Category Archives: TVD UK

Barbarella is the eclectic alt-pop newcomer on the scene, and she’s getting frisky with her new single “Horny” out now.

Produced by Dave Randall (formerly of Faithless), this release oozes with sass and swag from the offset. Barbarella’s distinctive vocal takes centre stage as Dave’s synth-infused soundscapes pulsate vibrantly underneath. Barbarella explains, “I wrote this song after Glastonbury 2022, where I bumped into an old flame who I thought I didn’t like anymore… but I definitely still did. Nothing happened between us, which was probably very wise but also very frustrating. I guess I had a massive build up of libido energy, which was channelled and released into this song.”

Already being described as her generation’s Cyndi Lauper, Barbarella—aka Barbara Pugliese—has become known for her stunning, sensual, and intense live shows. Her band Barbarella’s Bang Bang formed within South London’s queer underground scene and have appeared several times at Glastonbury Festival, Boomtown, Fuji Rock and many more. We can’t wait to see where Barbarella’s fearless artistry will bring us next.

“Horny” is in stores now.

Get ready to groove with all female disco collective All Day Breakfast Cafe. Their vibrant new EP “Have You Seen This Queen” is an utter delight for the ears from the offset.

Channelling the likes of Ezra Collective whilst also having a clear love for old school funk and disco, All Day Breakfast Cafe are taking the London jazz scene by storm. Their latest EP is a fun-filled collection of upbeat bangers and dance floor fillers, and we can’t get enough.

Taken from the EP is their latest single “Adrenaline Rush,” a song about that moment of exhilaration. “You might feel it when you’re on the dance floor,” guitarist Jelly Cleaver elaborates, “when you do something new that challenges you or you do anything thrilling. This is your theme tune for that feeling and your reminder to do something that excites you… regularly! The whole EP is a tribute to female friendships and queer joy.”

These “personal hype women” are all about spreading joy and empowerment and we’re here for it. In fact, everyone involved in this project, from the band to the studio engineer, is female or queer. This collective are no strangers to the London live circuit and we hope to see them travel further afield in the very near future.

“Have You Seen This Queen” is in stores now.

In the heart of London on a shadowy Sunday night, the lost boys of metal, Finnish goth rockers The 69 Eyes took the stage. These enigmatic figures stand somewhere between the haunting melodies of Sisters of Mercy and the rebellious spirit of Billy Idol. Their music transcends boundaries, merging gothic rock with glam metal and a dash of classic rock ‘n’ roll—a unique concoction affectionately known as “goth ‘n’ roll.”

At the forefront of this dark spectacle was Jyrki 69, the charismatic Finnish singer who has long been the face and voice of The 69 Eyes. The band’s musical journey has seen them evolve from their glam metal roots to the captivating world of gothic rock, epitomized in their latest creation, Death of Darkness, released earlier this year. Over the years and since their inception in 1992, The 69 Eyes have produced a formidable catalogue of 13 studio albums, each a testament to their musical prowess.

As the lights dimmed, the audience was transported by the opening chords of the classic “Devils,” setting the stage for an enchanting night. The setlist was a carefully curated selection of their extensive discography, featuring four mesmerizing tracks from “Blessed Be” and a dynamic duo from their latest release, Death of Darkness—the eponymous title track and the pulsating “Drive.”

Jyrki 69, in his prime, prowled the stage, casting his spell with an alluring charisma that held the audience captive. The band’s performance was an electrifying spectacle, executed with precision and boundless energy. It was clear that these Finnish vampires had discovered the elixir of eternal youth in their music.

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Prepare to be mezmerised by London’s latest experimental jazz trio Intervention. Their debut single “Fire” is out now.

The single combines the group’s Latin, soul, jazz, and electronic influences, creating a sound that feels otherworldly. The song reflects the internal fire whose embers are within all of us. Drummer-percussionist Lya Reis Guerrero explains, “the innate drive to uplift our spirits, overcome obstacles, and emerge stronger than before. “Fire” serves as a symbolic anthem for personal reinvention and the courage it takes to embrace change.”

Intervention are Lya, vocalist Plumm, and internationally acclaimed Latinx pianist/producer Eliane Correa. Together they provide a unique journey where energy and euphoria are transmitted through improvisation. Despite this being their debut release, we’re certain we’ll be seeing much more of this eclectic trio in the near future. Watch this space…

“Fire” is in stores now.

Bristol-based newcomers My First Time have exploded onto the scene with the release of their raucous debut single “Wind Up Merchant,” out now.

Combining a post-punk energy with indie-pop swag, “Wind Up Merchant” is instantly infectious and packs a powerful punch. Talking about the single, the band elaborate, “we wanted the song to be ‘tongue in cheek’—an anti wind-up anthem. It’s the sort of track you could blast to drown out the ramblings of your annoying sibling or super conservative relative. The track shifts from the perspective of the ‘wind-up merchant’ themselves to the target caught in the crosshair.”

Newly signed to indie tastemakers Submarine Cat Records, we’re excited to see what this exciting young band get up to next.

“Wind Up Merchant” is in stores now.

Hailing originally from Long Beach, California, Rival Sons, with two Grammy nominations to their name, has seemingly discovered a more fervent following in Europe than in their homeland.

Their core lineup features the charismatic Jay Buchanan on lead vocals, the guitar maestro Scott Holiday, the reliable Dave Beste on bass, and the powerhouse drumming of Michael Miley. The band began their career on Earache, known primarily for their epic metal roster, and eventually moved to their current home, the legendary Atlantic Records, a label that housed many of their influences and stands as one of the most important record labels in history.

Touring in support of two new records in 2023, Rival Sons kicked off their UK tour on Friday at the legendary Roundhouse in London. With a career spanning over a decade, Rival Sons have not only carved their own path but have also evolved into something truly extraordinary—a modern-day equivalent of the mighty Led Zeppelin. Forget all the hype around Greta Van Fleet; Rival Sons are in a league of their own and continue to pave the way.

Look, I know everyone’s sick of the Zeppelin comparisons, but f*cking hell, the new album sitting alongside that classic Atlantic Records retro logo immediately took me back to the first time I heard that epic Zeppelin debut. You simply can’t deny the influence nor the ability of Rival Sons to put their own spin on it while continuing to evolve their sound.

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Newcomer to the Bristol indie-rock scene, Sean Edwards brings us a breakup song, “Give It Up,” but encompassed in a catchy and energetic rock track to take the sting out of the romance ending.

The driving power chords and minimal but rhythmic drums make for a stadium ready song which will be sung along to by all who hear it. These simplistic instrumentals make it easy to focus on the lyrics, allowing space for a story to be told which Sean believes is vital to his songwriting.

Sean describes himself as self aware, and the stories that he tells stem from real life experience. His music is a way to give himself advice and express understanding for personal growth. He also sees himself as a fatherly, but dry-humored figure, and seeks to help those who listen to his music to, like him, be introspective with their thoughts and feelings.

Sean is keen to make his imprint on the Bristol scene. With an EP on the way and plenty more music in the works, “Give It Up” is only the beginning for Sean Edwards.

Princess Goes, the band spearheaded by the multi-talented Michael C. Hall, graced London with their presence at the EartH theatre in Hackney this past Sunday. The night was charged with the electric anticipation of a band returning in support of their freshly released album.

For everyone seeing the band live for the first time, the burning question is does Princess Goes live up to its theatrical title, and can Hall match the buzz of his acclaimed acting career with his musical prowess? The answer is a resounding yes. Hall doesn’t just shine on screen; the man possesses remarkable vocal chops. Their eclectic mix of tracks is hard to pin down, but the set exuded vibes reminiscent of a fusion between a polished Sisters of Mercy and a slightly less flamboyant Scissor Sisters. Picture the richness of synth sounds blending with dark undertones, interspersed with bright, pop-inspired melodies. Notably, Hall’s foray into falsetto was a highlight.

Princess Goes is not your run-of-the-mill ensemble. Their history is as impressive as their sound. Born from the creative camaraderie of working on Broadway’s Hedwig and the Angry Inch, the trio boasts some significant credentials. Hall, of course, stands out with his iconic roles in Dexter and Six Feet Under, and a musical track record including Broadway stints in Chicago and Lazarus.

Peter Yanowitz, the band’s drummer, boasts a remarkable musical resume. As an original member of The Wallflowers and with significant contributions to Morningwood, particularly the standout hit “Nth Degree,” his musical prowess is evident. He also collaborated closely with Natalie Merchant, playing an instrumental role in her brilliant debut Tigerlily. Yanowitz’s influence is clear in tracks like “Let it Go” and “Blur.”

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London-based pop newcomer Cate recently released her new single “One Hit Wonder,” but we’re pretty certain this won’t be the case for her…

Drawing influence from early noughties country pop records, “One Hit Wonder” is an end of summer anthem which reflects on a past lover who emulates the same excitement and sudden abandonment as a one hit wonder does. Referencing Thin Lizzy’s “The Boys Are Back In Town,” Fountains of Wayne’s “Stacy’s Mom,” Toploader’s “Dancing in the Moonlight” alongside many more, Cate’s lyricism continues to flare with creative artistry.

Talking about the track, Cate explains: “I wrote ‘One Hit Wonder’ with my friends last summer after making a joke that a man that I was dating was one. Then the joke went a bit too far when we wrote a whole song out of a whole bunch of one hit wonders. It’s about someone who only really gives you one good summer of fun, but never anything else. And as much as you want to get the song out of your head—you just can’t.”

We had the pleasure of catching Cate perform live when she supported Maisie Peters in Cardiff earlier this year and we certainly feel like she’s living up to the hype. Cate shows no sign of slowing down, with a support slot for Australian singer songwriter Gretta Ray kicking off this month across Australia and a UK headline tour all happening this year.

“One Hit Wonder” is in stores now.

While queuing for a beer at the majestic Royal Albert Hall, the guy next to me, impressively nursing his third pint just five minutes after doors opened, struck up a conversation. “How many times have you seen Hawkwind?” he asked. Admitting it was my inaugural voyage, he laughed, “You’re in for a treat! I’ve seen them over a dozen times.” As he regaled me with stories from past concerts, my excitement for the evening ahead intensified.

Royal Albert Hall is more than just a temple of music; it’s a treasure trove of British musical history. Tonight, it morphed into a cathedral of cosmic sound, dedicated to the pioneers of space rock, Hawkwind. From the BBC Proms to iconic performances by the likes of The Beatles, Led Zeppelin, and Eric Clapton, this venue has seen it all. As I strolled its corridors, the walls boasted photographs capturing these legendary moments, a silent testament to its storied past. Among these greats, there I was, clutching my camera. Intimidating? Certainly. But, camera in hand, I dove in, eager to capture a slice of tonight’s interstellar magic.

Dave Brock, the heart and soul of Hawkwind, stood firmly in his element, wielding his guitar and belting out vocals that echoed through the grandeur of the venue. He may have skipped the keyboards this time around, but that void was more than filled by the inclusion of William Orbit, who painted massive aural soundscapes, blending seamlessly with the band’s trademark sounds.

Alongside Brock, Richard Chadwick’s thunderous drumming reverberated with a powerful pulse. Magnus Martin showered celestial melodies from his guitar, while Doug MacKinnon’s bass, like an anchor, ensured we stayed connected to the band’s cosmic rhythm. Yet, amidst these stellar performances, it was Thighpaulsandra who became the sorcerer of the night. His mesmerizing play on the keyboards and synthesizers felt like magic dust sprinkled across the universe, enveloping us in layers of sonic wonder.

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Idiosyncratic artist Katie MF recently released her powerful debut album False Starts, Open Endings and our inner-anarchist is feeling things…

Having already released two EPs, Katie’s new album showcases her ability to combine a punk-rock ethos with a poignant story telling charm creating something truly special. False Starts, Open Endings is a record that takes no prisoners, exploring a plethora of topics including the dire state of UK politics and patriarchal issues to past relationships and the joy she finds in her DIY community.

Over the last few years she’s become an integral part of the UK DIY punk scene, making friends in all the wrong places with her captivating live performances. Since her first proper punk show at the New Cross Inn in 2018, she’s played with the likes of Frank Turner, Spanish Love Songs, Pkew Pkew Pkew, Chris Farren, Lightyear, Jim Lockey & The Solemn Sun, and Lauran Hibberd, whether on her acoustic guitar or with her backing band.

False Starts, Open Endings is in stores now via Lockjaw Records.

Get ready to immerse yourselves in the dreaminess that is Sleep Walking Animals and their stunning new single “Rossignol (සිප ගන්නා විට),” out now via Black Sea Music.

Inspired by the answer to a question on University Challenge, Rossignol is an unmeditated confession of idealistic love. Electronic textures are paired with their trademark folk sensibilities, English lyrics are interwoven with Sri Lankan Sinhala, and song form is challenged with a gratuitous rock finale. Fans of the likes of Bon Iver and Radiohead will feel at home here.

Talking about the single, keys player Nuwan Hugh Perera says, “We had collectively spoken about including Sinhala lyrics in one of the songs. I initially translated the whole song into Sinhala. Then I worked on just the chorus and broke it down to two lines to represent what it meant to me. You can hear that the melody too came from the lyric itself. This song was so beautiful and bare in its original conception. It’s come such a long way and has ended up somewhere we never thought it would.”

“Rossignol (සිප ගන්නා විට)” once again showcases Sleep Walking Animals’ unique ability to combine poetic lyricism with wistful, dream-folk sensibilities that are undeniably immersive.

Marc Bolan was not just a musician, he was a phenomenon. In the electric haze of the ’70s, he emerged as the glittering comet of glam rock, leaving a trail of stardust in his wake. Bolan’s artistry was an intoxicating cocktail of rock ‘n’ roll tenacity and dreamy, otherworldly charm. Every guitar riff, every sultry lyric, felt like an invitation to a universe where fantasy and reality beautifully intertwined.

The groundbreaking album Electric Warrior by T. Rex wasn’t just my introduction to their unique sound, it was also the first album I ever purchased with my own money at the tender age of 10. I can still vividly recall the day “Bang a Gong (Get it on)” resonated from my local rock radio in St. Louis, Missouri. Its alluring call drew me irresistibly into Bolan’s mesmerizing world. And while the cassette tape has since worn, its label faded from non-stop play, the thrill of that initial discovery and pride of ownership endures.

Bolan’s untimely departure from this world left a void, but his melodies, his spirit, and his influence have proven indelible. Although I never had the privilege of seeing Bolan perform live, there was no way I would miss the 45th-anniversary concert commemorating his legacy. Held at the Shepherd’s Bush Empire in London last week, the event boasted a stellar lineup: T. Rextasy, The Dirty Pretty Strings directed by Tony Visconti, Neal X, Dana Gillespie, Richard Barone, Andy Ellison, Boz Boorer, and the ever-dynamic Marc Almond.

The evening unfolded masterfully. Marc Almond took the helm as the evening’s magnetic MC, introducing T. Rex’s legendary producer Tony Visconti and the Dirty Pretty Strings, who added a depth of orchestral resonance to the performances. T.Rextasy, hailed as the ultimate tribute to Bolan, not only opened the show but seamlessly wove their presence throughout the evening as the house band. Under the dynamic leadership of Danielz, they resurrected Bolan’s mystique with electrifying finesse. Their renditions of classics such as “Jeepster” and “I Love to Boogie” stood as a testament to their unparalleled homage to the music legend.

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Irish multi-instrumentalist A.S. Fanning recently released his powerful new album Mushroom Cloud and it might make you feel a bit sad at first, but that’s okay.

The album takes us back to those dark, dreaded times we’re all a bit too scared to talk about—the pandemic. It was a tumultuous time for most to say this least and A.S. Fanning doesn’t sugarcoat this, in fact he embraces it. His most vulnerable release to date, Mushroom Cloud combines dark lyricism with soaring orchestration creating something that is beautifully melancholic.

Talking about the album, Fanning elaborates, “I wrote Mushroom Cloud at the beginning of the pandemic, when society had shut down and we had no real knowledge of when, or if, it would start again. As with most people at the time, I became quite isolated and my world grew very small… I haven’t really looked for any silver linings in this myself. I suppose the best I can do is to see it as a document of a low point. A sort of scorched earth that hopefully leads to a new beginning. I found myself laughing at some of the lyrics I had written, which I think is quite a healthy thing, to be able to take a step back from your darker thoughts and see the absurdity in them.”

A comforting constant throughout this album is Fanning’s beast of a baritone quelling a gloomy symphony of instruments, harnessing them into something strangely hopeful.

Mushroom Cloud is in stores now via K&F Records/Proper Octopus Records.

You may already be aware of Irish trio Bitch Falcon, but what you may not know is that their front person Lizzie Fitzpatrick also makes synth-soaked songs that pack a punch. Her latest release “High Altar” is out now, taken from her upcoming EP “Failed Reboot,” out on 8th November 2023 via Veta Records.

The EP will also be released on cassette, harping back to dungeon sci-fi collector tapes. A warped and deep sound that delves deep into reverb while bouncing back to a steady dance beat, the tracks melt into each other with an extra ambience that can only appear on cassette.

Talking about “High Altar,” Lizzie says, “‘High Altar’ was created by sampling the sound of knocking a radiator. The synth sounds are a mix of analogue synths in my bedroom studio and some modellers. It was written to demonstrate the emotional aspect of dance music and how an upturned bass melody and rolling cutoffs can display an intense sadness.”

”Failed Reboot” is in stores on 8th November 2023 via Veta Records.