isn’t chasing nostalgia. The project isn’t retro protest music or genre cosplay. It sits in a liminal space: danceable but uneasy, melodic but confrontational, electronic yet emotionally raw. Schoenfeld’s background in film and theatre adds another dimension. The project extends beyond music into video, visual art, and design — all created in-house — giving Arsenal of Democracy a cohesive aesthetic that feels intentional rather than decorative. The visual component of the title track reinforces its message: this is not a metaphorical arsenal. It’s about attention, participation, and responsibility. What makes Arsenal of Democracy resonate is its refusal to hand out easy answers. There are no slogans designed for social feeds. Instead, the album insists on something less comfortable: accountability. It suggests that disengagement is complicity, and that distraction is a luxury history rarely affords. In a cultural moment saturated with noise, Energy Whores offers something sharper — not escapism, but confrontation. And sometimes confrontation is the most honest form of art.

Nottingham based band City Flowers recently released a new single called “Anthony” which brings gritty guitar riffs, bouncing bass lines reminiscent of Queen's iconic riffs, and some incredible resonating vocals from band frontier Mollie Ralph. This single immediately makes you want to dance along and head-bang as the bass and guitar intensify. From the first crash of drums and heavy guitar work, “Anthony” screams to listeners that it isn’t meant to be background music, it’s a chaotic track thats intensions are clear; get everyone on the dancefloor. The recording, done in a small practice room in Rotherham rather than a larger studio, gives the song a serious sense of urgency and that desire to be hearing them play live- like you’re hearing the sweat dripping off the band as they record to perfection. Mollie Ralph leads the track with vocal performance that sits perfectly between vulnerability and that “I couldn’t care less” mentality: like some sort of maturity presented through song. It’s that give and take that is instilled in  “Anthony”, multiplying its emotional weight; Mollie carries the melody with a presence that forces you to leave the track playing and listen, really listen; even when the guitars and drums become more chaotic and grungier. Musically, the song is filled with contrast that ignores all natural instinct: rhythm sections that scream to be jumped up and down to, unexpected guitar riffs that seem to lead you one way then quickly change direction to keep you on your toes, and beautiful melodic harmonies that you would expect to be in a ballad, not a pop-rock hit like this one. The band’s self-described blend of “groove-driven rock” really comes through here in their own chaotic yet familiar and comforting way. In short, “Anthony” is a bold statement from a band that’s still finding their footing, but they certainly know how to make a track that makes listeners want to rip up the dance floor. And they're doing this Loudly. Why not give the track a listen and see what you think for yourself! Follow City Flowers on their instagram , Bandcamp and other socials to keep yourself up to date with all their new releases.

dive in / breathe out is a debut album defined by patience, depth, and emotional architecture. Málaga-based trio chinachinachina craft a body of work that resists urgency, allowing feeling to unfold at its own pace. Blending dream rock, contemporary R&B, electronic textures, and rhythmic fragments of jungle and drum & bass, the album exists in a space that feels unanchored to genre or geography — immersive, understated, and deeply intentional. The record is structured as two interconnected movements. Dive in explores descent — emotional risk, mistakes, vulnerability — while breathe out traces the aftermath: reflection, clarity, and release. This conceptual framing is mirrored sonically. Early tracks lean into denser textures and shadowed atmospheres, while later moments introduce lightness and space, allowing melodies to float rather than press. VINYL PURCHASE Instagram , Spotify , Website Production plays a crucial role. Recorded at Green Cross Studios and shaped by John Foyle and Mucky, the album balances intricacy with restraint. Electronic elements never dominate; instead, they blend seamlessly with organic instrumentation. Annie Bravo’s vocals remain calm and expressive, often delivered with a hushed confidence that draws listeners inward. The band understands the power of stillness — knowing when not to fill space. Tracks such as ‘blind eyes’ and ‘skin’ establish the album’s emotional gravity, while later moments like ‘forget me’ and ‘no ordinary love’ feel like exhalations. Influences may echo London Grammar or The xx, but the album never settles into mimicry. Its identity is its cohesion — a shared emotional language rather than a stylistic statement. dive in / breathe out is an album about trust: in process, in silence, in emotional honesty. It doesn’t chase impact; it earns it through atmosphere and care. As a debut, it positions chinachinachina not just as emerging artists, but as fully realised storytellers.

This is not a cautious introduction; it’s a statement made at full volume. Across ten tracks, Renn moves confidently between raw rock, alt-pop abrasion, and moments of stark emotional stillness, crafting a record that feels lived-in rather than constructed. The result is an album that pulses with physical energy while remaining emotionally precise — a rare balance for a debut. Instagram , X , TikTok , Spotify , YouTube , Website Recorded over nine intense days with a five-piece band after a transformative period of travel through Texas, Lightning Child carries the electricity of immediacy. Dirty, tactile guitars form the backbone of the record, often pushed forward in the mix, while rhythm sections remain muscular but never overbearing. Renn’s vocal performance is central throughout: expressive, unpolished in the right places, and capable of switching from confrontation to quiet vulnerability within a single phrase. You hear an artist unafraid of letting her voice crack when the emotion demands it. The album’s sequencing reinforces its emotional arc. Tracks like ‘Hands’ and ‘6’s to 7’s’ lean into darker tonal spaces — restless, tense, and rhythmically charged — while songs such as ‘Woman of the Wind’ and ‘The Clearing’ slow the pulse, allowing space for reflection. ‘None the Wiser’ introduces shoegaze textures that blur edges rather than soften them, while ‘Dog Eyes’ marks a shift toward groove and physicality, stepping into a sense of reclaimed power. The title track, ‘Lightning Child’, acts as a centre of gravity: melodic, defiant, and expansive, celebrating self-recognition without sentimentality. Influences from PJ Harvey, Fiona Apple, and The Kills are present, but never worn on the surface. Renn channels their spirit rather than their sound, grounding the album in her own voice and lived experience. Lightning Child feels fearless because it doesn’t posture; it documents growth, loss, anger, and release with equal clarity. This is an album driven by instinct, not expectation — one that introduces Ava Renn as an artist already fully aware of who she is, and unafraid to let listeners hear the electricity in her becoming.

FREE/MAN’s reinterpretation of ‘Redemption Song’ is guided by reverence rather than reinvention… Approaching Bob Marley’s classic as a dialogue rather than a statement, Charlie Freeman strips the song back to its emotional core, allowing its message of liberation and spiritual resilience to breathe through his own alt-soul and rock-inflected lens. The result is intimate, grounded, and quietly powerful. Freeman’s arrangement avoids excess. Acoustic textures sit front and centre, supported by warm tonal layers that nod to 70s rock and Americana without drifting into nostalgia. His vocal delivery is restrained but deeply expressive, carrying a sense of presence that feels meditative rather than performative. Each phrase is given room to resonate, reinforcing the song’s reflective nature. This version doesn’t aim to replace the original; it exists alongside it, shaped by Freeman’s personal journey and thematic focus on reconnection. That ethos carries through to the EP Reconnection , where ‘Redemption Song’ sits as an emotional anchor. Across the project, Freeman explores acceptance, inner freedom, and collective healing — themes that align naturally with Marley’s legacy while remaining personal. What distinguishes this release is its sincerity. There’s no attempt to modernise for effect or amplify for scale. Instead, Freeman trusts simplicity, allowing the song’s words to lead. His influences — Britpop soul, Americana intimacy — surface subtly, shaping tone rather than structure. As a bridge toward his forthcoming album Gift In The Shadows , ‘Redemption Song’ feels like a moment of pause and grounding. It reinforces Freeman’s belief in music as a connective force, capable of holding space for reflection and renewal. This is a cover that honours its source by listening closely — and responding with care. Instagram , TikTok , Spotify , YouTube , Website

‘Better’ captures Clyde the Band at their most emotionally direct, pairing 90s-inspired alternative rock textures with savvy songwriting that cuts close to lived experience… The Los Angeles–based duo draw on distortion and melody in equal measure, crafting a track that feels raw without losing structure, vulnerable without collapsing into fragility. Instagram , TikTok , Spotify The song opens with guitar tones that immediately establish mood — thick, slightly abrasive, but melodic. There’s a looseness to the playing that feels intentional, allowing imperfections to surface rather than smoothing them away. The rhythm section drives the track forward steadily, grounding its emotional tension while giving space for dynamic shifts. ‘Better’ centres on invalidation — the quiet erosion that occurs when personal feelings are dismissed by those closest to you. Rather than framing this as confrontation, the song sits in the discomfort, allowing doubt and frustration to coexist. The chorus offers release not through resolution, but through recognition, making it deeply relatable for listeners navigating similar emotional landscapes. Vocal delivery is restrained yet expressive, avoiding dramatics in favour of honesty. The balance between softness and volume mirrors the song’s theme: vulnerability amplified rather than hidden. Influences from Pixies, Pavement, and Weezer surface in the band’s approach to dynamics, where tension is built through contrast rather than sheer force. ‘Better’ reinforces Clyde the Band’s ability to merge emotional depth with guitar-forward immediacy. It’s a track that understands the power of understatement, allowing distortion to speak where words fall short. In doing so, the duo deliver a song that feels both personal and communal — a reminder that sometimes being heard is the first step toward feeling better at all.

Known for balancing sweetness with sharp emotional insight, Stone strips back her sound here, allowing intimacy and restraint to take centre stage. Rather than framing softness as fragility, The Softies presents it as a conscious artistic choice: measured, intentional, and deeply assured. Sonically rooted in folk and acoustic pop traditions, the EP favours clarity over ornamentation. Arrangements remain sparse but considered, creating space for Stone’s voice to guide each track. Her vocal delivery is warm and unforced, with subtle shifts in tone that reveal emotional nuance rather than dramatise it. There’s a conversational quality to her singing, drawing listeners closer rather than pushing sentiment outward. Instagram , Spotify , YouTube The EP is not bound by a single narrative, yet it feels cohesive through mood and emotional precision. ‘Maybe I’m a Handful’ and ‘Glitter’ showcase Stone’s signature wit — light on the surface, pointed underneath — while maintaining melodic simplicity. ‘You Left So Suddenly’ stands out for its restraint, addressing grief with grace rather than explanation. The decision to avoid overstatement allows the weight of the subject matter to emerge naturally, making the track quietly devastating. Closing track ‘I Just Wanna Give You Love’, featuring Nathan Thomas, introduces a sense of warmth and connection, offering resolution without neat conclusions. Throughout the EP, Stone proves that vulnerability doesn’t require exposure — it can live comfortably in suggestion, phrasing, and silence. The Softies doesn’t ask to be loud. It invites attention through honesty and control, reinforcing Stone’s ability to write songs that feel personal while remaining universally resonant. It’s a release that values emotional clarity over impact, and in doing so, makes its impact all the stronger. Photo Credits: Apollo flux