GOD DAMNArtist: God Damn 

Release: Vultures 
Label: One Little Indian 
Genre: Rock 

Dropped like a pipe-bomb into the British rock scene, God Damn have spent the last three years nailing audiences to the walls with their sonic blasts of glorious noise. Yet their debut album Vultures offers more than just machismo and bombast. There is nuance and melody. Purpose and meaning. Heartfelt intent.A dizzying blend of barbed wire guitars, lung-shredding vocals & drums like wild horses. It’s all the more effective when you learn God Damn are a stripped-down two-piece. Their set-up has naturally drawn comparisons to fellow rising bands such as Slaves and Royal Blood, but that is where comparisons to duos end.Vultures presents a universe of sound, from the melodic boom of sneering anthem ‘Silver Spooned’ through the psychedelic breakdown of ‘We Don’t Like You’ to the lo-fi strummed opening of the throbbing and utterly tumescent epic ‘Skeletons’. As debuts go God Damn have nailed their colours to the flagpole and torched it.


werkhaArtist: Werkha

Release:  Dusk 
Label: Tru Thoughts 
Genre: Dance  

“Dusk” is the first single from rising Manchester based producer Werkha’s June debut album ‘Colours Of A Red Brick Raft’, unveiling two striking upfront tracks from the LP.

The launch of his debut full-length record builds on a landmark 2014 for the young producer and multi-instrumentalist which saw his “Beacons” EP championed by the likes of Gilles Peterson, Monki, Rob da Bank and more besides. With his mesmerising live outfit gaining ever more attention, Werkha was also handpicked to play Mr Scruff’s album launch and to support Bonobo and Chet Faker on international tours.

A crisp snapshot of a twilight scene, “Dusk” is a beautifully evocative and memorable song that sees Leah continuing his ever-evolving creative partnership with lifelong friend Bryony Jarman-Pinto. The clear and pristine, jazz-inflected vocals of this star in-the-making intertwine with a strolling bassline and cinematic strings to emotive effect.

The second track to make its debut on this single is “Falling Through The Wall”, a worldly electronic instrumental cut inspired in part by the spiritual jazz side of the groundbreaking LA scene, and elements of Flying Lotus’ ‘Los Angeles’ album in particular, and combining a playful bassline with serious deep house-inflected club beats.

This single gives a taste of the beauty and variety to be found on the album, a record on which the excitement and personal and artistic development of recent years are palpably present. “I have always had a mix of inspirations, but all this movement and exposure to different environments helped me accept and embrace the idea of having lots of different styles on the album, and find a way to channel them”, says Leah; “I basically realised: albums should be as fun and as engaging as travels are”.


danglesArtist: Maxime Dangles 

Release: Resilience 
Label: Skryptom Records 
Genre: Dance 

Resilience, the very first album from Maxime Dangle, perfect combination between generous and exalting techno tracks, electronica lifeless and introspective and organic electronic compositions, Reveal all the maturity and the eclecticism of the producer. Produced and composed at the dawn of a tempestuous period of his life, This first long play expresses the bottom of one felt powerful staff, A passage of the darkness in the light summary under the name of “resilience”, As the story of a life…





image 4Artist: L
one Wolf
Release: Lodge
Label: SNWF Records 
Genre: Alternative

Just who is LONE WOLF aka Paul Marshall? In 2010 Bella Union introduced a storyteller dressed in black, pedaling ballads of
murder on critically lauded album ‘The Devil and I’.

At this point there was barely a night that Marshall was not to be seen playing live, being asked personally to tour and perform with the likes of Wild Beasts, Bat For Lashes, St Vincent, John Grant, Broken Bells, Jose Gonzales and Radiohead’s Philip Selway to name a few. He was even chosen by Richard Thompson to perform a set at his Meltdown Festival.

His video for lead single ‘Keep Your Eyes on the Road’ was a homage to Peter Gabriel’s seminal ‘Sledgehammer’, and was both approved and complimented by Gabriel himself.

By 2012, the story started to take a different turn when Marshall parted ways with his label Bella Union, and decided to crowd fund his next record ‘The Lovers’. Gone were the acoustic guitars and huge grandiose soundscapes one had come to expect from ‘The Devil and I’, and a new synth led, art-pop sound was introduced. Also gone was the narrative based blood soaked lyrics, in favour of what seemed to be a istener’s personal insight into Marshall’s sleep anxiety and depression.

Though the record gained significant critical acclaim, Marshall was barely to be seen on the live circuit, playing only two UK sell out shows at the Brudenell Social Club in Leeds, and The Lexington in London.

But as time went on, it was starting to seem that Marshall was becoming disenfranchised with the music industry, and even his own desire to create or perform. In one spit of bile on social media, he described his desire to make any new music as ‘terminally ill’. Marshall withdrew himself from the public eye, got married, went back into full time employment and took up the challenge of scoring his first motion picture, a film by Tunisian director Nejib Belkadhi entitled ‘Bastardo’. The film went on to be selected for multiple respected film festivals worldwide including Toronto, Palm Springs, Milan (where it won best picture), Abu Dhabi and many more. It seemed that Paul had opted for an alternative career in music.

In July 2014, out of the blue, Marshall posted a blog on his website speaking openly about how his diagnosed anxiety had finally gotten the better of him, and was now the thing that pretty much determined his decision making process. He spoke of locking himself away in his house and almost trying to shed the ‘musicians skin’ he had been living in.

He spoke about the strong feelings he had previously had about never releasing a record again but now due to a significant event in his life, the tables had turned and he now felt the need to make a new album more than ever.

Paul found out that his long time producer and band mate James Kenosha’s studio ‘The Lodge’ in Bridlington was soon to be no more. ‘The Lodge’ is a small converted barn in the middle of nowhere, and the location in which pretty much all of Paul’s material up to now has been Recorded, and the one room in which Paul feels like the veil of anxiety becomes lifted.