• Marika Hackman

    Marika Hackman

    I'm Not Your Man

    There’s an open-ended nature to Londoner Marika Hackman‘s upcoming “I’m Not Your Man” (out 6/2): the discussions within, conversations on femininity, sex and sexual identity, millennial ennui, the pressures of living in a social media bubble and the perils of being young in a fast-paced industry. Says Marika, “The record’s all about female relationships, romance and breakdowns, but there’s also a dim worldview going on. I’m Not Your Man can either mean, ‘I’m not your man, I’m your woman’, or it can mean, ‘I’m not a part of this…’,” explains Marika. It’s a fiery statement from a songwriter who no longer wants to be shackled to limiting descriptions.


    To help channel this fervid energy, Marika recruited her best mates – London quartet The Big Moon to play as her backing band on “I’m Not Your Man”. “They really captured the soul of what it all meant to me and brought a lot of fun and creativity,” says Hackman. The unspoiled nature of the recording environment has thrown up a truly dynamic, multi-genre sound. It’s all tied together via razor sharp wit and authenticity.


    “All rounded, chiming guitars, squealing string-bends and crunchy choruses—she’s witty, sardonic and coming to steal your lover just because she can.”–P4K (on “Boyfriend”)


    “contains a variety of themes, including sexual identity, social media anxiety and the angst of youth.”–PASTE (on “Boyfriend”)


    “Grungy dream-pop gloom” — The Guardian (UK)


    “Lean, mean and really, really funny.”  — NME


    “A muscular call to arms..” – CLASH

    Listen: Marika Hackman – “My Lover Cindy” (radio edit)

    Marika Hackman – “My Lover Cindy” (radio edit)

  • Blessed


    Love Letters EP

    It was the 17th of May 1992 and a sickness was sweeping through Accra, Ghana taking the lives of many infants. The two nervous parents doted on their newborn child, hoping they would be spared as they had already for years struggled to conceive. As the days and weeks went by they realized their healthy child was truly a blessing and the origin of the name BLESSED (Blessed Samuel Joe­Andah) was sealed.


    As this blessed child grew older, his father’s ministries took the family on a geographic and spiritual journey, moving from Zambia, Melbourne, Canberra ultimately to Sydney…and while his living situations were constantly fluid, music was always his steady companion…spending every Sunday in church where he taught himself to play drums and guitar. BLESSED was a shy kid, choosing to spend time with his music and no different than other outcasts in different parts of the world, found solace in punk rock, skateboarding and rap music.


    Early on, people noticed….and a rap project BLESSED was involved in was signed to Sony Australia, but quickly the restrictions and limitations of the music didn’t satisfy the sparks of Basquiat and Hendrix and Kanye exploding in his head. He left the deal and built a studio in Sydney over the course of a year with a with a collective of artists, producers and songwriters, where he immediately began work on the project that is the forthcoming “Love Letters” EP (out 6/2).

    Listen: Blessed – “Fairytale” (radio edit)

    Blessed – “Fairytale” (radio edit)

  • All We Are
    sunny hills all we are

    All We Are

    Sunny Hills

    Coming together as students at Liverpool’s Institute For Performing Arts in 2011, and remaining on the road honing their sound following up a self-titled release in 2015, All We Are started writing new material with a sense of urgency and power. Where “All We Are” was funky, liquid and seamless, the upcoming “Sunny Hills” has a wobble to it, a human heartbeat and a grit that reflects the energy of the band’s thrilling live shows.


    Though based in England, the trio hail individually from Norway, Brazil and Ireland and as they put it: “All We Are is a Liverpool band. We have been formed by and have absorbed the spirit of the city. Liverpool is an immigrant city and has a proud history of welcoming everyone, drawing from the culture of the people who choose to live here and making that part of its own unique vibe.”


    It hasn’t escaped All We Are that the world seems to be spiraling into a period of darkness and through their music they want to say it’s okay to feel different. The resulting “Sunny Hills” is an irresistibly danceable, dark yet uplifting record about what it means to be alive right now and the power of friendship and togetherness in a world intent on driving us apart.


    “another fascinating vignette from a very special group.”–Clash (on “Human”)


    “‘Human’ sees All We Are veer into post-punk and krauty rhythms”–Line Of Best Fit

    Listen: All We Are – “Human” (radio edit)

    All We Are – “Human” (radio edit)

  • (Sandy) Alex G
    alex g

    (Sandy) Alex G


    “Rocket” is Philly artist (Sandy) Alex G’s eighth full-length release— an assured statement that follows a slate of humble masterpieces, many of them self-recorded and self-released.


    Amid the “Rocket” recording process, Alex made headlines for catching the attention of Frank Ocean, who asked him to play guitar on his two 2016 albums, “Endless” and “Blonde”. More than any stylistic cues, what Alex took from the experience was a newfound confidence in collaboration. “Rocket” wears this collaborative spirit proudly, and in its numerous contributors presents a restless sense of musical experimentation – effortlessly jumping from distorted sound collage to dreamy folk music to bouncing Americana.


    “Rocket” illustrates a cohesive vision of contemporary American experience; the cast of characters that (Sandy) Alex G inhabits have fun, fall in love, develop obsessions, get in trouble, and—much like rockets themselves—ultimately they burn out. Alex, though, in a collection of songs that’s both his tightest and most adventurous, is poised only for the ascent.


    “Giannascoli’s yearning ripples through his entire being as his voices aches and his guitar slaps as if bumping into a wall repeatedly. There’s no real climax in “Proud” because the longing is steadfast throughout.” –Pitchfork


    “a twangy rocker that unfurls slowly and deliberately like an instant-classic. It’s not clear if he’s talking about a lover, an idol, or a close friend, and the ambiguity in the song’s lyrics only adds to its strength.”–Stereogum


    “Sloppy, sentimental, frequently wonderful rock songs”–Washington Post


    “Rocket sees Giannascoli expanding upon the sounds he’s established over the past decade, and seemingly perfected”–AV Club


    “an ideal singer-songwriter—a compelling confessional artist for the angsty sixteen-year-old in all of us.”–Vogue


    “Listen back to old albums by Sebadoh or Sunny Day Real Estate or Quasi and you’ll find the genesis of Giannascoli’s phrases, but you won’t find anything quite the same. He borrows indie rock’s books, highlights lines, folds the corners on his favorite pages, tears out the ones he really loves, and then writes around the clips.”–NOISEY/Vice

    Listen: (Sandy) Alex G – “Proud” (clean edit)

    (Sandy) Alex G – “Proud” (clean edit)

  • The Districts
    districts art

    The Districts

    Ordinary Day

    The Districts are a band that exists in the moment. Described by close friends and girlfriends as a well-oiled machine, filthily cult like, and also “normal dudes.”


    The Philadelphia four-piece channels its long-forged bonds into visceral, explosive genre blurring music. Informed equally by arrangements and dynamics, and a focus on lyrics, they take inspiration from a broad range of sounds and places. They are constantly evolving and hard to pin down.


    From their self-released  LP “Telephone,” to their 2015 label debut LP “A Flourish and a Spoil,” The Districts keep at work touring and recording. Formed in 2009, they have been going strong for quite a while now. An anonymous insider report claims they have recorded a new album and it is more realized and in your face than ever before. Be on the lookout.


    ’Ordinary Day’ deals with a sort of personal alienation and the realization that you and the world you’ve existed in have changed. Sort of the feeling of coming through a tunnel and having no way of relating to things in the same way as before. It was written in late summer/early fall and came together quite naturally….Personal lives were in flux and we were sitting around philly losing our minds.”–Rob Grote/The Districts


    “…let me play you this now, new music from a really special band, from Philadelphia called The Districts. I first saw them out at South By South West in Austin, Texas about three years ago, and they blew me away, they were like one of the toasts of the festival that year, they released a brilliant debut album, the follow-up is on the way this year, and this is the first new music from The Districts, it’s called Ordinary Day.–debut from Huw Stephens on BBC Radio 1 (earlier this week!)

    Listen: The Districts – “If Before I Wake”

    The Districts – “If Before I Wake”

  • Songhoy Blues

    Songhoy Blues


    “Résistance” was recorded at The Pool studio in London with producer Neil Comber (Django Django, MIA) and lyrically and sonically, is a huge leap forward for Songhoy Blues. A musical snapshot of a band at the top of their game. Richer, more eclectic and musically adventurous, it captures a band who, for the last three years, have toured the world and soaked up music far beyond the borders of their native Mali.


    The band released their debut album, “Music In Exile”, in early 2015 receiving across the board praise, including a 5/5 rating in The Guardian who claimed, “they have all the makings of African-rock crossover heroes.” Rolling Stone named the band one of their 10 Artists You Need to Know, calling the album “a churning, loose-limbed garage-rock take on traditional Malian music.


    The band has appeared on ‘Later…with Jools Holland’ and NPR Tiny Desk, and has been featured by radio tastemakers worldwide including BBC 6Music, KEXP and KCRW. They have also received a wave of acclaim for They Will Have To Kill Us First, an award-winning film which told the story of Songhoy Blues and the struggle faced by musicians in Mali.


    With ‘Bamako’ we just wanted to write something fun and positive about where we come from. So much of what people hear about Africa is negative; bad news stories about war and famine just dominate the common image of Africa. But this track is about dispelling that image by describing something everyone can relate to – going out on a Saturday night – to show that Africa isn’t just what people see in the news, there’s so much more to it than that.”Aliou Touré


    “A skittering disco-tinged guitar vamp slinks through the track alongside spaced-out synth lines and brassy horn blasts.”–Rolling Stone


    “a sheer blast of positive energy.”–Clash

    Listen: Songhoy Blues – “Bamako”

    Songhoy Blues – “Bamako”

  • Little Hurricane
    Little Hurrican Same Sun Same Moon Mini

    Little Hurricane

    Same Sun, Same Moon

    San Diego’s Little Hurricane ARE BACK with third album “Same Sun Same Moon” (out 4/14).


    Little Hurricane‘s narrative echoes the tale of a momentous journey: Formed in San Diego, having recently resumed playing drums after an eight-year hiatus, CC placed a musicians-wanted ad on Craigslist. Among the myriad of respondents was Tone, a studio engineer who’d worked with artists ranging from John Paul Jones to Gwen Stefani. The two musicians were neighbors who had never met, and bonded over mutual interests including the blues, unusual and vintage gear, and their individual experiences playing in high school jazz bands.


    Quick to follow, Little Hurricane won three San Diego Music Awards, including Album of the Year for 2011 debut “Homewrecker”. Little Hurricane’s explosive live show soon landed them slots at major festivals including Austin City Limits and Lollapalooza, and garnered media attention from outlets including Rolling Stone, which profiled them in an extensive behind-the-scenes piece at SXSW 2012.


    Little Hurricane incorporates new timbres and a broader emotional scope on “Same Sun Same Moon”, changes that underscore the band’s desire to transcend it’s dirty blues roots. This evolution is especially evident on first single “OTL,” a love song woven from understated keyboards and intertwined vocals. Married in summer 2016, the creative partners elected to openly share their happiness with listeners for the first time.


    “Little Hurricane might be a duo, but they have a big sound and they aren’t afraid to get messy.”–Rolling Stone


    “Packs as big of a punch, if not more, than a four or five-piece band.”–PASTE

    Listen: Little Hurricane – “Isn’t It Great”

    Little Hurricane – “Isn’t It Great”

  • Hoops



    Hoops’ full-length debut, “Routines” is a bittersweet and honest record that sounds both warmly familiar and jarringly distinctive. Whereas their previous releases were recorded on four-track tape machines in living rooms and basements, “Routines” marks the band’s first sessions in an actual studio.


    After a few months of touring, Hoops returned to Indiana to set up their gear in their parents’ basements and began experimenting with the studio-recorded tracks. Some songs they only tinkered with, others they scrapped completely and rebuilt from the ground up. They were determined to make a record that sounded like Hoops. The result is the sharpest and clearest delineation of the band’s sound thus far, drawing from and emphasizing each members’ distinctive influences and personal styles: four guys making music that is larger than themselves.


    Hoops was born in frontman Drew Auscherman’s teenage bedroom as a solo ambient and beat-driven project. Auscherman named the band after the hoop houses at the nursery where he worked (not for his home state’s mania for basketball). Eventually he corralled a few of his friends to flesh out his songs (3 of the 4 members write and sing, each a frontman and a sideman simultaneously), and the music inevitably shifted toward something new: more melodic, more guitar-driven, more extroverted.


    “Hoops is on an upwards slope. ‘Rules’ is an expressionist, blissed-out pop song. Airy, uptempo guitars float on the surface, accompanied by bouncy bass and complex drum work.”–TheFADER


    “the irresistibly slick ‘Rules,’ which is loaded with the intoxicating guitar lines and murmured melodies we associate with this outfit. The single is a dizzying head rush that clocks in at just over two minutes and will surely have you pressing play several times in a sitting.”–PASTE


    “Propelled by ample grooving keys and guitar, ‘Rules’ is a two minute jaunt into the past when synths and subdued vocals were king.”–Stereogum

    Listen: Hoops – “Rules”

    Hoops – “Rules”

  • Dirty Projectors
    Dirty Projectors Album Art-thumb-633x633-554933

    Dirty Projectors

    Dirty Projectors

    As a follow up to new music specialty show fave “Swing Lo Magellan”, the new self-titled album does everything we want and expect from Dirty Projectors–but in a way we never could have imagined or anticipated. David Longstreth, the founding member and sole constant Projector, goes where the music is: he builds his band and arrangements around the songs he’s writing in that moment. As with previous Dirty Projectors albums, the newly released latest sees Longstreth lead a group of hugely talented contributors, including Solange Knowles, Tyondai Braxton, Mauro Refosco (Atoms For Peace, Red Hot Chili Peppers), and Dawn Richard (D∆WN and Danity Kane), in realizing his creative vision.
    Far from remaining idle in the years since the last Dirty Projectors release, Longstreth has spent the intervening years steadily at work with a range of collaborators, contributing to releases from Joanna Newsom, Rihanna, Kanye West, Paul McCartney (writing on “FourFiveSeconds” in 2015), and Solange Knowles (writing and production on “A Seat At The Table”).

    Listen: Dirty Projectors – “Cool Your Heart” feat. D∆WN

    Dirty Projectors – “Cool Your Heart” feat. D∆WN

  • Pierce Fulton
    pierce fulton

    Pierce Fulton

    Borrowed Lives

    Los Angeles-via-Vermont’s Pierce Fulton‘s playful first single (and video!) to radio, the immediately uplifting earworm title track off the “Borrowed Lives” EP, is a sweet reminder (And Above All Else a catchy one!) to always enjoy the scenery and never take life too seriously. A blissful accompaniment as we morph into Springtime.


    Like many respected producers from the early wave of electronic music, Pierce Fulton‘s sound has evolved from electro and progressive to something nearly unrecognizable and infinitely more mature. The “Borrowed Lives” EP, puts himself out there as an artist in ways he never has before. Live instrumentation, his own vocals and finely tuned engineering work together to create one of the biggest blasts of fresh air we’ve heard in ages (and Wait until you see the imaginative and accompanying video!).


    Raised in Vermont and a prodigious musical talent from early on, from the age of six Fulton quickly learned how to play a wide range of instruments for family and friends. A defining feature of his sound and vision his interest in taking concepts from one instrument or genre and applying it to a vastly different instrument or style.


    On top of these already-developed abilities, Fulton also formally learned music theory and electronic production as he grew up. He dove deeply into the works of pioneers like Kraftwerk and Apex Twin and released his sonically unconventional deubt EP at the tender age of 18.
    “This collection of songs really means a lot to me because it’s the first time that I’m signing, writing, producing and I’m really doing everything that goes into one body of work. And for the first time, I have music that really feels like my own.”–Pierce Fulton

    Listen: Pierce Fulton – “Borrowed Lives” feat. NVDES (radio edit)

    Pierce Fulton – “Borrowed Lives” feat. NVDES (radio edit)

  • Father John Misty

    Father John Misty

    Pure Comedy

    “Pure Comedy” is the highly anticipated follow-up to Father John Misty‘s internationally acclaimed “I Love You, Honeybear”. Josh Tillman wrote the majority of the album throughout 2015 and recorded all the basic tracking and vocals live to tape (in no more than two takes each) in March 2016 at LA’s United Studios (formerly known as Ocean Way Studios, favored by Sinatra and The Beach Boys).


    Tillman’s bent critiques, bared humanity and gently warped classic songwriting are all here in equal measure and, at 75 minutes, “Pure Comedy” delivers a ton of it (themes of progress, technology, fame, the environment, politics, aging, social media, human nature, human connection, and his own role in it all with his usual candor, and in terms as timely as they are timeless).


    Since 2012 Father John Misty, aka Josh Tillman, has unexpectedly emerged as a singular (if not undeniably idiosyncratic) voice. Whether by virtue of his lyrics, which routinely defy the presumed polarities of wit and empathy; his live performances which may perhaps be described best as “intimately berserk,” or the infuriating line he seems to occupy between canny and total fraud online or in interviews, Father John Misty has cultivated a rare space for himself in the musical landscape–that of real enigma.

    Listen: Father John MIsty – “Total Entertainment Forever”

    Father John Misty – “Total Entertainment Forever”

  • The Weeks
    the weeks easy

    The Weeks


    The Weeks recorded “Easy” over the course of two weeks at Memphis, TN’s legendary Ardent Studios with producer Paul Ebersold. The band left Nashville to record in order to disassociate themselves from their everyday routines in the city, and to find a halfway point between their two homes old and new, Mississippi and Nashville. “Memphis has always been the capital of North Mississippi to us,” says guitarist Sam Williams. “We went there to be at Ardent. We knew Paul had learned everything from John Frye and John Hammond so we figured that was the spot. It’s important to keep those historic studios alive and not let them become museums.”


    The Weeks frontman Cyle Barnes says, “We called it ‘Easy’ because every time I make music with these guys, it’s easy. It feels good. But the other side of it is there’s nothing easy about being in a band. There’s nothing easy about staying together for ten years and still wanting to make music. We have the hardest and easiest job on the planet. But it works for us.”


    Thematically, ‘Easy’ explores new ground for the band. Bassist Damien Bone explains, “We just wanted to make a rock record. We weren’t as concerned making it a southern rock record. The southern thing is always going to part of what we do.”


    “powerful guitars and Southern-tinged vocals” —Paste



    “Driven by rowdiness, and a mix of pride and defiance about their origins.” —The Guardian (UK)



    “Their music still kicks with the same hard-bitten affirmations that made them better than weekends in the first place.” —American Songwriter

    Listen: The Weeks – “Talk Like That”

    The Weeks – “Talk Like That”

  • The Duskwhales

    The Duskwhales

    Slow Down, Jerusalem

    The Duskwhales are a three-piece indie rock band formed in Manassas, Virginia. While their sound is reminiscent of some 60’s bands and artists (keys and harmonies nod to this era), don’t let their psychedelic sense of dress fool you. This is no retro outfit. There’s a classic sound to the young trio to be sure, but it’s one firmly and simultaneously rooted in some sophisticated full on forward thinking that’s clearly on display in both studio and live settings.


    They have shared the stage with national acts as diverse as Car Seat Headrest, Diane Coffee, Frankie Cosmos and Little Green Cars, as well as performed to packed audiences across the East Coast. The Duskwhales are steeped in a period perhaps upon initial listen, but that Never overwhelms the gorgeous melodies and songwriting revealed on their upcoming “Sorrowful Mysteries” (4/8). You, dear listener, are In For A Treat!


    “Pleasantly crafted baroque pop” –Under the Radar


    “Their sound is the stuff of youthful excellence and highly stylized stage presence” –The Deli Magazine


    “Impeccable indie pop with a constantly fascinating twist” –9:30 Club (legendary DC club)

    Listen: The Duskwhales – “Slow Down, Jerusalem” (radio edit)

    The Duskwhales – “Slow Down, Jerusalem” (radio edit)

  • Walker Lukens
    walker l ain't

    Walker Lukens

    Ain't Got A Reason EP

    In 2013, Walker Lukens released his first full length record, “Devoted”. It received praise from outlets like NPR’s All Songs Considered, American Songwriter, Austin American Statesman, Austin Chronicle, and Billboard and took Lukens and his backing band, The Side Arms, all over the US.


    After meeting Spoon drummer Jim Eno in a bar, Lukens & The Side Arms started recording new music at with him at his studio, Public Hi-Fi. Their first collaboration, “Every Night,” has been streamed over a million times now. Their second collaboration, “Lifted” from the “Never Understood EP” spent 8 weeks on the new music show specialty radio charts and garnered Lukens spots at festivals across the country.


    Lukens and Eno’s 3rd collaboration “Ain’t Got A Reason EP” will be released April 7th.


    “The singer-songwriter’s voice strikes the perfect balance between soul and sass, riding high above a funky bassline that definitely owes a bit to Spoon’s influence.”–Consequence Of Sound


    “So, I get this CD in by Walker Lukens, I’ve never heard of him….I listened to it, and it was so good. I listened to it, and I thought, I’ve to to listen to this again. Maybe I’m just in a really good mood. And nope, it holds up. Even on my worst days, this is a fantastic record.”–NPR All Songs Considered (Robin Hilton)

    Listen: Walker Lukens – “Ain’t Got A Reason”

    Walker Lukens – “Ain’t Got A Reason”

  • Rubblebucket


    If U C My Enemies

    The potentially monstrous new single from Brooklyn’s Rubblebucket, and from the newly released EP of the same name, is the immediate sounding indie dance of “If U C My Enemies”. It puts you at the center of a raging party And hits this country at a time when we all need some positivity to launch the year with!


    “Rubblebucket took inspiration from a Dali Lama quote for this track ‘our enemies are our greatest teachers’. Looking to replace fear with compassion to create hope for the country, the song is about forgiveness”–NPR (All Songs Considered)


    “Rubblebucket could have remained trapped among the morass of Brooklyn dance-rock acts, but this five-piece has won notoriety by coalescing bright hooks with a complete disregard for genre convention.”–SPIN


    “It’s baroque pop of the extremely epic variety.”–NOISEY/Vice


    “joyous jungles of worldly pop-funk, instrumentally rich but catchy enough to ass-kick Katy Perry off the pop charts (in a just world)–mega-melodic without


    sacrificing an ounce of atmospheric creativity.”–PASTE

    Listen: Rubblebucket – “If U C My Enemies”

    Rubblebucket – “If U C My Enemies”

  • Bonzie


    How Do You Find Yourself, Love? (radio edit)

    BONZIE‘s new 7″ single “How Do You Find Yourself, Love?”, brings her philosophical musings to a post-rock backdrop both gloriously chaotic and stunningly lucid.


    Recorded by the legendary Steve Albini, the abrasive yet graceful title track from BONZIE‘s latest double single mines much inspiration from Renaissance-era author Thomas Moore. BONZIE has manifested into a songwriter that isn’t traditional or confessional, but more of an observer and commentator.


    “The song is something of a meditation on meditation,” explains Nina Ferraro, Chicago’s 21-year-old songwriter/multi-instrumentalist who’s created under the moniker of BONZIE since age 17. “I wrote it while reading a lot about the connectedness between the human body and the mind, and about how who you are as a person can be influenced by so many different things.”


    BONZIE is set to release her second full-length, the anticipated “Zone On Nine” (due Spring 2017). The album is written and produced by Ferraro herself, and co-produced along with Jonathan Wilson (Father John Misty, Conor Oberst) and Ali Chant (Youth Lagoon, Perfume Genius). Portishead’s Adrian Utley and Bright Eyes’ Nate Walcott also contribute to the upcoming album.


    “Delicacy and drama, surrender and anger, made a riveting combination when Bonzie performed”–New York Times


    “Wunderkind….like the work of a vet well-versed in whispered catharsis…..evokes a young Chan Marshall.”–SPIN


    “The artist we’re most excited to see here is Bonzie….a great voice and is clearly determined to be a memorable performer as well.”–Brooklyn Vegan


    “…tapping into her youthful honesty to produce uniquely heartfelt tracks.”–PASTE


    “Marvel at the intricacies of her songwriting and individual style.”–Huffington Post


    “The album showcases the young artist’s assured talent, its songs ranging from elegant folk with ambient and orchestral touches to more ramshackle country numbers that recall the feisty weariness of Bright Eyes.”–Under The Radar

    Bonzie – “How Do You Find Yourself, Love? (radio edit)”

    Bonzie – “How Do You Find Yourself, Love?” (radio edit)

  • Formation


    Look At The Powerful People

    Some bands have one thing that’s truly remarkable about them. Some lucky ones have two or three. Formation have too many to count.


    Breaking down what’s at the very Heart of London’s Formation: on the left-Groove; on the right-Power; and in the center-know-how! “Look At The Powerful People” doesn’t feature a single guitar. What you will hear is the bass as lead, percussion as lead, drums as lead, vocals as lead and the groove as lead!


    Co-produced by the fast-rising Strokes and Adele engineer Ben Baptie and genre-defining house producer and DJ Leon Vynehall, while Formation‘s “Look At The Powerful People” might appear to be flashing its arse at Trump, it’s about flipping that drive around to create a gang with an inner power.


    “People have a collective power,” drummer Kai Akinde-Hummel says. “We’ve always been on the fringes. We’re misfits, never a member of any scene. So we’ve built our own gang and if people want to join us they can.”


    Formation are something else. Something real. Something you can trust.


    “making a sound fresh and unique to anyone else out there. They are in their own lane! If you want message, attached to a strong groove and beautiful mixing, then go and check out the Formation album.”–Zane Lowe/Beats 1 (‘2017 Breaking Act’)


    “Formation are set to be among the surprise breakout stars of 2017.” – The Times


    “Channelling Bowie and Iggy for their freestyles.” – NME


    “Politically charged post-punk grooves.” – Q


    “One of pop’s brightest prospects in yonks.” – DIY


    “They tap into the avant-funk action of Dinosaur L, Liquid Liquid and their postdisco/no wave ilk.” – The Guardian

    Listen: Formation – “Drugs”

    Formation – “Drugs”