Shadow Dance, a pivotal track from Katerpilla’s latest LP, Sneaking in a Dream, is synthesised sugar for the pill; an aural antidote for the frenetic momentum of the modern era, which defies the conventional boundaries of electronica.
Katerpilla, known offstage as Matthew Chamberlain, weaved a minimalist yet profoundly intricate soundscape that both challenges and seduces the listener; it’s a sophisticated interplay of rhythm and melody. The genius of Shadow Dance lies in its ability to marry the mechanical with the melodic. Katerpilla’s architectural background shines through in his meticulous construction of sound. Each note and beat is carefully placed, creating a structure that is as robust as it is ethereal.
Sneaking in a Dream signifies a bold step forward from Katerpilla’s debut, Chase the City. While the essence of his creative process remains – the fusion of sounds from diverse synths – there’s a noticeable shift towards a more refined, less layered approach. This stripped-back style results in a darker, more immersive sound, distinct in its genre.
Shadow Dance is a testament to Katerpilla’s skill as a producer. His superlative ability to submerge his audience into hypnotic introspection is unrivalled. It’s a piece that doesn’t just resonate; it transcends, marking Katerpilla as a visionary artist in a genre that thrives on innovation.
Katerpilla’s new album, Sneaking in a Dream, will be available to stream on all major platforms from February 2nd. Stream it on SoundCloud first.
She Was Angelina by djamesk13 is a captivating piece that solidifies the artist’s position in the realm of grungy, bass-driven psych rock. This single is a masterful blend of raw energy and haunting subtlety, showcasing djamesk13’s adeptness in creating a soundscape that is both gritty and ethereal.
The track opens with a deep, resonant bass line that immediately sets a dark, immersive tone. The distortion is cranked up, not just as an effect, but as a statement, echoing the grunge era’s love for raw, unpolished sound. This choice pays off brilliantly, as it adds a visceral edge to the song.
Lyrically, She Was Angelina is a poetic exploration of a film noir femme fatale figure. The character is painted as both innocently sweet and dangerously alluring, a combination that is as intriguing as it is unsettling. The reference to the Jesus and the Mary Chain not only situates the song within a specific musical lineage but also adds a layer of depth to Angelina’s character, suggesting a complex individual with a rich inner world.
The melody, dusky and lingering, perfectly complements the lyrical content. It’s a siren song, drawing the listener deeper into the narrative and the emotions it evokes. The use of lo-fi elements by the London-based solo artist adds a personal, intimate touch to the track, making it feel like a glimpse into a private, almost secret world.
She Was Angelina was officially released on December 10th; stream it on SoundCloud.
Lilypads set their bar transcendently high with the die-hard romanticism instilled into their debut single, Ode to You. With commercial and cross-over appeal by the smorgasbord as a result of their cultivated charm and endearingly articulate lyricism that is effortlessly complemented with the equally as affable melodicism, the tenderly refined duo is set to take the reverence for their sound far beyond the London music scene.
If your soul doesn’t stir with the dreamily accordant delivery of “I guess I never really knew just how much I ode to you”, you may want to check you’ve still got a pulse. Love songs may proliferate the airwaves, but Lilypads still found room to organically blossom as one of the premier indie pop acts of 2023.
The relaxed yet complex melodies are as innovative as they are innovative; the side serving of comforting nostalgia is a harmonious bonus element, which makes losing yourself in the gratitude of the single even more affectingly sweet. As Lilypads continue to rise, this track may well be remembered as the genesis of their ascent.
Ode to You hit the airwaves on November 3rd, stream it on Spotify.
Even after growing accustomed to JW Paris’ inventive and authentic amalgams of grunge and Britpop, their latest hybrid synthesis, You’ve Got Me, still struck us as a superlatively ensnaring feat of tightly unhinged volition, delivered with dark tones, and liberating intent.
The cutting social discourse against the more interpersonal vignette slices is an affecting affirmation that JW Paris delivered a verbatim narration straight from the antagonised and agonised soul.
Imagine the haunting melodies in The Holy Bible augmented by the rancorous swagger of grunge, and you will be close to getting an idea of what JW Paris delivered with this anthemically cathartic elucidation to the toxicity within the grip of algorithms and the seductiveness of social media.
Discernibly, the London-based three-piece have perfected the art of gnarled high-octane hooks and choruses that draw you right into the centre of their distorted chaos, which still doesn’t hold a candle to the dystopic chaos that consumes us when we’re in digital arenas that leaves us with desperation for validation-derived dopamine.
After experiencing the visceralism, in retrospect, it is almost laughable that we are so pre-occupied with fears of AI advancing when we’re already enslaved by the technology that keeps us hooked to a mind-numbing sedative which comes with insecurity and polarised hostility as side-effects.
JW Paris Said
‘With lines like “Can you sit inside the silence, reflecting on the shame,” the song paints a vivid picture of introspection, urging us to confront the uncomfortable truths that we’ve ignored. It delves into the paradox of feeling unwanted and pushing for constant attention.’
You’ve Got Me was officially released via Blaggers Records on October 11. Stream it on Spotify.
WTSN went beyond delivering the definitive London rap sound with his latest single, Uptown, which smashes through the mono-cultural mould as strikingly as the hits in the Melt Yourself Down discography.
With grimey rap bars pulsating momentum through the jazz-infused exotic instrumentals that allow Uptown to unravel as a stylistic feat of world music, WTSN’s authenticity could never be in question.
The North African funk layers against the lyricality that invites you to walk through the streets of London is a mesmerising juxtaposition that stands as a testament to how much of a visionary WTSN has come to be since he first entered the industry. If you want to hear more revolutionary rap hits, just watch this space.
Uptown will officially drop on August 16; hear it on SoundCloud.
The London-hailing prodigal sons Whitelocust brought the funk rock rapture with them when they released their debut single and music video, Your Way, on the 21st of July.
With the frontman emanating the energy of Red Hot Chilli Pepper’s Anthony Kiedis and the sultry grooves of early Faith No More material giving the raucousness a sensuous touch of soul, Your Way is a nostalgic rock revelation that will leave you itching for it to pour from your speakers once more from the first hit of the addictively vintage 70s grooves.
After starting out in 2021, Whitelocust hasn’t failed to garner all the right traction to give their illustrious career momentum. It is only a matter of time before they are revered as London’s premier funk-rock outfit – especially after this juggernaut of a strong debut that will reel you in hook, bassline, and sinker.
Stream the official music video for Your Way on YouTube.
Hot on the heels of his debut LP, All Things Considered, songwriter, multi-instrumentalist and producer Andrew Bradley is set to unveil his unifying funk-dripping pop-rock hit, Everybody’s Welcome Here.
After an 80s funk hop reminiscent intro, the single unravels as a kaleidoscopically groovy hit that will leave you itching to hit a dancefloor and move to the intrinsically rhythmic magnetism. With the attitude of Britpop and a perfect pinch of Beatles-esque 60s psych-pop, Everybody’s Welcome Here is a compellingly textured sonic TARDIS of a release that couldn’t be better timed.
In such a divisive era when it feels like the pot is being perpetually shaken to breed antagonism in the atmosphere, Andrew Bradley served an all too welcome reminder that acceptance is one of the highest virtues we should all find a little more time for.
Prior to releasing Everybody’s Welcome Here, Andrew Bradley has gained experience in the industry as an artist and producer. From The Sound Emporium Studios in Nashville to Abbey Road Studios, his multi-faceted talents have graced plenty of the bucket list studios.
One half of the fantastic duo Vast & Harker, James Harker shows us how love can turn our moods around and sings with pulsating passion on his catchy new release, Spinning Plates.
James Harker is a classically trained London, UK-based indie pianist, history teacher and alternative songwriter who has returned from a long break and shows us his evolution from indie folk.
Taken from the brand new 10-track album Limerence, James Harker is on fire with a soul-healing melody to be proud of for its magnetic appeal. This is soaring stuff and delights our senses with a family-friendly soundtrack.
Spinning Plates from the experienced UK-based indie pianist James Harker is a cloud-floating single to get enthusiastic about and might change perspectives. There is so much to sink our teeth into as we are reminded about the special sauce needed, to be truly happy in this ever-changing world.
With fun energy brewing like a tasty iced tea in the summertime after a long walk, Beat Bakery and MILENA have dropped a sunshine-filled daydream-like single to get those legs feeling ready for a good night on Feel Alive.
Beat Bakery is a London-based dance-pop band who are joined by fellow Londoner and A&R Factory favourite MILENA, the lovable Montenegro-born indie pop singer-songwriter/pianist who kindly took us into the Secret Garden for a picnic in May.
Getting us all flustered and ready for a night to remember, Beat Bakery and MILENA change all moods with a sit-back-and-listen-on-full volume song to remember.
Feel Alive from Beat Bakery and MILENA is a tiger-biting single to tear up the dance floor with. There is a sizzling array of punchy beats and ear-splitting vocals to get enthused about here. Exactly what the doctor ordered some would say.
Soaked with fresh energy that feels like a beach party waiting to happen, we are thrilled to the core by a happy song made for all the right reasons.
The Sydney-born, London-based singer-songwriter Jimmy Theo is fresh from the release of his collaborative debut album, Next Step, featuring the standout single, On My Own, which is 3 minutes of pure indie electro-pop perfection.
With Flowers for Hanna enriching the hit with her magnetic harmonic timbre, which is as just as beguiling as the indietronica attitude that laces Lorde, London Grammar, and Warpaint records with stylish soul, the classic pop songwriting styling is elevated to the nth degree.
As catchy as an ABBA hit yet alternatively scintillating through the synthesised theremin, On My Own is the ultimate pop anthem for anyone who wants to hear the affirmation that regardless of how romantic uncertainty wraps up, you will always be left with the only person you need; you.