Known for his ability to blend vintage charm with modern indie aesthetics, leo. draws from influences like Chevy and Laufey to create a sound that feels both timeless and refreshingly unique. Website  | Instagram  | TikTok  | YouTube  | X  | Facebook  | Spotify Opening with lush strings, arranged by Alistair Kerley, and Nico Widdowson’s evocative jazz piano, ‘december blues’ immediately transports the listener to a world of 1940s-50s holiday nostalgia. The instrumentation feels deliberately spacious, allowing each element to shine—whether it’s the gently strummed acoustic guitar or the heartfelt duet between leo. and collaborator Chevy. Together, their vocals intertwine effortlessly, carrying the track’s delicate emotions with sincerity and poise. Produced and mixed by longtime collaborator Ed Allen, the track masterfully balances its vintage roots with contemporary polish. The soundscape feels organic, yet refined—every note seems imbued with a sense of purpose, evoking a cosy, fireside glow. The influence of mid-century classics is clear, yet leo. avoids mere imitation, opting instead for subtle modern twists that ground the song in today’s indie scene. Lyrically, ‘december blues’ is a poetic reflection on winter loneliness and the transformative power of love. Inspired by Leo’s personal experiences adapting to colder winters in the UK, the song’s imagery resonates universally, while its warm tones provide a comforting antidote to the season’s grey skies. With this release, leo. continues to build on his impressive trajectory, adding another jewel to his growing discography. ‘december blues’ is more than a song—it’s an emotional refuge, perfect for anyone seeking solace in music’s ability to soothe and connect during the colder months.

Tapping into the legacy of her inspirations—Whitney Houston, Adele, and Amy Winehouse—Aldner blends her rich, velvety vocal tones with an understated gospel warmth, creating a track that feels simultaneously timeless and contemporary. Find Amelie Aldner: SPOTIFY  | INSTAGRAM  | FACEBOOK  | WEBSITE ‘Touch Me’ opens with a sparse arrangement of piano chords, setting an intimate stage for Aldner’s heartfelt delivery. Her voice, full of depth and control, rises effortlessly, layering raw vulnerability with unwavering strength. The gospel influences creep in gently, adding subtle harmonies that enrich the soundscape without overshadowing the emotional core. As the arrangement builds, strings and understated percussion give the song a cinematic edge, pulling listeners into its orbit of longing and connection. The production is sleek yet organic, allowing each element to breathe while maintaining a sense of cohesion. Aldner’s ability to weave personal introspection into universally resonant themes is the song’s standout quality. Lines that might otherwise feel heavy-handed are carried with grace by her dynamic phrasing and unmistakable passion. Fans of artists like Lady Gaga or Annie Lennox will recognise the theatrical flair in ‘Touch Me’, but it’s Aldner’s Scandinavian sensibility that sets her apart. The track feels grounded, eschewing overproduction in favour of raw, unvarnished emotion—a choice that pays off in spades. As a prelude to her 2025 album, ‘Touch Me’ offers an enticing glimpse into what’s to come. If the single is any indication, Aldner’s upcoming release will be a deeply personal journey, balancing introspective ballads with soaring anthems that aim to inspire and uplift. For now, ‘Touch Me’ stands as a reminder of Aldner’s artistry—a voice that can soothe, stir, and connect in equal measure.

Optacure’s ‘With The Moon’ Shines Brightly in Indie Pop Universe Optacure, the Filipino-Australian project of Edmund Gemelo Jr., offers a tender yet transformative listening experience with his latest single, ‘With The Moon’. Rooted in the shimmering tones of indie pop and flecked with electro-pop elements, the track paints an emotional soundscape that’s as intimate as it is expansive. Find Optacure: FACEBOOK  | INSTAGRAM  | SPOTIFY Crafted around the nostalgia of a moonlit beach gathering, ‘With The Moon’ encapsulates fleeting beauty and connection. The song’s structure delicately balances its themes: soft, cascading melodies echo the stillness of the night, while the production injects a vibrant pulse that feels like waves meeting the shore. Edmund’s vocals—earnest and textured—flow seamlessly with layers of delicate synths and airy guitar lines, building a dreamy ambience that lingers long after the song ends. Produced remotely by Ean Aguila in the Philippines while Edmund recorded in Australia, the track showcases a fresh production approach. Aguila’s influence—drawn from the dynamic sounds of Filipino artist Manic Mundane—shines in the lush arrangement and intricate layering. The DAW Reason plays a key role in pushing sonic boundaries, as deep, resonant beats and bright electronic flares merge with organic instrumentation, creating a sound both modern and deeply personal. ‘With The Moon’ stands out for its balance of simplicity and innovation. Optacure’s ability to weave universal emotions into his music, while embracing experimental production, positions him as a distinctive voice in indie pop. By crafting a song that invites listeners to cherish life’s ephemeral moments, Edmund Gemelo Jr. continues his journey of uniting diverse perspectives through music. With each release, Optacure’s artistry grows more compelling—‘With The Moon’ is a poignant reminder of the power of shared experiences, beautifully translated into sound.

French producer WØLZT unveils a musical masterpiece with 'Tapes From The Maze', a three-track instrumental album that pushes the boundaries of post-rock and experimental melodies... SPOTIFY  | FACEBOOK  | X  | INSTAGRAM  | YOUTUBE  | WEBSITE Introducing his self-coined genre, hypnagogic rock, WØLZT blends atmospheric textures, minimalist melodies, and cinematic soundscapes to craft a journey that is immersive as it is expansive. Opening with ‘Noise,’ the album draws listeners into a stark, nocturnal soundscape. The track unfolds with minimalist pads and ghostly arpeggios, building tension through syncopated bass and restrained percussion. The crescendo is subtle yet powerful, giving way to a solitary thrum, like a heartbeat echoing in the void. This piece embodies both emotional depth and spatial vastness, setting the stage for the album's evocative narrative. ‘Driving Out’ deepens the experience, marrying ambient and electronic influences with brooding intensity. Layers of dark, textured synths evoke a dystopian landscape, channelling the retro-futuristic energy of John Carpenter’s iconic scores. Pulsing rhythms and hypnotic bass lines propel the track forward, creating a sense of perpetual anticipation, as if teetering on the edge of a shadowy revelation. Closing the album, ‘Signal’ ventures into interstellar territory, with shimmering synths and reverberating bass painting a cosmic expanse. The track’s ethereal quality invites reflection, its vastness conjuring a spiritual resonance reminiscent of Blade Runner’s timeless atmosphere. WØLZT achieves an emotional climax here, offering a poignant conclusion to the album’s narrative arc. Tapes From The Maze  is an ambitious and deeply personal project, showcasing WØLZT’s mastery in crafting extended compositions that demand—and reward—close listening. By melding post-rock, ambient, and cinematic elements, WØLZT redefines genre boundaries, presenting a soundscape that feels both innovative and timeless. A hypnotic journey, this album cements WØLZT’s place as a pioneer in experimental music.

Kendra Muecke of Kendra & the Bunnies dives deep into the emotional kaleidoscope of identity with her empowering new single, ‘Manic Pixie Nightmare’. A striking fusion of pop sensibilities and light psychedelic rock influences, the track redefines the narrative of the so-called “manic pixie dream girl,” transforming it into a declaration of individuality and self-acceptance. SPOTIFY  | FACEBOOK  | X  | WEBSITE Built on shimmering guitar textures and a subtly hypnotic rhythm, ‘Manic Pixie Nightmare’ feels like a cosmic waltz through personal liberation. Kendra’s vocal performance is magnetic—her tone oscillates between vulnerability and defiance, carrying the listener through a story as vivid as its lyrical ambition. There’s a theatrical edge here, no doubt informed by her background in performance arts, which adds depth to the soaring melodies and poignant crescendos. The production complements the song’s ethos: vibrant yet reflective and self aware. The track’s layered harmonies and rich instrumentation evoke the dreamy ethos of Lana Del Rey, paired with the effervescent energy of Chappell Roan. With subtle nods to rock greats like Jefferson Airplane, Kendra crafts a sound that is both contemporary and timeless. ‘Manic Pixie Nightmare’ isn’t just a song; it’s an anthem for breaking free, delivered with finesse. Accompanied by a striking video filmed on the bustling Los Angeles subway, it solidifies Kendra’s artistry as a bold voice in pop.

If you missed our spooky gig last night, don't fear! I'm here to tell you all about the evening scarefest and give you all the gory details of the night! Our spooktacular gig was one to remember; with two floors of chilling performances on our top level and in the dungeon at The Mist Rolling Inn! Upstairs, we had performances from: Green Grango Cae Capurro Louie Walsh In the Dungeon, we had performances from: Modern Coven Rights For Flies The Albions Filter Sequence Going into this gig, I had only seen two of these performers live before and was amazed at how phenomenal they were! From their jaw-dropping scary costumes, to their incredible sets; this night was one I’m cursed to remember forever! I came prepared with a fully charged camera to capture the best moments of the evening. I started my evening in the dungeon, listening to Modern Coven's witchy performance; although early into the evening, their enchanting harmonies didn't stop almost everyone in the venue being lured to the dungeon to hear them play, like sirens in the misty sea, calling pirates in. There was no trick to their vocal superpowers, just the treat of hearing two amazing artists sing together! The dungeon has been going through some renovations since Simon Ashdown, the old head of sound at The Chameleon (RIP) moved his PA from there after the closure. He's been looking for a new home for his infamous system ever since, often said to have delivered the best sound in Nottingham. He's extending the downstairs so it will be a 70 cap room. With Simon's system, the upstairs bar and outside courtyard that makes the Mist Rolling Inn a very attractive venue to host gigs at and we wish Simon and the venue the very best of luck with the new venue. (Simon nearest the camera) Upstairs, Scooby-doo (the amazing Louie Walsh) was singing his set to another almost full room of victims.. i mean... audience. His raw vocals and upbeat songs made for a great 30 min set; I'm glad I managed to catch the last couple songs. His performance had a vague theme of the singers' roots and heritage which was great to see/hear! Rights For Flies: what a great performance! Audience participation, entertaining chat in between songs, and a plethora of great costumes... what more could you ask for? Their funky outfits and facepaint were almost as frightening as their ability to bring a great time; they got us all pop-popping and wiggling! They even got the whole audience buzzing for joy after each song! The next performers I caught were The Albions, with their catchy melodies and brutal bass, this set had creepyily strong stage presence which is always consistent and they have a spooky means of compulsion when it comes to audience size: maybe the power of voodoo? The next set i saw was Green Grango, who looked incredible, but unfortunately, could not be heard very well because of an overrunning set down in the dungeon. From what I could hear, they had a Hendrix sort of vibe about them which was incredible! The pulsing guitar reverberated through the whole venue, while the vocals (while rather quiet) were still frighteningly ghoulish and took a bite right out of my soul. The final performance, I got to see was Filter Sequence; the mysterious, funny and incredibly popular producer. The crowds were blown away by the groovy beats specifically from 1992, with a call and response tracks and even one 'Shut That Gate" specifically written for I'm Not From London!! At one point he was playing wih his nose and singing through a loudspeakerThe tunes that this performer were going down so well in the dungeon; dancing, head-banging, and cheering was seen/heard from all around the packed venue throughout the final set! Overall, our spooktacular halloween gig was greatly successful, much loved, and a perfect way to spend the scariest night of the year; guests (and performers) costumes were so inventive and nightmare-ish, they'll haunt you for months to come... until next year. We had so much fun holding and attending this sinister night of bone-chilling performances, we hope you had a great time if you made it down! Thanks to all the staff at the Mist Rolling Inn for hosting us, we look forward to next time! If you fancy checking out some of our highlights from the evening, check this out! Beware! strange, paranormal activity lies ahead....

Instagram | Tiktok When i first heard Formal Warning's new Ep i was immediately reminded of my childhood; blasting 5 Seconds of Summer in my bedroom, singing and dancing along. Then I was brought to when I was a little older and started to adapt to different music tastes, listening to The Pixies, Evanescence and The Undertones, widening my eclectic music tastes even more. This album gave a sense of nostalgia that I didnt know I needed until I listened and all those memories came flooding back. The currently unreleased Ep contains 3 carefully curated, anthems that fuse high energy pop-punk sounds with a raw, gritty alt rock style: bringing a blend of infectious pop choruses and driving guitar riffs, merging the sleek, radio-friendly polish of pop-punk with the underground, off-kilter edge of ‘90s alt-rock with an atmospheric, abstract approach. For this Ep, the 2-piece alt band based in Nottingham have been joined by another vocalist who, in my opinion, really adds new levels of contrast, harmonies and perspective to their music; the female vocals add a level of versatility to their already great music, allowing them to experiment with music styles and complementing the music no matter what genre it adheres to. My personal Favourite track of the Ep is called "I Want You For Myself". This track is the perfect mix of nostalgic teen-pop music style and 90s grunge, alt-rock music that is truely inspiring. Its drum pattern and guitar riffs have a way of making you instantly want to break out and bang your head along. The lyrics are another thing entirely... they are drawn from personal experience, which makes them feel raw and hit that part of your heart that breaks as you listen along. This Ep will certainly be worth the wait and should be held dear to those who relate to it. Formal Warning's influences range from Nirvana, Superhaven, Evanescence, to Wunderhorse. aiming to create grungy songs that people can relate to and personally enjoy. they currently have plans to play as many gigs as possible at venues such as Rock City and the Bodega in Nottingham, before hopefully going on to play in festivals such as Download and Beat the Streets; hoping to get their music heard by as many people as possible. I asked the band what new listeners should expect of their music, Guitarist and vocalist Christian said this: "if you’re looking for a band that writes about personal topics, and you need something to relate to - we’re the band for you. If you like a slightly heavier style of music, and big open songs with a wide mix of genres then 100%, I would recommend us." He also told me that his favourite aspect of writing/producing music is "watching my own and Jack’s faces light up when we record something and it sounds exactly as we’d pictured it." Their new song "Everytime" is dropping on November 15th! Come on down to see them play ahead of their release live this Fireworks night for our Ruby Tuesday night at Billy Bootleggers on Tue 5th Nov and see for yourselves! Words by Holly Surguy Ruby Tuesday poster designed by Izzy Lacey

"The highest purpose of art is to inspire.What else can you do? What else can you do for anyone but to inspire them?" -Bob Dylan 83 years old and still touring is impressive; Touring his 39th album, Rough and Rowdy Ways, playing only a few classic Bob Dylan hits that we all love. Instead, a nuanced performance reflective of his new, more refined sound. I can imagine still singing the same songs he wrote in his 20’s would get pretty boring and potentially would no longer represent his thoughts and feelings or are no longer the message that he wants to send out with his music, so it's understandable why he no longer plays them (perhaps not wanting to be a tribute act to his younger self); but for most people, I imagine, and for myself that is what I wanted to hear.  No phones meant no distractions from the music, which was something I've never experienced before but was a refreshing change. Also, no photos or videos were allowed, but considering he hardly got up from the piano there wasn't much to film anyway; understandable as all his songs were played on the piano, so why get up? The arena lights dimmed promptly at 7:30pm as the band and Bob entered the stage, followed by loud applause and cheering once he sat at the piano, center stage. The iconic and classic riff of All Along the Watchtower started playing; once again, upheaving crowd roars and cheers are heard from all around.   With very few seats left empty; I was expecting to be one of the few younger people there; but to my surprise, Dylan’s fan demographic age wise is much more diverse than I thought! From parents with their younger children, who were immersed in his music, to the older generation of fans who possibly grew up listening to all his new music. It seems Bob Dylan’s music seems to advocate for all generations on many topics. It was a pleasant surprise to see so many people immersed in his music at the concert.  There was only one negative to the whole night: the lighting on the stage didn’t really do the set of incredible new music from the generational voice much justice, which was a shame; however, his lyrical genius and poetic songs made up for that!   Seeing Dylan play was a once in a lifetime experience for me and I will never get over the pure excitement I felt going into that arena; The atmosphere was so incredible, and I relished in every single second of it!  Outside of the arena was a massive crowd of Bob Dylan fans who had clearly flocked over after seeing the real thing and heard a busker singing Dylan's classic songs as they'd always heard them! it was a quite extraordinary thing to see straight after the concert! Check it out: Written by Mia & Holly

Laughing Cats' second single ‘Jerk’ is a captivating blend of nostalgic rock tones and modern pop sensibilities. Born from the creative synergy between singer-songwriter Lauren Schiff and former Third Eye Blind guitarist Tony Fredianelli, the track builds on the duo’s shared love for melodic storytelling and their reverence for musical greats of the 60s and 80s. Find Laughing Cats: INSTAGRAM  | FACEBOOK  | TWITTER  | SPOTIFY ‘Jerk’ opens with a pulsing bassline and jangling guitar riffs that recall The Troggs' raw energy, layered with contemporary production polish. Lauren’s vocals, both tender and commanding, glide effortlessly over the vibrant arrangement, delivering lyrics steeped in introspection and transformation. Meanwhile, Tony’s deft guitar work provides a melodic backbone, weaving textures reminiscent of The Velvet Underground with moments of modern alternative edge. Anchored by an infectious hook and an energetic rhythm section, the song captures a timeless quality while maintaining its modern identity. The track’s dynamic shifts – from driving verses to anthemic choruses – give it a cinematic quality that keeps listeners engaged. As a preview of their forthcoming album Funny Money , ‘Jerk’ teases a collection that bridges the gap between classic rock influences and forward-thinking pop innovation. Laughing Cats are proving that their genre-bending approach isn’t just fresh – it’s unforgettable.

Known for blending emotional honesty with catchy, late-night vibes, NEWĀRK takes a step deeper into his personal life with this track, exploring the bittersweet nature of long-distance love. ‘Without A You’ began with a simple yet unforgettable bass line from his bassist Bram 't Hart, which NEWĀRK describes as the “dough” that shaped the song. From that foundation, he built an arrangement filled with piano, synths, and drums, reflecting the complex emotions of being apart from a loved one. " The lyrics were inspired by my own long-distance relationship with my girlfriend in Paris," he shares. "It’s a track that will resonate with anyone who’s ever loved from afar." INSTAGRAM  | X  | FACEBOOK  | SPOTIFY  | YOUTUBE A master of combining Pop, Hip-hop, and Alternative with a unique twist, NEWĀRK has been drawing in fans with his authentic, reflective sound. His previous album, Flowers That Don’t Exist , earned acclaim for its relatable storytelling and distinct style, establishing NEWĀRK as an artist who’s unafraid to get personal. His new material continues that journey, offering listeners a sound reminiscent of artists like Mac Miller, Dijon, and Frank Ocean while staying true to his own voice. With over 100 festival performances across the Netherlands, NEWĀRK’s live shows bring this emotional depth to the stage, connecting with audiences on a profound level. ‘Without A You’ sets the stage for his next big move—an upcoming album that promises even more raw, late-night reflections on love, life, and everything in between.

Wolfheart marks the powerful debut of Sæfari, an Icelandic singer-songwriter who has carved out a deeply personal journey through music. With Wolfheart, Sæfari invites listeners into a multi-layered exploration of love and loss, blending alternative, folk, indie rock, and punk sounds to create a hauntingly beautiful collection that lingers with raw emotion. WEBSITE  | FACEBOOK  | INSTAGRAM  | SOUNDCLOUD  | YOUTUBE Returning to songwriting after a decade-long break, Sæfari began composing Wolfheart  three years ago with an ambitious goal: to create music that captures the complexity of human emotion and serves as an honest reflection of his own journey. To help bring his vision to life, Sæfari collaborated with the revered Icelandic musician and producer Sigurður Guðmundsson, whose talent and experience brought depth to the album’s sonic landscape. The instrumentation on Wolfheart  is diverse, featuring acoustic guitars, strings, steel guitar, Hammond organ, synthesizers, and even an accordion, evoking atmospheric textures reminiscent of Sæfari’s influences, which include Nick Cave, Bonnie Prince Billy, PJ Harvey, and Jeff Buckley. While the album’s moods are varied, heartbreak is an ever-present theme, with many tracks capturing the anguish of lost love or the yearning for connection. Wolfheart  doesn’t shy away from raw, vulnerable lyrics and striking compositions, balancing moments of introspection with energetic, almost punk-inspired undertones that keep listeners hooked. Mixed by Marco Pasquariello and mastered by Guy Davie in London, the album’s production layers each element to preserve Sæfari’s Icelandic roots and unique artistic perspective. Alongside the album release, Sæfari has shared a music video for ‘Ice Queen,’ one of Wolfheart ’s stand-out tracks. The visuals add to the album’s immersive feel, grounding Sæfari’s heartfelt lyrics in his ethereal Icelandic surroundings. With plans for live performances in Iceland and eventually across Europe, Sæfari is ready to share his music with a broader audience. His live shows will capture the raw intimacy that defines Wolfheart , promising fans an experience as unforgettable as the album itself. With Wolfheart , Sæfari is carving out a distinctive place in the alternative and folk music scenes. His dedication to veganism and mental health advocacy further underscore his commitment to authenticity—qualities that shine brightly throughout his music and make Wolfheart  a debut worth celebrating. Cover Art by Arngrímur Sigurðsson

The EP, with tracks like ‘She Bad, She a Woman’ and ‘Boys Club’, intertwines polished pop production with an R&B flair, grounding her message of empowerment within rich, layered beats and confident rhythms... INSTAGRAM  | FACEBOOK  | TIKTOK  | TWITTER  | WEBSITE  | SPOTIFY Opening with ‘S&V’, Bianca sets an atmospheric tone, merging velvety vocals with an assertive bassline that pulls listeners into her sonic world. Her voice shifts between silky verses and potent choruses, evoking both strength and vulnerability. Tracks like ‘All Hail’ continue this momentum, featuring a subtle trap beat beneath lush synths, creating a soundscape that feels as ethereal as it is powerful. One of the EP’s standout moments, ‘Men Ain’t Shit’, lays down a rebellious anthem, where Bianca’s creative vision exudes both sass and sophistication. The track balances a playful yet pointed rhythm with an upbeat, danceable tempo. Here, Natasha showcases her ability to seamlessly blend sharp sounds with infectious pop hooks. ‘Boys Club’ takes a darker turn, exploring a deep, brooding beat underscored by complex percussive layers. The track’s production is sleek, echoing the introspective nature of the song’s message—challenging the limitations imposed on women in male-dominated spaces. It’s a masterful balance of lyrical depth and musical immersion, marking a high point of the EP’s exploration of resilience and self-worth. Closing out with ‘Bounce’, Bianca’s playfulness shines, wrapping up the EP on a high-energy note. The track’s punchy rhythm and catchy chorus feel like a celebration, amplifying the empowering spirit of the EP as a whole. ‘SHE’ is more than an EP; it’s a rallying call, merging Bianca’s powerful, dynamic voice with an audacious pop-R&B soundscape. With every track, Natasha Bianca not only celebrates female strength but also crafts a sound that is polished, passionate, and utterly her own—setting her firmly on the path as a standout artist in Australia’s music scene.