Author Archives: Zara Hoffman

With the arrival of their explosive debut single “Toyota Hellfire,” Birmingham quartet fistpump! have delivered a statement of intent that’s as visceral as it is unpredictable.

Blending the intricate, twinkling guitar work of Midwest-emo with the weight and urgency of post-hardcore, “Toyota Hellfire” wastes no time in establishing the band’s identity. The track swings between tightly wound verses and driving, anthemic choruses, hinting at a group already confident in pushing its dynamics to the limit.

Rather than assembling ideas in isolation, “Toyota Hellfire” came together in a shared moment of spontaneity, written collectively in a room, feeding off a single creative wavelength. That organic process is palpable in the final track, which feels less constructed and more unleashed.

Beyond the studio, fistpump! have already been building momentum on the live circuit, sharing stages with emerging names and carving out a reputation for anthemic performances. With a run of UK dates and support slots continuing through the year, they’re clearly intent on translating that raw recorded intensity into something even more immediate on stage.

For a debut, “Toyota Hellfire” doesn’t just introduce fistpump!, it throws them headfirst into the conversation. If this is the starting point, the ceiling looks wide open.

“Toyota Hellfire” is in stores now.

There’s something quietly magnetic about Opal Mag. She’s the kind of artist who doesn’t demand attention, but instead pulls you in slowly. With her new single “Kiss Me,” the London-born musician continues to carve out a space that feels both nostalgic and strikingly personal.

Opal Mag’s latest single, “Kiss Me,” marks a significant step forward. Following on from “Wasting,” the lead track from her November EP, this new release sharpens her lyrical focus while maintaining the immersive, blurred-edge production that defines her style. There’s a sense of emotional clarity cutting through the haze this time, a recognition of stagnation in a relationship, and the quiet heartbreak that comes with it.

As Opal herself explains, “‘Kiss Me’ displays the realisation that a partner doesn’t want to grow or change with you. Instead they sabotage what had huge potential, to stay comfortable and set in their ways.” It’s a theme many will recognise, but few articulate with such understated precision.

With a busy summer of festivals on the horizon, Opal Mag feels poised for a breakout moment, not through reinvention, but through refinement. She knows exactly who she is as an artist, and more importantly, who her music is for.

“Kiss Me” is in stores now.

This week, we’re spotlighting a rising voice you need on your radar; Kayla Kross. Her stunning debut album Touch of You is out now.

Blending emotive storytelling with a modern pop sensibility, Kayla Kross is carving out a space that feels both intimate and expansive. Her music captures those in-between moments, vulnerability, self-reflection, and quiet strength, wrapped in polished production and memorable melodies.

There’s a sincerity at the core of her sound that resonates instantly. Whether she’s delivering stripped-back emotion or building into something more anthemic, Kayla brings a clarity of voice and perspective that feels authentic and refreshingly grounded.

If you’re into artists who balance lyrical depth with accessible pop appeal, she’s definitely one to watch.

Kayla’s debut album Touch of You is in stores now.

Brighton’s Slag (yes, that’s their name) is the kind of band that feels inseparable from the scene that shaped them. They are scrappy, instinctive, and thriving on momentum. Their debut EP “Losing” marks a defining step, and it’s out now via Big Scary Monsters.

Formed on the south coast and quickly embedded in its DIY circuit, the five-piece has built a reputation on energy first, polish second. Their sound sits somewhere between art-punk, indie, and something more restless; angular guitars, rhythmic left-turns, and vocals that swing between melody and half-shouted release. Their EP “Losing” captures a band figuring things out in real time, and making that uncertainty part of the appeal. Rather than smoothing out their edges, Slag lean into contrast: chaos and control, humour and vulnerability, noise and melody, all coexisting in the same space.

There’s also a sense of narrative running through the EP. Even in its most chaotic moments, “Losing” carries emotional weight, songs that tap into disorientation, release, and fleeting clarity without ever becoming overly introspective. It’s that balance that gives the project its edge. It feels immediate, but not shallow, instinctive, but not careless.

Still early in their trajectory, Slag sit in that exciting space where everything feels open-ended. “Losing” doesn’t present a finished identity, it documents a band in motion, testing ideas, pushing dynamics, and inviting listeners into the process. If this EP is anything to go by, they’re not interested in standing still.

“Losing” is in stores now via Big Scary Monsters.

Celestial newcomer Tenderness provides a quiet kind of magic in music that doesn’t demand your attention, but instead gently holds it. The solo project of London-based songwriter Katy Beth Young, Tenderness is less about spectacle and more about feeling soft, intricate, and deeply human.

Emerging from a period marked by loss, isolation, and change, the project carries a sense of intimacy that feels almost whispered rather than sung. It’s music that sits with you. Her recently released debut album, True, is a striking introduction; ten tracks that drift between indie folk, country textures, and ambient electronics. Built initially from demos recorded in a brief, almost spontaneous session, the album slowly evolved into something richer and more collaborative, featuring contributions from longtime musical peers.

What makes Tenderness stand out is the emotional balance. There’s grief here, undeniably, but also warmth, curiosity, and even moments of lightness. The songs explore love, memory, and technology in equal measure, often blurring the lines between the real and the imagined. Sonically, True is understated but expansive. Think shimmering electric guitars, pedal steel woven through minimalist arrangements, and vocals that feel both fragile and grounded. It’s music that rewards close listening, subtle details revealing themselves over time.

At its heart, Tenderness is about connection, how we hold onto people, memories, and feelings, even as they shift and fade. It’s music made in solitude, but shaped by community, and that duality gives it a rare depth. If you’re drawn to artists who sit somewhere between folk storytelling and experimental textures, Tenderness is one to keep close. This is not music that shouts, it lingers…

True is in stores now.

Emerging from the UK’s vibrant indie scene, Girl Group are quickly carving out a space that feels both urgent and unapologetically their own. With a mission rooted in challenging industry norms, the band is creating space, visibility, and community for women and underrepresented voices—hoorah!

Blending jagged indie rock energy with punchy pop sensibilities, Girl Group’s sound thrives on contrast. Sharp, hook-heavy songwriting is paired with a raw, emotionally charged delivery. Their recent EP, “Little Sticky Pictures” signals a band in motion; restless, self-aware, and unafraid to experiment. There’s a DIY spirit running through their releases, but it’s elevated by a clear, bold, feminist, and community-driven energy.

Their ethos centres on amplifying voices that are too often sidelined, turning their project into both a creative outlet and a cultural statement. It’s this combination of purpose and personality that’s helping them connect with a growing audience, now reaching tens of thousands of monthly listeners on Spotify.

With upcoming shows across the UK and Europe and a steadily expanding catalogue, Girl Group are proving that they’re more than just a name, they’re a movement in the making.

“Little Sticky Pictures” is in stores now.

Debut single “Criminal” is the opening release from Rakuna’s forthcoming debut album Child of the Wolves. Showcasing her sumptuously emotive vocal delivery, the song conjures memories of classic female blues singers.

Rakuna has suffered from mutism throughout her life. However, after teaching herself how to write, produce, and perform music at the age of twenty-one, the ability to communicate came naturally. The project became a vehicle for Rakuna to share her emotions through her art.

This cathartic experience is played out on bittersweet single, “Criminal.” Brooding, intense yet melodic and full of reflective lyricism, the track is an affecting debut. “Criminal” talks about moving through past traumas and embracing your true worth in life. The song is the perfect platform for Rakuna’s lush, bluesy vocal full of character and a yearning emotional delivery.

A survivor of homelessness and severe physical and sexual violence, Rakuna has used her experiences to help various communities. This resulted in spending her teenage and adult years working and volunteering for non-profit organisations and mutual aid groups supporting the likes of At-Risk Youth, Domestic Violence Survivors, LGBTQ rights, Food for Underserved Communities, and Environmental Protection and Restoration. “Criminal” is the first of a number of tracks to be released prior to the unveiling of her debut album Child Of The Wolves on 5th June 2026.

“Criminal” is in stores now.

A bilingual love song exploring themes of mortality and the impact of Alzheimer’s, Jarmila Xymena Gorna’s “Escape – Dihangfa” is a profound and enduring piece of songwriting.

Gorna’s approach to songwriting is laid bare in just over five and a half minutes of epic storytelling. Featuring a duet with Welsh polymath Philip Lee Jones, who unleashes his emotions in native Welsh tongue, the track acts as a defiant love story. Having lost both of her parents to Alzheimer’s, Gorna illustrates her fear of a future lived with the disease and the impact upon the burgeoning romance of the protagonists. A heartfelt, sparkling art-rock song, “Escape – Dihangfa” that transcends generations.

“Escape – Dihangfa” was mixed and mastered by Grammy award winners George Murphy and Stuart Hawkes, with Gorna leading production duties. Layers of rasping, expertly played guitar segments are added by Bad Manners’ David Farren, with the song undulating throughout.

Jarmila Xymena Gorna’s unique performances have been seen all over the world, ranging from the ICA and Jazz Cafe to Catania, Sicily and the Big Big World Festival in Scotland. Gorna will be producing a documentary, in conjunction with the Michael Marks Charitable Trust, on the creation of the song and themes contained within.

“Escape – Dihangfa” is in stores now.

With her latest single “Anxious To Love You,” METTE continues to prove she’s one of pop’s most visually and emotionally compelling rising artists.

The track pairs shimmering synth-pop textures with a quietly powerful vocal, capturing the uneasy thrill of falling in love while fearing the vulnerability that comes with it. It’s intimate but cinematic, a balance METTE has made her signature. The accompanying video, directed by Andre Muir, leans into that tension.

Shot in a gritty alleyway, the visual uses stark black-and-white imagery and expressive choreography to mirror the song’s emotional push-and-pull. As the video unfolds, the monochrome gradually shifts into colour, symbolising the release that comes with embracing those feelings.

That physical storytelling isn’t accidental. Before stepping into the spotlight as a solo artist, METTE built her reputation as a dancer and performer, and that background still shapes her music. Every release feels designed to be experienced visually as well as sonically.

With a debut album on the horizon and a growing catalogue of striking visuals, “Anxious To Love You” feels like another confident step forward. If this single is any indication, METTE is an artist whose world is only just beginning to unfold.

In time for International Women’s Day, a powerful new collaboration is bringing together voices from across the UK folk scene. The I AM PROUD Collective—a group of acclaimed singer-songwriters—has released their new single “I AM PROUD—In Tribute to Sojourner Truth,” a song inspired by the legacy of the 19th-century abolitionist and activist Sojourner Truth.

The project is led by Bristol-based folk songwriter Lizi Morse, who spent 18 months assembling the collective with a simple but ambitious goal: to create a song that could be sung around the world. The group brings together an impressive lineup of artists, including Angeline Morrison, Leonie Evans, Rhiannon Takel, and Priscilla Andersohn, each with a distinctive voice in the contemporary folk scene.

The single is a response to the enduring relevance of Truth’s activism. After escaping slavery in 1826, Truth became one of the most powerful voices in the fight against racism and sexism in the United States. Her famous provocation “Ain’t I a Woman?” challenged the divisions between movements for racial justice and women’s suffrage, arguing that equality must extend across both gender and race.

Drawing inspiration from this legacy, the collective’s song transforms Truth’s words into a modern protest anthem. Reimagined as a trans-inclusive folk protest song, I AM PROUD calls for equality, solidarity, and collective action. At its heart is the belief that music can be a powerful vehicle for connection, something Morse describes as essential in confronting the ongoing realities of racism and discrimination.

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Some artists arrive with a five-year plan; others build momentum simply by following their instincts. Just For Fun clearly belongs to the latter, and that’s exactly what makes the project compelling.

The London-based artist returns with new single “Undressed,” a track that strips things back emotionally while pushing their sound further into confident alt-pop territory. It’s intimate without feeling heavy, balancing vulnerability with an effortless cool that feels rooted in the capital’s DIY underground. Where earlier releases hinted at a developing identity, “Undressed” feels like a statement of intent.

The production leans into atmosphere, hazy textures, understated hooks, and a sense of late-night immediacy that rewards repeat listens. There’s a looseness to the songwriting that feels intentional, capturing the energy of music made in the moment rather than engineered for algorithms.

Just For Fun’s rise has been refreshingly organic. Instead of chasing viral moments, the project has grown through steady releases and word-of-mouth discovery, a reminder that audience connection still matters more than hype cycles. At a time when emerging UK artists are redefining independence on their own terms, Just For Fun feel perfectly placed: self-assured, low-pressure, and quietly building a world around mood and personality.

“Undressed” is in stores now.

London DIY mainstays unite in YAKKIE, a snarling new punk force built from serious underground pedigree. Featuring members of Dream Nails, Personal Best, Petrol Girls, and Colour Me Wednesday, the four-piece deal in grit-heavy riffs, dual-vocal bite, and politics that feel lived-in rather than slogan-led.

Debut album Kill The Cop Inside Your Head lands with tape-saturated immediacy, recorded live to capture the band’s raw edge. The title, borrowed from Augusto Boal’s concept of confronting internalised oppression, reframes punk as both external resistance and internal reckoning. It’s as personal as it is political.

The band described embracing imperfection in the studio, urgency over polish, instinct over gloss. That ethos runs throughout the record: taut, confrontational, and unafraid to be messy.

With a launch show at The Victoria in London and more new material already in motion, YAKKIE feel less like a side project and more like a necessary escalation. Direct, DIY, and defiantly loud; exactly as punk should be.

Kill The Cop Inside Your Head is in stores now.

This week’s spotlight lands on the quietly spellbinding world of Sailing Stones, the Irish-born, Bristol-based artist whose music feels less like a collection of songs and more like a soft-focus portal.

Fronted by Jenny Lindfors, the project balances intimacy and grandeur. Lindfors is preparing to unveil a new chapter with “A Promise To Love,” the first taste of her forthcoming album Slow Magic, due for release on 3rd July 2026. The track zeroes in on the colour red and the strange, hazy edges of early parenthood, those moments that can feel either like celestial visitation or something a little more unnerving.

The album’s twelve tracks are each tied to a different colour, a simple idea that becomes a powerful emotional map. Lindfors produced the record herself, with haunting arrangements from her partner, Dan Moore. Some songs were shaped at home, others given their final, echoing polish in a chapel-turned-studio in West Wales, a detail that makes perfect sense once you hear how much space and air lives inside these recordings.

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From the heart of South London emerges a voice that’s as emotive as it is soulful. Bea Maher’s music blends neo-soul, jazz, and heartfelt lyricism into songs that feel both timeless and deeply personal.

Bea’s sound is richly influenced by classic soul and contemporary R&B, yet uniquely her own. She crafts songs that reveal vulnerability, longing, and self-reflection through smooth melodies and expressive vocals. Each track feels like a story told intimately, a quality that has helped her build a dedicated and steadily growing audience.

Bea first gained attention with her debut EP “Can’t Love” and singles such as “My Type” and “My Way (Come Over).” Her 2025 single, “Sadie” showcased her evolving confidence as a writer and performer. Now in early 2026, Bea continues to impress with her latest single, “Sleepless Nights,” out now.

The song captures her signature blend of emotion and melody, evoking late-night thoughts, restless feelings, and the kind of introspection that defines some of her strongest work yet. It speaks to that universal experience of lying awake with thoughts you can’t quiet, a theme that resonates with fans of modern soul and mellow R&B alike.

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If you haven’t yet discovered the quietly powerful songwriting of Ailbhe Reddy, now’s the perfect moment. The Dublin-born, London-based singer-songwriter has returned with her third full-length album, Kiss Big, out now.

For years, Reddy’s work has stood out for its emotional honesty and lyrical clarity; she turns everyday feelings into songs that feel both deeply personal and universally recognisable. With Kiss Big, she takes that gift and channels it through the messy, beautiful terrain of a breakup; the confusion that comes after the end of a long relationship, the disorientation of losing someone you built a life around, and the slow crawl toward finding solid ground again.

What makes Kiss Big compelling isn’t just its themes, but how Reddy expresses them. Her arrangements blend atmospheric indie rock, subtle electronic textures and organic warmth, creating space for her voice and lyrics to resonate.

There are quiet moments of introspection and bigger, cathartic peaks that reflect the emotional oscillation of heartbreak and recovery. The album was co-produced with Tommy McLaughlin (Villagers, SOAK), and recorded across cities like Dublin, London, New York, and the American Midwest, giving the record a sense of both intimacy and geographical reach.

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