Category Archives: TVD UK

In a world where the theatricality of power metal reigns supreme, the recent Gloryhammer and Beast in Black show at the O2 Kentish Town Forum in London stands as a testament to the enduring allure of a genre that marries the epic to the electric. Dubbed “Glory and the Beast,” this tour has become a sold-out sensation, a gathering of metal aficionados eager to partake in the high-octane energy, massive guitar solos, and over-the-top theatrics that define this corner of the musical universe. 

The Kentish Town Forum, one of London’s most iconic venues, became the epicentre of a power metal odyssey, offering an ideal backdrop for the sweeping soundscapes of the evening. This venue, nestled perfectly for acts bridging the gap between the intimacy of smaller stages and the grandeur of places like Hammersmith, became the crucible for a sold-out show that highlighted the unique appeal of both bands. Their ability to master the genre’s essential elements—catchiness, heaviness, and theatricality—while fostering a communal experience, has consistently drawn large crowds. Their music transcends the bounds of mere performance to become a shared adventure through fantastical lands crafted by their imagination.

Gloryhammer, a band that has carved its niche within the metal scene with a laser-sharp focus on fantasy and science fiction narratives, brings more than just music to the table; they bring stories. Founded in 2010 by Alestorm’s Christopher Bowes, the band’s discography is a rollicking ride through an invented universe of intergalactic battles and legendary heroes, all served with a side of tongue-in-cheek humour. Their significance lies not just in their sound, which is as potent and catchy as any power metal ought to be, but in their ability to create a world within their albums, inviting listeners to partake in an ongoing saga that is as immersive as it is musical.

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Newcomer Marlowe (they/them) brings an electrifying fusion of alt-pop in their vibrant debut single, “Give It Up.”

Marlowe’s single celebrates the nuances of femininity from a unique perspective, as a male-presenting, non-binary gay artist. In their own words, Marlowe says “It represents the struggles I have when trying to navigate my love life… It’s an invitation to embrace your inner femininity.”

Their sound is alt-pop fused with Latin roots and hints of R&B nostalgia, and promises to be a captivating experience. Fans of the likes of Prince and Charli XCX will feel at home here.

Currently based in London, Marlowe’s music is marked by raw, emotive lyrics centered around their story and empowerment. Keep your ears and eyes peeled to see them filling up a dance floor near you soon!

Get ready to immerse yourselves in A Knife Ballet and his brooding new single “Red, Blue & Black,” out now.

Formerly known under the moniker The Holy Road, this artist has now progressed into creating a sound that is more exciting and expansive than ever. Fans of the likes of Radiohead and Black Country New Road will feel at home here. This single is taken from The Knife Ballet—aka Jonathan Stolber’s—upcoming album For The Blood of England, due for release later this year.

The single features a wide array of rich, dark musicality, whilst Jonathan is also joined by a multitude of talented friends including Maddie Cutter (Martin Grech), JJ Saddington (The Bridesmaid, Eaststrikewest), Ben Weedon (Maybeshewill), and Chris Fordham (Silent Commitee, Violets Gone), who help create this undeniably eery and cinematic sound.

“Red, Blue & Black” will also receive one bespoke vinyl pressing to be auctioned on Ebay to raise donations for Alzheimer’s Society.

Brit-pop is back! Well, sort of… Introducing Andy Goodwin and his quintessentially British new single “Fred Perry Girl,” out now.

Combining early noughties influences of Jamie T with the likes of contemporaries such as King Krule and Cosmo Pyke, Andy proves he’s definitely one to watch. His new single “Fred Perry Girl” is undeniably infectious from the offset, showcasing Andy’s relatable lyricism and unapologetic cool throughout.

You may recognise Andy originally from uploading fashion-related content onto TikTok, whilst now he’s also delving into the world of music. Having teased his latest single online and supported Balancing Act on their latest UK tour, Andy Goodwin is ready to showcase his musical prowess beyond the confines of his videos. Even with it being his first single, it looks as if Andy is ready for his music to reach an audience that can appreciate the full range of his creativity.

“Fred Perry Girl” is in stores now.

Ease your way into the working week with Portuguese/British singer Maya Blandy and soul-tinged single “B.I.B.”—out now via Rebel Records.

This release is the third to be taken from her upcoming album, which is due for release later this year. The single combines jazz, soul, and R&B infused sensibilities creating something seductive and sensational. Maya’s vocal takes centre stage as she sings with confidence and warmth throughout. Pairing her phenomenal voice is a simply breath-taking musical arrangement, comprising of several highly recognised and talented musicians, including Trevor Mires and Ryan Quigley.

Born in Australia, brought up in Madeira, and being part of an English/German family, Maya Blandy has created her own unique and diverse sound that draws on the various elements of her life. Maya’s songwriting skills range from from describing the love she has for the people in her life to the complex understandings of religion, nature, and society. We can’t wait to see what 2024 is going to bring for this very talented songstress.

“B.I.B.” is in stores now via Rebel Records.

With her sophomore album due for release on 9th February 2024, we thought it was time we put Katelyn Tarver on your radar. With her radiantly soft voice and soul-baring songwriting in full force, Katelyn is ready to take 2024 by storm.

Taken from the album is her latest single “Japanese Cafe,” out now. The single combines indie-folk with dream-pop infused sensibilities creating something truly heartwarming. Talking about the single, Katelyn says, “When I was a teenager, I had an album I was promoting, and it ended up taking me overseas to Japan to promote it. I performed at a bunch of gigs, but one in particular was at a maid cafe where they requested I wear a French maid outfit for the performance.

The audience watched while sitting in school desks, and the sound system was a boombox with a microphone held up to the speaker. It’s become one of those stories I tell at parties about my weird life as a teenage wannabe pop star. I used to be embarrassed about this time in my life, but writing this song helped me find a new appreciation for it.”

Already with a record of critical acclaim from the likes of Rolling Stone, NPR, Billboard, SPIN, Paste, Nylon, The Guardian, and American Songwriter—and millions of followers—on her new album, Katelyn explores the complexities that come with navigating life through your twenties and thirties. Let’s hope she’ll be making her away across the pond ASAP! The UK is waiting….

Katelyn’s new album Quitter is in stores on 9th February 2024.

You may recognise Debbii Dawson from the seventeenth season of America’s Got Talent where she wowed the judges by performing a slowed down version of ABBA’s “Dancing Queen.” She was voted through unanimously, however was later eliminated from the competition, but it seems the joke’s on them! Debbii’s latest single “Too Strange for the Circus” is a country-tinged slice of pop that certainly proves Debbii is one to watch for 2024.

Channelling her inner Dolly Parton / Stevie Nicks, Debbii’s unique twang soars effortlessly over the infectious musicality that feels gorgeously light and fluffy all the way through. Dawson describes an all-too-familiar isolation in “Too Strange for the Circus”—the floating loneliness of feeling just a few steps too far to be in anyone else’s orbit. She waltzes around a space metaphor, leaning into the weightlessness of the feeling: “I’m too strange for the circus /too human for Mars /too deep for the surface.”

Debbii is from Minnesota and describes herself as a singer, songwriter, and producer. Her grandfather immigrated to the US from India. On America’s Got Talent, Debbii explained that he taught himself to play the organ by drawing an organ keyboard on the pavement with charcoal. He then went on to teach Debbii’s father and herself in the same way. Pretty awesome, hey? Debbii will be making her London debut on 17th January at Folklore but I’m afraid its already sold out!

“Too Strange for the Circus” follows Dawson’s recent EP, “Learning,” also in stores now.

Multi-instrumentalist Benjamin Yellowitz returned last year with the release of his powerfully poignant new album Peel Back The Pleasure, out now via Veta Records. Previously known for his folk / singer-songwriter influences, this release sees Benjamin build upon this, whilst opening up new doors to a potential new audience. Sounding akin to the likes of RY X and James Blake, Yellowitz combines acoustic elements with ambient electronics creating a sound that is undeniably impressive.

This album doesn’t seem to have been promoted as a concept album, but in many ways it feels like it could be. Throughout the album, Yellowitz tackles difficult subjects such as accepting queerness, feelings of loss, and sexual pleasure. He also induces these lovely intervals of spoken word, for example on “(Something About Resilience)” where he’s clearly leaving a voice note for a friend after having a particularly hard day.

Even though there are elements of darkness within the voice note, it also concludes with a sense of positivity and how proud Benjamin is to be queer, despite the battles within that. This particular moment really sums up the album as a whole for us, because, even though there are deep, dark moments, there’s also a whole lot of love and joy on the album. Its a celebration of self-love and friendship… and a bit of sex.

Previous single “Bad Dad Club” is the perfect example of this. Discussing themes of gender, queerness, and complex family relationships, this release is brave, bold, and beautiful. There’s also a stunning video to go alongside it you should watch instantly. Going forward, it would be great to hear and see more of this experimental side to Yellowitz as there’s clearly something special going on here, but perhaps moving away from the classic folk-infused songwriting will give him even more of an edge in his bright future.

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Happy new year folks! We kicking off 2024 with something chilled to help ease those sore heads some of you will undoubtedly have. LA-based artist Julian Roy teams up with DAP The Contract and Bryn Bliska on their sultry new single “M.K.B,” out now.

The single combines jazzy electronics with mellow guitar and key twangs creating something otherworldly. If you’re looking for music to relax, focus, or simply vibe to, this release is the one for you.

Julian Roy’s sound is mixes modern R&B and neo-soul with experimental world music soundscapes. His music is inspired by his travels through the island life of South East Asia and South America as well as living with musical communities in Nashville, San Francisco, and now LA. Julian’s sound is best compared to artists like Frank Ocean and Chet Faker.

So, what are you waiting for? Unwind and relax to “MKB,” in stores now.

The View’s gig in London last week wasn’t just a throwback to the mid-2000s music craze, it was a full-blown resurrection. Back in those days, I was knee-deep in the music biz stateside, witnessing UK bands like The Zutons, Kasabian, and of course The View, trying to strike gold in the US. It was a hit-and-miss game, mostly misses, if we’re being honest. The View, with their Scottish roots and Libertines-esque sound, caught everyone’s attention with “Same Jeans” and their debut Hats Off to the Buskers. But like many others, they were just a blip on the American radar.

Fast forward to the present, and a chance encounter with an article about The View reignited that old spark. Learning of their onstage “brotherly bust up,” I knew I had to catch them live before any potential split. Scala in London was the perfect setting, a sold-out show pulsating with energy and anticipation. From the first note to the last, it quickly became apparent that this was one of those cases where the record Hats off to the Buskers didn’t capture the magic and energy of the live show. It’s night and day to me, maybe it was the major label polish or maybe it was digital trumping analogue. 

Seeing The View in 2023 is like watching a band reborn. On stage, they radiate a confidence that teeters on the edge of cocky, yet somehow, it suits them perfectly. Gone are the days of leaning on their past hits. Instead, they’re dishing out fresh tracks from their latest album Exorcism of the Youth. Among these, “Dixie” is a standout. Kyle Falconer has morphed into a master of pop anthems, crafting songs that grab you by the collar and demand your attention.

This wasn’t one of those gigs where everyone was waiting for that one hit song. The audience was there for the ride, start to finish. Every new song built on the last, and by three-quarters in, the place was electric. The jam-packed crowd looked to be on the verge of a full-blown pit at every second. They ended without an encore, and honestly, they didn’t need one. They’d already proved their point.

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Exploding onto the scene, Twat Union are a new feminist punk band who are not afraid to speak their minds in the best way. Their hilariously outrageous debut single “UTI” is out now.

This all female seven-piece combine influences from the Riot Grrrl era with current punk trailblazers such as Dream Nails and Lambrini Girls. With wild, immersive gigs involving their distinctive provocative humour, the band don’t shy away from talking about things like period sex, thigh chafe, and the focus of this debut single: UTIs.

Talking about the single, front woman Kate Mac elaborates, “People don’t talk about UTIs very much, but most of us have had them, and most of us hate them (no kink-shaming if you like them but we would love to hear from you if you’re actually a fan). And if you don’t get them, we guarantee you know someone that does.

This song is for everyone to shout, laugh, cry, and generally express your anger about female and non-binary medical problems (we know some men get them too) and maybe we can change the narrative around when and how it’s ok to talk about issues down there.”

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Samantha Lindo’s latest musical endeavour, Ancestry, is a captivating exploration of identity and heritage that seamlessly weaves together diverse genres and influences. This highly anticipated released has been funded by the Arts Council and the MOBO fund of Help Musicians UK.

Ancestry is a compelling album that explores the stories from Samantha’s family history, including her great, great grandfather—a black methodist minister who defiantly married a white Scottish teacher in Jamaica in 1880. It also explores the history of his son, the Conservator of forestry of the whole island, who planted and protected the trees that are now under threat from the extreme weather and flooding of the climate crisis, as well as her grandparents who came to the UK in the fifties as part of the Windrush generation, all framing the expression of themes of climate justice, dual heritage identity, and inter-generational healing.

Each track takes us as the listeners on a journey, and sees Samantha’s warm, soul-tinged vocal soar effortlessly over stunningly rich soundscapes. From spiritual jazz to retro soul and even spoken word, the album oozes colour, confidence, and creativity. The first track on the album, “Child In Me,” introduces us to the theme and sound of the entire work. The solo piano we first hear is soon joined by Samantha’s incredible vocals and later layered by haunting strings, all in perfect harmony.

On “Child In Me,” Samantha says, “The writing process was inspired by nostalgic memories of aunts, uncles, and wider family members and reflecting on how the magic and joy of those relationships form part of the fabric of who we are. Last written but first on the album, ‘Child In Me’ is about those people now, despite complexity and family conflict, with the purity and innocence of a child. In a wider sense, it’s also about seeing hope and possibility, and boldly imagining a different future when we face so much complexity and crisis.”

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Fraser Morgan is a rising newcomer on the folk-punk scene, and he’s bringing all the vibes with the release of new single “Fell In Love Again,” in stores now.

The single is full of fun and oozes with a wonderfully chaotic energy from the offset. The backstory stems from Fraser meeting a girl on a night out in Colchester. Fraser elaborates, “I started writing this silly song about how my mum’s probably sick of hearing about my love interests. One night I played it at an open mic and people went mental for it, so here we are two years later and it’s still one of my most popular songs.”

Having already played over 900 gigs, Fraser has become known for his passionate live performances where he and his band share humorous one-liners between songs—whilst also delivering important messages on mental health within the songs themselves. Fraser is hoping to continue to captivate listeners with his infectious blend of artistry.

Last week, London was treated to a rare and intimate journey into the origins of one of the UK’s most seminal rock bands. Death Cult, the early incarnation of The Cult, concluded their UK and Ireland tour with a final, electrifying performance at the Islington Assembly Hall. This followed two sold-out nights at Electric Brixton, testifying to the band’s enduring appeal. Far from being just another gig, this tour finale offered a profound exploration into the raw, unpolished beginnings of a group that would go on to shape the landscape of goth, hard rock, and alternative rock for years to come.

With Lili Refrain setting the stage with her ambient sounds, the night was already off to an unorthodox start. But it was The Cult’s performance that truly captivated the audience. Ian Astbury appears to have tapped into a timeless wellspring of rock ‘n’ roll energy. He was a powerhouse on stage, belting out classics with a fervor that could rival bands of any era. The band, clearly at a peak in their musical journey, delivered a performance that was both a nostalgic throwback and a vibrant showcase of their continued relevance and dynamism in the rock scene.

The audience was a mosaic of generations—from weathered rock veterans to fresh-faced newbies, all united by their love for The Cult’s enduring sound. The atmosphere was electric, a testament to the band’s ability to transcend time and trends. Celebrating 40 years of musical evolution, the setlist was a meticulously crafted trip down memory lane, covering their metamorphosis from the post-punk Southern Death Cult era to the hard rock heights of The Cult. Highlights like “Spiritwalker” and “She Sells Sanctuary” weren’t just songs; they were anthems that reignited the fire in the hearts of fans both young and old.

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Sleep Walking Animals have redefined their folk identity with their new EP “PINK. YELLOW. RED.” in stores now via Black Sea Music.

“PINK. YELLOW. RED.” oozes with ethereal sonics from the offset with intricate production, vintage-pop choral harmonies, and electrical elements. These new elements are weaved around the foundations of their acoustically influenced songwriting creating something truly new and compelling for the listener. Paired with poetic lyricism and wistful atmospherics, “PINK. YELLOW. RED.” is a multifaceted collection of endearing shapes and sounds exploring themes of loss, love, and light.

The band has already sold out venues across the UK and have been aired on national TV and radio, most notably on Channel 4’s Sunday Brunch and Tom Robinson’s Introducing Mixtape.

Sleep Walking Animal’s “PINK. YELLOW. RED.” is a must-listen, and the band’s ability to evoke such a range of emotions makes this EP a captivating and memorable addition to their discography.