“Wild Birds” soars through Mnevis‘s signature sonic territories with the confidence of a band that knows exactly when to spread its wings and when to dive.
Rose Cousins: ‘I Believe in Love (and it’s very hard)’
Honesty bleeds through every note of Rose Cousins‘ “I Believe in Love (and it’s very hard)”, where romance’s contradictions are laid bare with the kind of clarity that comes from standing in both light and shadow.
Holding Hour: ‘Can I Leave Me Too?’
Through a haze of birthday candle smoke, Holding Hour‘s “Can I Leave Me Too?” dissects relationship guilt with the kind of unflinching honesty that makes you want to look away but can’t.
Readey: ‘Unbound’
Electric currents of defiance pulse through Readey‘s “Unbound“, where UK hip-hop conventions are rewired into something altogether more expansive.
Katherine Aly: ‘WHATYAGONDOBOUTIT [for the friendzoned]’
Through a cascade of dice rolls and sly bass lines, Katherine Aly’s “WHATYAGONDOBOUTIT” turns the friend zone into a playground of power dynamics and theatrical flair.
Emily Makis: ‘Freak Like Me’
Raw voltage surges through Emily Makis‘ take on “Freak Like Me”, reimagining Adina Howard’s R&B classic (later immortalised by Sugababes) as a drum and bass detonation that threatens to shake the foundations of any sound system it encounters.
KOJ x Bemz x Mace the Great x Blessed: ‘A Roadman’s Tale of Home (remix)’
From Liverpool to Glasgow, Cardiff to London, “A Roadman’s Tale of Home” maps the UK’s hidden geographies through a quartet of voices that cut through postcode rivalries.
Asbjørn: ‘A Door! A Window!’
In “A Door! A Window!”, Asbjørn transforms architectural metaphors into a masterclass of emotional architecture, where every note feels like another brick carefully placed in a cathedral of vulnerability.
Hannah Glavor: ‘The End Is Near’
From Portland’s twilight margins, Hannah Glavor‘s ‘The End Is Near’ emerges with the kind of confidence that only comes from knowing exactly where the edges are.
Per Störby Jutbring: ‘That Translucent Swell Of The Attic’
Emerging from mist and memory, Per Störby Jutbring‘s ‘That Translucent Swell of the Attic’ paints autumn in shades of half-light.
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