Browsing Tag



Muscular – Auraraver: Synth Soul Food

Muscular’s debut electronica single is the aural equivalent of soul food. Synths may not be known for their soulful propensities, but in ‘Auraraver’, the ardent alchemy refuses to hide behind futurism.

Synths and basslines lead the way, and through the infusion of organic percussion, piano and guitar, the track quickly evolves from a dark hard-hitting feat of techno into a mix that will get you higher than’s iconic EBM track, 8-Bits. Through shimmering reverb and teasing build-ups that will leave you as eager for the drop as Infected Mushroom’s mind-melting mixes do, it’s safe to say that Auraraver will leave you hooked right through the extended duration.

Auraraver released on March 26th; you can hear it via Spotify.

Review by Amelia Vandergast

Music Pop

Finnish Grammy-award-winner JORI SJÖROOS has unleashed their forceful-feat of future pop ‘TAKE A CHANCE ON ME’

Every up and coming artist wants nothing more than for people to take a chance on them, but that’s something only the brave will admit; JORI SJÖROOS’ standout single ‘TAKE A CHANCE ON ME’ puts harmony to the desire which hides behind our assured facades.

The entrancing hit maybe lyrically reaching for love, but the humble vibe to the single permits you to unashamedly embrace all facets of desire. As it allows you to recollect all of the times you wanted nothing more than for your potential to be seen, the forceful and polished beats, orchestrated by the Finnish artist, producer and songwriter, will make sure that emotions are running high.

It comes as no surprise that JORI SJÖROOS has achieved gold and platinum status on their releases and has been awarded multiple Finnish Grammys. Their sound is beyond radio-ready and given the diversity in their discography, you never know quite what they’ll pull off the soundboard next. Get them on your radar.

TAKE A CHANCE ON ME is available to stream via Spotify.

Review by Amelia Vandergast


Ponder the beauty of chance with Tenseventeen’s ambient electronica track, ‘Sometimes’.

Californian electronica artist and producer, Tenseventeen has released their second EP, ‘The Little Things’. The timely release is an endless source of tonal optimism, especially the lead single, ‘Sometimes’.

The light and organic synth-crafted soundscape plays on the more melodic side of electronica, as the notes meander with purpose through the downtempo hip-hop-inspired 808s that bring plenty of texture to the experimental feat of ambient future house.

With a traversing air to the constantly momentous yet never over-facing single, it’s one that you can easily get lost in.

Tenseventeen’s sophomore EP is now available to stream via Spotify.

Review by Amelia Vandergast


No Gods Here – Lights in the Sky: An Ethereally Dark Sci-Fi Thriller

No Gods Here’s latest Alt-Electronica single, ‘Lights in the Sky’, goes beyond sound. The artist and producer orchestrated an ethereally dark sci-fi thriller that unfolds in the space of just 4:33-minutes. It’s safe to say that Jeff Wayne has new competition.

Here’s how No Gods Here sets the scene for Lights in the Sky:

The United Kingdom. 26 December 1980.

As darkness fell, an RAF security patrol observed a series of strange lights descending into the gloom-laden Rendlesham Forest.
An investigative team was dispatched.
The officers noted burn marks and broken branches – a mysterious triangular pattern was also discovered on the forest floor.
This is what they heard.’

At the risk of revealing the plot, Lights in the Sky starts with piercing trepidation that fills you with the same amount of dread as when you know a jump scene is coming in a horror film. Instead of finding an ominous figure in the mirror, you’re slammed into the glitchy static of distorted drum & bass beats that are accented by reports of responders at the scene. Towards the outro, Lights in the Sky submerges itself further into darkness with noisy no-wave inclination.

On that basis, it’s very unlikely we’ll forget the London-based one-man-machine any time soon.

Lights in the Sky is now available to stream via Spotify.

Review by Amelia Vandergast


Escape with Sentry’s lo-fi future bass track, ‘Take Me Away’.

UK-based electronica producer Sentry may only be two months on from his debut release, but he’s already racking up streams like there’s no tomorrow with their entrancing feats of lo-fi future bass.

His recently released single, ‘Take Me Away’, is a stunning showcase of his ability to lead listeners away from external chaos and douse them in the serenity of aural euphoria. What starts as an immersion into a tranquil pool of reverb-drenched synth ambience, seamlessly evolves into an ensnaring tidal wave of visceral emotion and harsh snares. Only when you reach the outro, you realise what a profound experience Take Me Away was. Your first hit definitely won’t be your last.

You can escape with Take Me Away by heading over to SoundCloud.

Review by Amelia Vandergast

Music Pop

Making History: Nanguaq put together something supremely special on ‘N1: Rising Stars of Modern Indigenous Music from Taiwan’

Making such beautiful soundscapes on this ten-track wonderland for the heart to heal again, Nanguaq are here to bring the world a statement of their intention to teach us about their incredibly soulful music which has been hidden away for too long on ‘N1: Rising Stars of Modern Indigenous Music from Taiwan‘.

Nanguaq is a team of fantastic artists who have teamed up together to change the tide away from previous music styles, to rather show their original creations in a sensational electronica, neo-soul and pop explosion of stunning ear-hugging delight, that clears the mind from all anxiety.

”Taiwan’s indigenous people make up just over 2% of the population today, which makes it all the more extraordinary that Abao won the Best Album and Best Song categories at the Golden Melody Awards  — Taiwan’s highest music honor — in 2020.”-Nanguaq

”The seven singer-songwriters, whose ages range from 17 to 29 years old, hail from four of Taiwan’s 16 recognized indigenous ethnic groups: Paiwan, Bunnan, Amei, and Rukai. On N1, they each sing in their respective native languages.”-Nanguaq

You feel the talent oozing in class here, as they all sing with undoubted quality and heart, lead by a magnificent artist who sets the standard with a world class song of such unrivaled beauty.

N1: Rising Stars of Modern Indigenous Music from Taiwan‘ from Nanguaq, is a lovely collection of tremendous songs that showcases what you can achieve if given the chance. This is a remarkable ten-track album that will have you thinking about opening your mind to new music that is truly special. The goal of featuring Abao and an assortment of young artists to give them the global platform, has certainly been achieved and looks to grow even more worldwide thanks to these excellent efforts, to unite the music community as one team.

Stream this new compilation on Spotify and see more on their IG.

Reviewed by Llewelyn Screen


Grant Dudson goes leftfield with their latest EDM release, ‘Taming Tincture’

UK-based producer, Grant Dudson, has released his latest cinematic EDM mix ‘Taming Tincture’; the melodically leftfield mix teases orchestral nuances but never leaves its gritty urban essence far behind.

For any true aficionados of bold and modernistic electronica, the artist who started their career in RnB and Hip Hop is one for the radar. Everyone’s a producer in 2021, but producers with the ability to evoke so much emotion via electronic sequences are few and far between; Grant Dudson’s sound fills the gap nicely.

You can check out Grant Dudson’s futuristically psychotropic track for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast


Moose Wrench – an ‘Oasis Of Calm’

Moose Wrench

Opening up with a solo guitar before the vocal kicks in, ‘Oasis Of Calm’ is a flamenco-y, Spanish guitar-y, neo-classical-y acoustic-based guitar track with gravelly vocals courtesy of Moose Wrench – a.k.a. Leeds-based producer Craig Robertson – interjecting occasionally into the predominantly acoustic track.

The guitar rotates around a number of themes, ultimately returning to the same melodic motif, following the vocal line, interspersed with electronic sampled parts throughout the 8’38” of the track. Taken from Moose Wrench’s new five track EP ‘Dead Stars’, you can hear ‘Oasis Of Calm’ – and pre-order the EP – on BandCamp.

Review by Alex Holmes


DOLLSDONTCRY – ‘Manticore’: A harsh, dystopian future writ purely in sound

Leaving aside the obvious mentioning that dolls sometimes DO cry – Tiny Tears, anyone? – DOLLSDONTCRY, from Lucedale, Mississippi, via Alaska, has created a nightmarish soundscape of grinding, driving instrumentalism in the vein of early Nine Inch Nails, Ministry, or Revco music. Think a little ‘Pretty Hate Machine’, ‘Psalm 69’, or ‘Linger Ficken Good’, without vocals, and you’ve a pretty good idea of what’s on offer here. Opening with some heavily distorted bass riffing, it’s a landscape of bleeps, machine-press crashes, sampled roars, and rising sequenced keyboard parts.

It’s always difficult for young artists to make their voices heard effectively with instrumental work, but this is an excellent track, a harsh, metallic, post-Terminator world of sound, evocative and stimulating, with a definite voice.

You can hear ‘Manticore’ on Soundcloud. Follow DOLLSDONTCRY on Instagram.

Review by Alex Holmes


Franz Kirmann and Roberto Grosso have released their collaborative electronica mix ‘Saudade’

Electronica luminaries Franz Kirmann and Roberto Grosso combined their signature sounds in their latest release, ‘Saudade’. The collaborative mix unravels through pulsating beats, glassy synths, and flurries of intricate notes that almost allow Saudade to tease neoclassic properties. But at its core, Saudade boasts a tribalistic drive that you’ll want to strap yourselves in for.

The quiescent release allows the styles of Nils Frahm and Thom York to meet in the modular-synth-middle, to entrancing effect. If anything can strip away lockdown anxiety and angst, it’s Saudade.

Saudade is now available to stream via Spotify.

Review by Amelia Vandergast