Browsing Tag

trip-hop

Venom in the Reverb: Offworld Narcotics Lace Trip-Hop with Lynchian Limerance in ‘Siren Serpent’

Posted on 9 April 2025

As harbingering, serpentine, and seductive as the title would suggest, Siren Serpent by Offworld Narcotics is a salacious cocktail aimed at intoxicating your mind as much as the rhythmic pulses. The juxtapositions between the dark reverberant effects, chilling tones and timbres, and spectral shadows cast across the illuminated motifs and the ethereally diaphanous vocal lines as they refract light through the alchemised darkened corridors in the mix results in a hypnotic effect; you’ll be fully at the mercy of Offworld Narcotics as they build to a crescendo of Lynchian Avant-Garde beguile.

The trio behind the track – multi-instrumentalist Bryan Drummond, vocalist and producer William Fyke, and drummer-engineer Brandon Bera – have already laid down a reputation for sonic subversion. Their debut single Mariana earned spins on WFMU, and with their 2025 dual drop Siren Serpent and Chained (The Descent), they’ve proven their dedication to pushing their trip-hop sound further into the abyss.

Rooted in the rhythmic tension of artists like Portishead and Massive Attack, Siren Serpent flirts with electronica and alternative rock while keeping a firm focus on subjugating the listener through sound.

Siren Serpent is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.

ZKIN Expose the Sociopathic Script in ‘Breaking Me Down’ – A Synth-Pop Autopsy of Emotional Erosion

Posted on 2 April 2025

ZKIN’s latest single, Breaking Me Down, tears through the surface with haunting synth-pop stylings that shimmer with trip-hop unease and indietronica nuances. The Swedish duo, formed in Linköping by Jonas Gustafsson and Malin Jeraeus, have crafted their own genre by refusing to compromise their vision to fit a template. Their self-styled descriptors—Dessert Soul, Bristol Blues, Cinematic Industrial Synth Rock—speak to their obsession with pushing past the expected.

The production operates like strobe lighting through fog—illuminating the disorientation of psychological warfare in toxic dynamics. The synth arrangements soundtrack a spiral, while the lyrical plot is paced like a psychological thriller. Jeraeus delivers each line with measured cadence, capturing the ache of recognition and the slow-burn clarity that comes from realising you’ve been pulled into someone else’s constructed reality. Her voice, shaped by years of singing through soul, funk, blues and rock, holds nothing back in its precision.

Thematically, Breaking Me Down resonates as a cautionary tale written for anyone who’s felt reality rewritten by someone more concerned with control than connection. Gustafsson’s lifelong grounding in jazz, blues, and punk bleeds into the track’s rhythmic structure—firm, unrelenting, and laced with menace. Together, they reconstruct the power balance that emotional manipulation seeks to dismantle.

ZKIN’s strength lies in their refusal to simplify or soften. Every element of Breaking Me Down is sharpened to expose what it means to reclaim your voice after it’s been strategically unravelled.

Breaking Me Down is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Embrace Emotional Suspension with Daniel Liam Glyn’s Downtempo Dream ‘in this moment for days’

Posted on 29 March 2025

‘in this moment for days’, from Daniel Liam Glyn’s latest LP ‘WHEN THE DEVIL DRIVES’, is a slice of indie dream pop reverie that lifts the tones of retro-futurism to a plateau of pure euphonic bliss. Downtempo electronica, trip-hop, and synth-pop coalesce in distinctive flux, offering tranquillity as you’ve never experienced, yet a dreamy palette you’ll compel yourself to acquaint yourself with, time and time again.

Ethereal dream-pop vocals echo tenderness into the release, wrapping delicately around the beauty of preserving perfect moments. The single grasps these ephemeral instants tightly, praying the romance found within small details stays clear from memory’s obscurity. It’s a soundtrack to bliss in every true sense, gentle yet unshakably memorable.

Daniel Liam Glyn, a Manchester-born composer renowned for sinking synaesthesia into his compositions, channels his unique visual perception of colour and sound directly into ‘in this moment for days’. Influenced by the contemporary minimalist styles of composers like Erik Satie and Steve Reich, Glyn transforms abstract mental hues into tangible sonic landscapes. His latest album navigates themes of mental health, hazy recollections, and fleeting serenity, and nowhere is this balance clearer than in this dreamy soundscape—an invitation to pause, reflect, and remain in emotional suspension.

‘in this moment for days’ is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Intoku’s ‘the end beginning’ augments trip-hop to the epitome of intensity

Posted on 23 February 2025

Intoku wields intensity like a weapon in their latest single, ‘the end beginning’. The Bristol-based trio, known for their fusion of raw, emotive vocals, hybrid drumming, and synth-heavy atmospherics, channels leftfield intensity that transcends everything you’ve heard before.

Inspired by the weight of trip-hop’s pioneers but refusing to be bound by their blueprint, Intoku sculpts their own brand of unsettling visceralism—one that crashes into the senses with bone-rattling basslines and a rhythmic pulse that feels more like possession than percussion.

Sophie Griffin’s vocals drift through the shadows of the mix, their fragility balanced against production that builds with an almost cinematic volatility. An eerie pulse of reverb sets the stage before light fractures through the murk, and from there, every shift in momentum feels like a calculated shockwave. The progressive structure refuses to settle, keeping every new motif hypnotic enough to trap you in its current.

When the track reaches its peak, the intensity is relentless. Vulnerability is laced into every synth swell and drum strike, making it impossible to separate the human from the machine.

On record, Intoku leave a mark. Live, they’re the kind of act that would sear themselves into memory, dragging you under with them and leaving echoes of their sound reverberating for days.

‘the end beginning’ is out now on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

‘Dead and Dried’ by mothshade – Mechanical Existentialism Meets Ethereal Transcendence

Posted on 18 February 2025

Some artists compose; others construct entire dimensions with their sound. With Dead and Dried, mothshade explored the uncharted intersections between industrial electronica and trip-hop, leaving breadcrumbs of visceral emotion and motifs that demand rhythmic surrender. As a debut under his new moniker, the single is a bold declaration that the distinction between artist and composer lies in how emotion is translated into sonic form.

From the first pulse of distortion, tension ripples through the meditative release, carrying an unmistakable Nine Inch Nails imprint. But rather than mere homage, mothshade bends discordance to his own will, forging a conduit for the immense turmoil that fractures the fragility of life. The mechanical existentialism at the track’s core is tempered by iridescent female vocals, their spectral presence illuminating the cavernous depths of his production.

Drawing from industrial, electronic, rock, and cinematic influences—ranging from Massive Attack to Tool and Hans Zimmer—mothshade thrives in the chaos of transformation and rebirth. The upcoming debut LP, LIMINAL, set for release on February 18, couldn’t be more promising. Dead and Dried proves that mothshade is far more than a seasoned composer—he is an architect of atmosphere, twisting electronic textures into something both punishing and transcendental.

Stream the official video for Dead and Dried on YouTube.

Keep up to date with mothshade’s latest releases on Facebook.

Review by Amelia Vandergast

indifferentMonKeY prescribed a trip-hop rock aphrodisiac with ‘little PILL (NRG Monkey Mix)’

Posted on 3 February 2025

Since their inception in 2022, indifferentMonKeY has rewritten the blueprint for contemporary alternative rock by synthesising the sultry atmospherics of trip-hop with the raw energy of riff-fuelled rock.

Their latest ethereally provocative release, little PILL (NRG Monkey Mix), sees vocalist Ellie Knowles weaving her hypnotic with reverie vocal lines into a seductive indietronic diorama, which pulsates with the rhythmic soul of Joe Lowe’s bass and the electrifying edge of Brendan Syson’s guitar.

Meanwhile, Graham Darbyshire’s percussion punctuates the genre-fluid tour de tantalising force, which feels like it belongs in the lineage of trip-hop giants such as Portishead but with the untamed spirit of early Massive Attack and the gritty seduction of Garbage.

From the aphrodisiacal tones to the mind-altering textures to the dark and moody emotive weight, little PILL is a masterclass in sonic sensuality, which is as suited to TikTok virality as it is to longevity within alternative playlists.

With accolades including the “Best Band 22” award from Radio Wigwam, headline spots at Nice N Sleazy, and praise from BBC6music’s Chris Hawkins, indifferentMonKeY are on the rise; get high with them.

Stream little PILL on Reverb Nation now.

Review by Amelia Vandergast

lullaby pushed the boundaries of sound design with ‘despairing boy aspiring poet’

Posted on 15 January 2025
https://soundcloud.com/lullaby/solstice

For their latest release, the 18-year-old Belgian producer lullaby (Sana) sculpted an immersive 35-minute auditory odyssey which offers a seamless plunge into introspection. despairing boy aspiring poet begins with an ambient trip-hop atmosphere that immediately sets a reflective and transcendent tone; as the release evolves, glitch-wave textures creep in, wrapping around the psyche before the calm is shattered by bass surges that arrive without warning, only to fade just as quickly.

The distorted, autotuned vocals amplify the emotive intensity as they caress the semi-lucid motifs that dominate the record which isn’t content to sit comfortably in one genre; evidenced by the post-hardcore instrumentals which disrupt the ambience, only to give way once more to sublime serenity.

Drawing inspiration from ambient music’s emotional depth and the raw energy of dubstep, lullaby juxtaposes atmospheric textures with evocative melodies, crafting tracks that resonate both cerebrally and viscerally. Their self-taught production skills are wholly exhibited as they push the boundaries of sound design, orchestrating contrasting textures into a wholly unique sonic identity.

With curveball after curveball, lullaby ensures the audience is never static, constantly shifting between serenity and chaos.

Stream despairing boy aspiring poet on SoundCloud now.

Review by Amelia Vandergast

Dissolved Girl – Dirty Tricks: A Sonic Cathedral of Scorned Serenity

Posted on 31 December 2024

With Dirty Tricks, the fourth release from London-based Dissolved Girl, the band chartered new cinematic indietronica territory by carving out a darkly meditative edge that sets it apart from their previous work.

Opening with the evocative toll of a church bell, the track unfurls into a misty, textural soundscape where trip-hop undertones intertwine with seductively measured vocals. As trippy effects cascade around poetic lyricism, the band’s sonic complexity effortlessly lures you into its gravitational pull.

Dissolved Girl’s devotion to raw emotion and sophistication is palpable in every aspect of Dirty Tricks. The juxtaposition of serene delivery with scornful, imagery-rich intensity underscores their ethos that ferocity doesn’t need to be loud to leave its mark.

Produced by Dani Castelar—whose previous credits include two No. 1 albums with Paolo Nutini—and mastered by Matt Colton (Arctic Monkeys, Michael Kiwanuka, Royal Blood), the single showcases their unflinching dedication to being purveyors of beguiling stylised alchemy which is as resonant as it is refined.

Dirty Tricks dropped on December 20; stream it on Spotify now.

Review by Amelia Vandergast

Detroit Dreampop Diehard Romantic, Jessie Berkshires, Pulled All the Emotive Punches in Her Latest Single, Don’t Let Me Down

Posted on 6 December 2024

With her latest single, Don’t Let Me Down, Detroit-based indie artist Jessie Berkshires carved a new vein into the dream-pop pantheon. Opening with tenderly hammered minor piano notes entwined with a syncopated, trip-hop-inspired beat, the track balances warmth and alienation in bittersweet duality.

Beneath its polished production lies a raw exploration of the paradox of love and its ability to flood your world with light while igniting fears of the darkness of heartbreak. Berkshires’ lyricism pierces with its candour: the tension between vulnerability and the need for reassurance is as gripping as the delicate melodies that carry it. Her ethereal vocal delivery is perfectly framed by an instrumental arrangement that feels both spacious and all-consuming, like staring into a love you want to trust but fear will falter.

The balance of the raw, relatable emotion and the cold visualisations of romantic dissonance in the instrumentals allow Jessie Berkshires to establish herself as an artist who knows exactly how to amplify her lyricism with melodies which may be quiescent, but they know exactly how to pull the evocative punches.

Don’t Let Me Down was officially released on November 22 and is now available to stream on all major platforms, including Spotify.  

Review by Amelia Vandergast

Julia Kahn visualised the divinity of dark feminine energy with her dark pop installation of etherealism, Badlands

Posted on 25 October 2024
Julia Kahn

With her latest single, Badlands, Nashville’s dark-pop siren Julia Kahn defiantly stepped beyond the conventional boundaries of genre and geography. Born in a city more famed for its twangs of Americana than oscillations of dark cinematic mesmerism, Kahn stridently stepped into her own through the untamed echoes of empowerment and vulnerability in her latest release.

The summons to embrace authenticity, regardless of how messy that reality can be, draws you into a trip-hopped and spiritually awakened vortex of sound where ethereal vocal lines fuse with intricately frenetic drum patterns and strobing synth lines, crafting a soundscape swarming with evocative power and the divinity of dark feminine energy.

Each note demands emotional investment under the duress of Kahn, who has recently stepped off a major international festival tour and amassed a series of accolades that include airplay on BBC Radio and nods from critical platforms like Earmilk and Music Week.

With millions of views on TikTok and skyrocketing streaming numbers, Kahn is at the vanguard of a new movement, one which tempts her cult following into living unapologetically.

Badlands will be available to stream on all major platforms from October 25th; check out her Spotify and official website.

Review by Amelia Vandergast