Category Archives: TVD UK

Coming all the way from Dublin this week, Irish newcomer ESSIRAY has already made quite the splash with the release of her new single “Mr Perfect,” out now.

An indie-pop delight from the offset, “Mr Perfect” combines hints of soul, pop, and indie creating something truly mesmerizing and instantly infectious. Talking about the single, ESSIRAY, aka Rachel Murphy, explains, “’Mr Perfect’ isn’t about one person or one situation, for me it’s about the combination of emotions I’ve felt thoughout my early twenties and navigating my love life.

As a young woman in this male dominated society it can often feel like we’re being told how to act and how to present ourselves; trying to live up to this societal standard created by men. The track also has a lighthearted undertone of coming out of a relationship, those rose tinted glasses coming off and you’re just feeling happy in yourself.”

The single has already seen support from the likes of New Music Friday UK and Fresh Finds Pop on Spotify, and we expect great things are to come from this vibrant Irish native. Watch this space…

“Mr Perfect” is in stores now.

In 2015 I was invited to speak at a digital marketing event during Canadian Music Week in Toronto. While in town, I mapped out the various gigs I planned to see, with the big one being Faith No More during their comeback tour. After Faith No More, I walked to the nearby Hard Rock Cafe, where there was a showcase happening for up-and-comers. One band in particular was hyped up pretty big, and they were set to hit the stage at midnight. Having my camera gear with me and always up for a shoot, I started snapping away. Little did I know that I was capturing a band that was primed and ready to reinvent a genre and ultimately create their own.

What I saw that night in Toronto was three brothers calling themselves Palaye Royale. They had made a name for themselves with their punk rock DIY attitude of doing everything themselves, building their audience, recording independently, and creating a massive buzz. This was a case where the record labels come to them instead of the other way around. Sumerian Records was that label, and as I remember at the time, it was primarily a metal label but starting to broaden its roster.

One could argue they set a precedence for others, including Earache Records with Rival Sons etc., which very likely kept these labels afloat during the dark days of illegal downloads. It’s easy to see why they would be all over a band like Palaye Royale, especially after seeing the show that night. These guys were young dudes, three brothers, who clearly had chemistry playing together, but furthermore, they were fusing two of my favorite genres; glam and early ’70s bluesy rock ‘n’ roll. Not to mention, much of the leg work was already done—they just needed help pushing them to the next level. Enter major record label.

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This week’s Artist of The Week is London-based newcomer Svetlana. The self-proclaimed “Romantic Rockstar” has just dropped her new single “Soul Sister” ahead of her EP release, due later this year, and its definitely setting the scene for exciting things to come.

“Soul Sister” showcases Svetlana’s honey-like vocals, sounding akin to the likes of Joy Crookes and Cleo Sol. As you can probably assume from the song’s title, there is a lot of soul coming through on this single, but there are also elements of jazz and blues, allowing Svetlana to stand out from her counterparts.

Courageously authentic and possessing an artistic soul reminiscent of icons who have shaped music today, Svetlana encompasses the spirit, lyrical ability, and passion to create a unique legacy as a singer and songwriter. Hotly tipped to be a reckoning force in the industry, with “Soul Sister,” rising sensation Svetlana hopes to continue to captivate listeners with her timeless soundscapes.

“Soul Sister” is in stores now.

Finnish cello metal band Apocalyptica have been on my radar since I worked in a record store in college back in 1996. Their debut, simply titled Plays Metallica by Four Cellos, said exactly what it did on the tin. It might be a bit gimmicky at first; cello players covering Metallica? It didn’t really make sense to me, but then I gave it a listen. These guys weren’t just fucking around—they were legit cellists who loved metal. And why not? Chamber music can be quite dark and heavy, so why not bring in an element of metal, and why not reimagine songs from the biggest metal band on the planet?

What started out as Metallica for cellos would branch out to modern takes on traditional classical pieces, more covers of popular songs, and even originals with guest vocalists. Over the course of nine studio albums (all charting in their home country as well as the US and several others across Europe), their sound would evolve. In fact, they’ve managed to refine these cellos to sound heavier than many of their counterparts in the metal world. Although cellos are the primary instruments, combining this with heavy drumming and rock vocals becomes a remarkable fusion of classical music, metal, and rock that transcends genre boundaries. To the newbies who hear it for the first time, it’s hard to imagine these guys shredding on the violin’s grandfather.

The cellists, Eicca Toppinen, Paavo Lipponen, Perttu Kivilaakso, and drummer Mikko Sirén, flawlessly executed their intricate compositions with both precision and passion. The sound of their cellos was like a rollercoaster ride from the peaks of heaven down to the depths of hell. Add to that the incredibly diverse (and soulful) vocals of Franky Perez, and you truly have something for everyone. “I’m Not Jesus” was a standout as Perez took to the stage for the third song in the set. This guy can fucking sing, and having toured with the band many times before, there was a chemistry between these guys that was more than just a guest vocalist.

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London-based newcomer Amelia Rose and Finnish producer cocabona collaborate for the release of celestial new single “Falling Down,” out now. As well as being a writer, vocalist, and producer, Amelia is now curating her slick new sounds through experimentation and collaborating with various producers, musicians, and artists.

Chill to the max with Amelia Rose and cocabona’s stunning new single “Falling Down”—a jazzy fusion of electronic splendour, soothing vocals, and vibrant beats. Talking about the single, Amelia says, “This track is about going back to your old ways even though you realise that something isn’t working out. I wanted to create a kind of sonic tapestry, with the production and the vocals, that would take the listener on a journey through that emotional space which cocabona really brought out and was a pleasure to work with.”

After the success of her first single “midnight” with New York-based artist Relyae, which was featured on BBC 1Xtra and several editorial playlists, Amelia will be releasing her debut EP “Phases” in February 2023.

“Falling Down” is in stores now.

Nashville-based newcomer Mandi Mapes shines bright with the release of her touching new single “Daffodil Floors,” out now.

What an absolute delight to listen to. Folk-pop newcomer Mandi Mapes shares her breathtaking new single “Daffodil Floors” which is truly stunning from the offset as Mandi’s intimate vocals compliment the rich, piano-led musicality—and the string section at the end?! Amazing.

Talking about the single, Mandi explains, “This song is about healing from that hurt. It’s about taking off those heavy burdens, ignoring those voices of shame and running free like a child, knowing that we are loved, that we matter, and that we belong not because of what we do, but because of who we are.”

“Daffodil Floors” is in stores now.

Sleep Token is on a tear across the UK at the moment, selling out gigs left and right, playing their biggest headlining shows to date, and putting themselves on the map as the next big thing in metal—but is the hype real?

If you’ve been living under a proverbial heavy metal rock for the past year, it may seem that Sleep Token have seemingly come out of nowhere, but that’s not the case. They’ve been around since 2016 and have two critically acclaimed albums under their belt. You could say they’ve paid their dues and played the game exactly right, sticking to their guns, consistently releasing songs that one up the other, and patiently waiting for the moment when it all comes together. That moment is 2023.

Their music is often described as a blend of heavy metal and ethereal vocals, but that’s taking the easy way out. There’s much more to unpack here, starting with a vocalist who can hit some serious notes, taking his range in places that only a handful of other metal, or even pop, singers can go. Simply known as Vessel, his real identity is not publicly known. Of course, a ton of speculation and several Reddit threads go down this rabbit hole, which can be a fun read.

But the fact that he’s still “unknown” in this day and age may just be because the fans want and need that bit of mystery across a space where every single detail of everyday life is shared and amplified via social media. I would argue it also provides much more musical freedom in creativity and experimentation, as there is no face or excessive image for one to judge. (The band generally doesn’t do interviews or talk to the press.) That must be gratifying in itself.

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Sibling duo Skelly brush off the January blues with the release of their deliciously jazzy new single “Connection,” out now.

Tom and Laura Misch better watch out cos there’s a new pair of talented siblings on the London jazz scene. Skelly are a brother and sister duo from North London who make neo-soul flavoured music with jazz and pop influences. Their latest single “Connection” is a brass-filled delight from start to finish with Emma’s soft subtle vocals soaring effortlessly over Ben’s brilliant musical arrangements.

Talking about the single, the band elaborate, “‘Stop lying to yourself, you cannot fake a connection, I do not need your protection…’ This line, repeated over and over in the outro, is the fundamental idea behind this tune. It’s about close friends headed for inevitable romance, yet while one side yearns for it, the other is reluctant to acknowledge their feelings.”

“Connection” is in stores now.

This week we’re heading to the West of England to meet Melotone, a psych-jazz quartet who are creating wonderfully woozy tunes.

The band’s latest release “Entre Ondas” combines sixties psychedelia with jazz-infused Tropicalia and Bossa nova soundscapes creating something truly mesmerising. Lead singer Alec Madeley is half-Brazilian, which has clearly influenced the rest of the band’s musical motives. “Entre Ondas” allows us to travel away from these cold winter mornings to warm, sultry afternoons—and we can’t get enough.

Talking about the single, Alec explains, “’Entre Ondas’ is a landmark song for me because it is the first of ours that truly captures our love of sixties and seventies Brazilian music. During the pandemic, I was listening to a lot of Caetano Veloso, Os Novos Baianos, and Gal Costa, which I think inspired me to write something in Portuguese, almost as a homage to the greats I had been obsessing over.”

“Entre Ondas” is in stores now via Think Twice Records, an arm of Last Man Music Group.

We’re kicking off 2023 with a brand new Irish discovery. Hayleon released her debut single “Warrior” in December we can’t wait to see what the New Year has in store for her.

“Warrior” infuses Scandi-pop and Irish folk music creating something that is truly unique. Hayleon’s soft, celestial vocal soars over the almost tribal-like musicality, whilst the fiddle and low whistle create an undeniably ethereal sound. “Warrior” is a song about the physiological and emotional elements of female relationships and the press that comes with it.

Hayleon—aka Hannah Ryan—was previously a member of ambient folk quartet Pine The Pilcrow. With “Warrior” she goes solo for the first time and we’re excited to hear what she gets up to next.

“Warrior” is in stores now.

It’s my final show of the year, and it was an incredible one. Night two of three sold-out shows from post punk legends The Cure at the equally impressive Wembly Arena; it was epic. What was initially supposed to be a tour supporting the much anticipated new album became a celebration of the band’s entire catalogue. 

Songs Of a Lost World will be the band’s first batch of new songs since 2008’s 4:13 Dream, and from the three songs played live, it’s not only going to live up to the hype, but far surpass it. While I don’t think anyone expects the album to be released within the remainder of the year, who knows, maybe we’ll get an unexpected Christmas gift. I imagine is Robert ready to push the button at any given moment.

Until then, we’ll just have to replay the bootleg videos from YouTube and dive into the anticipation of the show coming back around next year. Long-serving members Simon Gallup, Roger O’Donnell, and Perry Bamonte, were joined by former Bowie guitarist extraordinaire Reeves Gabrels, and drummer Jason Cooper brought the wall of sound that is The Cure to life with exquisite attention to detail.

Robert Smith slowly walked the entire length of the stage, taking a moment to pause and gaze into the crowd of twelve thousand plus. He was certainly grateful, and it was a bit ceremonial before he got behind the mic and unleashed that signature voice. Opening with a new song is certainly bold, but Jesus, “Alone” was drenched in that brilliant, lush slow burn of a rhythm that reminds us all that these guys invented the genre.

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I knew there was something special here the first time I heard Kula Shaker during the Brit-pop explosion in the mid-nineties. Their debut album, K, is not only one of the best-selling UK debut albums of all time, but it also pushed the genre into a new, unexpected direction that has yet to be matched.

Sure it had all the elements that made Brit-pop great; Stone Roses-type grooves and the attitude and snarl of Oasis, but frontman Crispian Mills added a spiritual element that elevated this sound to another level. It was rock, it was pop, it was psychedelic, but most of it, it was original—and really, really fucking good.

I never got to see Kula Shaker when I was living in the States, at least I don’t remember it, but they have always been a band that I go back to for those first two albums. I thought the follow-up, Peasants, Pigs & Astronauts which came out in 1999, was a more interesting record even though it didn’t have a string of “hits.” However, I saw the band back in 2016 at the Kentish Town Forum and thought they were excellent, but what I saw at Shepherds Bush Empire was different; it was next level.

There is a fire burning in Crispian that wasn’t there six years ago. This guy was electric, almost possessed with the music, and he made the guitar an extension of his body. At times I thought that he was in a guitar battle with Jimi Hendrix, and he made it look easy, like he was born to do this.

Maybe it was the excitement and energy from the slew of new music exploding from the band over the past year, including a stellar return to roots album called The First Congregational Church of Eternal Love and Free Hugs, or the two most recent singles, including a straight-ahead cracking version of the Lennon classic “Gimme Some Truth.”

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Shake off those Christmas party hangovers with Bristol- based newcomer Badliana and her trippy new single “Mayday,” out now.

“Mayday” is oozing with sass and swag from the offset as Badliana’s smooth, sultry vocals compliment the dark, woozy electronics effortlessly. Fans of FKA Twigs and Little Dragon will feel at home here.

Talking about the single, Badliana explains, “‘Mayday’ is bossy, confident, and all about just doing what you want, when you want, manifesting it, and achieving it basically. It’s about taking control and just fully allowing yourself to be yourself and not giving a f**k about what anyone thinks.”

Having already previously supported the likes of Jelani Blackman and Etta Bond and made her debut appearance at Glastonbury 2022, we’re excited to see what this emerging electronic talent will get up to next.

“Mayday” is in stores now.

Welsh newcomer Thallo captivates listeners with her unique blend of jazz-infused dream-pop. Her new EP “Crescent” is out now.

Thallo creates a wonderful cocktail of sounds throughout her EP, combining elements of jazz, pop, and folk creating a sound that is truly enchanting. Thallo’s hauntingly beautiful vocals compliment the subtle jazz textures effortlessly, whilst the personable lyricism adds further depth and importance to the musicality.

The three track EP chronicles the artist’s own story about an on-going condition causing chronic pain which began in 2020 and left her temporarily unable to walk or stand—locked in by her condition after the world had been released from lockdown—and forced to cancel her planned appearance at this year’s SXSW, which is now rescheduled for 2023.

Thallo is the work of singer-songwriter Elin Edwards, based between her homelands of Gwynedd, North Wales, and London.

“Crescent” is in stores now.

It’s fair to say that 2022 is a banner year for Placebo. Twenty-eight years into their career, you could argue that they have never sounded better in the studio and on stage.

Their eighth album, Never Let Me Go, was released earlier this year to critical acclaim, and a sold-out tour quickly followed. The core of Placebo, eclectic frontman Brian Molko and bassist Stefan Olsdal have evolved as a sonic force to be reckoned with, and I find it fascinating to watch the image of the band transform as well. While they’ve always been provocative with their look and lyrical content, the brand of Placebo—with its beautiful mix of dark shadows and gloriously beautiful bright colors—continues to build on the mystique, evoking that emotional response that is undeniably singular.

And that emotional response can be overwhelming, in a good way, during the live show. If you haven’t heard yet, the band has been very outspoken about using phones and mobile devices during their set. It’s pretty refreshing to see a gig without screens flailing in the air—it reminds me of when I first saw them back in the States on their first tour in the late ’90s. Yeah, I know it’s not fashionable to talk about the way things “used to be,” but previously it was a much better experience. Now, once more, you can get lost in the music without distraction, and they make this point while underscoring the message that’s plastered across the venue: “This exact moment will never happen again.”

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