Author Archives: Zara Hoffman

Berlin-based artist TEll A ViSiON (she/they) is entering a bold new era. The genre-bending writer, producer, and composer’s new single “IDLU” is out now, and it’s a striking statement that is defiantly empowering.

Built on post-pop sonics, dub-infused bass lines, fuzz-drenched guitars, and piercing, emotive vocals, “IDLU” feels both intimate and incendiary. The title plays on a former German teen expression, “HGDGL” (“I like you very much”), flipping it into a coded but cutting declaration: I Don’t Like U. Rather than a rejection rooted in bitterness, the track reframes refusal as self-knowledge and freedom. “It’s about setting boundaries and feeling yourself again,” TEll A ViSiON explains. “’Cause if you know what you don’t like, you know better what you like.”

That tension between sweetness and sting, playfulness and elegant rage, has long been central to TEll A ViSiON’s artistic world. She crafts time-bending sonics shaped by truth, friction, and raw emotion, creating music that feels physical as much as it does emotional. Sonically and visually, her work sits somewhere between the experimental pop lineage of Björk, Bowie, and Peaches, and a fiercely contemporary, industrial aesthetic. Her visuals aren’t decorative add-ons; they function as extensions of the music itself, forming a unified world where sound, image and performance are inseparable.

With “IDLU,” TEll A ViSiON isn’t just releasing a new single, she’s opening a new chapter. It’s a chapter defined by clarity, confrontation, and unapologetic self-definition, delivered with fuzzed-out guitars, fearless vocals, and a smile that cuts just deep enough.

“IDLU” is in stores now.

Debbie Sings is the Berlin-via-Copenhagen singer, producer, and DIY visionary fast becoming one of the most exciting new voices to emerge from the Scandinavian underground.

Debbie recently announced details of her upcoming EP “Oh My” due for release on February 27th via BIG OIL Recordings, alongside its second hyperactive single, “Sucker Punch.” The track is a jagged, high-octane blast of distorted synths, punchy club drums, and her rawest vocal delivery to date, designed as much for bedroom dancing as for sweaty club floors.

The EP announcement follows a huge year for Debbie. Her February 2025 debut album Debbie’s Songs springboarded her career with a fearless mix of electronic, punk, country, and pop, and went on to top Soundvenue’s Danish Albums of the Year list. The record marked her out as a singular talent; a genre-hopping storyteller with a sharp sense of humour and a restless creative spirit.

Largely self-written, produced, and recorded, “Oh My” is a true DIY project, created almost entirely by Debbie while moving between Copenhagen and Berlin. With the exception of “Sucker Punch”—co-produced with her friend The Bird—she worked from bedrooms, borrowed studios, buses, and coffee shops, deliberately limiting her tools.

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This week, our spotlight shines on London-based singer, songwriter, and guitarist Maya Delilah, an artist steadily carving her own soulful lane through pop, indie, and guitar-driven storytelling.

Maya’s debut album, The Long Way Round, showcases her refusal to be boxed into a single genre. It blends soul-pop, country, blues, folk, gospel, and choral influences into a cohesive, emotionally rich body of work. As Maya explains, “The album reflects taking ‘the long way round’ creatively, embracing multiple influences rather than chasing a single sound.”

A deluxe edition of the album expands this world even further, adding four new tracks including the sunlit folk-pop standout “California.” It’s another example of how effortlessly she shifts between guitar-led intimacy and widescreen pop warmth.

Maya recently toured with Lawrence and FIZZ, appeared at The Great Escape and Fuji Rock Festival, and continues to build an international live following. Perhaps most special of all, she’s also earned admiration from one of her own musical heroes; John Mayer. With genre-defying songwriting, imaginative guitar work, and a rapidly growing fanbase, Maya Delilah is not just one to watch, she’s one to celebrate.

“California” is in stores now.

Emerging London-based, New Zealand-born artist Len Blake is crafting music that feels like stepping into someone else’s inner world; tender, thoughtful, and beautifully unguarded. Her latest single, “Blushing At The BP,” is out now.

A gifted songwriter with a deep commitment to honest, relatable lyricism, Len builds emotional landscapes that explore the quiet moments between people, and the stories we replay in our own heads. Her sound sits comfortably at the crossroads of indie-soul, pop, jazz, and R&B, stitched together with soulful vocals and an unmistakable sense of intimacy, and “Blushing At The BP” is no exception.

Drawing comparisons to Olivia Dean and Lizzy McAlpine, Len treads genre lines with ease, blending warm melodies, jazz-inflected harmonies and contemporary pop sensibilities. The result is music that feels both deeply personal and universally resonant, the kind that invites you to sit still and really listen. With each release, Len Blake continues to establish herself as an artist to watch; emotionally articulate, sonically rich, and unafraid to be vulnerable.

“Blushing At The BP” is in stores now.

With a DIY spirit that feels refreshingly unrefined, The Pavilion’s new EP “Faces In The Crowd” is gritty, raw, and exactly what indie music fans have been craving: an honest, authentic collection of songs that wears its heart firmly on its sleeve.

Taking inspiration from classic indie favorites like Overpass and Catfish and the Bottlemen, The Pavilion sits comfortably within the modern indie rock landscape. However, where some of their peers opt for polished perfection, The Pavilion embraces rough edges, and it’s precisely this lack of gloss that makes their music feel so alive.

The EP opens with a captivating introduction in “Tomorrow’s Dead.” Beginning with mellow, shoegaze-tinged guitar that recalls the dreamy calm of “Current Joys,” the track quickly shifts gears. Just a minute in, the band fully embrace their indie-rock influences, with frontman Rhys Smedley’s vocals becoming punchy yet yearning, carried by heavy guitar riffs that form a powerful foundation.

“Against The Tide” follows a similar trajectory, starting gently before erupting into something far more impassioned. “Take no time to breathe ‘cause it hurts sometimes when you try to reside in the things you know you gotta leave behind,” Smedley reflects. As the track builds, gripping guitar hooks and lively drumming propel the chorus forward, culminating in the repeated cry, “I’m fighting hard against the tide.” It’s a moment that perfectly captures the EP’s emotional core.

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Beth McCarthy’s newest single, “How Am I Supposed to Love Myself?” is a strikingly vulnerable exploration of self-esteem, body image, and internal struggle. With its bold pop production and painfully relatable lyricism, the song captures the emotional weight of trying to accept yourself when everything inside feels broken.

The single marks a powerful, introspective turn in Beth’s catalogue. While she has long been celebrated for her emotional transparency, this track delves even deeper, offering a perspective that many listeners rarely hear represented with such clarity.

Beth began performing at just 13 years old, gradually building her craft through small gigs before making an early appearance on The Voice UK in 2014. Rather than chasing mainstream moulds, she has since carved out her own independent artistic path, one rooted in authenticity, storytelling, and unapologetic emotional openness.

Beth’s music frequently highlights themes of queer identity, heartbreak, and self-discovery, a combination that struck a chord with fans worldwide after her breakout viral hit “She Gets the Flowers” in 2021. Since then, she has become an important voice for LGBTQ+ listeners searching for representation in pop music that feels real rather than performative. More than anything, Beth McCarthy reminds us that pop music can be a space for healing, and that vulnerability can be revolutionary.

“How Am I Supposed to Love Myself?” is in stores now.

Birmingham-based, rising indie-pop sensation Daisy Peacock is having a moment, and honestly, we’re here for all of it. Her new single “Girlbestfriend” is out now via AWAL, and it’s the perfect blend of playful pop attitude and brutally relatable storytelling.

Written during her first year at university, “Girlbestfriend” turns a messy talking-stage situation into a cathartic, witty anthem. We’ve all been there, you’re talking to a guy, things seem promising…and suddenly there’s a girl best friend in the mix. Spoiler alert: she’s actually the ex.

Rather than spiral, Daisy picked up a pen and a guitar. “I wrote the song very quickly after that, it was just a bit of a rage reliever in the moment!” she laughs. Produced by Jamie Sellers with recording help from friend Oli Roberts, the track sparkles with Daisy’s signature charm and sharp self-expression.

Daisy grew up in Sheffield, surrounded by a melting pot of musical influences, but it was the power of creative writing and the pop-girl icons of the 2010s that shaped her sound. Think the emotional punch of Taylor Swift, the edge of Olivia Rodrigo, and the rising energy of artists like Chloe Slater and Alessi Rose. Now living in Birmingham, Daisy continues to carve out her place in the UK indie-pop scene with unapologetically fun, flirty, girl-power-fuelled music.

“Girlbestfriend” is in stores now via AWAL.

In a crowded alt-pop landscape where personality is as crucial as production, Fliss is emerging as one of the freshest voices to watch. The UK-based artist has been steadily building her sonic identity over the past few years, but her new single “Evil Genius” signals a decisive leap forward, a track that amplifies her sharp lyricism, playful confidence, and vivid creative persona.

Fliss isn’t an artist who hides behind ambiguity. Her work has always carried a thread of honesty and self-possession, but “Evil Genius” elevates that energy into something bolder, edgier, and distinctly her own. This blend of authenticity and attitude gives Fliss an immediate magnetism. She doesn’t just craft songs; she crafts worlds.

“Evil Genius'” is a sharp, infectious alt-pop cut that leans into the idea of reclaiming power with a wink. The track’s punchy production and hook-laden chorus give it instant replay appeal, while its lyrical bite shows an artist who knows exactly what she wants to say, and how to say it. It’s a confident declaration of intent, delivered with style.

With “Evil Genius,” Fliss showcases both evolution and ambition. It’s the kind of single that doesn’t just add to an artist’s catalogue, it reframes it. There’s a confidence in the songwriting, a polish in the production, and a spark in the delivery that suggests she’s entering a compelling new chapter. If this is the direction she’s heading, Fliss is well on her way to becoming one of the UK’s standout alt-pop names.

“Evil Genius” is in stores now.

Honest, raw, and beautifully human, the Swiss indie-folk duo Lost in Lona return with their most intimate work yet.

Lidia Beck and Konstantin Aebli recently released their second album, The Killer, which promises something rawer, closer, and more authentic than ever. Since their stunning debut, Scared Like a Mother and Her Gun in 2024, Lost in Lona have quietly but powerfully carved out their space in the Swiss music scene. Their soft, soaring vocals and gritty guitars evoke the emotional honesty of Big Thief, Phoebe Bridgers, and Lizzy McAlpine, weaving stories of intimacy, melancholy, and new beginnings.

Their latest album dives even deeper into what defines them; simplicity, honesty, and storytelling that doesn’t hide behind metaphors The duo’s latest single “Looking For” captures that delicate tension between desire and restraint, enjoying something you know you probably shouldn’t. Minimal and folky, the song feels like a quiet conversation with oneself. It reveals Lost in Lona at their most vulnerable, exploring the ache of wanting to be seen by someone who doesn’t notice you. It’s tender, raw, and deeply relatable.

Lost in Lona describe their sophomore album as “our second baby.” The culmination of a year’s worth of emotion, growth, and creative honesty. With every release, Lost in Lona remind us that quiet music can speak the loudest.

The Killer is in stores now.

Indie rock newcomers Keo have arrived, and if the buzz surrounding them is anything to go by, they’re here to stay. Since the release of debut single “I Lied, Amber,” the London-based quartet has been the talk of the UK indie scene, popping up across social feeds and playlists with the kind of hype most new bands can only dream of.

Now, that excitement has crystallised into their debut EP “Siren,” a five-track release that captures all the raw, electrifying energy of Keo’s live shows. From the driving pulse of “Hands” to the emotional weight of the closer, “Kind, If You Will,” each track glows with intent: full, youthful, and utterly unapologetic.

Fronted by 21-year-old songwriter Finn Keogh, the band’s sound fuses the garage grit of acts like Wunderhorse with something distinctly their own; a fresh, emotionally-charged edge that feels both nostalgic and brand new. “These songs weren’t written for any purpose other than that they had to come out,” Finn explains. “They’re a release of bottled-up emotion. Writing them felt like confessing your sins, ready to move on.”

It’s not just on record where Keo shine, they’ve already sold out a UK headline tour this October and made waves with their breakout set at The Great Escape Festival earlier this year. They are also confirmed to headline Bristol’s Ritual Union Festival on Saturday, 28th March 2026. With “Siren,” the Keogh brothers and their bandmates have proven they’re more than just a momentary buzz. This is the sound of a band on the brink of something big.

Bristol’s alt-rock powerhouse Indecision are this week’s spotlight, and for good reason. Known for their high-octane energy and explosive live shows, the band channels the nostalgic grit of ’90s and early ’00s rock while bringing a fresh, modern edge. Their sound fuses raw emotion, heavy riffs, and anthemic hooks into something that feels both comfortingly familiar and entirely their own.

From small venues to packed-out stages, Indecision have built a reputation for turning every performance into a full-throttle experience that leaves audiences buzzing. Their brand-new single “Haunt” is out now on all streaming platforms.

The band shared, “We’ve been working really hard on this project for the last few months and are really proud to finally share it with you. We hope you enjoy it as much as we do!”

Don’t miss your chance to see them live supporting Mondaze at Heartbreakers, Southampton on Tuesday 4 November 2025. Turn it up loud, Indecision are a band you won’t want to sleep on.

Toronto-born artist Lillian Blue Makin is redefining genre boundaries and shows no signs of slowing down with new single “DAISY,” out now.

At just 23, this queer artist has crafted a sound that effortlessly weaves rap, jazz, folk, and soul, creating music that feels both intimate and expansive. Lillian’s songs dive deep into themes of young queer love, personal evolution, and identity, told through vivid storytelling and poetic lyricism. She cites Dolly Parton, Andy Shauf, and Erykah Badu as inspirations, helping to shape the textured and emotional landscape of her work.

Since releasing her first single in 2020, Lillian has built an impressive catalog that includes five singles and a full-length LP, Primary Language (2022). The album has resonated with listeners worldwide, earning over 2 million streams on Spotify and spots on multiple editorial playlists. Now, Lillian returns with her latest single “DAISY,” a long-awaited release following a year-long hiatus. Lillian elaborates, “It’s been over a year since I released anything. When we recorded ‘THE SUMMER’ we also recorded this tune called ‘DAISY’.”

“DAISY” captures the heartfelt honesty and sonic fluidity that make Lillian Blue Makin one of the most exciting emerging voices in Canada’s indie scene.

“DAISY” is in stores now.

John Butler is an icon of Australian music and one of the country’s most celebrated independent voices. He has spent more than two decades carving out a career defined by authenticity, activism, and artistry. Now, with a renewed creative spark, he returns to the UK this month for three exclusive shows, and fans are in for something truly special.

Fresh from releasing his acclaimed new solo album PRISM, Butler is stepping boldly into a new chapter. Known for his powerful performances and mastery of stringed instruments, he’s long fused earthy grooves with openhearted storytelling. But with PRISM, he’s gone deeper, exploring new sonic territory while staying true to the spirit that made him a household name.

Co-produced with James Ireland (POND, San Cisco), PRISM is a kaleidoscope of sound and emotion; fierce guitars meet soaring choruses, and introspective lyrics sit beside an undeniable groove. It’s both a reflection of Butler’s evolution and a celebration of his freedom as a solo artist.

From busking on the streets of Fremantle to commanding festival stages around the world, Butler has always brought soul, sincerity, and a deep sense of purpose to his music. His upcoming UK dates promise to be no exception, a vibrant mix of storytelling, musicianship, and raw energy that only he can deliver.

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