I understand that you have an LP coming out this year, can we expect any songs from the LP to be played at the show on the 11th April? Absolutely! We're really excited for the LP release this summer - you'll almost certainly hear "Helll Sailor" which we released as a single last year plus some more album cuts. We actually completed the recording quite a while ago now, so we need to refresh our own memories a bit! But we are always restlessly tinkering away on new ideas, so any regular Bulbs gig attendees can expect a smattering of new songs too that we're excited to give a first outing live. 2. Have you ever played at JT Soars before? If so, what can someone who has never been to the venue expect? We have played a couple times before supporting excellent bands The Unit Ama, and on another occasion Belgian noise rockers It It Anita (we thoroughly recommend checking out both!) First time JT-ers can expect a welcoming and inclusive environment that's also properly cosy - a classic DIY, intimate space where you're mere feet away from the bands performing. 3. Leading on from the previous question, What can someone who has never seen you live or heard your music to expect? A smorgasboard of VOLUME. RIFFS. SWEAT. A singer with itchy feet who does not like to be confined to one spot for too long...High quality and cutting between-song-repartee. We all listen to a broad range of music as individuals/music fans, and as such I think we each bring a little something different to the table that seeps into our overall sound. Consequently we have found we don't necessarily fit comfortably into a clear genre definition, but we usually just tell people "noise rock" as a starting point, however there's definitely punk/alt-rock/sludgy/weird elements in there too. 4. Have you seen any of the other bands that are performing tonight live? If so, what was that like? We had the pleasure of playing with Moon Bullet at the Old Bus Depot last year - a really eclectic sound and energetic performance with a magnetic frontman - excited to see their performance translate to this smaller setting. We haven't seen Ponyland before but we're excited for the double drum kit set up and to see if it will even fit in JT's! 5. You released a teaser of the track Dogholic last month on your Facebook page, could you tell us about the song and whether we can expect the song to be played at the show ? We enjoy playing Dogholic so much, we just couldn't keep a lid on it any more. The song is about dogs being the opiate of the masses and is the closest thing we've got to a dancefloor filler. Dog lover or not, we expect to see you loosening up those limbs when it inevitably appears early on in the setlist. 6.Given the recent closures of local venues, what do you think can be done to support them to prevent this from becoming the norm? + This is a tough one. Chameleon, The Maze, Running Horse, Golden Fleece, Junktion 7. These are all places where Dim Bulbs or some of its members played gigs shortly before they either temporarily or permanently shut their doors. So perhaps the answer is don't let us play your venue! 😉 Alternatively, let's make the most of the venues we have, play and attend gigs, get the word out there that Nottingham still has an awesome scene and we might lose it if we don't use it! 7. From memory, how drastically do you think the landscape of live music has changed for you? Some of the permanent closures mentioned in Q6 were dedicated genuine grassroots mus+++ic venues, and they are now becoming a rarity. That's certainly the biggest change over the last few years. It's becoming more and more difficult to go and watch (or perform!) original live local music. It's becoming a real crisis - not just in Nottingham but in the whole of the UK. 8.With the cuts of cultural funding for Nottingham how have you found it as an artist to adapt and how have you dealt with this? I think it just forces you to be even more "DIY" and resilient - try to organise stuff yourself - rally round like-minded bands, individuals and promoters/venues, and if there's the passion and love for what you do there (which there certainly is), then you're going to find a way to do it anyway. But it's definitely getting harder and the prospect of anybody quitting the daily grind to focus solely on music seems like even more of a distant pipe dream these days. But we love what we do and it gets us out of the house - plus playing/watching music is great for your mental health too! Follow Dim Bulbs here , hear them here and keep your eyes peeled for their EP Gift Over which will be out via I'm Not From London Records on Friday 19th July - Watch this space! See them perform live tonight (Thursday 11th April) at JT Soar with Moonbullet and Ponyland , tickets £10 - Bring your own booze!

Indie Sensation's Performance at Utilita Arena Leaves Audience Spellbound In reviewing Casey McQuillen's performance supporting Marti Pellow in Newcastle's iconic Utilita Arena, it's evident that her artistry transcends the ordinary. McQuillen's setlist, comprising tracks like 'Dying,' 'How Love Begins,' and 'Skinny,' showcased her ability to craft emotionally resonant narratives without relying on clichéd tropes. Her stage presence exuded authenticity, drawing the audience into her world without the need for atmospheric gimmicks or overused metaphors. With each song, McQuillen demonstrated a remarkable command of her craft, delivering soul-stirring performances that resonated deeply with the crowd. 'Dying' kicked off the set with haunting intensity, setting the tone for an evening of raw emotion and heartfelt storytelling. As she transitioned into 'How Love Begins,' McQuillen's powerful vocals soared, captivating listeners with their raw honesty and vulnerability. PHOTOS BY Krzysztof Furgała 'Skinny' offered a poignant reflection on self-acceptance and inner strength, showcasing McQuillen's ability to tackle profound themes with grace and authenticity. Throughout the set, her lyrics served as windows into the human experience, inviting the audience to explore themes of love, loss, and resilience alongside her. What truly set McQuillen apart, however, was her ability to connect with the audience on a deeply personal level. Without relying on elaborate stage effects or theatrical gestures, she managed to create an intimate atmosphere that felt genuine and authentic. Each song felt like a conversation, with McQuillen baring her soul for all to see. As the final notes of 'Skinny' echoed through the Utilita Arena, it was clear that McQuillen had left an indelible impression on the audience. Her performance was a testament to the power of genuine storytelling and raw talent, reminding us that true artistry lies in sincerity and substance. In a music scene often dominated by superficiality and spectacle, McQuillen's authenticity shines like a beacon, offering a refreshing alternative for those weary of the status quo.

Considering i hadn't heard of these lads before, i can safely say this new E.P is going to take them very far in the scene they are clearly breaking into hard. On listening to new E.P i heard the opening guitar and instantly thought of Alice in Chains, so i knew i was going to be impressed. I can hear lots of different influences and sounds from this track but what stands out to me is how they compare to early Kings Of Leon’s first album with a sprinkling of the Stone Roses to top it off like a cherry on a sundae. The individual sounds that each of the lads contribute are are all so very different in their own right. The guitar as i said has a melodic 90s grunge vibe which flows effortlessly with the vocals hitting hard with a punchy sound. However on a personal note the drums stood out to me the most, sounding so very reminiscent of early Dave Grohl when is he was in Queens Of The Stone Age. This single hits hard with a raw intensity that will get under your skin and undoubtedly create an ear worm for days. Words by Sophie Alexandra. Check out the single here: https://soundcloud.com/official2079/sky-blue-happiness

Kit Major's latest offering, 'Let Me Be In Your Band', is a raw and authentic testament to the rebellious spirit of indie rock - With its punchy guitar riffs, driving basslines, and infectious energy, this track demands attention from the get-go. Embodying a mood that's equal parts cool and punky, 'Let Me Be In Your Band' transports listeners to the gritty underground scene of LA's rock clubs. Kit Major's vocals cut through the mix with a raw intensity, delivering lyrics that speak to the longing for connection and camaraderie within the music world. Instagram | TikTok | Spotify The creative process behind the track shines through in its energetic and pumped-up sound. Inspired by Kit Major's own desire to join a band and experience the thrill of performing live, 'Let Me Be In Your Band' channels the raw energy of punk and post-punk influences while adding a fresh twist on a Riot Grrrl sound! Drawing inspiration from a diverse range of influences, including Amyl & The Sniffers, Viagra Boys, and Blondie, Kit Major crafts a sound that is uniquely her own. The track's Tony Hawk soundtrack vibes and skater surfer attitude give it an edge that sets it apart from the crowd. 'Let Me Be In Your Band' is a testament to Kit Major's commitment to self-expression, freedom, and vulnerability. With its infectious energy and rebellious spirit, this track is sure to resonate with listeners who crave authentic indie rock with a punky edge... So crank up the volume, hit play, and let Kit Major take you on a wild ride through the underground music scene.

Casperaki-Generated Songs Compete in Eurovision 2024 National Selections In a groundbreaking display of artificial intelligence merging with musical creativity, Casperaki, the pioneering music production platform based in London, has introduced four remarkable songs vying for a spot in the finals of "Una Voce Per San Marino 2024," San Marino's national selection for Eurovision 2024. These songs, stemming from Casperaki's AI-enhanced music composition and production platform, were shaped by a team of adept artists during a songwriting camp held in London earlier this year. Youtube | X | Instagram | Facebook The four contenders include: Corazón de Mariposa: An exuberant Latin pop track performed by Nicola Silva, fusing elements of R&B, Latin pop, and reggaeton. Dare to Dream: A poignant ballad delivered by Marie Wegener, a German artist recognized for her soulful pop vocals and as the youngest-ever winner of Germany's Pop Idol. Neon Rain: A pulsating dance anthem voiced by Meg Birch, a vocal dynamo who gained prominence through The Voice UK. The Last Polar Bear: A wistful mid-tempo piece interpreted by Dana Gillespie, a seasoned music icon hailing from the UK with a distinctive blues-rock style. In the dynamic landscape of the music industry, where technology continually reshapes the way we create and consume music, Casperaki emerges as a beacon of innovation. Founded by Mathias Strasser, the London-based startup has rapidly evolved over three years, committing itself to collaboration and embracing a mission to enhance, rather than replace, human creativity. This ethos is underscored by their participation in this year's SXSW festival in Austin, Texas, where they will showcase their groundbreaking platform through panel discussions and interactive demonstrations, heralding a new era in music creation. Unlike traditional AI platforms that are often perceived as threats to human creativity, Casperaki stands out as a hybrid algorithmic/AI-enhanced music production platform. Their aim is to empower both novices and professionals to unlock their creative potential. Central to their vision is a commitment to aiding artists and producers in crafting radio-quality pop songs, offering invaluable assistance in directing sessions with lyrics and AI vocals to achieve the desired outcome. In an exciting development, Casperaki has embarked on a groundbreaking collaboration with San Marino for their Eurovision Song Contest entry. Through a unique process involving public participation and AI-enhanced songwriting, Casperaki is set to revolutionize the way songs are crafted for one of the world's most prestigious music events, showcasing the remarkable potential of AI in music production and its harmonious coexistence with music professionals. Moreover, Casperaki's mission extends beyond Eurovision collaborations. The platform aims to assist labels and agencies in generating customizable, royalty-free tracks across diverse genres. From tempo-controlled music to resurrecting legacy artists with AI vocalists, Casperaki showcases the transformative power of AI in music production, demonstrating how it can seamlessly integrate with human creativity. A significant milestone for Casperaki was the successful execution of its inaugural songwriting camp in January 2024. Collaborating with a host of producers and songwriters alongside AI technology, the camp showcased the platform's ability to augment human creativity. Feedback from attendees was overwhelmingly positive, affirming Casperaki's role in fostering collaboration and disrupting the music industry in the best possible way. With a landmark year ahead and a commitment to pushing the boundaries of music creation, Casperaki is poised to become one of the most talked-about music platforms in the industry and beyond. As they continue to innovate and redefine music production, Casperaki stands as a testament to the harmonious fusion of AI and human creativity in the modern era of music. As the Eurovision 2024 competition approaches, the innovative fusion of AI-driven creativity and human ingenuity showcased in these songs promises to captivate audiences and redefine the landscape of music production.

With pulsating beats and ear worm melody, 'Olivia' breaks the confines of conventional songwriting to delve deep into the essence of relationships whilst embracing Scottish culture In the rich discography of archie's musical repertoire, 'Olivia' emerges as a moment of introspection and emotive resonance Through archie's soulful delivery and intimate storytelling, listeners are invited to navigate the complexities of love and loss with a sense of vulnerability and authenticity. Each lyric serves as a window into the artist's soul, offering glimpses of his innermost thoughts and emotions. Traditional Scottish melodies and infectious rhythms, 'Olivia' unfolds to an quality upbeat track that captures of the heart of Glasgow. archie's evocative vocals paint a vivid portrait of longing and desire, as he grapples with the fleeting nature of romantic entanglements; With each note, listeners are drawn deeper into the emotional context of the song, swept away by its irresistible pull. X | FACEBOOK | INSTAGRAM | YOUTUBE | WEBSITE | SPOTIFY | TIKTOK What sets 'Olivia' apart is its ability to capture the nuances of dating with startling clarity - From the exhilarating highs of newfound love to the crushing lows of heartbreak, archie navigates the emotional spectrum with finesse and poise. His lyrics are imbued with a sense of honesty and vulnerability, resonating with listeners on a deeply personal level. As the song reaches its crescendo, a sense of catharsis washes over the listener—a feeling of release and redemption in the face of adversity. Through the transformative power of music, archie invites listeners to embrace the impermanence of life and love, finding solace in the beauty of fleeting moments. In the end, 'Olivia' stands as a testament to the enduring power of music to illuminate the lived experiences, healing, and moving on from them. With its raw emotion and introspective lyricism, archie's latest offering is a profound meditation on the nature of moving on, inviting listeners to ponder the mysteries of love, loss, and the passage of time. Cover Art by Marlene Ritzinger | Press Shot by Heather Rodger

In a musical world where grandiose productions often reign supreme, Demi Jordanae's acoustic rendition of 'How Did We Get Here' offers a refreshing departure Stripping away the layers of electronic embellishments, Demi Jordanae embraces simplicity, allowing the raw emotion of her vocals and the gentle resonance of the piano to take centre stage. Inspired by a diverse array of influences, Demi Jordanae infuses her own unique style into the acoustic rendition, creating a captivating listening experience. Her soulful vocals resonate with an authenticity that is both intimate and compelling, while the understated elegance of the piano provides a subtle yet evocative backdrop. 'How Did We Get Here' delves into the universal journey of self-discovery: Through poignant lyrics and emotive melodies, Demi Jordanae navigates the complexities of life, inviting listeners to reflect on their own experiences and emotions. As she embarks on the promotion of her latest release, she remains committed to forging genuine connections with her audience. Through live performances and engaging social media content, she invites listeners to join her on a journey of self-exploration and musical discovery. In a world filled with noise and distraction, Demi Jordanae's acoustic rendition of 'How Did We Get Here' serves as a beautiful reminder of the power of simplicity and sincerity in music. With its haunting melodies and introspective lyrics, this track is sure to leave a lasting impression on listeners, prompting them to ponder life's big questions long after the music fades away.

Bang & Olufsen's flagship store on New Bond Street recently transformed into a vibrant hub for music aficionados and talent seekers alike The launch of B&O Music Lates saw the store come alive every Thursday from 6 PM to 8 PM with exclusive performances by some of London's most promising artists. Attendees were treated to an intimate setting at Bang & Olufsen of Mayfair, located at 72 New Bond Street, W1S 1RR. The store, renowned for delivering an unparalleled shopping experience tailored to discerning customers, provided the perfect backdrop for this musical extravaganza. Facebook | Instagram | Twitter | Youtube | Pinterest The event series commenced on February 1st and promised a showcase of rising stars in the music scene. The first of the featured artists were Ace Clvrk and Ayda Rose, each bringing a unique blend of talent and creativity to the stage. Ace Clvrk, hailed as 'R&B's Indie Kid,' captivated the audience with his soulful yet alternative sound. Drawing from a diverse range of influences, Ace's performance showcased his distinctive voice and songwriting prowess. With a background in performing arts and a successful stint as a songwriter for major record labels, Ace's global potential was palpable as he commanded the stage with confidence and charisma. Ayda Rose, on the other hand, brought her own brand of soulful melodies and heartfelt lyrics to the fore. Born and raised in the South West of England, Ayda's musical journey is deeply rooted in her eclectic heritage and upbringing. Drawing inspiration from artists like SZA, Amy Winehouse, and Stevie Wonder, Ayda seamlessly blended soul with urban electronic sounds, leaving the audience spellbound. The event not only showcased exceptional musical talent but also celebrated Bang & Olufsen's rich history of innovation and craftsmanship. Since its inception in 1925, Bang & Olufsen has been at the forefront of audio and home entertainment, continually pushing the boundaries of sound, craft, and design. As guests immersed themselves in the enchanting universe of Bang & Olufsen, they were treated to a glimpse of the brand's journey from its humble beginnings to its iconic status today. From the invention of The Eliminator, the first mass-produced radio, to its ongoing commitment to innovation, Bang & Olufsen's legacy was on full display, serving as a fitting backdrop to the evening's festivities. Overall, B&O Music Lates proved to be a captivating showcase of talent and innovation, further solidifying Bang & Olufsen's reputation as a pioneer in the world of audio and home entertainment. With its promise of integrating local art and cinema into future events, this series is undoubtedly one to watch for music enthusiasts and talent spotters alike.

In the ever-evolving realm of musical innovation, a mesmerising opus has emerged, transcending conventional boundaries to usher listeners into an enigmatic realm of auditory fascination This sonic marvel, shrouded in mystique and imbued with ethereal allure, invites enthusiasts on a transcendent voyage through the depths of artistic expression. Crafted by a visionary adept in the alchemy of sound, this composition stands as a testament to the boundless potential of human creativity. Without the constraints of conventional labels or predefined genres, it navigates uncharted territories, defying categorisation and beckoning explorers to venture beyond the confines of the familiar. At its core lies a profound narrative, woven with threads of introspection and imbued with layers of emotive resonance. Each note, meticulously crafted and delicately placed, serves as a vessel for profound introspection, evoking a kaleidoscope of emotions that resonate deeply within the soul. The production process, a meticulous dance between artistry and technical precision, unfolds like a carefully choreographed symphony. From the intricate harmonies to the nuanced instrumentation, every element is thoughtfully curated to evoke a sense of wonder and awe. The sonic landscape, rich with texture and depth, unfurls like a vast canvas upon which the artist paints with sound. From the haunting melodies that linger in the subconscious to the pulsating rhythms that stir the spirit, each sonic motif serves as a brushstroke in a masterpiece of auditory expression. Yet, amidst the complexity and intricacy, there exists a sense of effortless grace, a natural flow that carries listeners on a seamless journey through the ever-shifting currents of sound. It is a testament to the artist's mastery, a testament to their ability to harness the ephemeral essence of music and distill it into a transcendent experience. In a world inundated with cacophony and noise, this composition stands as a beacon of clarity and coherence, a testament to the enduring power of music to uplift, inspire, and unite. It is a reminder that amidst the chaos and confusion, there exists a profound beauty waiting to be discovered, a beauty that transcends language, culture, and time. As listeners embark on this auditory odyssey, they are invited to relinquish their preconceptions and surrender to the transformative power of sound. For within the depths of this sonic marvel lies a gateway to a realm of infinite possibility, where the boundaries between the self and the universe dissolve, and the essence of existence is revealed in all its sublime glory.

I’ve been in Japan for a little under two months. Contrary to popular belief and my own expectations, it has not been the joyride one anticipated. I’ve struggled to eat healthy, balanced hot meals, especially as a vegan which is nigh on impossible,  been lost an immeasurable amount of times, my hair has been falling out, not just because of the extremities to which this climate fluctuates, but also at the shocking prices of basic needs here. For example, a melon costs £20 quid, a gig ticket £60 and above, and the tissue paper here is flimsier than a butterflies arsehole. I’ve battled to keep my sanity, to protect my outer self from the constant stares and the instant retort of “nihongo jouzu” (“your Japanese is great!”) when all I said was “arigatou”. To find the little pleasures is what keeps us going, and I have striven to do so to maintain a constant train of distractions, an array of movement, a delectable palate of unmissable opportunities to be had and taken full advantage of, even at the expense of my own health, for lack of sleep means one partied hard and well into the night/next day and, with a weary eye, smile and watch the sun rise on another glorious evening well spent. For a major city like Tokyo, the shuuden, (last train) here are ridiculously early,  but I’ve heard tell of this as being a necessity, for without it Japanese companies would force their employees to work all night long. Most things in life are not free, but littered about Tokyo’s vastness are many amazing galleries and exhibitions and of course, is inundated with live gigs to attend. Last  Friday was one of those seize the moment opportunities, and I had the pleasure of seeing The Soft Moon supported by Body of Light, and massive respect to Marco for putting me on the guest list, without which I would not have afforded to attend. I discovered The Soft Moon while I was curating the last playlist for I’m Not from London, by listening to Cold Cave. So I had been enjoying the songs for approximately a month when I discovered they had an upcoming live gig, hosted by the eclectic and niche-loving Haruka of Big Love Records I decided it was better to go out on a Friday than wallow in misery in my tiny prison-cell like dorm room, rocking manically over Kanji I’ve memorised a thousand times and still forget how to write the fuckers. Boy, am I glad I got out. I dragged my lovely housemate along and played him several choice tracks on the train towards the venue Astro Hall, in Harajuku The beautiful thing about meeting other international people in a city as Tokyo, is they are obviously here for less than conventional reasons, and therefore are more likely to be open-minded to embarking on strange and wonderful adventures with the resident goth sharing their dorm. Donned in his Grimes t-shirt we leapt into the night like bats, hoping for something real. I’ve been to a few gigs in Japan before, and if you watch some youtube videos, you will mostly find the crowd are respectful, sincerely listening to each song, and politely clapping at the end sans cheers and whoops (or the occasional jeer and drunken slur one is accustomed to back in England). That night surprised me. Before the first song had barely kicked in, the usually demure Japanese had started a small mosh pit, with one boy, in particular, getting so geared up to his apparent favourite song, swinging his hoodie around his head! There was such a varied and interesting crowd that night; Japanese boys with long hair and tattoos running  up and over their neck and chin (a rarity in this culture) and a few foreigners, presumably residents of Tokyo themselves. But that’s what leaves me wide-eyed and full of wonder here, you never really know why someone is in Tokyo. It is unusual to come across a foreigner in such a specific place. Of course, one sees the usual suspects, cameras dangling around their neck as they perch gingerly next to Hachiko, or blast on to the train talking way too loudly, blundering their way through Shinjuku’s airport sized train station, but here, one never really knows the essence of their being. Body of Light Body Of Light (Alexander and Andrew Jarson) opened their set with Moving Slowly, ripping through the tense fabric of prolonged anticipation, and I immediately glanced at my housemate and smiled, this shit sounded good straight away!   With nostalgic sounds akin to Erasure and Depeche Mode, one felt the synth ripple through my veins, this stuff sounded dated but in an excellently retro way. Body Of Light provided an apt choice for support for setting the vibes, I certainly felt the surge, as did they, stirring the crowd into a shoegazing frenzy. Other choice songs by Body Of Light are Tremble, Will of Love and Limits of Reason. After a brief dance with a green haired girl, the set ended with raucous applause, and one ran to grab a quick sake mixed with calpis, to keep the buzz flowing. Fifteen minutes passed and suddenly the house lights shut down, all except for the backlighting of the stage, which added to the atmosphere. The Soft Moon is the musical concept of Luis Vasquez,  a pioneer of post-punk, who is effortlessly rejuvenating the darkwave genre through a minimalistic approach, that is brought to life on stage with live drummer Matteo Vallicelli and Luigi Pianezzola on bass. It was very difficult to take one’s eyes off of the explosive force erupting inches from my face. Opening with Black from the album Deeper, arguably his best release to date, the lights complementing the atmospheric moodiness gave way to a barely restrained aggressiveness that seemed an almost cathartic need for an expression like we were witnessing some kind of confession from a madman. Energies reverberated through the crowd, pulling us in and casting us aside nonchalantly, like one big head fuck. As Luis explained to me, the lights are an intrinsic part of the music, cleverly casting shadows to frame their undulating bodies, throwing the spectators into darkness and simultaneously revealing flashes of themselves, as if we were being let in on a big secret. It seemed as though each member was at one with their instrument, almost an extension of their bodies. It was an extremely emotive performance, and quite a sight to behold when Luis jumped from throwing his entire life force into his keyboard, bending in half to the wails of his own making, to drumming his bongos or silver drum frantically; the room couldn’t take their eyes off him either. The Soft Moon After the gig, my housemate and I were kindly invited to join a small after party gathering. I call it an after party but it was more like a descent into chaos. Bar Nightingale is literally the mouth to hell, and has to be seen to be believed. Although a little difficult to find, if you love your noise music ear-bleedingly loud, your art weird and your surroundings eccentric, head to Golden Gai in Shinjuku. You don’t need drugs for this place, it is like stepping inside someone else’s acid trip, most probably the bartenders who, lovely as he his, does not take requests FYI. But honestly I recommend going just once, it will change your perspective on shit. Dark subject matter was frequently brought  up in conversation, as we chain smoked and drank straight whisky, we discussed things from self-sabotage to emoting with ferocious fervor, and how difficult that must be to put your entire self into something and be so raw and open, to willingly make yourself so exposed and be that honest,  to face yourself every night in such a stark way. He told me he gets pretty sensitive after shows and that’s something I, as a performance artist, can utterly relate to. I imagine with every song he performs he is reliving a memory, traumatic or otherwise, leaving him emotionally exhausted. Sometimes merely being human is an act of bravery. Sometimes you just want to be held. He told me he lived in the desert as a child, and upon hearing this it made sense how such lucidity could come from a mind that has gazed up at the moon and stars so vividly, as this music sounds like the soundtrack to visions induced in the dark moments of desert dwelling. After 6 hours of non-stop conversation, I concluded that this was one very switched on guy. There is no off button. Everything he sees he soaks up and pours into his music, everything he thinks and feels is unfiltered, sometimes nonsensical, but ultimately comes from a place of deep knowledge and a profound desire to understand himself, having lived all over Europe, it seems like he’s constantly searching for something. Something I also empathise with, since I have lived and travelled many places, and still feel so lost. With a penchant for serial killers, vampire literature, the films of Lars Von Trier, David Lynch and Dario Argento, and music such as Neu!, Einstürzende Neubauten and Ministry, even appreciating the visual aspects of Madonna’s music videos, quoting “open your heart” as a particular favourite, revealed a complex thought process that he’s trying to make sense of with his music.  Amidst all this claustrophobia however there is a vulnerability, of which I saw brief flashes throughout the night, of a man constantly trying to prove his worth and overcome his insecurities, clinging on to that final thread of hope, and that’s something that definitely comes across in tracks such as “Far” and the erratic intricacies of Die Life. My favourite track of The Soft Moon is Want, which smacks heavily of Joy Division influences, with the aerosol spray sounds of “She’s Lost Control” punctuating the latter half of the song, and with a music video reminiscent of Prodigy’s “Smack my bitch up”.  His favourite track is Tiny Spiders, another deliciously dark and delectable tune. If you get the chance to see Body Of Light or The Soft Moon live, absolutely do it, you won’t be disappointed. Rather, you’ll be left hungry for more. You will probably be left reeling. You might even be left feeling inspired to get up from your chair, and try to understand your own self, and create something out of which only your perception can ever understand. And with that, I’m brought to conclude with the words of Nick Cave: “Say something, express yourself, express yourself, say something loudly”. Love, Light and Endless Night, Lauren Marie. @femistopheles @imnotfromlondon In remembrance of Luis Vasquez, Juan Mendez and Simone Ling who all tragically lost their lives on January 18th. May their art live on forever and may our grief be a reminder of the love we have for them. https://open.spotify.com/playlist/6vXMc1QLIYr93Yfd5tCbmd?si=674892d7301d495c Article written by: Lauren Marie

On ‘Ghost In Here’, Seven Dark Lords venture through tales of troubled humanity that tackle everything from drink and drugs to love and war. Seven Dark Lords’ second album builds on the Americana and Alternative country foundations placed on their debut, with a more expansive and comprehensive sound. What started as a collaborative project between Darren Capp and Bill Kerry, is now a fully-fledged band project with Max Johson (bass), Steve Blacow (lead guitar) and Dan De Wit (drums) jumping aboard this soulful odyssey. The record opens with ‘Counterpoint’, which is a perfect curtain raiser for the stories and themes that pop up across all twelve tracks. From the personal anecdote: ‘You loved my favourite t-shirt of the ‘Allman Brothers Band’/ Do you remember it's the one we bought from ‘Jo-Jo’s second hand’’, there is a level of world-building that still leaves enough to allow the imagination to run wild through the chugging momentum of the opener, whilst also creating a personal address. ‘Ghost In Here’ is produced by the legendary Chris West, who has worked with household names such as Status Quo, The Who and The Verve. Here, West helps to strike a succinct balance between the intricacies of the guitar, the backbeat of the drums, the underlying current of the bass and the carefully crafted lyrical stories. ‘Prayer for a Troubled Mind’ (Capp) and ‘Girl From The Lake’ (Kerry) are two standouts that encapsulate the tense yet emotionally provoking themes of the album. The former yearns for the arrival of ‘Lady Morning’ and pleads for the departure of ‘Father Darkness’ as the song also weighs in on faith (Old man religion) and facts (Brother Science). ‘Prayer for a Troubled Mind’ doesn’t seek answers but rather asks questions underneath the umbrella of intimacy. Kerry’s ‘Girl From The Lake’ follows a darker path, aided with vivid imagery and an ambiguous ending that feels like the final shot of a film, with the instrumental outro allowing the group’s musical talents to show as the credits roll. One of the major selling points of ‘Ghost In Here’ is each offering being so unapologetically unique with its own tale whilst also managing to compliment the rest of the album thematically. Despite Capp and Kerry sharing songwriting and vocal duties almost in an alternative pattern, the flow of the songs never feel lost, jumbled or forced and that is testament to the commitment of the band, lyrically and sonically, in building a signature sound and world. It is clear that Seven Dark Lords have settled on their musical aesthetics and that is what helps to make this record so well structured but also engaging. Fans of Americana, Folk and Alternative Country will very quickly find a home here in familiar themes. But those also looking to dip their toes into this whirlwind world that follows the darker trails of humanity will also find something to enjoy straight away. Social Media Links: https://www.instagram.com/sevendarklords/ https://www.youtube.com/channel/UCBM2BZaTjZzwgFH-Cer7g8A https://www.facebook.com/SevenDarkLords/

a_shes' debut album, 'young adult fiction', emerges as a poignant narrative of the trials and tribulations of growing up, set against a backdrop of alternative pop that echoes the stylings of contemporaries like Lorde and Troye Sivan. The lowercase aesthetic and punchy beats provide a familiar contemporary resonance, but a_shes takes it further by transporting listeners back to the indie scene of the early 2010s, evoking a sense of nostalgia that permeates the entire album. The opening track, "autumn city," sets the stage with sparkling keyboard-led melodies, akin to a plot introduction, as a_shes croons about the anticipation of starting a new life. 'party politics' emerges as the perfect soundtrack for a night out, with infectious pre-choruses leading into vibrant choruses that compel the listener to surrender to the neon dance floor. 'movies & music,' a standout track and a_she's debut single, is a haunting ode to lost adolescence during the COVID-19 pandemic. Inspired by works like Lorde's 'Pure Heroine' and Troye Sivan's 'Blue Neighbourhood,' the track, produced by Imad Salhi, intertwines hypnotic synth pads and acoustic guitar to convey a sense of grasping onto the remnants of the past. This theme of loss continues in the melancholic ballad 'jet streams,' where a_shes explores the complexities of adult loneliness in the face of fleeting relationships. TIKTOK | X | SOUNDCLOUD | INSTAGRAM The album, written over two years, transcends its humble beginnings on Garageband, evolving into a professionally recorded and produced masterpiece. 'glory days,' the closing track, serves as a breakup anthem mourning the loss of childhood innocence amid the transition to adulthood. Despite the overarching themes of nostalgia and loss, a_shes infuses 'young adult fiction' with a sense of hope, creating a triumphant sonic journey that is both accessible and deeply relatable. With this debut, a_shes solidifies himself as a promising indie artist on the brink of stardom.