Jeeves’ new single ‘Where Did All The Good Men Go’ feels like the kind of track that could only have been written after years of quietly wrestling with a question until it demanded to be shared. Penned in 2017 during the cultural reckoning of the #MeToo movement, it cuts to something both urgent and universal — are good men the rule, or the exception? The Indian-American singer-songwriter delivers his meditation with understated power, letting his voice carry warmth and ache in equal measure. Instagram - Spotify - TikTok Blending the confessional intimacy of Ed Sheeran with the refined guitar craft of John Mayer, Jeeves creates a sound that’s polished yet deeply personal. His self-described ‘brown sugar finish’ is the perfect shorthand for the track’s sonic palette — smooth, rich, and subtly textured. Produced in Nashville by Grammy-nominated guitarist Charles Myers, the song is elevated by Aaron Sterling’s deft drumming and Shaan Ramaprasad’s stirring string arrangement, which swells and recedes with cinematic precision. The melody is unhurried, giving every lyric room to breathe, while the arrangement mirrors the song’s emotional openness. There’s a sense of space here that makes the vulnerability even more affecting — every note feels intentional, every pause charged with meaning. It’s music that invites you in slowly, rewarding patience with depth. Live, the track made its debut at Los Angeles’ Hotel Café, a performance that placed Jeeves among a rising wave of South Asian voices redefining the American singer-songwriter tradition. His delivery in both live and studio settings shows a performer in tune with his material, willing to let quiet moments speak as loudly as any chorus. As the first release from his forthcoming debut album Now or Never , ‘Where Did All The Good Men Go’ sets a compelling tone. It’s not just a beautifully arranged, heartfelt single — it’s a cultural and personal conversation, one that lingers long after the final chord fades.

There’s something immediate about ‘Summer Thunder’ – a sense that the moment the first guitar note lands, you’re already inside the weather system FATECRIMES have conjured: Written by Anna when she was just 15, the song carries both the urgency of youth and the weight of reflection, its lyrics personifying the elements to capture resilience, hope, and the inevitability of change. Instagram , TikTok , Spotify Anna’s guitar work feels sunlit and expansive, the chords ringing out with an almost cinematic openness. Her vocals float above them – not detached, but gliding with intent – shifting from gentle warmth to sudden surges of intensity. Kieran’s drumming isn’t just a rhythmic backbone; it’s a second voice in the arrangement, echoing like thunder, rolling in and out of the foreground. His dynamic range is a crucial part of the track’s emotional arc, tightening in moments of tension, loosening when the skies clear. The production allows the rawness of performance to remain intact – you can feel the human hands on strings, the air in the room around the drum kit. There’s no attempt to smooth out the song’s organic edges; instead, it leans into them, letting small imperfections feed the track’s sense of life. What makes ‘Summer Thunder’ stand out is its refusal to be boxed into a genre. There’s indie-rock grit here, certainly, but also a soulful undercurrent that draws the ear to the lyrics. The way melody and rhythm push against each other gives the track an unsettled energy – fitting for a song about weathering storms. At its core, ‘Summer Thunder’ is about motion – the kind that moves the body and the mind. FATECRIMES have bottled something elemental here: the light before rain, the charge in the air, and the quiet certainty that the sun will return.

Across a decade’s worth of personal growth, Silby’s sound navigates the lush terrains of indie pop, bedroom pop, and alternative, combining sparkling melodies with candid, vulnerable storytelling. Produced by Miles Francis at Synthia Studios, the album was shaped through intimate and experimental sessions, featuring analogue beats and theremin flourishes that add unique textures. Silby’s vocal range is pushed to new heights here, mixing theatrical introspection with moments of effortless catchiness. This album melds the emotional honesty of Fiona Apple with the experimental edge of Perfume Genius and James Blake. ‘Can’t hang’ functions as a coming-of-age diary, capturing moments of regret, longing, and self-discovery. Tracks like ‘dirt i’ reject binaries and societal boxes with defiant energy, while ‘my bad’ reflects on lust and mistakes with bittersweet candour. ‘Misfit’ narrates a toxic love affair with New York City, contrasting dreams of escape with gritty reality. The title track is a hazy meditation on overstimulation and the exhaustion of performing identity, wrapped in a restless, ethereal soundscape. Sharp yet accessible, the album balances heavy themes with offbeat humour and earworm hooks. The analogue percussion and theremin lend an otherworldly feel to certain tracks, enhancing the emotional depth. For listeners craving indie pop that is unfiltered, real, and inventive, Ben Silby emerges as a uniquely compelling new voice — a “sad clown philosopher” who transforms pain into art. Instagram - TikTok Photo Credits: Artwork - Shot by Sarah Silbert, Press Images - Melissa Isabel@melissa_isabelphoto / melissaisabelphotos.com , Stylist: Christian Ramirez @mrramirezz / styledbychristian.com

just Min’s Molten  is a debut that feels lived-in from the very first note — a quietly cinematic exploration of grief, betrayal, identity, and transformation. Written in the wake of losing his grandmother, the death of a close friend, and a deeply personal betrayal, the Korean-born artist crafts songs that act as both diary entries and open letters. Instagram - TikTok The sound here is strikingly fluid, moving between indie pop, alternative R&B, and bedroom pop’s understated intimacy. There’s a hushed quality to his vocal delivery — gentle but resolute — that draws you in like a confidant. The production choices mirror the EP’s themes of change and instability: beats that ebb and flow, harmonic progressions that shift unexpectedly, moments of space that feel as weighty as the music itself. Molten is steeped in metaphor. The title alone evokes heat, destruction, and eventual reshaping — a perfect encapsulation of its arc. Each track feels like a chapter in a journey from raw wound to something newly formed. While the subject matter is heavy, Min never resorts to melodrama; instead, he leans into restraint, letting small sonic details — the echo of a reverb tail, the warmth of layered harmonies — carry the emotional charge. The record also bears the marks of Min’s transitory life between Seoul and Hong Kong, his sense of belonging scattered across places and memories. That in-betweenness seeps into the music, giving it a restless yet reflective quality. With over 600,000 streams already and early praise from outlets like Wonderland and Notion, Molten positions just Min as a distinctive new voice in alternative pop — one who understands that sometimes the most powerful way to tell a story is to whisper it, and let the listener lean in.

Rreleased on 30 May 2025. Building on the darker synthpop and cold wave textures of his 2024 EP Stimulus Progression, Powers plunges deeper into a soundscape defined by brooding atmospheres and minimalistic yet lush analogue synths. Drawing inspiration from the grim yet elegant melancholy of Black Marble and Molchat Doma, and the industrial edge of Nine Inch Nails and Cabaret Voltaire, the album is an evocative collision of coldwave and synthpop’s best qualities. The record balances rhythmic minimalism with richly textured analogue layers, crafting a sound that’s both intimate and expansive. Powers’ vocals are restrained and emotive, reinforcing themes of disconnection, societal decay, and the alienation wrought by late capitalism. The lyrical content is sharp and thoughtful, examining the erosion of self amidst a hypermediated world — a reflection of collective unease and personal isolation. Singles like ‘Destroyer’, ‘Body Together’, and ‘Bore Me’ showcase the album’s darker urgency, merging post-punk intensity with electronic minimalism and darkwave’s hypnotic pulse. The instrumentation is tightly controlled but tense, with synth hooks that cut through the dense, shadowy production. The atmosphere is thick with existential dread, yet it pulses with a kind of defiant energy, urging listeners to confront discomfort head-on. Nervous Systems is a compelling and timely work, a soundtrack for an era defined by uncertainty and fragmentation. Mutual Shock’s sonic palette is both timeless and modern, providing a chilling yet captivating experience for fans of introspective synth-driven music. Website

Praised by tastemakers like Didier Varrod and Antoine Dabrowski, Zanagar uses the EP as a canvas for unapologetic self-expression, pushing boundaries in sound, storytelling, and performance. ‘La Grande Salle’ captures Nathan Zanagar’s ability to inhabit multiple genres and moods without losing his core voice — rich, expressive, and daring. The five tracks form a cohesive arc while each standing distinctly: the pulse-driven ‘In My Head’ contrasts beautifully with the vulnerability of ‘EDA’, and ‘Occupe Toi’’s emotional charge lingers long after its final note. Zanagar’s collaborations — with writer Yasmina Reza and artist Valentin Marso — add depth and texture, but his vision remains firmly at the centre. The production across the EP is sleek yet organic, allowing shifts from dancefloor liberation to quiet introspection to feel natural. Vocally, Zanagar delivers each line with precision and emotional clarity, whether in French or English, and the bilingual approach adds to the EP’s global feel. His self-directed videos expand the songs’ narratives visually, but the music itself paints vivid pictures: beats that throb like neon lights, melodies that arc like a dancer’s leap, moments of silence that feel like held breath. ‘La Grande Salle’ isn’t just an EP — it’s a space, one Zanagar invites listeners into fully, whether to move, to reflect, or to simply be. Instagram - TikTok - Photo credit: Olof Grind The EP moves fluidly across genres and languages, mixing intimate balladry with electrifying bursts of energy. From the pulsating rhythms of ‘In My Head’ to the poignant vulnerability of ‘EDA’ — a rare ode to friendship accompanied by a self-directed video — each track serves as a standalone narrative yet contributes to a cohesive statement. Collaborations with writer Yasmina Reza and artist Valentin Marso add layers of depth and sophistication, especially on the emotionally charged title track and ‘Occupe Toi’. Zanagar’s voice is strikingly expressive and daring, delivering lyrics that cut like arrows and performances charged with raw honesty. His artistic vision extends beyond music to direction and dance, bringing a multidisciplinary approach to his work. Whether inviting listeners onto the dancefloor or into reflective solitude, La Grande Salle offers a rich tapestry of emotion and sound. For those seeking bold songwriting combined with fearless emotional exposure, Nathan Zanagar’s latest work stands as a landmark in contemporary French pop music.

Across six tracks, the acclaimed producer, pianist, and keyboardist blends smooth jazz, Latin rhythms, Afrobeat energy, and global influences into a seamless listening experience that’s both musically sophisticated and emotionally transportive. Opening with ‘Doing It’, the EP immediately establishes a warm, polished atmosphere — clean lines of melody interwoven with gentle grooves, setting a tone of easy sophistication. ‘Hot Smoothie’ switches gears with funky bass runs, sharp horn-like synth accents, and an infectious rhythmic swagger, a playful track that’s as cheeky as its title. Then there’s ‘Sunset’, steeped in the romantic sway of a Bolero, where rich harmonic shifts evoke twilight’s golden glow, equally suited to a solitary glass of wine or a slow dance. ‘Pollination’ flows like conversation, its bossa nova undercurrents and feather-light instrumentation offering a sense of intimacy and calm. In ‘Aquarium’, Craigology dips into Latin jazz, crafting a hypnotic groove where melodic lines glide like schools of fish, anchored by subtle percussive layers. The closing track, ‘La Vie Fantastique’, bursts with Afrobeat energy, marrying intricate jazz progressions to a beat that demands movement — a celebratory high point that leaves the listener uplifted. The production across the EP is pristine yet organic; there’s clarity in every instrument, but nothing feels sterile. Craigology’s skill lies not just in technical execution, but in his ability to shape mood — making the EP as suited to focused, active listening as it is to setting a serene evening’s backdrop. With Just Imagine , Craigology doesn’t just perform; he paints. Every track feels like a new canvas, where listeners can project their own stories and emotions, making each listen a personal journey… Instagram

A blistering goth dance-punk anthem channeling societal collapse through the lens of a rigged, deadpan game show: The trio fuse brooding post-punk vocals, frenetic guitars, and thunderous synth hooks to create a track that is as rebellious as it is danceable. Rejecting bass guitar, the band instead relies on a punishing low-end synth foundation, paired with surgical guitar riffs and pounding drums courtesy of members of doom duo Year of the Cobra. The relentless rhythm section propels the chaos into a tightly coiled fury that invites listeners to “dance through the doom.” Instagram - TikTok - Website Thematically, ‘Survey Says’ critiques media and political manipulation, painting social conflict as a ratings-driven spectacle. Frontman Bryan Edward, who formed the project after leaving a post-hardcore band frustrated by lost messages, imbues the track with sarcasm and rage: “We’re fucked. Let’s party.” The cover art’s twisted Eye of Providence on a US dollar bill underlines the song’s commentary on power, illusion, and the collapse of American myths. Despite its grim themes, the song embodies catharsis — a bloodletting masked as a banger, where existential dread becomes the life of the party. The painstaking year-long production shows in the track’s polished intensity and purposeful chaos, marking Holy Death Temple as a vital force in the modern goth punk landscape.

Basement grooves and sleazy charm from Sheffield’s finest DIY duo There’s something magnetic about a track that doesn’t try too hard but still manages to grab you from the first beat. That’s exactly what Sheffield’s Lowtones pull off with ‘You’ve Got Me’ —a woozy, bass-driven indie-pop cut that feels like stumbling into the perfect dive bar just as the lights dim and the floor starts to move. Follow Lowtones:  Instagram  |  TikTok  |  YouTube  | Spotify Written, produced and recorded entirely in the basement of their shared house, this track bleeds character. The groove is immediate—low-end heavy and thick with intention—while the vocals slip in with a sleaze-laced smoothness that conjures the dark corners of '70s nightlife. It’s the sort of song that doesn’t demand your attention, it seduces  it. “‘You’ve Got Me’ was written and produced in the basement of our shared house—everything was entirely done by us as a duo. It captures a time of full creative freedom and late-night sessions that shaped a whole new sound for us.” Directed by Flynn Hudson-Dean & Connor Berry | Assistance on set by Joe Warren & Dylan Hudson | Edited by Flynn Hudson-Dean | Filmed at Hallamshire Hotel & Under the Wire Accompanying the single is the official   music video for ‘You’ve Got Me’ , a moody, stylised visual that mirrors the track’s sleazy cool and hypnotic pulse. Shot entirely by the duo themselves, the accompanying   music video  places Lowtones inside Sheffield’s iconic Hallamshire Hotel and the very basement where ‘You’ve Got Me’  was recorded. It’s a gritty, immersive visual that mirrors the atmosphere and authenticity of their sound. The single plays like a love letter to the sleaze and spirit of ‘70s nightlife; dripping in groove, shot through with infectious hooks, and rooted firmly in the raw energy of the DIY spaces that have shaped the duo’s creative world. There’s no over-polished sheen here—thankfully. Instead, the production leans into warmth and atmosphere, with flickers of synth and guitar weaving through a beat that practically invites you to sway. Think Tame Impala’s lush textures but stripped back and smoked out, paired with the late-night cool of Parcels if they grew up on UK house parties and empty chip shops. But the real magic lies in how lived-in it all feels. This isn’t a studio experiment—it’s two musicians figuring it out in real time, in a house that probably smells like amp cables and takeaway. That sense of place runs through every layer of ‘You’ve Got Me’ , from the infectious hook to the perfectly unhurried pacing. Lowtones aren’t just crafting tunes—they’re creating moods. And this one’s pure after-hours gold. Press shots by Joe Warren & Ewan Oxley | Cover art by Lowtones

There’s something deliciously confrontational about ‘Hey Hey Hate’ , the latest release from New York’s genre-defying electro-punk-pop collective, Energy Whores . At surface level, it’s a track made for movement — synths that throb, a beat that drives forward without looking back, and a vocal delivery that’s as sharp as it is sardonic. But scratch just beneath, and you’ll find teeth. Fronted by the ever-provocative Carrie Schoenfeld, Energy Whores  don’t so much flirt with politics as wrestle them into the spotlight. On ‘Hey Hey Hate’ , Schoenfeld channels late-night thoughts into a relentless, neon-lit pulse — born in solitude, but clearly intended for collective release. The song’s message is impossible to ignore: a reaction to global unrest, division, and rising intolerance. Yet rather than lean into despair, it meets ugliness with defiance — loud, charged, and unrepentant. The track sits somewhere between art-rock and post-disco, echoing Talking Heads and Peaches, with just enough chaos to keep it thrilling. It’s slick in execution but never sterile; there’s an ever-present human hand beneath the synths and loops, a kind of scrappy elegance that feels refreshingly intentional. And while the song works brilliantly on a visceral level — it’s absolutely built to be danced to — it leaves a bitter aftertaste, a reminder of the world it’s railing against. There’s nothing passive about ‘Hey Hey Hate’ . It doesn’t whisper; it punches. And in a musical landscape increasingly preoccupied with mood boards and algorithms, that kind of fearless messaging feels not just refreshing, but necessary. Energy Whores aren’t just making tracks — they’re staging interventions. FOLLOW ENERGY WHORES: INSTAGRAM  | WEBSITE  | TIKTOK  | YOUTUBE  | SPOTIFY Truth is hard to tame. But hate? That’s got to stop. Hey Hey Hate is a protest anthem against the rising tide of hate, propaganda, and moral collapse. With bold lyrics and an electrifying beat, it calls for urgent change — and dares to dream of love raining down on a broken world.

I was lucky enough to be invited to Nottingham's Boho festival this weekend- What a treat it was! I loved every second of it! From the food to the live music (and even the lovely community), i've never had a more incredible and astonishing experience in my life! A massive thank you to the organisers of Boho festival, the Perkins family; these guys did such an amazing job with this festival, made me feel so welcome and were so kind in ensuring everyone was having the time of their lives! Firstly, if you don't know what Boho festival is, it's a 3 day festival full of incredible food, wonderful community, and some of the most amazing musical acts around; from new up & coming artists, to bigger, well-known artists and some brilliant tribute acts! The festival brings artsy, music loving folk together, transforming a quiet area of Newton, Nottingham into a vibrant celebration of the best musical acts around! As a newcomer myself, I was unsure of what to expect but every single one of my expectations was exceeded this weekend! All of the acts were incredible and each one brought different vibes to the event! Starting the weekend off strong with local artists and ending the first evening of the weekend with a bang from acts like Skinny Living, Amy Winehouse tribute and Dub Pistols. And thats just one day of festivities! Sunday was no let down either! From the inspiring vocalist, Davina songbird to the breath-taking saxophonist and Dj set in the evening, Lovely Laura & Ben Santiago, Sunday was so exciting and added to the already truly sensational experience of the festival. The atmosphere of the entire weekend was phenomenal and so inspiring! Im Not From London got some of our own favourite artists on the lineup for the festival this year, including (but not limited to) Lulu Harvey, Dusty 4 Track, Concrete Rose, and Davina Songbird! Some incredible artists who really did amazing this weekend despite the weather not able to decide what it wanted to do! I should give an honourable mention to the other incredible aspects of this festival; the food/drinks and the audience! The audience were incredible, whether going for just the day or camping, the sense of community was a feeling to bask in; everyone was so friendly, kind and overall such a great, enthusiastic group of people who brought so much energy to each set. The food- OMG the food- so incredible! There was a plethora of food and drinks stalls offering anything from pizza to mac 'n cheese fries! with veggie and vegan options too! The best part of this... how affordable and delicious everything was! Let's not forget the remarkable sound team, Ben & Cal, and all the backstage staff this year who were beyond spectacular and had such patience with each band/artist! In case you were unable to attend this years Boho, here are some of my favourite memories from the weekend! The Rozzers- a sting/The Police tribute act. They were absolutely incredible! This was sang just as Englands' Lionesses won the Euro finals yesterday! A magical moment. The final act of Sunday evening- the incredible Lovely Laura & Ben Santiago! What a way to end the festival. Another brilliant thing about Boho festival was the audience range; there was something for everyone this weekend- starting with the area just past the stage where the compassionate staff from Calverton's Little Adventurers Forest School were entertaining the youngest of the crowds with fun games and activities to get stuck in. For those of us old enough, there was a great bar within the festival grounds and even a tv to watch the football game on yesterday! Those who opted for the camping ticket were not forgotten either: facilities (including showers) were kept clean and maintained, which really showed how above and beyond the Perkins family really went to ensure their crowds were well looked after and enjoyed their weekend! Although this weekend's festival was well planned and organised, unplanned circumstances meant they had to improvise a little on Sunday. One of the bands unfortunatley could not make it due to illness which left a gap in the lineup: Bands from previous days who had been camping stepped forward to form another band right before our eyes! Members from Chai Larden's band as well as members of the audience got together to form the Bohobos! The youngest of the band, Erin, had written a song the night before about the festival and sang it on stage; she was absolutely incredible and left no dry eyes in the audience! A few more stand out moment for the festival this year were spoken word artist rhythmic Mike, who jumped up on stage in between sets to perform for us! As well as the incredible impromptu performance from Rhythmic Mike, there was another notable moment that really reflected the support our community has for its younger generations: Boho Dj George Gibbs' son Felix Da House Kid had a short set in between artists on the line up this sunday and he was truly fantastic! At just 12 years old, Felix spent each night at Boho in the festival Disco yurt playing for the kids disco, he then went on stage in front of the entirety of Boho's audience and played an incredible DJ set that had us all moving and dancing along with him; his enthusiasm uplifted the crowd so much and made the weekend that much better! Felix wasn't the only one to participate in the performances in the disco yurt! Boho's own Robin Perkins' son Lucas did his very first set in there too over the weekend! The disco yurt was filled to the brim each night over the weekend after artists sets finished on the main stage; music from Neon Hustler and Ian Newton (among others) livened up the nights, keeping the fun and party going until early morning! The weekend was made absolutley magical and perfect by the 3 gorgeous sunsets that filled the sky each evening, giving the most amazing golden glow to the penultimate and final sets of each night. Of course, this is not something that can be promised or controlled every year, but they really added to the atmosphere and vibes of the weekend. What a perfect way to end each day of the astonishing festival! Its safe to say i will be coming back next year (and every year following if i can) to experience more music and community kindness like this! If youre feeling the FOMO make sure you keep updated with everything Boho festival related and book your tickets for new year in good time! Don't leave it to the last minute! Follow their instagram here: https://www.instagram.com/boho_festival_notts/ Words by Holly Surguy Media supplied by Boho Festival & Holly Surguy

Be Scene and Heard started as a community project launched in 2021, funded by Youth Music, specificly for deaf people and musicians of all abilities. This was continued in lockdown when zoom classes were held for young people in Nottinghamshire to continue their musical educations even at the most challenging times. In 2022 the project was further funded by Peoples Health Trust, so again we had an opportunity for young people in Mansfield and Nottingham to access to a creative, inclusive space encouraging them to explore their passions for some of the following: – Songwriting – Recording their song or podcast – Writing and producing a music video. – Acting/dancing in a music video . Working with people of all abilities, we have full studio set up and interpreters and BSL speaking mentors alongside Nottingham based singing teachers, established professional musicians, videographers, producers and industry professionalism. We've been really busy this year running our 'Be Scene and Heard' project in Mansfield at myplace at Westfield Folkhouse Young People's Centre . It's been so inspiring for us and the participants and are looking forward to growing the project. Big thanks to 'People's Health Trust'  for all their support in making this happen and to Fred Glennister for the video. Find out more about the awesome work we do by clicking the buttons below and checking out our 'Be Scene and Heard' YouTube channel and Facebook page.