Jaylon’s new EP Baby Boy is a radiant fusion of Afro R&B, dancehall, and soul, saturated with the warmth of diasporic storytelling and rhythmic sophistication. The Bristol-based, Nigerian-born producer has built a vibrant collage of global textures here, collaborating with an inspired list of vocalists—Azanti, Anjeli, Minz, and more—to create a project that moves with heart, bounce, and storytelling artistry. ‘Baby Boy’ opens up like a conversation between continents. Jaylon’s production is rich in groove yet minimal in structure—letting melodies breathe while complex percussive patterns and Afrobeat-inflected rhythms propel each track. There’s an organic sensuality to the EP’s overall flow: it dances between joyful nostalgia and contemporary cool with elegance. INSTAGRAM Tracks like ‘Stay Ok’ and ‘Nufftime’ shimmer with feel-good vibrancy, anchored by smooth vocal deliveries and layered arrangements that invite repeat listens. On ‘No Luck’, you feel the weight of longing rendered through soft harmonies and mellow pads, while ‘4DW’ blends intimate lyricism with rhythmic experimentation, showing Jaylon’s deft hand as both storyteller and technician. As the founder of Popboys Collective and with over 170 million streams under his belt, Jaylon’s influence on the Afro-fusion soundscape is undeniable. But Baby Boy  feels more personal than prescriptive—it’s not a trend-chasing release, but a love letter to cultural roots and artistic freedom. It reflects a producer stepping confidently into his role not just as a collaborator, but as a curator of moments that feel lived-in, lush, and joyfully expansive.

Mimi’s Revenge arrive not with a whisper but a glossy, brooding roar on 'Dire'—a track that plunges into emotional wreckage and comes up sparkling with cinematic intention... The Atlanta duo, known for blurring genre boundaries and crafting their entire world in-house—from production to visuals to costume—sound completely in control of their chaos here. INSTAGRAM | TIKTOK | FACEBOOK 'Dire' occupies a liminal soundscape—alt-pop in its sheen, but far too shadowy and emotionally barbed to sit comfortably in the mainstream. There’s a slink to the beat, something taut and unrelenting, that sets a tense pulse beneath syrupy synths and whisper-sharp vocals. It’s sleek, yes—but always with something snarling just beneath the surface. The track’s production is laser-focused. Everything hits with clarity but nothing feels sterile. The push and pull between polish and rawness echoes the duo’s ethos: turning pain into art, and giving space to those who feel too much. There’s a subtle theatricality here, too—not in a staged sense, but in how the track builds drama without relying on formula. Each melodic phrase flickers with unease, every lyric poised between intimacy and unraveling. Influences from Prince and Outkast flicker through the DNA, but 'Dire' doesn’t lean on past reference. It warps them into something new—gothic yet glamorous, catchy but cracked open. The chorus hits with a hook that’s cold to the touch, but addictive all the same. There’s an edge of blink-182’s emotional directness, too, though buried under a cooler aesthetic. This is art-pop made in the margins—by and for the outsiders. And yet, 'Dire' doesn’t beg for belonging. It creates its own space: controlled, stylish, emotionally blistering. It’s a calling card, yes, but more than that—it’s an invitation to step into a musical world that feels as much like a refuge as it does a reckoning.

With 'Garden', Dailla turns introspection into atmosphere—crafting a heart-spilling alt-pop ballad rooted in emotional honesty and enveloped in lush sonic detail. This latest release reveals a quieter intensity than her previous work, choosing stillness over spectacle, and in doing so, blossoms with intimate power. YOUTUBE | INSTAGRAM | TIKTOK Opening with gentle piano keys that ring like dewdrops, 'Garden' immediately establishes its sense of space—one that’s soft-edged and filled with air. Subtle ambient touches—a flutter of birdsong here, a soft swell of strings there—expand the soundscape with painterly precision. Each layer feels carefully tended, echoing the song’s central metaphor: love as a garden, delicate and alive, requiring patience, trust, and care. Dailla’s voice shimmers with vulnerability, delivering lines like “Like a butterfly, I fly so high, it hurts” with a breathless sincerity. There’s no posturing here, only presence—the kind that fans of Nieve Ella or Eileen Alister will recognise as real. While comparisons to Olivia Rodrigo or Taylor Swift might hint at the pop instincts in her writing, Dailla eschews any need for polish or drama. Instead, she cultivates a sound that sits between cinematic and organic, tethered by emotion rather than tempo. This is a track that rewards deep listening. Its elegance lies in restraint—the way the strings don’t overwhelm, the way her voice carries both the weight and the wonder of emotional openness. As it unfolds, 'Garden' feels like a living thing: blooming gently, with grace and a touch of melancholy. In a world where vulnerability is often overproduced or performative, Dailla offers something purer. 'Garden' is not just about love—it feels  like love: hopeful, fragile, and deeply human.

Giampaolo Pasquile’s ‘The Fake Truth’ is a daring fusion of retrospection and radical reinvention... At its core lies a deeply personal reckoning with the evolution of music-making—from the warmth of tape-saturated Studer 800 recordings to the infinite possibilities of AI-assisted production. Yet, despite its high-tech edge, the album never feels dispassionate. Instead, Pasquile’s experience as a Grammy-nominated producer and mix engineer ensures a remarkably human emotional pulse runs through its structure. WEBSITE Drawing from a lineage of analogue soul—real Hammonds, tactile piano textures, and warm compression styles—‘The Fake Truth’ confronts the listener with questions about authenticity and progress. There’s a polished blend of acoustic and digital instrumentation, and subtle tension between what feels familiar and what sounds uncomfortably new. The track lives in that strange, in-between territory where nostalgia isn’t merely aesthetic, but thematic—reworked and recontextualised through forward-facing innovation. It’s rich and cinematic: Every texture—whether human-performed or AI-enhanced—has been finessed by Pasquile’s seasoned ear, echoing the layered complexity of his work with acts like Tears For Fears and will.i.am. Yet, what resonates most is its vulnerability: the sense that Pasquile, in embracing technology, is also confronting his own fears of creative obsolescence. ‘The Fake Truth’ is more than an album —it’s a manifesto... It challenges purists while offering refuge to the nostalgic. By refusing to choose between past and future, Pasquile instead builds a bridge between them, forcing listeners to reconsider what it truly means to listen  in the modern age.

Toronto’s Grae returns with 7 Minutes 'Til Heaven, an album that marks a confident step forward in her evolving alternative pop sound. The record blends bold lyricism with experimental production, weaving together nuanced reflections on vulnerability, identity, and emotional survival. INSTAGRAM  | TIKTOK From the outset, the title track sets a charged atmosphere — restless synths and taut percussion underpin Grae’s distinctively textured vocals. The song encapsulates a tension between urgency and restraint, a thread that runs through much of the album. Her voice balances a raw, almost fragile timbre with a grounded, assured delivery that invites listeners into her inner world without oversharing. 7 Minutes 'Til Heaven  occupies a space where indie pop’s emotional directness meets artful soundscapes. Tracks like ‘Confused’ layer shimmering electronic motifs with syncopated rhythms, while ‘The Friend Zone’ explores relational ambiguity with a dreamy yet uneasy cadence. Grae’s songwriting is conversational, at times dryly witty, often evoking moments of awkwardness or uncertainty with remarkable precision. What truly sets this album apart is its embrace of imperfection. Grae refuses glossy polish, favouring textured production choices that emphasise the raw edges of emotion. The subtle shifts in vocal tone — from breathy whispers to biting clarity — create a dynamic sense of movement, as if she’s grappling with herself in real time. This vulnerability is paired with a sophisticated sense of arrangement; the instrumentation is minimal but meticulously crafted, giving space for the lyrics to resonate. 7 Minutes 'Til Heaven  feels like a late-night diary entry, full of complicated feelings and unresolved tensions. It captures the hazy limbo of young adulthood — the blurred boundaries between friendship and romance, the oscillation between hope and cynicism, and the slow, sometimes painful process of self-discovery. Grae’s unique ability to fuse personal storytelling with inventive pop sensibilities places her in a rare category of artists who challenge expectations while remaining accessible. 7 Minutes 'Til Heaven  isn’t just an album; it’s an invitation to embrace complexity — to sit with discomfort and find beauty in it. This bold new chapter confirms Grae as a distinctive voice in contemporary pop, one unafraid to turn vulnerability into strength, and emotional uncertainty into compelling art. Photo by Mariah Hamilton

‘Stumbling’ is the kind of debut that doesn’t shout — it doesn’t need to. Maya Unagi lands with quiet confidence, offering up a song that feels like walking home alone through the city at night, headphones in, phone dying, heart slightly cracked. INSTAGRAM | TIKTOK The track sits somewhere between R&B, lo-fi indie, and the kind of soul-searching pop that thrives in solitude. Built around a sparse drum groove and warm, grainy textures, ‘Stumbling’ is all about restraint — never over-produced, never trying too hard. It moves like memory: fluid, scattered, sometimes blurred around the edges. Unagi’s voice is the centrepiece — hushed, half-lit, but emotionally direct. It’s the kind of vocal that doesn’t plead for attention, just keeps  it. It traces the low hum of doubt and disorientation that comes after something unresolved — heartbreak, maybe, or just the slow unravelling of trust. But there’s no big scene here. ‘Stumbling’ captures what happens after the drama, in the quieter moments where you replay things in your head and try to make sense of your own role in the mess. It’s understated, but that’s the point. Maya Unagi isn’t offering a resolution — just a beautifully blurry snapshot of what it feels like to get lost inside your own overthinking. For a debut, it’s startlingly assured: lo-fi, yes, but emotionally high-definition.

​Hex Undone's debut album, The Crow Flies , released in early 2024, offers a compelling blend of atmospheric textures and emotive songwriting. If you’re into the likes of M83, Daughter, or early Mogwai—but want something grounded in East Midlands overcast charm—Hex Undone should be firmly on your radar. The band uploaded 3 of the album's songs to Spotify and kept the album for online on Bandcamp! The Crow Flies album has incredible variation; from slower, relaxing songs like its title song, to more upbeat, catchy tunes such as A Good Way: s howcasing the band's ability to craft moody, introspective soundscapes that resonate deeply with listeners.​ The album has garnered attention on platforms like Bandcamp, where it's featured in multiple user collections, indicating a growing appreciation within the indie and alternative music communities. Additionally, the band's presence on Apple Music highlights their expanding reach and the positive reception of their work. For fans of ambient rock and emotionally charged melodies, The Crow Flies serves as a promising introduction to Hex Undone's artistic vision. The album's rich instrumentation and heartfelt lyrics suggest a band poised and ready to make a significant impact in the music scene.​ Ship in a Bottle , the longest track on the album and perhaps the most impressive musically, managing to bypass every expectation anyone could have for these tracks and for Hex Undone as an emerging artist in the Nottingham Music scene. "Wisemen and angels, Angels seem to prefer fools, I'm none the wiser For having tasted you Musically, "Wisemen" showcases Hex Undone's signature blend of atmospheric rock and poignant melodies. The instrumentation is rich yet restrained, allowing the heartfelt lyrics to take centre stage, with a plethora of different meanings behind each line sang. The band's commitment to nuanced songwriting over theatrics is evident, creating a soundscape that is both intimate and expansive "I liked today. Today was damn near perfect. And if I'm blue. I'm blue by accident" This song, "Blue by Accident" is a compelling track that blends raw emotion with a minimalist sonic landscape. The song opens with a sombre, melancholic guitar riff that sets a contemplative tone, gradually building into a more intense, layered arrangement. The vocals are delivered with confident vulnerability, conveying themes of unintended consequences and emotional introspection. The production is clean yet atmospheric, allowing each instrument to shine without overpowering the vocals. Overall, The Crow Flies is a quietly powerful debut. Hex Undone shows phenomenal restraint and maturity in their songwriting, preferring atmosphere over theatrics and nuance over noise. This album isn’t about immediate gratification or indulgence—it’s about slow unfolding, about sitting with feelings that are hard to name and overcoming strong, overwhelming emotion. And in that, it is a tremendous success. I had a little interview with Fiachra shanks of Hex Undone to get more insight to the album: Is there a particular track on the album that holds significance to you as a band? Why is this? Not really, they all have a reason to be there. Saying that, however, Blue By Accident was written the day an old friend died in hospital in Amsterdam. Mic Christopher was a legendary musical force in the city of my birth, Dublin, and his loss was a huge event for pretty much everyone I know back home. In 2001 Mic was on tour supporting The Waterboys and fell down a couple of stone steps after the gig one night, he hit his head and was in a coma for several days and passed away during a gig we held in support of him and his family in Vicar St, Dublin. After hearing the news the next day, the song just fell out fully formed, plucked from the air in about ten minutes.  Who are the biggest influences for the sound of the crow flies? The Devil, The Goddess Diana, Family, Enemies, Bugs Bunny, Oscar Wilde, Ursula le Guin and the ancient gods of Rock’n’Roll Can you describe your musical process when it came to writing and recording this album please? The songs on the album have almost all been around for quite a while and represent many years of writing and not recording them. The name Hex Undone means a curse being lifted, and in many ways for me personally that is what this band is, a curse being lifted. For most of my life I have struggled to find the band that could do this with me, and give these songs the life and breath that they deserved. I guess I also struggled to find the confidence and belief to actually make this band a reality. Sean McElroy (bass) and Ceri Howells (drums) have given these songs (and many more to come) a voice and a structure that has allowed them, and me, to flourish. We recorded the record with Russ Clark here in Nottingham. Russ is an incredibly talented recording engineer and he made the process fluid and easy. His instincts and understanding of what we were doing were really important in achieving the sound and atmospheres that we wanted.  Is there anything new in the pipeline for you guys? Any new music or upcoming gigs? Hex Undone have been concentrating on recording another five or six songs in recent months. The idea at the moment is to re-release The Crow Flies with these new recordings as a full length album, and print actual vinyl. We need to hold it in our hands and hear the needle hit the groove. We haven’t been out playing much lately, but intend to get on some stages this summer. We love playing in Nottingham but want to get out on the road and hit some other cities and countries. You can explore the rest of the album's songs further and support the band through their Bandcamp page , where you can buy the digital album for £7/ individual tracks for £1.50 each, and their ​ instagram where they post more about their upcoming tunes. Written by Holly Surguy

Nottingham-based alt-rock/punk band, TwinHead has made a striking return with their second single, "Thunderous Applause," released on April 18, 2025. Following their debut track "Pistol," the band continues to showcase their energetic sound and commitment to the indie/punk genre with this new track. The song opens with a gritty guitar riff that sets an urgent tone, quickly joined by a driving rhythm section that propels the track forward. The incredible and raw vocals deliver an emotive performance, capturing a sense of defiance and brooding; this fusion of styles creates a sound that feels both nostalgic and refreshingly modern all at once. As their second official release, the track showcases a confident blend of punk energy, grunge textures, and psychedelic undertones which is perfectly mixed- bringing a slight sense of IDLES-crossed-with-The-Strokes energy to their music. If you enjoy alt-rock/punk bands such as Fontaines D.C, Queens of the Stone Age, or other 90s alt/punk bands, then you'll enjoy TwinHead's music: They're truly a great addition to the contemporary indie/alt-rock/punk music scene! The accompanying music video, released two weeks after the single, complements the song's intensity with a number of entertaining behind the scenes videos taken during recording sessions. The band's presence is palpable, and the video's aesthetic choices enhance the song's themes without overshadowing the music itself. Although this version of the band haven't been around long, their audiences love their music; and having followed them all from their previous bands, LNC and Those Howlin' Sounds , despite some awful luck in the industry: they're adored when playing live and when interacting with fans, making them all the more popular; Their active presence on platforms like TikTok and Bandcamp indicates a growing engagement with their audiences. Their music, characterised by raw energy and a blend of indie and punk influences, is gaining traction among fans of the genre on and offline. For those interested in exploring TwinHead's music further, their Bandcamp page offers access to their latest releases, including "Thunderous Applause" and "Pistol." Additionally, their social media channels provide updates and insights into their musical journey as well as insight into their next gigs and upcoming music. I had a chat with drummer Kayne; he and the band have answered some questions about their new single: For those new to TwinHead, how did the band come together, and what drew you all to the punk/indie sound? So, officially, this version of TwinHead has been together since June 2024. Pistol was ready to go when I (Kayne) joined, so we released that in October 2024 whilst writing new songs. There’s only 1 song currently being played from the LNC catalogue: 0115. It’s on the demo sessions as a live version of the track (released 16th May). Everything else is new material. We’ve all known each other for 20 years, go way back. Indie and Punk music is in the bones of us. We grew up with punk loving Dads and skateboarding - so punk music was everywhere around us, and also we were early teens in the 2000s, so the likes of The Libertines, The Cribs, Oasis, Arctic Monkeys, Kings of Leon, The Strokes and all them were massive and that was totally our scene. So being introduced to punk music at an early age was the gateway genre that led to our era-defining genre… indie. Those genres are our foundations.  "Thunderous Applause" has such a bold title—what inspired the name and the message behind the song? Josh:  The name was inspired by Star Wars Episode 3. The meaning… there’s all sorts in there. Kayne: Josh is the lyricist… it contains loads of messages up for interpretation - like any song. Depends on what mood you’re in when you listen to it. Resilience… transformation, suppressed voice, anger, overcoming all the bollox of the everyday.  Who are your biggest influences for your music? Josh : Biggest influences for me are definitely Oasis, Arctic Monkeys Sex pistols, The Amazons and at the moment Bad Nerves; our music may not sound anything like any of these lot but they play a massive role in how I structure things in my mind and how I love a good punch ye straight in the forehead chorus. Kayne:  I really found my stride with music through skateboarding and fast paced lively tunes. From Punk and Post-Punk; Misfits, Ramones, Public Image LTD, Joy Division, Talking Heads. Some of the earliest  music i got into and lived through was the 90s pop punk scene, for me, Blink, NOFX, Alkaline Trio, Green Day, Jimmy Eat World and the Tony Hawks 1 & 2 soundtracks were my… soundtrack! 00s Everything from The Libertines and The Strokes through to Klaxons, Bombay Bicycle Club, The Maccabees and Warpaint. Obscure, soft, slow, fast, odd, heavy, light, fucking - you name it. Right now on repeat for me are: Amyl & The Sniffers, SOFT PLAY, Fontaines D.C, Bad Nerves, Teen Mortgage and Been Stellar. Been getting right back into The Paddingtons n all. If something becomes an earworm for me - then well done ya bastards - you’re on my speakers. What’s the Nottingham music scene like right now, and how has it shaped you as a band? Josh: The Nottingham music scene has definitely shaped me in ways I didn’t expect. It can be a tough nut to crack — from an artists POV there are some tight circles and it can feel a bit cliquey from the outside — but it’s taught us to keep pushing, keep writing, and stay open. At the end of the day, most of us just want to connect with like-minded people and find good mates to play shows with. If you could tour with any band or artist right now, who would it be and why? Josh: I would absolutely tour with bad nerves, a 15 day tour or summat so I could listen as close as possible so I can steal ideas from them [insert wink face here] Kayne: Some amazing Aussie punk bands at the minute! Pist Idiots, The Pretty Littles, The Chats, Amyl & the Sniffers! Would love to tour with any of them, it’d be fuckin mental! Second the Bad Nerves comment from Josh actually- Could deffo learn a thing or ten from them!  You said you have a few upcoming gigs, when/where are these for those wanting to come see you play live? Kayne: Yes! Our first gig is at Record Junkee in Sheffield. 24th May! Headline gig at The Grove, 13th June. With Kickflip69 and Rossettis. Tour dates are updated regularly on TwinHead's website here: https://wearetwinhead.com/live   Excitingly, TwinHead will be playing the ImNotFromLondon stage at this year's WaterFront festival too! More info on this in the coming weeks; keep an eye on our socials here: INFL Waterfront festival If TwinHead were a superhero team, what would your powers be—and who would be the first to accidentally blow something up? Haha, I like it! Josh(lead vocals/guitar)- Sharpie – Tags minds with lyrics that won’t wash off. Jimmy(backing vocals/lead guitar)- Wreckneck – Neck-deep in riffs before breakfast. Jordan (bass guitar)- Humm – Low end so solid it hums in your chest for days. Kayne (drummer)- The Bin Rat-King –  Bashes bins like it’s the apocalypse Accidental blow up: sharpie bollox for sure.  Which extinct animal would you bring back solely to be your band mascot? The Hallucigenia.  As TwinHead continues to develop their sound and presence in the indie/punk scene, "Thunderous Applause" serves as a testament to their evolving artistry and potential. Keep an eye on their social media for more tunes going on from this brilliant track in the future. Written by Holly Surguy

Blending playful funk, raw lyricism and bold textures, Eleanor’s long-awaited debut cuts through the noise with charm, confidence, and a series of live showcases... YOUTUBE  | INSTAGRAM  | TIKTOK  | FACEBOOK  | SPOTIFY Eleanor’s new EP marks a confident stride into a richer, more rhythm-led world, balancing swagger and self-deprecation with a sharp lyrical eye and inventive production. Across its tracks, she trades in melancholia for something cheekier — bending genre boundaries as easily as emotional tones. Opening with ‘Sugar’ , the EP kicks off with a knowing wink. Funk-infused and flirtatious, it’s a deliberate pivot from her ‘sad song girl’ label, layering bluesy grit and synth sparkle over a swaggering groove. The track’s two-part structure mirrors its writing process — Eleanor penned the intro months before the rest — and the shift feels seamless yet unexpected, giving the song a playful, episodic quality. Elsewhere, she leans into texture and space: There’s a looseness to the arrangements that allows each contributor to bring personality, guided by Eleanor’s clear sense of direction. From the weirder synth flourishes to the rhythm-first approach that fuels the whole record, you can hear her stepping back just enough to let the messier, more human moments breathe. In terms of lyricism, she toes the line between tongue-in-cheek and emotionally precise — clever without being coy. The EP has the kind of emotional duality that sits somewhere between Madison Cunningham’s intricacy and ZZ Ward’s boldness. It’s sultry, yes, but also sincere — not trying to be something it’s not. “This EP is a culmination of my experiences from 16 to 21,” says Eleanor. “It’s taken 10 years to bring to life and has followed me through so many versions of myself. It’s dramatic, messy, and self-involved—in the best way. But it’s also been healing. I can finally let it breathe in the world and close that chapter without letting it go.” Already picking up traction on TikTok and building a fanbase that stretches from London to Berlin, Eleanor seems to be hitting her stride both online and off. This EP isn’t just a sonic shift — it’s a statement of intent, full of groove, grit, and gleeful self-awareness. Whether she’s dancing around heartbreak or diving headfirst into it, Eleanor makes it clear she’s doing things entirely on her own terms. BUY TICKETS NOW Eleanor’s spring and summer live dates have seen her carve out an ever-growing fanbase across the UK and Europe. Kicking things off with an intimate acoustic show at Liverpool’s Prohibition Studios on 13th May, she followed it up with an international EP launch at Mirador in Luxembourg on 17th May – a special night marking the arrival of her new record with a full-band performance. Next up is a hometown celebration at LEAF on Bold Street, Liverpool, on 4th June, where the full EP will come to life on stage. Two days later, she returns to a more stripped-back setting for a songwriter showcase at Indigo in Rockferry on 6th June. With a mix of acoustic moments and high-energy full-band sets, these shows reflect the duality of Eleanor’s artistry – equal parts tender and theatrical. Press Photos by Lens of wool | Cover Art by Eleanor

Karen Macleod’s debut solo album, Low Road , released in March 2025, is a heartfelt journey through the rich landscapes of country blues, American folk, and traditional/roots music. Drawing from her personal experiences—including time spent in the Blue Ridge Mountains and her travels across the U.S.—Macleod infuses each track with authenticity and intense emotion. The 16-track album showcases the Scottish artist's mastery of finger style and slide guitar, performed on both six-string and resonator guitars. Her soulful vocals breathe new life into traditional songs like “Ain’t No Grave” and “Last Kind Words,” while original compositions such as “Jaded Jack” and the instrumental title track “Low Road” highlight her songwriting prowess. Give it a listen as you read: Covering a song as iconic as “Ain’t No Grave” is always a bold move, but Macleod handles it with reverence and originality. There are many versions of this track but rather than trying to outdo the profound power of past renditions or the original by Johnny Cash, Macleod scales it back—offering a haunting and chilling version that resonates in your body as you listen. The resophonic guitar rings with ghostly clarity, and Macleod’s voice carries a kind of weary defiance. It’s not theatrical, but rather deeply human—her take feels less like an anthem and more like a whispered prayer. In stripping it down, she finds something new in the song: not just resistance against the grave, but a strange, quiet acceptance. It’s a masterclass in restraint and reverence. Carefully cultivated to make listeners change their perspectives on traditional music and feel connections to it. Jaded Jack” stands out not just as a highlight of Macleod’s songwriting, but as a full portrait in miniature. A slow-burning character study with a bluesy posture and a storyteller’s heart. The fingerpicked guitar work here is both gritty and graceful, echoing old delta blues; but with Macleod’s distinct lyrical voice front and centre. The track moves with the easy swing of country blues, but what lingers is the emotional detail: Jack isn’t a caricature— he's brought to life with empathy and the pure emotion which is cathartically released throughout the song. “He don’t run, he don’t fight, just leans like a tree when the wind gets right…” This lyric says so much in so few words, capturing a kind of quiet surrender. Macleod’s delivery is unhurried and precise, letting the listener fill in the emotional gaps. Her fingerpicked guitar work moves like a conversation beneath the vocals; never flashy, always in service of the song. Produced by Russ Clark, Low Road stands as a testament to Macleod's dedication to her craft and her deep connection to the musical traditions she explores. For listeners seeking an album that resonates with authenticity and heartfelt expression, Low Road offers a compelling and stimulating experience. Written by Holly Surguy

Sunk’s debut EP, Bun This Get Sunk , released in April 2025, is a bold and unfiltered entry into the UK punk scene. Hailing from Nottingham, this duo of university students channels the raw energy of classic punk while infusing it with contemporary themes and indescribable flare- bringing a sound that is nostalgic and refreshingly current all at once! Their music is characterised by gritty guitar riffs, driving rhythms, and vocals that oscillate between cutting wit and earnest urgency. The production retains a lo-fi authenticity, encapsulating the balance between modern punk rock and classic punk vibes you hear when listening. If you like the sound of punk icons like Stiff Little Fingers, UK Subs, and The Fall, you will love this EP. Give it a listen here and on Spotify: Sunk's lyrics traverse a spectrum of topics, from personal struggles and societal critiques to local anecdotes. Their debut single, "Foremans Sitta," pays homage to their favourite Nottingham punk bar, reflecting their deep connection to the local scene. Which captures the angst and aspirations of those grappling with these modern issues. I have decided to give you a brief summary of each track on the EP for your reading pleasure: She Knows Best – Opening with a punchy rhythm and sardonic lyrics, this fast-paced track sets the tone for the EP. Its tight instrumentation and vocals reflect the band's inspirations and tells listeners exactly what sound they aim to create with their music. Just Like Us – This song delves into themes of conformity and societal expectations. The driving bass lines and gritty guitar riffs underscore the band's commentary on modern life's pressures and realities. Bed Bound From City – A more introspective track, it explores feelings of isolation amidst urban chaos. The resonant melodies contrast with the aggressive instrumentation, showcasing the duo's dynamic range and ability to create music with complex themes. Another Day In The Office – With a satirical take on the uniformity of daily routines, this song combines catchy hooks with biting, snarky lyrics. It's a standout track that encapsulates the band's knack for blending humour with critique. Hive Mind – This track addresses loss of individuality in a modern and digital age. Its layered instrumentals and haunting vocals create an atmosphere of unease, prompting listeners to reflect on their own experiences. Three Chord Fuck You – Closing the EP with an unapologetic subversion , this song is a raw expression of rebellion. Its straightforward structure and confrontational lyrics are the epitome of the punk genre. Bun This Get Sunk is a compelling EP that captures the essence of contemporary punk. Sunk's ability to intertwine personal narratives with broader societal themes results in a resonant and thought-provoking first EP. Their raw sound and authentic storytelling set them up as a promising new band in the underground music scene. Sunk's live performances are a testament to their raw talent and magnetic stage presence: come see for yourself! Their EP launch event, on Friday 16 May 2025, at Billy Bootlegger's in Nottingham, ensures an electrifying experience; sharing the stage with acts like Rhythmeaters, Skunk, and Bleachworks, the night is set to be a celebration of the local punk community. Tickets available here: https://www.gigantic.com/sunk-s-bun-get-this-sunk-ep-launch-tickets/nottingham-billy-bootlegger-s/2025-05-16-19-00 £5 advanced, £7 OTD Written by Holly Surguy

ROSS LEARMONTH CELEBRATES LOVE'S CONTRASTS IN FRESH NEW SINGLE ‘OPPOSITES’... Renowned Johannesburg South African singer-songwriter Ross Learmonth has dropped his latest single, ‘Opposites’ - out now on all major digital platforms.  INSTAGRAM  | FACEBOOK  | YOUTUBE Ross Learmonth returns with ‘Opposites’ , a sharp, confident single that captures the ever-intriguing friction between emotional vulnerability and bright, accessible pop songwriting. Formerly the voice of South African rock heavyweights Prime Circle, Learmonth’s solo work has steadily shifted from arena-sized anthems to something more intimate, though no less powerful. ‘Opposites’  feels like the strongest bridge yet between those two worlds. Built on buoyant guitar riffs, shimmering synth layers and a clean rhythmic pulse, the track is effortlessly hooky without sacrificing depth. There’s a warmth to the production, handled remotely by trusted collaborators Rusti Rossouw and Tristan Carmichael (the team behind ‘Honey’  and ‘Because of You’ ), that gives it broad pop appeal while still retaining its emotional heart. ‘Opposites’  reflects on the strange alchemy of relationships—how contradiction and difference can often fuel connection. It’s a sentiment rooted in personal experience; Learmonth loosely credits his parents' dynamic, along with his own encounters in love, as the song’s emotional anchor. His vocal delivery walks the line between playful and earnest, which suits the theme—there’s a wink in his voice, but also a sincerity that cuts through. The result is a polished yet personal track that feels radio-ready but not overly manufactured. Already making its way up the charts in South Africa and drawing attention across key Apple Music playlists, ‘Opposites’  is poised to become a crossover moment for Learmonth—one that introduces his solo identity to international audiences with confidence. It’s an addictive, cleanly crafted song that lingers, not just for its melody, but for the way it captures the messiness of love with such a light touch. If this is the tone of what’s to come on his next album, Learmonth’s second chapter is shaping up to be his most exciting yet. LIVE DATES:   17 April - East London (SA) 19 April - St Francis (SA) 21 April - Plett (SA) 10 May - Pretoria (SA) 11 May  - Mothers Day Show - Muldersdrift (SA) 29 May  - Midstream (SA) 30 May - Ballito (SA) 31 May  - Hillcrest (SA), 26 July - Cyprus PRESS SHOTS BY TEGAN SMITH