music interview

Perera Elsewhere on Bringing the First Wave of Grime Artists to Berlin and New Album 'Just Wanna Live Some'

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Photo credit: Gene Glover

Berlin-based producer, songwriter , trumpeter and sound voyager Perera Elsewhere returns with her fourth album, Just Wanna Live Some, out 24 October via LA label Friends of Friends. The record captures her distinct mix of experimental pop, dub, grime, and electronica, a sound she’s refined over a decade of boundary-pushing releases that first led critics to coin the term “doom folk.”

The album’s focus track, “Dream Like That,” pairs Perera’s poetic reflections on addiction and capitalism with cigarette lighter clicks, deep dub bass, and trumpet-led textures. Across twelve tracks, Just Wanna Live Some balances introspection with urgency, moving between moods of melancholy, defiance, and ecstatic release.

Known for her singular approach to voice manipulation and hybrid sound design, Perera — born Sasha Perera — has long blurred the lines between the cerebral and the physical. Her work has earned praise from Vogue, Pitchfork, and Clash, who have each celebrated her ability to fuse raw emotion with sonic experimentation. Over the years, she’s collaborated with artists such as Nina Hagen, Aho Ssan, Maral, and KMRU, while continuing to teach workshops and champion independent artistry from Berlin to Yale.

In this Q&A, we speak with Perera Elsewhere about the ideas behind Just Wanna Live Some, her collaboration with Ivorian rapper Andy S, early memories of bringing grime and dubstep to Berlin, and the creative exercises she uses to inspire the next generation of producers.

What’s the story behind your new album Just Wanna Live Some?

I guess reacting to the world we live in which is kinda depressing as usual and just wanting to live instinctually and take each day as it comes as reflecting on stuff sometimes is just too much. That is my take on the album title, which is kinda nihilist and hedonist in is stance. But as it is in life, you do end up reflecting and cant just ignore stuff, so as you can hear on the album there are some pretty huge mood swings; songs and tracks to dance to, to cry to and some very mega doom-folk soundtracks for the post-apocalypse. 

You and Andy S first connected after you played her track in a Boiler Room set. What drew you to her music, and what made this collaboration feel special?

I guess the fact I have been to Cote D’Ivore 3 times in my life; first for the Goethe Institut to teach Ableton and play and then later again to play directly with promoters there - specifically Isa aka DJ Chabela, who booked me there after being the only female in my audio production workshop. 

So I had some ‘70s Ivorian tunes in my Spotify and on vinyl. Thus the ‘algoriddim’ suggested an Andy S tune called ‘Prodada’. I bought it and played in in my Boiler Room set.  Ivory Coast might have had no meaning for another DJ, but I actually like returning to places on multiple occasions.  So working with Andy S was continuing/ deepening  a relationship I have with the artists, people, country and music of Ivory Coast.  Revisiting things makes sense to me. 

You were one of the first promoters to bring grime and dubstep to Berlin. Looking back, how do you remember that moment in the city’s music history?

I mean Berlin had an early appreciation of Jungle and DnB etc. There’s this old lie/myth that Berlin club life was only built on techno. It was actually build on DIY, and there was a hunger for all kinds of music, and also Bass Hardcore Continuum UK vibes. Clubs or events like Toaster, Hard Edged and more were before my time but there had also always been squats here and jungle was being played there too. 

Photo credit: Jamila Kae

Bringing UK artists over in 2004 was special because international gigging and ‘easyjet lifestyle’ had not been established yet, so some artists had to get a passport for the first time.

Berlin didn’t have the hype it does now, so artists came with less preconceptions in some ways. Berliners were also less exposed thus everything felt a bit more special. The city was no where near as international as it is now; it was literally a more German place and a more East German place in its vibe. There were less clubs , less clubbers, less hype, less internet! It was just the start.

We had a blog called Grimetime. I just remember BBK Skepta and JME literally doing backflips down Karl Marx Allee into the Burger King (LOL).  Berlin wasn’t ready for that energy! It was as a lot of fun doing that stuff with Christian Fussenegger at WMF club. I’m on the lord of the decks dVD coz Jammer, Kano, Lethal Bizzle and D Double came our studio at the time. 

I’m not in the ends, I’m in Germany, pure these girls they heard of me. I remember JME logging in to his Myspace on a desktop computer in our studio in Friedrichshain. We had no idea what he was doing at first. Feels like a whole other era. 


You’ve always pushed technology in unusual ways, from manipulating your voice to turning sound design into part of the storytelling. What keeps you excited about experimenting with new tools?

I guess also the unknown / unpredictable results that can occur and probably coz I also like to work alone it does suit me. Also, just not reading manuals or really watching tutorials and just messing about with stuff does suit my personality. However I really do love working with organic/ analogue stuff too and then messing with it.

Hybrid forms - eg. literally recording my trumpet and adding arpeggiators and having it end up sounding like a gangster rap violin or ‘grimey’ synth simply excites me in the process. I like getting the feeling that I’m doing something for the first time. dopamine addict I guess! JUST WANNA LIVE SOMEEEEEEEE. 

As someone who’s taught workshops from Yale to Berlin, what’s one exercise or mindset you share that always clicks with young producers?

I usually get them to record random things eg. everyday objects, voices, field recordings and make their own drum kits/ virtual instruments and adding other more ‘sophisticated’ sounds too, in order to make them feel like they are making their own sound palette and deciding on their own non-generic sound identity for a sec.  

That is how I started! Literally I got a kick out of from using my mum’s voice and the sound of me banging on a jar of muesli with a wooden spoon and a long 808 kick. Just nice to have some special sound-sources in there real, life stories. Stuff you know that happened where you actually partook in the process of making sound-wise can bring some vibes, spirituality and chaos to the equation. 

Photo credit: Noreyni Seck


You’ve had your music placed in films and theatre. What’s the biggest difference between writing for yourself and writing for a director’s vision?

For the synch licensing stuff eg. Paolo Sorrentino’s movie, they chose a track that was out on my album. Thus they saw my already existing musical vision fitting to the scene of their movie. 

When I have worked with Dukhee Lee Jordan (artist working on multi-sensory installations) then I have made music according to her descriptions and interpret her ideas / themes/ moods when making the score. I enjoy that a lot and it seems to work for us.  After that, usually the visuals or film sequences are composed to my soundtrack. It has to start somewhere.  

Probably the most challenging for me was working on a 72 min audio-visual dance piece called Reparation Nation where you had to keep making music for scenes that were being written parallel and for dancers where the choreography was in the making.

A lot of ideas, opinions and the worst of all of course… changes!  Endless patience is required for endless changes haha. Compromise is involved too. But it was very rewarding to work with dancers. Literally fun to be part of a crew and on a  production. Those are the vibes you don’t get when you are producing or composing alone in the safety of your studio.   

What’s one piece of advice you would give your younger self when you were just starting out?

Probably to have some kind of community of niche friends around the world.  Kinda bores me to be a straight up tourist so its nice to have music as the medium to go an explore stuff and connect with people, 

What are you listening to at the moment?

Sticky Dub 

Fly Anakin

Bina

_By.Alexander

JD Reid

Persian Empire

Khadija Al Hanafi

  • Interview by ninakeh

Album artwork by Hugo Holger Schneider x Gene Glover

PERERA ELSEWHERE’s ‘Just Wanna Live Some’ album is released on 24th October via Friends of Friends

Website | Instagram

Hatis Noit on her Aura Reworks album featuring Laraaji, Jlin, Herbert, Basinski and more

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Photo credit: Özge Cöne

Japanese vocal artist Hatis Noit returns with Aura Reworks, a collection that invites a circle of collaborators to reinterpret her acclaimed 2022 debut Aura. Originally composed using only her own voice, Aura drew on influences from Japanese Gagaku, Bulgarian folk, opera and Gregorian chant to create a sound that felt both ancient and contemporary.

For Aura Reworks, Hatis Noit opens her work to a new dialogue featuring Laraaji, Jlin, Matthew Herbert, William Basinski, Armand Hammer with Preservation, Alex Somers, Yu Su and Emel. Each artist translates her voice through their own perspective, creating a series of reimaginings that move across genre, geography and emotional register.

Laraaji’s version of “Aura” floats through zither and kalimba, Jlin transforms “A Caso” into taut rhythmic patterns, and Armand Hammer’s verses on “Jomon” connect New York’s underground with echoes of Japan’s prehistoric past. Basinski’s “Inori” introduces fragile piano lines recorded near Fukushima, turning a moment of loss into reflection.

Born in Shiretoko, Hokkaido and now based in London, Hatis Noit is a self-taught performer whose range spans from operatic resonance to avant-garde experimentation. She has found fans in David Lynch, who invited her to perform at his Manchester International Festival showcase, and Rick Rubin, who featured her in his Showtime documentary Shangri-La. Her live performances at Womad, Rewire, Le Guess Who?, Big Ears, Mutek Montréal and Wonderfruit have drawn standing ovations, with The Guardian describing her as an artist who “moves audiences to tears.”

Following a short pause after the birth of her first child, Aura Reworks marks both her return and her expansion. The album connects her voice to a wider collective of artists united by curiosity and deep listening, reaffirming her place as one of the most distinctive vocal artists working today.

Many remix albums can feel like an afterthought, but Aura Reworks plays more like a dialogue between lineages and geographies. Was your intention to create an album of conversation rather than one of simple reinterpretation?

My usual creative process is very solitary, so I wanted Aura Reworks to be the opposite — a work born out of dialogue. But not dialogue in the sense of physically being together and exchanging words; rather, our shared exploration through the voice across time and space feels like a conversation in itself.

What has been the most valuable lesson you’ve learned so far in your artistic journey that you would want to share with emerging artists?

When I was making my debut album Aura, my producer Robert Raths told me: “Don’t look for who you want to be — find out who you are.” That remains the most important axis for me as an artist to this day.

Building artistic communities can be as important as the work itself. From your own journey, what have you learned about finding and sustaining the right collaborators and allies in the music world?

The most important thing is to be authentic with myself first. Once I’m able to be, the connections I need will come — naturally, and in their own time.

What practices or rituals help you return to balance after an intense day of work or performance?

Going for a walk, cooking, swimming and meditation. And since giving birth, I’ve also taken up knitting — it has become the perfect ritual for self-regulation.

Photo credit: Giorgio Perottino

What advice would you give to artists trying to find their way in today’s music industry, particularly those working outside the mainstream?

Have the courage to be alone sometimes in order to truly know yourself. Don’t be afraid of solitude.

Listening is often where ideas begin. Which recordings, voices or sound worlds are currently shaping the way you think about your own music?

Since traveling there this summer, I’ve been listening to Okinawan folk and court music a lot, introduced through their local radio. The fact that sometimes I can’t even understand their dialect only makes it more wonderful.

  • Interview by ninakeh

Photo credit: Robert Raths

Follow Hatis Noit on Instagram | Website

Hatis Noit’s Aura Reworks is out now

ILĀ on EP 'Murmur' with Imogen Heap, Guy Sigsworth, Reeps One and What’s Next

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Photo credit: Sophia Stefellé

ILĀ is an artist, producer, and vocalist working across voice, sound, and technology. Their practice spans live performance, immersive installation, and experimental composition. As co-founder and director of London Contemporary Voices, ILĀ has collaborated with over 25 Grammy-winning artists, including Florence + The Machine, Imogen Heap, and U2, and contributed to major projects such as the BBC Proms and runway shows for Burberry and Tommy Hilfiger.

Their recent work includes UN/BOUND, a holographic sound installation created with TRANS VOICES and MONOM for Feel the Sound at The Barbican. The piece combines choral voices with tone transfer models by NEUTONE and quantum computing tools developed with MOTH. ILĀ’s upcoming short film murmur features collaborations with Ai-Da (robot artist), Imogen Heap, Guy Sigsworth, BISHI, and Portrait XO.

ILĀ has performed and presented work internationally, including at the World Economic Forum, TED Countdown Summit, Silencio (Paris), Puzzle X (Barcelona), the University of Oxford, and Harvard University. Other commissions include Kindred (animated VR film), Loomaland’s Robot Swans, and a collaboration with Turner Prize-winner Jesse Darling on MISERERE.

They are a member of the Ivors Academy Future Sound Experience Council, the Earth/Percent Music Committee, a Redcliffe Advisory ambassador, and a research partner on AI and music at the University of Sheffield. In 2022, ILĀ co-founded TRANS VOICES, the UK’s first professional trans+ choir, which debuted with a music documentary for Guardian Films.

In this interview, ILĀ speaks about the making of murmur, working with artists like Imogen Heap and Guy Sigsworth, and recent projects that connect voice, technology, and live performance.

Your latest EP, murmur, features collaborations with groundbreaking artists like Imogen Heap, Guy Sigsworth, and Reeps One. What’s the through-line connecting all these voices, and what did you learn from working with them?

Murmur comes from a very deep and instinctual part of me - and is mostly all born from the voice in some way or another.

Of course, my identity as a brown trans person strongly informs my experience of life - and it’s lead to a lot of trauma - I think my early creativity was born from a very urgent need to give voice to that. I’m as interested in creating choral music with human singers, as I am in making electronic music or working with quantum.

For me, I find just as much beauty and possibility in both - I like go to the places I’m most scared of - because there’s usually some mystery there I want to tap into. I feel that intense curiosity in me is sparked around people like Imogen, Guy and Reeps One.

With the help of Portrait XO, I created hybrid voices of Imogen and I and Bishi and I. They are like a playful child - surprising, unpredictable. With Reeps One, there has been this exploration of permission - that the first idea is good enough.

But also finding a second self within these hybrid voices - that can almost act like a sparring partner - ever expanding what we can do. Guy would bring out this oxygenated side to my voice, putting together these phrases from what I would sing which I thought would be impossible for me to re-sing. Weirdly, I found myself able to - and went through these huge expansion of what was possible for me. 

Photo credit: Sophia Stefellé

You’ve spoken at Oxford University, collaborated with the European Space Agency, and composed with quantum computing. What’s the wildest or most unexpected place your music has taken you?

I’m going to be singing with Nightingales with Sam Lee and violinist and composer Anna Phoebe. I’m so curious about it - being in nature, singing - creating with these mysterious little birds in the woods. I’m hoping to create a piece of music from it for Earth/Percent - the music industry’s climate foundation -  who I’m on the music committee with. 

You’ve worked with some of the biggest names in music, from Björk’s collaborators to Grammy-winning artists. Looking back, what’s been the most defining moment of your career so far?

I think Murmur marks a really shift for me. Creating it with Imogen Heap, Guy Sigsworth, Bishi, Reeps One, Portrait XO, TRANS VOICES and Jake Miller just blew me open. I admire them all so much and have this deep bond of trust there. I feel I found this more instinctive part of my voice. A freedom. It’s also the first release that has my first steps into quantum computer music in it. This also said, in the spirit of quantum, I actually genuinely feel that the most defining things are always the smallest. The culmination of all the momentary interactions - a going this way rather than that way in a melody or a conversation - those things change everything. I love the chaos that brings to life. 

You’re constantly pushing into new territory—whether it’s AI music, DNA sequencing, or sonic storytelling. What’s next for you?

My next single Recurse comes out on 25th April. It has this playful rage in it - like a lightness but then it also felt so cathartic - like I could finally really embrace noise. I made it using quantum reservoir computing in partnership with MOTH. As part of it there will be an infinite quantum radio that will continuously stream an ever evolving of the piece that people can interact with. I got to do a performance of it at Havard a few weeks back. 

I’ve also co-created my first installation piece UN/BOUND with TRANS VOICES and MONOM which is part of theFeel The Soundexhibition at The Barbican. It’s a immersive holographic choral piece with electronics I’ve made using quantum. Audience members can also transform their voices into TRANS VOICES’ hybid voices using a tone morphing model by Neutone. The exhibition is going to be going on a 5 year world tour. The exhibition opens May 22.

  • Interview by @ninakeh

ILĀ on Instagram | Website

KARABA: The Juno-Nominated Producer Drops New Single ‘Siren’ and Announces Upcoming EP TIDES

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Photo Credit: Paulo Vivanco

KARABA is a French-Congolese DJ/producer and former professional dancer at the forefront of Afro house.

A professional dancer-turned-DJ and producer, she’s quickly established herself as one of the most exciting new names in Afro house. Now based in Los Angeles, her path has taken her from France to Canada to stages across Europe and Asia, blending her global influences with a sound grounded in her Congolese heritage.

With a combined following of over 1 million on TikTok and Instagram, KARABA is using her platform to spotlight rising Afro artists in her sets and bring more visibility to a scene she’s deeply invested in. Whether performing alongside Rampa of Keinemusik or sharing new music from her home studio, her focus remains the same: to create from a place of authenticity.

Earlier this year, she earned her first Juno Award nomination for Underground Dance Single of the Year with her breakout track Mad Mess.

Her latest release, SIREN, continues to build on that momentum—setting the tone for her upcoming EP “Tides”, which fuses Afro house rhythms with her background in dance and deep respect for the genre’s origins.

Your journey has taken you from being a professional dancer for Drake, Camila Cabello, and Selena Gomez to becoming a Juno-nominated DJ and producer. How did that transition happen, and what inspired you to step behind the decks?

I reached a point in my career where I felt like I had achieved what I set out to do as a dancer. Touring with A-list artists was my ultimate goal when I started dancing at seven years old, and I had accomplished that. But as a commercial dancer—mostly performing for other artists—I realized I couldn’t fully express myself the way I wanted to. I knew I had a bigger story to tell, and to do that, I had to step outside the dance world in a new way.

For many dancers, the next step is choreography or teaching, but I never felt like that was my path. I had always admired DJs, especially from going out to underground scenes in LA with my friends. So in 2016, I decided to take classes and learn how to DJ—and that’s really how it all started.

You’ve built a massive social following and use it to spotlight rising Afro acts. What advice would you give to DJs and producers looking to grow their audience while staying authentic?

Do what feels right to you. It’s easy to see what’s working for others and try to recreate it, but the key is finding what makes you unique and leaning into that. When I first started, I was just excited to share my art, so I never held back on who I was. I’m a high-energy DJ—I love to dance, smile, and let loose—and I want my audience to feel that with me. So I embraced that fully, and I think that’s what helped me build my audience. People connect with artists who are unapologetically themselves—at least, that’s how I connect with other artists—so that’s always been my approach. 

What’s the story behind your new single Siren?

My whole upcoming EP is about my relationship with water and how that translates into my everyday life. 2024 was a very chaotic year for me, and I kept having dreams about water while also watching a specific documentary about deep diving called The Deepest Breath. That inspired me to explore the different ways we navigate challenges, drawing a parallel between that and diving into the ocean.

With that in mind, Siren represents the moment when I’m deep in the water, where I’ve finally found calmness and am moving with the flow rather than against it. The bridge is my favorite part—it’s heavily inspired by my love for Daft Punk. I wanted to create something mystical, galactic, and yet somehow hopeful.

If you could go back and give one piece of advice to yourself at the start of your DJ/producer career, what would it be?

Don’t overthink, especially as a DJ. I’m an overthinker, and it sometimes kills my creativity, especially when I first started DJing. I’d spend so much time perfecting my sets, which is fine—dedicating time to your craft is important. But I’ve learned that at a certain point, you have to let go and just throw yourself into it. I often strive for perfection, but that doesn’t exist. Some of my best sets have been the ones where I just flow with the music, without overthinking.

Coming from dance, I’ve always tried to perfect things, but DJing has helped me slowly break free from that mindset. Now, when I step behind the decks, sometimes I have an idea of what I want to do, and other times, I just let myself freestyle. It’s so freeing. The same goes for producing—I don’t overthink it. In the studio, I just let myself flow and see where it takes me

What’s your best networking tip?

Don’t be afraid of rejection. Last year was tough for me—I felt like I wasn’t reaching the places I thought I should be. It forced me to sit down and rethink how I needed to move forward. So, I knew I had to get myself out there and start networking. One thing about me is I don’t handle rejection well, but I quickly reminded myself it’s just a part of the business.

You have to push past that and really put yourself out there anyway. I knocked on a lot of doors, and I told myself, ‘What’s the worst that could happen? A no.’ And then you move on. It’s all about staying persistent.

I’ve had times where networking led to immediate opportunities, and other times when it paid off months or even years later. You never know what a connection will bring, but you have to keep showing up and putting yourself out there. That’s my best networking tip—don’t let rejection stop you, and always keep going.

For young women and underrepresented artists trying to break into the electronic music scene, what’s one lesson you’ve learned that they should know?

Embrace solitude. I still struggle with seeing many women like me in the genre I’m part of, and I’d love to see more of us represented. But I’m also aware that there are women who’ve paved the way before me, and even though I might not see full equality during my time, I’m still a part of that movement. That thought keeps me going.

We don’t talk enough about how isolating it can feel, especially as a Black woman in the electronic music scene in this day and age. That’s a very real experience. But accepting it, while reminding yourself that you’re contributing to something bigger—that the next generation will thrive because you exist—that’s what it’s all about.

  • Interview by @ninakeh

KARABA's new single 'Siren' is out now along with the announcement of her upcoming TIDES EP. 

Instagram & TikTok | Website

Neva Demure’s "Antidote" Blends ALT Pop & Electronics with Confessional Songwriting

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Photo Credit: Gil Curujeira

Neva Demure is a genre-defying artist, songwriter, and multi-instrumentalist reshaping the sound of electronic and alternative music. Emerging from the New York club scene with her hyper-pop debut EP Shame to Vengeance, Neva first made waves through tongue-in-cheek, hyper-sexual lyricism and bold sonic experimentation.

Now based in Berlin, she enters a new chapter with the release of her debut album Antidote via Movement—one marked by emotional rawness, stripped-back instrumentation, and unfiltered storytelling.

Written and recorded in 2024, Antidote is Neva’s most personal work to date, delving into themes of mental health, love, identity, and her lived experience as a trans woman in today’s political climate. Her latest single, Unnatural, channels that intensity into a fierce blend of distorted guitars, ghostly electronics, and urgent vocals—offering a darker, heavier edge to her evolving sound.

What’s the story behind your debut album Antidote?

Each song is its own antidote. They are like different flavors meant to be taken for different problems, while you´re just trying to look for a one-size-fits-all solution. It's just that discontent with life that exists inside and you don't know why. Probably childhood trauma or something, you try all these easy antidotes instead of facing yourself. Drugs, sex, toxic relationships, spending money, career obsession. They just always come up empty. There's no solution to any of the songs, until the end of the album. Even then, maybe it's only a solution if you´re looking to find one. By that point maybe it doesn't even matter.

Was there a specific moment while making Antidote that felt like a breakthrough for you?

When I started I wasn't sure if I was going to be making an electronic album or not, I knew I wanted a bit of guitar on it but assumed I would still be programming drums and using a lot of synths, creating more of a modern pop album. It wasn´t until I wrote Trauma Curl and realised it needed real drums that the album started transforming into a type of electronic/live acoustic instrument hybrid. I feel like that moment set the sound for the rest of the album. It was way more interesting to have a live drummer than to program a bunch of breakbeats and complex rhythms. It feels more human as a result. 

If Antidote were a film, what kind of visuals would it evoke, and who would direct it?

Claustrophobia, female lead who is crying a lot and smoking cigarettes, directed by gaspar noe climax vibe, a girl that likes to party wink wink.

As an artist navigating both the electronic scene and the queer music space, what changes do you hope to see in the industry for trans and non-binary artists?

I think there's a lot of assumptions about trans people in music and also just the music trans and queer people make and consume. I think it could be a lot uglier. I want more doom in trans music.

I´m really into Ethel Cain right now, her lyrics in particular. They are twisted. I like happy, hyperpop type music too but I feel like we need more of a sonic spectrum; I want to hear about trans people talking about how fucked up their lives are rather than this “I´m coming out”/”I will survive” anthem narrative. Where's our trans Kurt Cobain or Courtney Love?

The world is fucked, BRAT summer is a psyop. It doesn't matter if you're trans or not. 

Berlin has a rich underground music culture. How has being part of this scene influenced your approach to music and performance?

I totally get the reason why, say David Bowie, changed his sound so drastically upon coming here. Even though the wall is gone, it still has a thick energy. I really enjoy living here, even though there's alot to dislike about it.

My friends and community are amazing, and people don't care about as much superficial stuff as they do in New York or Paris. Berlin´s history didn´t inspire me to make minimal synth music, but it did inspire me to say something true to myself. 

Photo Credit: Gil Curujeira

Do you ever feel like music allows you to say things you wouldn’t otherwise say in words?

Probably not, I´m a yapper. I love talking. I could talk all day.

I like that in my music I don’t have to worry about being annoying. I can be funny, dark, heartbreaking, slutty, or whatever.

I like the idea of making my friends or fans think without having to actually talk to them. I like the idea of me putting my ideas into their head while they're cooking pasta or taking a bath.

What's your favorite/least favorite thing about making music?

Favorite thing is creating a world.

I loved making this album because I got to create a world to escape into lyrically, sonically, and visually.

Least favorite is probably the branding element. It feels like taking this baby you made, this whole world you put your heart into, and watering it down into something that feels like an advertisement.

Necessary evil, I'm actually starting to like it more I´m just really bad at it. I´ll get better. 

What are you listening to at the moment?

LOL in preparation of the album release I've been listening to bossa nova music a lot. Like Girl from Ipanema, Stan Getz and João Gilberto style. It's driving my girlfriend crazy and she says it's elevator music but it has been calming me down. I've been listening to Coil alot as well. PJ Harvey and Björk are always mainstays. My friend Lexci reminded me of Pantera and I forgot how good they are.

Neva Demure on Instagram & Bandcamp

Tresor Berlin Resident Nadia Struiwigh Releases New EP ‘X1 Shift’ on Blueprint Records

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Nadia Struiwigh, the Berlin via Rotterdam-based DJ, live performer and producer, returns to James Ruskin’s Blueprint Records this April with her new EP X1 Shift. Known for her hybrid approach to techno and ambient electronics, Struiwigh continues to refine her sound through hardware-driven experimentation and improvisation.

Following previous releases on Blueprint (XTERNALIA, 2022), Dekmantel (Birds of Paradise, 2023), Nous’klaer Audio (Pax Aurora, 2021), and Central Processing Unit, X1 Shift marks a new chapter in her evolving discography. Technically centred around tools like the Korg Electribe, Yamaha DX200, NI Maschine+, Arturia Minifreak, and a selection of software plugins, the EP is both a personal and sonic statement.

In 2024, Struiwigh also launched her own label, Distorted Waves, focusing on hardware-based and experimental electronic music.

As a performer, she moves fluidly between ambient and peak-time techno, with live sets ranging from beatless soundscapes to high-energy improvisations. Her versatility has seen her perform at both concert venues and clubs, including her recent residency at Tresor in Berlin. She regularly features on respected platforms such as Resident Advisor, Red Light Radio, Bleep, and Phantasy.

Beyond the stage and studio, Struiwigh collaborates with leading music tech brands and offers coaching sessions and production courses, supporting emerging producers worldwide.

What’s the story behind your new EP X1 Shift?

This EP actually came together about two years ago, and I really feel music finds its own perfect moment to emerge into the world. I’ve worked with James Ruskin before—he’s such an inspiring human being, always radiating positivity and realness. That’s something I resonate with wholeheartedly.

Around that time, I was in the midst of a huge personal shift—redefining who I am, the company I keep, and the musical direction I wanted to explore. I’d lost my way for a bit, and on top of that, both of my parents fell quite ill. Everything in my life got shaken up. Yet amidst the chaos, my own vision and career began to blossom with a wonderful, supportive team around me.

I feel extremely grateful. This EP has a darker edge because I was releasing so much pent-up energy, but I still wanted it to be hypnotic—a reflection of this alternate reality I was living in.

You have a deep connection to hardware synths and live performance. What’s your go-to piece of gear, and why does it inspire you?

That’s so true! I’m a big nerd at heart. Growing up, I always felt I experienced and saw things differently. My dad worked in technology, which was super inspiring—I think it rubbed off on me because I connect so naturally with music equipment interfaces.

My go-to piece of gear is the Korg Electribe EMX. I never go on stage without it. If I do, I feel exposed and less confident. It’s an older unit (early 2000s), so I even carry a spare just in case.

Rather than it purely “inspiring” me, it’s like we speak the same language. It delivers the sounds and grooves I want to share with the world.

For those discovering your music for the first time, how would you describe your sound in just a few words?

I’d say it’s otherworldly. I often feel like I’m not entirely present on this planet, so I channel stories from both the past and the future. Sometimes it’s techno, IDM, ambient... whatever resonates at that moment. It does have a strong UK influence, funnily enough, even though I’m very Dutch. I love combining leads, trippy elements, and eclectic beats—but ambient music is my first love and the language that comes most naturally. Most of my albums carry that signature. 🌌

You’ve released music on Blueprint, Dekmantel, and Nous’klaer, and now run your own imprint. What advice would you give to artists trying to navigate the world of independent labels?

It’s been quite a ride, but a fulfilling one. Challenges are part of the journey and shape us into better artists. The music scene today can feel hectic and overwhelming compared to when I started out (around 16 years ago!).

My main tip is: keep pitching your music, but always have a plan B. A big, well-known label might sound amazing, but that doesn’t guarantee they’ll truly care for you or your art.

My best experience was releasing my first album with CPU—Chris was transparent, supportive, and set realistic expectations. That taught me the importance of working with people who align with your vision, because you’re entrusting them with something very personal and precious.

I started my own label because I felt there was a vibe missing—something reminiscent of that open, free 90s playground, where multiple genres can come together in a bigger story.

I also want to bring in different forms of art—painting, fashion, gaming—without the pressure of strict release schedules. My honest advice in today’s landscape: consider self-releasing if you can. Believe wholeheartedly in your art, and surround yourself with a team that believes in it just as much. That synergy counts for so much more than a fancy label name.

You work with leading music technology brands and offer coaching for producers. What’s the biggest mistake you see emerging artists make when trying to develop their sound?

It’s been such a humbling experience. I love sharing knowledge and seeing the amazement on new artists’ faces when they pick up something fresh.

Tech evolves so quickly, and I’m grateful to have a front-row seat so I can pass on insights. I don’t really like calling anything a mistake, because everything is a lesson. But if I had to point something out, I’d say a lot of emerging artists want instant results—things to blow up fast—without first grounding themselves in their identity and purpose.

That can lead to feeling lost later. Nowadays, it’s easy to focus on appearances, but I believe truly great artists shine from the inside. That’s what others see and value, be it fans, labels, or brands.

What’s your favorite/least favorite thing about making music?

I genuinely love the entire process—pouring my heart into it, dealing with frustration when something won’t click, discovering new workflows. It’s all part of birthing something that feels uniquely personal.

If I had to pick something annoying, it would be when tech issues randomly pop up—like loose cables or a synth that decides to go out of tune for no reason. But then again, technology is a lot like us humans: we all glitch out once in a while! 😅


  • Interview by @ninakeh

Ray Lozano: From DIY Artist to 62 Million Streams & Sophomore Album 'SILK&SORROW'

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Ray Lozano, the German-Filipino singer, songwriter, and producer from Cologne, has quickly established herself as one of the most compelling voices in indie R&B and future soul. Following her groundbreaking debut album Pairing Mode in 2023—which garnered over 62 million streams and secured Lozano prestigious recognitions such as the Holger Czukay Award and NICA artist residency—she continues to innovate and captivate listeners worldwide.

Lozano has now released her highly anticipated sophomore album, SILK&SORROW, via Melting Pot Music. Known for her meticulous production and boundary-pushing sound, the new record sees her diving deeper into the emotional complexities of modern love, vulnerability, and the delicate balance between connection and detachment.

Her latest single, 'CAN’T LOVE', co-produced with long-time collaborator Samon Kawamura, showcases a return to traditional R&B roots while maintaining her experimental edge. With critical support from influential platforms such as CLASH, COLORS, BBC 1Xtra, and a featured slot on Spotify’s EQUAL playlist, Lozano's music continues to resonate deeply.

In this Q&A, Ray Lozano opens up about the inspirations behind her emotionally charged new single, navigating vulnerability through music, and the powerful narrative woven throughout SILK&SORROW.

What’s the story behind your album SILK&SORROW?

The title says it all: "Silk" gives you warmth and comfort, while "Sorrow" hits you with an emotional gut punch you didn't see coming. It's a reminder that softness and pain aren't mutually exclusive—they're two sides of the same coin, constantly present in our daily lives, whether we're ready for them or not. 

You’ve had support from COLORS, BBC 1Xtra, and Brick Lane Jazz Festival—what’s been the biggest moment in your journey so far that made you feel, "This is really happening"? 

When I got the confirmation for the Brick Lane Jazz Festival, it felt like a dream. Playing live with my band is always special, but this festival—my first show abroad—feels like something truly meaningful.

How do you find the balance between making personal music and making it relatable to listeners?

It’s all about laying your truth bare in your music while making sure the feelings behind it hit a universal nerve—because at the end of the day, we’re all just looking for something that speaks to our own chaos.

Describe your music in 3 words. 

Melancholic, Reflective, Vibey

What’s your advice for artists who are just starting out with home production and want to make high-quality music? 

Home production is all about finding your vibe—focus on learning the basics, experiment freely, and let your creativity shape the sound.

What’s one underrated technique that helps artists make high-quality music in a DIY setup?

Layering sounds like a mad scientist—stacking different textures and frequencies can turn a basic track into something that feels way more polished, even if your setup is as DIY as it gets.

What is your top networking tip for connecting with the right people in the industry?

Forget the forced small talk—just be yourself. No need to over-perform. Listen, ask questions, and focus on real connections. The right people will vibe with your authenticity.

3 things you can’t live without in your bag. 

Glossier Generation G in Leo, EarPods, Lucky Coin

What are you listening to at the moment?

The Mighty Tiny & The Many Few

Keep Up with Ray Lozano

Instagram | TikTok

NYX: The Vocal-Electronic Collective Turning Choral Music Into Sonic Ritual

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NYX | Photo Credit: Joseph Lynn

After years spent weaving myth, ritual, and raw sonic experimentation into their live shows and collaborative projects, London-based vocal and electronic collective NYX are finally stepping into the spotlight with their self-titled debut album, NYX (out now) via their own imprint, NYX Collective Records.

Led by composer and music director Sian O’Gorman, the group has built a reputation for crafting intense, otherworldly performances that merge choral tradition with futuristic electronics. Now, that energy is bottled into ten shape-shifting tracks that roar, whisper, and howl with power.

The first single, “Daughters,” arrives as a bold initiation—an invitation to descend into grief, rage, and rebirth, and to meet the wildness that lives within us all.

We caught up with NYX to talk about the process behind the record, reclaiming the voice as ritual, and what it means to create from a place of collective vulnerability.

What was the creative spark behind your debut self-titled album, NYX?

This album is a culmination of our many years singing, performing and collaborating together, so to me the initial spark feels like the tenderness of connection and togetherness through the group - the memories of where these pieces originated and the different people who have shifted through the project as it’s blossomed and grown.
The music itself is incredibly colourful, psychedelic and cinematic ~ it's a big old journey of raw human emotion expressed through a range of voices. Voices painted and shapeshifted through shimmery and expansive electronics. 

What are the biggest challenges and freedoms that come with operating independently?

Challenges - finances, engagement, admin. When you release music yourselves, I’m often comparing our output to artists on established labels that have a lot more money, human resource and favourable algorithms behind them. But there is so much to be learned in the process of putting out music, and it's all about finding more free range super star experts & cheerleaders in the field to help - we’ve been incredibly lucky to have support from State51 (who we have a P&D deal with), Andrew Ellis (huge legend / supportive NYX pal), and Sugar Factory PR who help connect us to the people we wouldn't otherwise have access to.

Philippa Neels (Creative Director / Co-Founder of NYX) has also been nurturing a wide expanse of industry relationships since our early days, and that has been by far the most helpful and effective strategy in terms of getting our music out there to the people that really care and support us. The DIY spirit is the biggest freedom for us - there's something about being brave enough to attempt putting the music out yourselves that means that people around you are extra keen to get stuck in, help out and think outside the box with us.

Your music has been featured in films, video games, and now an upcoming BBC TV score. How does composing for visual media differ from creating for a live performance or an album?

I love working to a creative brief - particularly something visual. The first part of any collaborative process we take on is to develop sound “swatches” in response to the themes or direction of the project that's been passed to us. Whether it's responsive to live, music led, or visual media, this is a really important step as it helps to develop a sonic language between us and whoever we’re working with - a foundation of mutual understanding for the work to grow out from.


I think in some ways I prefer the limitations and boundaries of an external project (as long as they're relatively aligned with our musical and creative values) - there’s something about having a structure of a brief that opens up a sense of lightness & freedom to me. I can experiment with sounds and approaches to composition that I may not have otherwise considered.

I love the pressure of a deadline to keep me motivated & inspired, and I appreciate the clarity of a collaborative agreement - the collective understanding of what everyone’s role is and a structure to the feedback process.

I've really learned over the years that I find working that way much more grounding and connected than wide open ambiguous creative spaces, so I now apply that to all ways of working - and that applies to  albums and live shows as well. We give ourselves briefs, stories and deadlines to work towards. However, it's taken a really long time to be at peace with this preference within myself - I've got this voice at the back of my head saying I'm not a real artist if I prefer working within structures and deadlines, that it's somehow less authentic or creative. So I’ve had to go through a big process of accepting that this is just how I am, being grateful that I've found a way of working that flows, and that it's just different - not any better or any worse than anyone else's approach.

NYX | Photo Credit: Joseph Lynn

What is your top networking tip for connecting with the right people in music?

We have a lot of meetings with a lot of people, and I think it becomes very clear very early on in the conversations if the people we’re talking to have a genuine interest in our music and approach or not. You sometimes encounter industry experts who haven't really taken the time to get to know you or your work before they start to offer out wisdom or generic advice, and while I do think it's important to listen and assess whether that information is valuable from an open mind (because you can sometimes find a gems inside mansplanations, it is possible).

I don’t really want to work with someone unless we have a genuine interest in each other's work and there is a feeling of reciprocity and mutuality in what both sides can offer.

Like it's coming from a place of creativity and connection. I also think we really benefit by collaborating with a lot of people that come from artforms outside the music industry (theatre & visual art particularly). Diversity in the creative ecology has always proved beneficial for us. More than anything it has helped us forge different pathways to create work, which is becoming more and more essential in this day and age where the music industrial complex doesn't really appear to be effective for artists at most levels any more.

Tips for finding your creativity on a tough day

I don't have a single go-to for this - sometimes it's knowing when to take space, get out of the studio and into some trees. And sometimes it's actually pushing myself through the tough moments - not giving up even though I'm screaming in rage and crying at everything that's coming out.

For me it is a constant search for a balance between these two approaches - giving myself enough space vs dancing through the pain to that point beyond resistance. Both of these hold a lot of power to me. It's like stretching vs lifting weights - I want to develop my capacity for flexibility, peace and strength inside the multitude of pressure and magic of the work.

I have gone through years of pushing myself too hard and burning out, and then years of taking so much space where I’ve lost my sense of resilience. So now I'm on a daily mission to check in and find the balance. Sometimes it works, sometimes it doesn't.

What are you listening to at the moment?

Nicholas Snyder’s soundtrack to Scavengers Reign (eagerly awaiting the Common Side Effects OST 🤞), clipping., Ichiko Aoba, Lyra Pramuk, Antonina Nowacka, Harold Budd, Brighde Chaimbeul, Andy Aquarius, Daisy Rickman, Oklou, Clarissa Connelly & our Alicia Jane Turner’s new single Veil. 

  • Interview by @ninakeh

Connect with NYX: Website | Instagram

Fi McCluskey: Raising Awareness on Postnatal Depression

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Fi McCluskey is an emerging singer/songwriter from the UK, known for her honest and heartfelt music. Born in Dagenham to Irish immigrant parents, her songs reflect a raw authenticity that resonates deeply with listeners.

McCluskey has worked with big names in dance music such as Josh Caffe and Horse Meat Disco, on their track, ‘Love If You Need It’ (The Mousse T remix is now at 2.4M Spotify streams).

She also wrote the standout track, ‘It’s Quiet Now’, on Honey Dijon's latest album, which now has over 4M streams. Fi has been building her reputation with compelling live performances, recently supporting Warmduscher at the O2 Forum and headlining the Roundhouse in Camden with Horse Meat Disco.

McCluskey’s single "Die Young," released in September 2024, addresses the challenges of postnatal depression. Described by the Irish-British singer/songwriter as a mantra to reassure women they are not alone, the track also features a remix by Hannah Holland.

Die Young’ is accompanied by a music video, directed by David Hughes. In it, Fi sits naked rotating and covered in tattoo-style chalk body drawings of eyes and women, hands, feet, and profound words. This black-and-white scene cuts back and forth with beautiful shots of Fi out in nature next to the seas, throwing pages to the wind.

What’s the story behind "Die Young"?

I wanted to shine a light and draw attention to postnatal depression as it is one of the mental health issues that goes unnoticed in society.

We have a lot of dated ideologies around motherhood, parenthood. I like to call it the ‘Hallmark Film Effect’. People believe that as soon as you have a child, you're going to feel this overwhelming sense of love and it's going to be the happiest day of your life.

This actually isn't the case. All of a sudden, you've got this kid, and your whole life has changed. It's a mixed bag of emotions—your body's just gone through this massive change. You're feeling very vulnerable, and society can seem very, very indifferent. There is still a lot of outdated thinking surrounding women's health and motherhood and the subsequent pathologization of pregnancy.  Post natal depression is extremely common but still remains in the dark. 

With Die Young, what I wanted to do was share a message of empathy: look out for mothers and pregnant women. The fundamental message is solidarity and empathy. We've got your back. You're not alone. Having helped numerous friends through this anxious time, I found that the simple act of conversation—letting someone know you've got their back and they're not alone—can make all the difference. There is help out there but it is not accessible to all.

What’s your favorite way to unwind when you’re not making music?

If I'm not writing music I'm listening to it.  Don't get stuck listening to the same genre, dip your toe out of it's normal pool and get it wet somewhere else.

What’s your best advice to emerging artists?

My advice to emerging artists is simple: make the work. Don’t worry too much about what others are doing. Focus on your own path, and you’ll feel much happier and more fulfilled. Be authenticity and be true to yourself. When you start creating, stay grounded in your values. And a message to young women: support one another. Have each other's backs.

What’s your best networking tip to connect with the right people in the industry?

If you're riddled with social anxiety, don't drink. Start by talking to somebody you know; it's an easy way in, and then just go for it, you know. Always go for it, but always say 'Nice to see you,' never 'Nice to meet you,' just in case you’ve met them before. That’s happened to me way too many times, and people can get very touchy about it.

3 artists who inspire you.

Patti Smith—I think if she ran the world, we’d live in a very pleasant space, to say the least. Her poetry, her music, her ethos—she’s just incredible. I saw her live, and I’m pretty sure she has, like, channeling powers. If she told us to jump into a mountain, I definitely would.

Annie Lennox is another one. She’s been so vocal about what’s going on in Palestine. She’s posting nearly every single day, calling out genocide, which I think is so admirable. Meanwhile, so many big names have been completely silent, which is completely messed up, in my opinion.

Thirdly, I’d like to draw everybody’s attention to an amazing artist called Penny Slinger. In her own words, she calls herself a feminist surrealist. Her work spans sculpture and collage, and she is a real trailblazer. I recently saw an amazing documentary about her—it talks about how she sort of disappeared. So do check her out!

Three things that I cannot live without.

My headphones, red lipstick and a small handbag wine.

Connect with Fi on Instagram | More Links

Chaos Is Her Name: BINA’s Cinematic Soul and Creative Journey

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Photo Credit: Erea Ferreiro

BINA first emerged in 2019 with debut EP Humble Abode; the project’s experimental production and strong artistic direction marking BINA. as a fresh and unorthodox voice in the soul music space.

Taking inspiration from the likes of Tame Impala, Solange and BADBADNOTGOOD, BINA has continued to forge her own creative path, releasing the This Is Not A Film EP in 2021. Since then, she has continued building her catalogue, releasing singles throughout 2022 and 2023, as she matured as a songwriter, vocalist and musician.

As an artist who understands the power of community and collaboration, BINA has worked with a number of contemporary talents including Lex Amor and Intalekt.

On project ‘Chaos Is Her Name’ BINA collaborated with Subculture, Jaye Locke and Teo on production, and then features and performances from Essence Martins, Leonie Biney 9DAYS and Tora-ithe EP invites listeners on a captivating journey, highlighting BINA’s multifaceted character and artistic vision.

Throughout the EP, BINA. embraces her journey of self-discovery, exploring themes such as anxiety, imposter syndrome, and the complexities of love. “This project establishes my position as an artist in the Indie/Alternative scene, fully introducing my 'Indie-Soul' sound to the world,” she shares. “On an emotional level, it’s a project in which I reintroduce myself to myself—the woman I’ve become over the past few years since the last project and the meandering journey it’s taken to get here.”

This release marks a significant step forward in her career, receiving critical acclaim for its innovative sound and emotive storytelling.

If you had to choose 1 song from Chaos Is Her Name to play forever, what would it be?

Ahhh, that’s difficult!! If I had to choose, it would be Bossy - I think the beat and the hook melodies are so infectious; there are so many different types moments in my vocals and I love how I was able to sneak some pretty heavy subject matter into a pretty lighthearted, kinda whimsical writing style. Also gets straight to it with what I wanted it to do: make you move, feel good and escape into a flood of sound so visual that you can almost write the movie scene that could go with this song!

You have worked with Subculture on this EP—what’s the most important thing for you when collaborating with someone?

Yes, big up Subculture - and the other two producers on the project, Jaye Locke and Teo! When I’m collaborating with people, it’s important that we understand each other both artistically and personally. It’s important that both our ways of creating a come together harmoniously, that we trust each other enough to experiment and also bring the best out of each other. The clues to whether or not that will happen are in the small things: how we talk to each other and what about; what happens before the session even starts. In the case of all the producers I worked with on this project, we chatted quite a lot about different things, not even related to music.

In my sessions with Subculture, we almost always listened to an entire album on vinyl, before I even opened my notebook, before he even turned to the desk! We also allowed ourselves to take more time in session; wrap early if we reached saturation point or were experiencing challenging emotions or life event.

We let the emotions guide us in all the sessions. And Sub and I had so many sessions from autumn 2023 to summer 2024; I think his commitment to bringing my vision to life and building parts of my sonic world with me also really helped us make such great music; me and all the producers I worked with really cared about the project.

Describe your music in 3 words.

Alternative, intoxicating, cinematic.

Tips for finding your creativity on a tough day.

Step away from the art for a second and look after yourself. Or on the other end of the spectrum, lean into what’s making the day difficult; sometimes making art on those days can be the most cathartic, therapeutic thing you can do. But whichever option you choose has to be most in favour of what you the artist needs most to feel better.

An album that's changed your life.

Wheww, there are many! But I would say “Choose Your Weapon” by Hiatus Kaiyote really built the foundations for my current music taste when a friend of mine put me on to it in the context of heavily sampled albums (Kendrick, Drake and Anderson .Paak have all sampled songs from this album). The same friend also put me onto “Malibu” by Anderson .Paak, which is up there with some of the world’s most perfect albums for me. Also any album I have on vinyl has probably changed my life at some point along the way.

What’s your best networking tip to connect with the right people in the industry?

Everybody you meet is a human before the job title, vocation they hold, or “thing they do”. Speak to and treat them as such; show love when you come across work you love - show it freely and without ego. And try to keep an open, curious mind when connecting to people whose work/art is new to you. That’s how the connections become genuine and not just transactional for me.

Photo Credit: Erea Ferreiro

What's your favorite/least favorite thing about making music?

Favourite thing is always feeling lighter for having healed yet another part of myself; a part that I often don’t know needs healing until I make the song and channel the feelings, thoughts and experiences into the lyrics and music making. Allowing myself to be playful in the music making; I love that.

My least favourite part is fighting between my desire to remain artistically present in my marketing, and getting the point across in the quickest, most efficient way that still shows I care about what I’m putting out there. It’s hard sometimes, I won’t lie.

Also sometimes I don’t feel like trying hard to be get myself more out there, but I still do because I know it’s a privilege and I’m grateful to have autonomy over my success in many ways; I don’t have to wait for someone to push the “GO” button on my career because I can do if I really want to and feel ready to. I take breaks to recharge and come back at it. But yeah, the crossover between the art and the career-building can be exhausting sometimes.

What are you listening to at the moment?

Doechii’s new tape “Alligator Bite Never Heal”. “Forward Ever” by Lex Amor. I’ve also been going back in time too: “In Rainbows” and “Everything In Its Right Place” from “Kid-A” by Radiohead have had me hooked for a little while now; and recently came back to “One-4-Teen” by Bahamadia and Slum Village. Lots of Saya Gray and Sampha, and I also live off recommendations from friends and close ones! So many songs, so many albums - too much heat to list it everything here, lol.

3 things you can’t live without in your bag

Lipgloss, headphones and something to write or doodle on!!

Connect with BINA on Instagram |

ROZET Releases 'EAT' via TOKiMONSTA’s Young Art Records

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ROZET is a Nigerian/Italian queer singer, rapper, visual artist, and producer signed to Tokimonsta’s Young Art Records, making music that blends electronic sounds with R&B and vibrant, playful rap.

ROZET’s journey coming from a musical background (both parents were musicians) led them to begin performing at the age of 16, growing up as a competitive dancer specializing in voguing & popping rooted in the history of the houses of NY that allowed for the LGBTQ+ community express themselves.

More recently, ROZET has collaborated producers Jesse Boykins III and Machinedrum on ‘Thinking A Lot’ released via Ninjatune. Earlier this year they showcased some of the new music performing alongside Tokimonsta at Austin’s The Concourse Project. ROZET’s new single ‘EAT’ is out now.

How has your background in ballroom, voguing and dance shaped your approach to music and performance?

I've had a pretty strong connection to my Drag King/Butch Queen persona. Since I was pretty young, I started to perform at drag shows to earn extra cash. I realized how crucial the community was for my freedom of expression. They really supported me when I was up and coming as an artist and releasing music. So I feel like the dance community is really what contribute to my confidence and really instills that kind of stoic nature throughout all my art mediums, in a sense.

What’s your best networking tip to connect with the right people in the industry?

Study multiple topics and be well versed. Have your website,portfolio, and assets organized and updated so you can feel grounded in yourself self and present in conversations to sense healthy interactions and not be thinking about everything you have to do. I could answer this question for an hour so I’ll stop there lol. 

What do you hope listeners will take away from your single "EAT"?

I hope when people listen to "EAT" they imagine themselves wearing leather boots and stomping out any doubts they may have while taking up as much space as they need to express themselves authentically. Send that email, request that salary you deserve, and build out your dream life.

What are you listening to at the moment?

I’ve been listening to experimental instrumentals and sci-fi movie soundtracks while I study.

What's your favorite way to unwind while you're not making music?

Put on the fuzziest clothing I have. Eat dark cherries, chocolate and jalapeno chips and watch as sci-fi movie.

An album that changed your life.

It’s hard to name one so I’ll name all the ones that come to mind!

  • Any album from Missy Elliott & Timbaland from 1997-2006

  • KIWANUKA by Michael Kiwanuka Sound & Color by  Alabama Shakes

  • How Big How Blue How Beautiful by Florence & The Machine

  • No Shape by Perfume Genius

  • Metropolis by Janelle Monae

  • All n All by Earth Wind & Fire

3 things you can’t live without in your bag

Headphones, my laptop and lip moisturizer. 

Lusanda's TikTok Success with Cover Songs Earned her a Debut Single

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Photo Credit: Max Alcabes

Lusanda Ngcobo’s path to music wasn’t straightforward. Raised in Johannesburg, she spent much of her early life immersed in dance, marimbas, and choir singing. It wasn’t until she posted a cover of Outkast’s “Hey Ya” on TikTok that her voice took center stage, quickly gaining attention.

Collaborating with artists like Manana and Uncle Waffles, Lusanda honed her craft throughout 2023, shaping her sound into a unique mix of R&B, pop, and the jazz that influenced her upbringing. Her debut single, “When You’re Around,” produced by noxz, is a reflection of that evolution—blending dreamy R&B with soft percussion and warm synths. Lusanda’s airy vocals weave through lyrics about desire, insecurity, and longing, creating a track that is both emotionally rich and sonically fresh.

Now that “When You’re Around” is out, Lusanda is ready to fully step into her role as an artist.

Can you tell us the story behind your debut single, "When You’re Around"? What inspired the lyrics and mood of the track?

My debut single When You’re Around is beyond special to me, it came at a time when I really needed to get something off my chest. The song is about losing the essence of who you are in the name of getting to know someone and holding their attention - painfully universal feeling. I think it’s quite a relatable experience. After I found the beat scrolling one day, in my room on TikTok, I couldn’t get it out of my head. The beat is extremely hypnotic, and I loved that I could let the vocals reflect that smooth and sultry feeling while the lyrics are somber and kind of heartbreaking. So I wrote on and posted it on my TikTok and the producer of the song, noxz, asked if we should make it an official song, and of course I agreed! We worked on the songs back and forth on multiple calls from my home in South Africa and his home in the United Kingdom. 

You’ve mentioned that music was always in the background, but dance was your first love. How has your classical dance training influenced the way you approach music and performance?

Dance and music work perfectly together. They influence one another, so I pretty much approach music the way I approach dance. I learn the techniques and then I let my creativity and feelings flow. Classical dance training requires discipline and musicality and strength. You have to put in so much work to make a performance seem effortless. I take those lessons into my performances. The only thing I would say I try to break free from in music is creative rules. Classical alley has a lot of rules, which, generally, must be respected. Music requires expression and a break of a rule is sometimes just the thing you need to do to express yourself through a song or a performance. 

Your TikTok covers, especially the "Hey Ya" rendition, really blew up. How do you think social media platforms like TikTok have shaped your journey as an artist so far?

Social media platforms like TikTok have helped me reach so many eyes and ears across my country and continent, but also across the world. It actually blows my mind. I’ve always dreamed of having an audience to showcase my creative works, but seeing it in real time on TikTok, Instagram and YouTube has been crazy. It’s helped me with my confidence, and comfortability, as an artist in knowing that what I do is well received by many ears & hearts. 

If you had to describe your music using three words, what would they be?

Healing, Soulful, Soothing. 

What’s your best networking tip?

Take a deep breath, and enjoy who you are. Authenticity reflects easily when you’re comfortable within your skin. If you’re awkward and shy, so be it! Just take a leap and the right words will find you. Don’t forget to breathe! 

What's your favorite thing about making music? 

My favorite thing about making music is that it can be made from any place, and at any time! It is extremely liberating and enjoyable to have an outlet to express what words alone cannot do. 

Photo Credit: Max Alcabes

What’s your favorite way to unwind when you’re not making music?

A long, warm bath. I love it so much. I’m talking a 3 hour bath with all the bath bombs & salts, good music, candles; the whole shebang. It’s also when I get my really great creative ideas, so I do sometimes keep my phone at an arm's length to make a quick voice recording. 

What are you listening to at the moment?

Right now, I’m into a lot of South African jazz. Dare I say it’s one of the best jazz sounds in the world!

Follow Lusanda on Instagram, TikTok, YouTube

Stream When you’re Around

Friedberg's Hardcore Workout Queen

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Friedberg - Photo Credit: Lewis Vorn

Friedberg is an all-female four-piece bringing a hypnotic mix of dance-punk, indie, and guitar pop to every show.

They’ve been gaining momentum and even caught the eye of AnnenMayKantereit, who invited them to support their German stadium tour last summer. Recently, Friedberg wrapped up a U.S. tour with Giant Rooks after a strong showing at SXSW.

In May, they played the Jazz Café in London, opening for Big Special, and later that summer, they joined Placebo on their UK tour. This added to an impressive list of shows, which includes past tours with Hot Chip in both the UK - the band played a headline show at London’s iconic 100 Club on November 4 - and the U.S.

Their latest singles, released through Clouds Hill, are gaining attention and airplay on BBC 6 Music, Radio 1, and Radio X. Their upcoming album ‘Hardcore Workout Queen’ produced by Oli Bayston, is set to be released on November 8.

In this Q&A, the singer-songwriter and frontwoman for Friedberg Anna Wappel speaks about their album Hardcore Workout Queen, their creative process, and what’s next.

Your album Hardcore Workout Queen has such an intriguing title, what’s the story behind it?

Hardcore Workout Queen is a song on the album that I wrote in a really lazy mood, when I woke up one morning and everyone was running past my house for the third time while I was busy making my third breakfast. I was cheering for all the hardcore workout Queens, but I just couldn't participate. It's kind of a funny look on the whole self optimization obsession, but also in a loving way. It's a song for everyone, no matter if you're on the gym or if you're late in the sofa at home.

If you had to choose one song from your album to introduce people to your music, which one would it be and why?

I think maybe ‘Hardcore Workout Queen’ because I like the lyrics and the drive it has got, but as I can never ever decide, I would also like everyone to listen to 100Times too, because it is such a vibe

How has touring with bands like Placebo and Hot Chip been?

Both were super fun. The U.S. tour with Hot Chip was truly unforgettable! I think a few more dance beats snuck into our album after touring with them. And I’ve also worked in the studio on some new tunes with them which was amazing. The downside: I’ve realised that being a support band on tour is insanely fun, but also ridiculously expensive. I really wish there were more grants for touring musicians.

You’ve built a lot of momentum since forming in 2019. What advice would you give to new artists trying to grow and find their place in the music industry?

Trusting your gut. Trusting your gut. Trusting your gut. Learn to delegate, so you’ll get more time to actually do music. (That’s mainly an advice for myself haha)

What’s your best networking tip? 

Be curious to meet people. Don’t be scared to ask a lot of questions.

What's your favorite/least favorite thing about making music?  

The moment when you go to a studio with someone - with a producer, a friend or a bandmate - and you just go in there with nothing, completely blank, and you start to have a jam, and then write or make something up in the moment. It's super scary, but I like the thrill of it and I like to go home in the evening with something we’ve created. That’s my favorite thing.

My least favorite thing is finishing stuff. I find it really hard to make decisions, and the feeling of committing to a final thing, “this is it now, you can't do any more changes”… I love to have all the options, but then I also can't make decisions. So, I find finishing stuff really hard.

Friedberg - Photo Credit: Lewis Vorn

What’s your favorite way to unwind when you’re not making music?

Playing football. I started a football team in Hackney Wick, and we play once a week. It’s the only time I can truly switch off my brain—just chasing that stupid ball around!

If you had to describe your music using three words, what would they be?

Pop, dance, punk

What are you listening to at the moment?

Just discovered Joshua Idehen’s track “Mum Does the Washing“, when I was a guest at 6music’s Roundtable the other day. The lyrics are incredible and you’ve got to hear it. The music video is pretty amazing too.

Red Bull Records' Morgan on Her Newest Project 'Emotional Gangster'

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Morgan is one of the UK’s most exciting rising stars in Pop and R&B, with over 80 million combined streams, a dedicated online following, and a new label home at Red Bull Records. Her forthcoming project, titled Emotional Gangster, features a collaboration with dancehall heavyweight Byron Messia.

Morgan's journey started young—she began performing at just three years old, and by 18, she was touring the world as a vocalist for Rudimental. Her solo career took off with the release of ‘My Year,’ a sparkling pop debut, followed by the hit collaboration ‘Mulholland Drive’ with Ebenezer, which earned over 10 million streams. Her subsequent EP Alien was packed with golden-era pop influences and featured collaborations with Anne-Marie, Cadenza, Dyo, Preditah, and Rudimental.

At 17, she wrote ‘ADCT,’ which later climbed to the top of both TikTok Trending Sounds and the UK Top 50, racking up over 25 million streams. Morgan has also co-written and featured on major tracks like Rudimental & Digga D’s ‘Be the One’ and Sigma’s ‘Adrenaline Rush,’ which sampled Bittersweet Symphony. Recently, she’s expanded her reach by writing for top K-pop artists like NCT’s Jaehyun and will feature on Purple Disco Machine’s upcoming album PARADISE later this year.

Now, with two sold-out London headline shows under her belt and her first UK headline tour set to kick off at the end of the year, Morgan is one of the most emerging talents in the scene. Her latest single, ‘Wheel Up,’ a collaboration with Jamaican superstar Byron Messia, dropped on 25th September via her upcoming sophomore EP Emotional Gangster, out on 25th October.

In this Q&A, Morgan opens up about her new single “Wheel Up”, working with Byron Messia, and what fans can expect from her highly anticipated EP.

Your new EP Emotional Gangster is dropping soon. What is the story/inspiration behind it?

I'm so excited for this EP to drop - it's been a minute since I dropped my own music. The story behind it is pretty simple. Firstly, a lot of people, especially my friends, think that I am this super tough person - I have an extremely tough exterior (it might be the Aries in me - I have a lot of fire). However, I am hugely emotional and sensitive at heart. Secondly, I wanted to create a project that incorporates both sides of my personality whilst also highlighting the versatility in my sound and songwriting. I absolutely hate being put in a box.

“Wheel Up” feels like an homage to Jamaican sound system culture, but also taps into the UK rave scene. How do these two worlds connect for you, and where do you fit in?

I'm half Jamaican and  half British so the connection is plain and simple. I'm a proud product of dual heritage and you can hear those influences in my music. 

What is your top networking tip for connecting with the right people in music e.g. a manager or a record label?

Never rush into a working relationship. Take your time sussing people out and ensuring they have the best possible intentions. I built a relationship with my manager for at least a year before entering a business relationship with her. 

Tips for finding your creativity on a tough day

A producer once told me to keep on creating even when I feel creatively blocked as it helps you get all the s*** out - that stuck with me. I try to keep writing even if I'm not feeling inspired. Even if a session isn't how I have wanted it to go, I've still learnt something that day. 

What advice would you give to artists that are just starting out?

Perseverance and shamelessness are key! 

3 things you can't live without in your bag

You will never see me without a lip gloss or lip liner - it's my makeup staple. I always need my phone - especially when I am in sessions, my notes section is literally where you will find all my song ideas and lyrics. Lastly, my car keys - I literally drive everywhere and always seem to be in my car (it's become a running joke with my team... even every zoom meeting involves me in or next to my car).

Morgan will go on a tour this November, headlining five shows across the UK, including a date at London’s iconic Jazz Cafe. The dates are as follows and tickets are available HERE:

November 25: Glasgow @ The Poetry Club

November 26: Manchester @ YES

November 28: London @ Jazz Café

November 30: Birmingham @ The Sunflower Lounge

December 1: Bristol @ The Louisiana

Up Next: Kito

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Australian-born, LA-based producer, DJ, and songwriter Kito has steadily ascended in electronic, indie, and pop genres for over a decade.

Her notable collaborations include working with Skrillex and Aluna on 'Inhale Exhale' from Skrillex's Grammy-nominated album, QUEST FOR FIRE (Best Dance/Electronic Album) and a Grimes endorsed official release of 'Gold Touch,' marking Kito's first AI-generated vocal track.

Kito’s first official release came through Skream’s label Disfigured Dubs, with future releases on Mad Decent, Ed Banger, and Astralwerks.

Producing for a range of artists including Banks, Jeremih, ZHU, Channel Tres, Hudson Mohawke, Jorja Smith, and Fletcher, whom she received a Gold Record for her work on ‘Bitter’, Kito’s work has also landed her performances for Luxury brands like Gucci and Fendi. 

In 2024, Kito is returning to Mad Decent for upcoming solo releases and collaborations set for spring and summer, reflecting her London club scene upbringing.

"COLD TOUCH" released in 2023 featured A.I.-generated vocals from Grimes. What excites you about the intersection of AI and artistic expression?

The thing that excites me the most is the possibilities of cutting out tedious parts of the creative process. I’m not so excited about using AI to come with ideas - more about leveraging it as a tool to help me see my ideas through. 

As an artist who has worked across various labels, what insights can you share about getting in touch with record labels?

I’m not entirely sure if I have any secret tips here! I think labels are less and less important for artists starting out. For me, I had my heart set on a few labels to begin with and sent demos through social media. In my opinion, the best way to get a labels attention is to create a world with your music and audience yourself. 

Share a memorable behind-the-scenes moment while working on a collaborative project

I have so many! Doing a writing camp at Shangri La was pretty memorable. Just knowing so many amazing albums were made in the space we were working felt special. 

3 women who inspire you

My mum and my sisters.

Tips for finding your creativity on a tough day

Get outside and move your body! Or tap in a friend to share the burden of breaking through a block on your own. 

Your top advice for young people wanting to become music producers/singer-songwriters etc.

Have fun, and perhaps don’t quit your day job until you have to? I know that once I had to make money from music, it did limit my creativity for a little bit but once I found financial stability it opened up my creativity again as I felt less afraid to take risks. 

What's your favorite and least favorite thing about making music?

Favourite thing is the buzz you get when you make something you love with people you love, and least favourite thing is the self doubt. 

3 things you can't live without in your bag

paw paw ointment because I’m Australian, orange blossom perfume, a little chocolate treat 

An artist or album that's changed your life

Burial changed my life. I may not have started making music if it wasn’t for Burial.

Describe your morning routine

I love to get outside and get a coffee! 

Kito will be debuting her new project IS U IS U with Chrome Sparks with their first single 'All I Need' out on March 27th via Mad Decent.

Connect with Kito

Artist Spotlight: Crystal Murray

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Crystal Murray, Photo by Ottilie Landmark

Parisian musician Crystal Murray has achieved notable success in her music career. She founded her own label, Spin Desire, providing a platform for up-and-coming artists. Additionally, she kickstarted a residency and club night at the renowned Paris venue, Silencio, and has appeared in campaigns for Vogue, Dazed, Paco Rabanne, and Diesel.

But with teenage years intertwined with the industry, Crystal felt stifled. “I got pushed in the ‘neo soul’ direction,” she says. “I was contending with this cliche of the ‘neo-soul woman’ – she's a Black girl with an afro. loved it, but it scared me too. At 16, I was trying to fit a box that wasn't mine – I wanted to rock shit out too.”

Emerging as a mercurial star with the 2020 EP "I Was Wrong," she expanded neo-soul boundaries with mature lyricism. Her 2021 hit "BOSS" and the 2022 EP "Twisted Bases" showcase her evolution in themes of messy relationships and vulnerability.

Crystal declared her revenge in the fierce song "PAYBACK," a preview of her debut album, Sad Lovers And Giants. At 22, Crystal rejects expectations, emphasizing a move towards authenticity in her music, described as tragic, theatrical, and cinematic.

Accompanying the album announcement is a visually stunning Charlotte Wales-directed music video for the new single "STARMANIAK" (out now), described as an anthem for those who feel walked over. Crystal is also set to host a special night at Beaubeaus, London in association with shesaid.so.

As Crystal embarks on this new phase of her career, the album promises to be a transformative experience, weaving together her lived experiences and offering a powerful narrative of emotional strength and release.

Your latest single, "STARMANIAK," addresses the challenges women face in today's society. Can you share more about the inspiration behind this song?

I wanted to highlights the struggles and challenges that many women face in today's society, particularly the pervasive issue of being over-sexualized, disrespected, and mistreated. My acknowledgment of the toxicity that some individuals, can perpetuate is important. Im talking about my own experiences but also shedding light on broader societal issues that need to be addressed.

What was it like collaborating with Charlotte Wales on the music video?

It was amazing, the idea of doing something bizarre came from Stephy Galvani my artistic director and myself. The song came from somewhere so pure and real that I didn’t want to make a visual just to look good, we wanted something that makes you uncomfortable and makes you re-watch the video to understand where it comes from. We pitched the idea to Charlotte and she brought it to a whole other level, that was visual, smart and slick.

Was there a memorable moment during the creation of your debut album, SAD LOVERS & GIANTS?

The whole making of the album was a moment really, when I’m focusing on something I enter this tunnel in my head and can’t get out. It was a lot of soul searching, rage turned to maturity, answers. It was a whole awakening for me. I think something really changed when Kyu Steed came in, I had worked for a little year already but it really helped me find the right direction for it.

What's your top networking tip to connect with a record label?

Mmmm, I think really try to understand if they understand your work and your vision. Ask yourself if you’re ready or if you need a little more time without a label. Cause once you have a whole team, to have the result you need, you need to know exactly where you want to go.

What's your favourite/least favourite thing about making music?

My favourite thing is going on stage, I love the connection I get to have with the public and my musicians and that’s where I really find answers, it’s like therapy for me. And I know exactly why Im making music, I love it.

My least favourite thing is promoting my work. I find it sometimes hard to explain 2 years of work through few questions - and answers, it can get a bit frustrating. Sometimes it feels a bit meaningless. When you try to make it as clear as possible in your music and visuals and give 100% of your emotions in it. But It’s a part of the game, I guess.

How do you overcome creative blocks?

By surrounding myself with the right minds, I believe if you federate yourself around beautifully artistic people, your creative mind will always flow. Being in an environment where people appreciate and engage in artistic expression can help stimulate your imagination and encourage innovative thinking. I always try to surround myself with people or circles where I feel energized and inspired by the creativity around me.

Tips for musicians/songwriters who are just starting in the industry?

Follow your guts, and surround yourself with the right people who understand where you want to go. And really have fun with your music, we do this for art, for emotions, for feelings. If you’re doing it for something else just don’t do it.

3 women that influenced your music

ESG, this group of women that really made me get out of my comfort zone, on stage I always had this punk rock energy and could never find it in the studio. ESG made me get this part out of me.

Ouri riou is an artist, musician, and producer that worked on my album. I really love her because I would start some songs and she would finish them with such warmth, we would finish with some really crazy pop/ rock songs but with so much air and light.

And Macy Gray will always be my one and only (since I was a little girl).

3 things you can't live without in your bag

My vogues, my block note, my swords ( I have these little silver swords, they’re very tiny) they’re my lucky charms. Everything is little cause I like little bags lol.

STARMANIAK Out Now

PRE-ORDER THE ALBUM “SAD LOVERS AND GIANTS”,

OUT MAY 31st

CRYSTAL MURRAY & SHESAID.SO 

Presents STARMANIAK RELEASE PARTY

In conversation with Charlotte Wales 

Plus live performances (Crystal Murray) & DJ sets (Emma Korantema, Broodooramses)

BeauBeaus 4 - 6 Gravel Lane, E1 7AW

The event is free but guests must RSVP via this link.

Panel discussion will start at 6:30 pm sharp so make sure you are there to grab your seat.

Up Next: ANANYA

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Ananya’s Photo by Sophia French

Ananya, the Zimbabwean-born rising singer/songwriter based in London, is a multi-talented artist excelling in music. Her latest single, "Macy Gray," pays homage to the legendary artist and is part of her debut EP, "I Woke Up One Night." With over half a million streams, the EP features hit tracks like "Bad for You" and "Gone (Forever)," showcasing Ananya's emotive vocals and reflective songwriting.

Beyond music, Ananya co-founded The Nani Wellness Project to raise awareness about mental health issues in Zimbabwe. This showcases Ananya as a notable presence in the global music scene, combining her musical talent with a commitment to creative expression and mental health advocacy.

If you had to pick one song from your new EP to introduce someone to your music, which one would it be and why?

I think it’d have to be ‘macy gray’. I’m often back and forth when it comes to my favorite song from ‘i woke up one night’, but I tend to lean towards the more vulnerable, melancholic tracks. I think that ‘macy gray’ really encompasses a common feeling and tackles the concept that although tough, remembering the truth, rather than only the good, is vital in moving on. 

What's the weirdest inspiration you've drawn for a song?

Throughout this EP, being inspired by my dreams was a new point. It’s something that hadn’t ever happened to me, but I welcomed it with open arms when it came. It started with ‘bad for you’ when I woke up from a nightmare; I dreamed about disloyalty, which turned out to be very much true. It’s my weirdest inspiration - I still have a hard time explaining to people that I discovered the truth from a dream.

What advice would you give to young people wanting to become music producers/singer-songwriters etc

I’m still figuring this out but I try to create what feels most authentic to me, and work that I’m excited and passionate about.

Name one artist or genre that has influenced you/your music

I’m a massive Swiftie.. Taylor Swift has influenced both me and my music. She not only taught me songwriting but also the importance of filling songs with wit and power. Her role as a woman in music is inspiring, and I admire her full dedication to everything she pursues.

How do you overcome creative blocks? 

I’m still learning about overcoming creative blocks, but something that has been working for me lately is journaling and meditation. I have this superstition that if I stop focusing on overcoming my creative block, inspiration comes to me. 

What's one thing you hope your fans take away from listening to your debut EP?

I hope that anyone listening feels that they have something to relate to, and something to act as a companion to in life’s very real scenarios.

Connect with Ananya

Instagram & YouTube

Artist Spotlight: Merry Lamb Lamb

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Hong Kong-born, London-based musician Merry Lamb Lamb has crafted a distinctive and vibrant artistic identity. Her trilingual music weaves together English, Cantonese, and Mandarin, each language revealing a different facet of her personality.

Growing up in Hong Kong and later moving to Toronto, Merry Lamb Lamb faced the challenges of being one of the few East Asian students. Encouraged by her now-creative director, Lung, Merry taught herself Ableton and began her musical journey.

Genesis, her 2022 debut album, explored eclectic '80s pop and thumping house, while its follow-up, Exodus, took a bolder, more club-oriented direction. Beyond her musical talent, Merry Lamb Lamb's visual arts background attracted collaborations with Gucci, Moschino, Chanel, and Acne Studios.

Merry Lamb Lamb joined forces with Miso Extra, and aimei 媚 to create their electronic pop gem, 'Better' - a track expressing resilience after heartbreak, which carries a message of optimism for the future.

The project emerged from a 3-day writing camp organized by Platoon’s 'She Runs The Board,' shesaid.so, and ESEA Music. The project highlights the East and South East Asian music community's female producers, songwriters, and engineers, aiming to elevate and increase visibility for women in the industry.

What's your new song “Better” with Miso Extra & aimei 媚 about and what do you hope listeners take from it?

The song is about a failed relationship that you once spend and you thought that they are going to be the love of your life. You started to get very deep into them and they have been very manipulative and toxic. The worst part is that you feel like you're starting to lose yourself. So you want to get out of this relationship, and to be better without them basically.

I think the song is so special to me, because sometimes life is not about love. There are friends and family that will always be rooting for you, they will always support you. The song “Better” is just not solely dealing with this person, just that. It’s to realise that you have a fragile side of yourself, and you're capable to face your past and to learn from the lessons you have, and to be strong and independent and to be better without them. I think this is “Better” for me.

Name one artist that has influenced you and your music.

When I first started music production, I looked up to Grimes a lot. I remember that I saw one of her performance videos - she was performing her song ‘Oblivion’ on YouTube at one of the very big festivals. I was blown away because she was controlling everything all by herself, from drum machines to synthesisers and to singing and dancing with her dancers. It's just the fact that she does everything herself - from music production to music videos. The DIY style and the way she works with everything is just so admirable and I looked up her a lot. I hope that one day Merry Lamb Lamb could be very strong and independent like her.

If you had to pick one song to introduce someone to music, which one would it be?

I think a very good introduction song to Merry Lamb Lamb’s world will definitely be ‘Empathy’ because I just love talking about a lot of my soft spot to people. These are really common topics that I asked myself a lot growing up as a person.

The song is about feeling very misplaced everytime, from moving from place to place. Sometimes, I wanted to seek for help, maybe just one hug. "I felt very lonely and left out sometimes. I love how the song's (vibe) is so different because the music is so dancey, yet it has very vulnerable lyrics, which I love. What I love about dance music, it's just how it pulls up your heartstrings so much. It just gives you the power to dance to it and listen to it from a club situation, to a long ride solitudes. This is ‘Empathy’ for you.

What’s your top tip for artists who want to follow this industry?

It is very important to not to be afraid to put up sounds that you feel they are not 100% to perfection. To me, there's no such thing as 100% perfect song. As a musician, you will grow day by day and you will learn from mistakes. When you put out songs, listeners do actually love honesty and rawness from music that you've done, music that will feel real about you. So don't be afraid to put out songs.

When you start to write more and you look back to what you have produced or what wrote in the past, you will be like “oh, actually, I’ve been through that faze and I'm glad that I put out the song at that certain time”. You will feel more grown up. You will realise what you’ve been through from the beginning to now. As a musician, it’s a very beautiful thing to know your past and to be honest to people.

‘Better’ is out 16th February 2024

Connect with:

Merry Lamb Lamb

Miso Extra

aimei 媚

ESEA Music & Platoon

Artist Spotlight: Nonô

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We are excited to feature Nonô for this month’s Artist Spotlight. The London-based artist from Rio, Brazil, has been described by NME as "a rising talent ready to become your new favourite artist”.

Nonô has over 200 million streams and has been championed on BBC Radio 1, with notable press support from NME 100, CLASH and Line Of Best Fit. Her single 'Domingo' heated up the summer with her club mix of dance-pop and Brazilian vibes.

Can you share a memorable experience that has significantly influenced your music?

A memorable experience that definitely has shaped my music is going on tour supporting ‘Example’ in 2022. That experience of being on stage every day really taught me a lot about what kind of music I wanted to make and how I wanted to make people feel - because it's a such a high pace energy environment that I just wanted everyone to have fun. I wanted that feeling of the live shows to translate into my music or everything that I was creating.

So after the shows I knew exactly where I wanted to go with my music; how to turn up the BPM, or to make (my music) more electronic. I feel that my shows are my favourite part of doing music. So yeah, definitely going on tour was the most memorable experience that has influenced my music

What's the one piece of advice you wish you had received when you were just starting out as a singer and songwriter?

A piece of advice that I would give to emerging artists is something that I'm also trying to tell myself. It just gets a lot, you know, when you're creating every day, and then you're also having to create content every day. And besides the songs, the marketing the content, you have to stay positive.

So besides not giving up is try to tune out the noise and try not to compare your journey to other people. My whole life, I grew up reading biographies. And something that really hurt me was when I was comparing my journey to all these incredible artists that I had read about growing up. And when your journey isn't going exactly like theirs you start thinking that, Oh, I'm doing something wrong, or it's not going to happen. At least I do that.

I'm pretty sure there's other people out there that might feel the same way; comparing constantly comparing themselves with other people. So if I was to give an advice to anyone that is emerging, is to work hard and to follow their creative dreams. Don't compare yourself. You're on your own path, and everything happens when it’s supposed to happen. The opportunity will come you just have to be ready for it.

What’s the one piece of advice you wish you had received when you were just starting out as a singer and songwriter?

The off days are just as important as the days you’re working. If you don’t allow yourself time to relax then you will end up creating the same song or worse. You might even lose the love for the thing that made you wanna follow this journey.

Building a fanbase and getting noticed in the crowded music scene can be tough. What strategies have you found effective in connecting with your audience?

Playing live shows is the most effective way of connecting with my audience as it’s a real moment! Everybody is there to have a good time plus I can see how they react to songs and in those minutes, we are genuinely forming a connection and our own world.

If you could describe your sound in just three words, what would they be?

Free, Energetic and Vibrant.

What’s the most unexpected thing you’ve learned about yourself since stepping into the music spotlight

I always knew I was a perfectionist but I didn’t know the extent of how deranged I actually am. I will lose sleep over parts of an unfinished song or merch items that I don’t think are 100% right yet.

Describe your morning routine

if I was to describe my morning routine, it's very simple. Very simple. Very easy. Because I wake up in pain, usually because I'm not a morning person. Unfortunately, I'm very much a night person. I want to be a morning person. Don't get me wrong, I appreciate morning people, but I am not.

So I try to wake up at like eight.

I fail. Then I wake up at nine and I have a chocolate milk because I don't drink coffee. Then I start getting ready for the sessions or whatever schedule program that I have in that day.

I usually start by picking out an outfit. I just sit on the floor and contemplate my whole life for like half an hour. And then I choose an outfit. Colorful outfit, usually. Then I go brush my teeth, get my makeup on, do the hair, put on accessories, out the door, I go to the studio.

So a typical day would be going to the studio. I would wake up, have my chocolate milk, brush my teeth, get my makeup on, get the clothes that I'm wearing, colorful accessories, then out the door, run to tube or bus, go to the session, stay in the session write a banger from like eleven until 06:00 p.m..

Or eleven till 07:00 p.m.. Or twelve till six whatever the time that it takes to create a song or two, depending on what we're doing.

If your music was a color, what color would it be and why?

I think it would be bumblebee yellow as I’m always trying to emulate the vibrancy of Brazil in my music so I think yellow/ orange, quite solar tones are very fitting.

3 things you can’t live without in your bag

Walkers crisps, a jumper and my rock salt luck charm.

If you could choose a famous landmark to host the ultimate Nonô beach party, where would it be and why?

I would definitely choose Rio de Janeiro because I'm from Rio. I would choose Copacabana beach because I grew up there. It's a very famous landmark I think everybody that knows a little about Brazil knows about Copacabana. I would throw it in February or March because that's when the vibes in Brazil are at the highest point. Summer is over there so you know it's gonna be hot. And yeah, definitely Copacabana would be the place for the ultimate Nonô beach party!

Artist Spotlight: Lucy Tun

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We’re thrilled to spotlight the Burmese/British singer-songwriter, producer and DJ Lucy Tun in this month’s Artist Spotlight.

As LCYTN, she found success with her debut project 'Good Nights Bad Stories' and the glossy trap-influenced forerunning single 'Kulture Klub', which has amassed over half a million Spotify streams. She was also courted by the fashion world, having DJed for the likes of Gucci and ROTATE.

But while her music and coming-of-age story as LCYTN was mired with self-doubt, she returns as Lucy Tun: a confident turning of a new chapter as a woman, artist and storyteller.

Lucy Tun’s ‘adhd images’ taken from her Instagram account (July 10, 2023)

What one thing do you hope your fans will take away from listening to your new EP?

I hope that they get a little piece of me because a lot of the songs are quite personal. This is my first project so there is a lot of vulnerability. I hope that they'll see that and appreciate that, and relate to it. The second thing I hope for them to see or hear or take away is the idea that change is a natural process. It has been a natural process since the beginning of time. We're all changing all the time. It's something that we all go through. Because of that, it's something to not be as fearful about as you grow up.

It's okay that change happens. It's okay to change. It's okay that your friends change. It's okay that your circumstances change. It's okay that your life changes. It's natural. And you're not alone in feeling that way.

How do you balance expressing your personal experiences and emotions through your music?

Well, this project is personal. But there are some songs in there, some elements of my music which I'd say I've moved away from. I've always written about me before that. Now I'm kind of wanting to tell different stories and take influence from people I know, things I've seen, things I've dreamt. And it is also personal. I think it's like accepting that you're going to be vulnerable and you're going to be a bit exposed, and people are going to perceive you in a different way, and you can't control that. You can't control how they perceive your music; that's been really helpful, just letting go of all of that.

Your best advice for young people wanting to become music producers, singers, songwriters?

I think that there are two elements of being a musician. There's the creative part of it, and there's the not-so-creative part; the industry. Some people love being in the industry. They love networking. They love meeting people. They see it as an extension of their creativity. Some musicians hate the industry. They don't like the business side of it and the networking side. They prefer to just make music on their own or with a very small circle and not branch out any further. It can be really overwhelming. There are some musicians who probably feel like it hinders their creative process when you care too much about this side. It's this weird, like, weighing scale of balancing it. And I find that when you're starting out specifically this part, the business side, the industry side, doesn't matter.

You need to focus on finding your sound and what matters to you the most; the music you enjoy making the most. That is the first part that you should only focus on. The music industry side, the business side of things, will come later, and it will come naturally. All you should focus on first is finding your sound. You probably don't need a lot of people to do that. You just need yourself or one or two people that you really trust, and you work with creatively. That's it. Find those people.

If you had to pick one song from your new EP to introduce to your music which would it be and why?

I'd say Kulture Klub. Kulture Klub is my pop banger. It's my baby, you know? I'd love to show off my baby and be like, hey, here's my baby. It's a very cute, very poppy baby. Here you go.

If your album was a color, what color would it be and why?

Ultramarine blue or that royal blue. I feel that deep blue color is a primary colour. It feels so intense and grandiose and almost whole and perfect in a way. There are a lot of connotations with that. I want to reference something; to make the ultramarine blue color, they used this stone called Lapis Lazuli in the period of ancient Egyptians.

So this colour has been around for a really, really, really long time. And it creates this intense, perfect, primary feeling that connects to me. Because just like a primary colour, this EP is the foundation of my music as Lucy Tun, so I see the connections there. This is the primary color of my music; whatever might be my second EP, an album, or any music after that, I'll mix in this first batch of music with that color. This EP is my primary, my foundation.

We as young people feel this pressure to be perfect and to be bold and striking and interesting. We want the same feeling of being like a perfectly shined shoe. We want to be that shiny all the time. When we don't feel like that, we tend to go into really existential feelings of like, gosh what am I doing with my life, you know? I think that that blue colour really represents that perfection that us as young people always strive to be. I think as you get older, kind of becomes a little bit calmer. I don't know if that makes sense, but yeah.

What's my favourite and least favourite thing about making music?

They're both the same answer, and it's the unpredictability of making a good song. You never know when you're gonna find, like, creative inspiration to make something. It is not a nine-to-five job. I cannot sit down and be like, hey, I'm just gonna write a good song today.

I think maybe there are some people who can, but I can't. So it always comes off to something, you know, at a random time, four in the morning, 2 p.m., on the train, on the toilet, something will come, and I have to savor this, and I have to write this, and I have to make this song. It's like a pang that comes. So, you know, that's great because you always have to be open, and it can come at really great times when you need it, or it can come at the worst times when you actually need to focus on other stuff. I remember being in uni and not being able to concentrate because all I cared about was making music. So that was when it wasn't as helpful but I did write some really great music during then.

If your music had a signature dance move, what would it be?

Like.. “emotional cramping”. Intense dance movements… but there's some welling up in the eyes. That's how I imagine it. I would love that to happen at a show where people are really dancing their hearts out; they see it as an emotional release. If there are some tears there, as long as they're getting it out (I wouldn't want anyone to just cry, you know, for no reason). But sometimes you just got to let it out. That's how I would love people to kind of dance to my music as a form of release.

What are your top go-to emojis?

The crying face emoji. I always find the crying face emoji can exhibit a lot of different moods. Like I'm so happy I'm crying, or I'm so sad I'm crying, but also not in a way that's too, you know, intense. It's like… you know, unstressed crying face emoji. It can be so many different meanings. It's a very Gen Z emoji. I love it. I use it all the time and people just get it. You know?

Second one; probably a blue emoji. Maybe a blue heart. The third emoji is the safety pin because it ties in a lot with the motifs of my EP, which will be shown later.

Three things you can't live without in your bag.

Number one, my keys! That might be obvious, but I am very forgetful. Number two, lip balm. Lip balm, lip balm, lip balm. When I have dry lips, I feel like a shrivelled-up tumbleweed in the desert.

It's a must. There are so many situations where even just putting on lip balm - emotionally and mentally - it does so much for me because I feel secure. So lip balm.

Number three probably blush. I wear a lot of blush. I love blush. I'm wearing blush right now. I feel a bit dead without blush.

If you could have any superpower, what would it be?

Time travel, time travel.

I would love to like experience the past and see how it's shaped the present and also see the future. That would be amazing to be able to just travel between all of that. That would be incredible, BUT without messing anything up.

Okay, well thank you so much and have a good day.