One of the most maverick, cherished and original personalities on the Glasgow DIY music scene, Romeo Taylor – the off-the-wall electro-pop solo alter-ego of Taylor Stewart, whose energetic performances as drummer with acts such as Rapid Tan, Savage Mansion and Herbert Powell – has made some low-fi but high-octane visuals for his latest single, out on Lost Map Records.

Today we’re able to share the new video for ‘The Kingdom of Scotland’  for the first time.

It's a mind-melting, body-quaking happy hardcore ode and love-letter to the land of chips, Buckfast and lower-than-average life expectancy. Traditionally the closing song in Taylor’s bizarre, hilarious and unforgettable live sets – with a stage presence somewhere between pumped-up personal trainer and sloshed bingo caller – it’s an instant oddball classic.

Taylor plays a headline show at the Hug and Pint in Glasgow tonight, and you can sign up to get the postcard single here. It will stream online from 5th July. 

Check out the new visuals now.

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Nami Sato deals in rich ambient soundscapes, informed by her on personal stories.

Growing up in Japan, she experienced dramatic loss. In 2011 a tsunami destroyed her hometown, and ever since she has made music in an attempt to create “scenery, fragrance and a special holy place in mind”.

“These are soundscape of the area that was heavily affected by Great East Japan Earthquake, where the Tsunami washed my whole town away,” Sato explains of new release ‘Our Map Here’.

“Some people may say that those places are completely gone since the Tsunami. But we know it’s not true. There are beautiful new things born everyday in the place where it has lost everything in the past, and I want you to know it.”

Nami’s atmospheric soundscapes inspire both calmness and wonder, with lush layerings of synth, piano, guitar and field recordings – recorded in areas affected by the tsunami, at local festivals, disaster relief events – she reimagines the world in sonic form.

Drawing on the likes of Brian Eno, Helios, Hammock, Bon Iver, Sigur Rós, Kara-Lis CoverdaleHikaru UtadaMasakatsu Takagi and Ryuichi Sakamoto, she says: “Ambient music is like a little boat. It brings us to a holy part of your mind where you keep your precious memory and scenery.”

Get lost in her world now.

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Nick Cave said he thinks it is possible to separate art from artists, when a fan asked for his thoughts on how to deal with Morrissey’s problematic statements.

Writing on Cave’s Red Hand Files website, the fan described his “current struggle” reconciling Morrissey’s recent far right support when he’d once put him “on a pedestal”.

He also asked: “Generally, is it possible to separate the latter-day artist from his earlier art?”

Cave responded thoughtfully, suggesting that it’s possible to separate Morrissey from his music.

“Whatever inanities [Morrissey] may postulate, we cannot overlook the fact that he has written a vast and extraordinary catalogue, which has enhanced the lives of his many fans beyond recognition,” Cave said. “This is no small thing. He has created original and distinctive works of unparalleled beauty, that will long outlast his offending political alliances…

“As a songwriter and someone who believes songs possess extraordinary healing power, I am saddened by the thought that songs by arguably the greatest lyricist of his generation — songs like ‘This Charming Man’, ‘Reel Around The Fountain’, and ‘Last Night I Dreamed Somebody Loved Me’ — are consigned to the moral dustbin by those who feel they have been tainted by his current political posturing. I respect and understand why people respond in this way, but can’t help but feel it is of significant personal loss to them.”

Just days ago Morrissey published a lengthy Q&A conducted with his nephew, touching on many subjects – including the artist’s support for the For Britain party, whose controversial hard right stance on immigration has made them the subject of much criticism.

Cave went on: “Perhaps it is better to simply let Morrissey have his views, challenge them when and wherever possible, but allow his music to live on, bearing in mind we are all conflicted individuals — messy, flawed and prone to lunacies. We should thank God that there are some among us that create works of beauty beyond anything most of us can barely imagine, even as some of those same people fall prey to regressive and dangerous belief systems.”

Discussion and debate is clearly important to Cave, who has launched a ‘Conversations’ series – a chance for the artist to open up to fans.  The free-flowing discussions are matched by the ongoing correspondence that forms the Red Hand Files. Described by the artist himself as “an exercise in connectivity” the conversations are intended to be entirely open.

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Glastonbury Festival is upon us, we’ve just had the Summer Solstice, and a heat wave is sweeping Europe. That can only mean one thing: we’ve reached the halfway point of the year, and it’s time to reflect on the first six months of 2019.

It’s been an exciting time for music, with some seminal and unexpected releases. UK jazz and rap has pushed to new heights, while the parameters of guitar music, R&B and pop have been stretched in new, innovative ways.  

Here we’ve collected what we believe to be the 25 most standout albums of the first six months of the year.

Remember: This list is unnumbered, for our full official final countdown of 2019 releases check back in December…

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Skepta – Ignorance Is Bliss

Skepta - 'Ignorance Is Bliss'

Given the cultural significance of Skepta’s previous, Mercury-winning album ‘Konnichiwa’ is, the follow-up was always going to be difficult. Fortunately, Skepta returned with a project that not only built on the promise of its predecessor but one that further expanded the reach of UK music. The MC nails an underrated skill in rap music, lyrical and sonic balance.

The instrumentals are quintessentially British but with an ear for a wider appeal, and his verses are the perfect mixture of content and personality. You probably won’t hear a better conscious UK rap track than ‘Bullet from a Gun’ this year, or a better party track than ‘Love Me Not'. Maybe you will, but not on the same album and definitely not on a project as consistently thrilling as this. – REVIEW 

Will Rosebury


slowthai – Nothing Great About Britain

slowthai - 'Nothing Great About Britain'

slowthai marked his industry arrival with the brilliantly outspoken, politically driven debut. The MC toys with his flow across this album – in places displaying an unorthodox delivery – but throughout he’s totally magnetic, commanding listeners’ full attention. As a whole, ‘Nothing Great About Britain’ is ambitious and laced in artistic expression – songs such as ‘Missing’ combine slower drum and bass soundscapes with British hip-hop – while the likes of Skepta and Jaykae offer up premium contributions: many have called ‘Inglorious’ Skepta’s best collaboration of the year.

Elsewhere, homage to grimes pioneers can be found on both ‘Drug Dealer’ and the album’s opener – where slowthai references ‘Boy In Da Corner’. Maybe this is a knowing hint that his project is another UK icon in the making.  – REVIEW



Madonna  – Madame X

Madonna - 'Madame X'

In a midst of disposable chart-toppers Madonna delivered her most authentic album in over a decade, exploring her expatriate life, taking listeners on a journey around the world from start to finish. The album is a brilliant showcase of politically charged thought-provoking material, showing Madonna using her voice as a means of social change; something that’s been at the core of her work since the very beginning.

Alongside her forthright song writing, each track communicates a story through its experimental composition as she explores all regions of current popular music, resulting in an eye-opening, diverse and effortlessly cohesive project. – REVIEW

Nick Lowe


Tyler, The Creator –  IGOR

Tyler, The Creator - 'IGOR'

Tyler, The Creator is an artist increasingly influenced by nostalgia, and ‘IGOR’ – the follow up to 2017’s equally wistful ‘Flower Boy’ – perfectly encapsulates this. His use of obscure samples is nothing new, but the album is elevated by Tyler’s defiant lyricism, which speaks of the bleak nuances of modern day breakups.

His frequent use of distortion, synths and guest vocalists (who go uncredited) add to the element of mystery that surrounds being in and out of love in 2019. Producing, writing and arranging the album himself, Tyler, the Creator is a DIY artist in the best sense of the word, and ‘IGOR’ proves this. – REVIEW

Jumi Akinfenwa


Rosie Lowe  YU

Rosie Lowe - 'YU'

Rosie Lowe’s 2019 album is a confident, technicolour portrait of life lived and passions made apparent, funk twining with blues rock riffs, soul keys, the cosmic turn of a synth and even the odd country twang. Delivered in Lowe’s trilling vocal, pointed and pithy lyrics centre on fulfilment and possibility: ‘The Way’ joyously looks at a love-filled future, ‘Pharoah’ asserts her power found in her imperfections, while even in dark times her independence blisters, as in final track ‘Apologise’ (hint – she doesn’t).

A confident, coherent mingling of genres is matched with an impressive roster of collaborators – Jamie Woon, Jamie Jidell, Jay Electronica – to create a masterful treatise from a woman with a new perspective, new weapons, and the confidence to use them. Careful now. –REVIEW

Sarah Gosling


Pivot Gang You Can’t Sit With Us

Pivot Gang - 'You Can't Sit With Us'

This signalled the triumphant return of Chicago’s youngest generation of hip-hop influencers. Spearheaded by rising star, Saba, on this record Pivot Gang showcase an evolution: in not just the maturity and consciousness of their words but also their image. It’s built on honest references to the pitfalls and struggles of growing up in Chicago as a black man, all the while showing how they found peace and joy in expressing themselves through music.

With DaedaePIVOT layiing down the beats, the project switches between more spacious, smooth hip-hop beats, to heavier, trap stylings, further demonstrating the Gang’s versatility. Not an album to be overlooked – and one with high replay value – it’s a definite highlight release of 2019 so far. – REVIEW

Kofi Yeboah-Mensah


Holly Herndon – PROTO

Holly Herndon - 'PROTO'

There are plenty of albums on this list that could be described as ‘otherworldly’, but not one of them sounds quite as much like a genuine transmission from another galaxy as ‘PROTO’ does. To human ears Holly Herndon’s album sounds utterly alien.

Like the most compelling works of horror, ‘PROTO’ draws you in while also freaking you out – its stacked synthetic harmonies (which Herndon uses in place of traditional instruments) conjure disturbing visions of angelic, insectoid choirs that chitter and coo from crevices on distant worlds. It truly transports you to another place… just not any place you’d want to stay in long. – REVIEW

Josh Gray


Little Simz Grey Area

Little Simz - 'Grey Area'

“Committed” is the word that immediately springs to mind when describing Little Simz’s ‘Grey Area’ – every line is delivered with clarity, conviction and with full commitment to its meaning and sentiment.

A follow up to the incredible ‘Stillness In Wonderland’ – which managed to slip by in 2017 relatively unnoticed – it explores racism, empowerment, love, hate, power and self-doubt expertly, sealing Simz as among the best lyricists operating right now. She also shows herself to be a feminist icon for the modern ages, with ‘Grey Area’ as her statement of intent.  Start with ‘Venom’ or ‘101FM’Very loud. – REVIEW

Chris Spring


The Comet Is Coming – Trust In The Lifeforce Of Deep Mystery

The Comet Is Coming - 'Trust In The Lifeforce Of Deep Mystery'

If this doesn’t win this year’s Mercury Prize, then it is categorically impossible for any jazz entry to do so. From the dreamlike opening of ‘Because The End Is Really The Beginning’ to the final chaotic salvo of ‘The Universe Wakes Up’, this modern space odyssey continually opens up new cosmic frontiers. 

The stunning scope of the universe the London trio build here is more comparable to that of classic science fiction novels than the work of their peers, as though they tapped into the visions of Frank Herbert or Arthur C. Clarke and re-interpreted what they saw as thrillingly psychedelic jazz. – REVIEW

Josh Gray


Fontaines D.C. – Dogrel

Fontaines D.C. - 'Dogrel'

“A sell-out is someone who becomes a hypocrite in the name of money," insists Grian Chatten on ‘Checkless Reckless’. Seeing the world through Dublin’s finest exports Fontaines D.C. is a raw, gritty and aesthetic experience – ‘Dogrel’ mirrors the climate in Ireland by depicting beauty in a harsh reality.

From the shouty opening on ‘Big’ and drunken poetry of ‘Dublin City Sky’, to the Joy Division-like atmosphere on ‘The Lotts’ and the brisk New Order-like ‘Television Screens’, much ground is covered. The compulsive nature of the lyrics is undeniable, but ‘Dogrel’ is political, and this album presents authenticity in the truest sense. – REVIEW

Susan Hansen


Ezra Collective – You Can’t Steal My Joy

Ezra Collective - 'You Can't Steal My Joy'

This year Ezra Collective broke through from the UK jazz scene into the mainstream with their brilliantly confident ‘You Can’t Steal My Joy’. It blend sounds from the Caribbean and African diaspora into a London melting pot, making for an addictive sound. ‘Red Whine’, in particular, embodies a fresh, new take on jazz  – with its ska-reggae stylings – while ‘Quest For Coin’ folds in UK funk, Afrobeat, and almost-hip-hop.

As if that wasn’t enough multiplicity ‘Sao Paolo’ brings a Latin-tinged vibe, and the record is punctuated with collaborations from fellow young Brit luminaries Jorja Smith and Loyle Carner. This album marks the point where Ezra Collective – not just content with UK jazz fans – started causing major waves across the nation, and the world – REVIEW

Narzra Ahmed


Fat White Family – Serfs Up!

Fat White Family - 'Serfs Up!'

Following a three year sabbatical, Fat White Family’s much wanted return was one of glory. The band’s third album – and their strongest work – is also the first project where the band’s three core members, Saul Adamczewski and brothers Lias and Nathan Saoudi, have made equal contributions to the song writing, and the result is staggering.

This is a masterpiece that gradually makes its brilliance known; from the disco beats of opener ‘Feet’ and ‘Kim’s Sunset’, to the glam rock-inspired ‘Tastes Good With The Money’ and the dark, rave-like beats on ‘Fringe Runner’. This album is totally unmissable and addictive. An absolute must. – REVIEW

Susan Hansen




When an album begins with someone audibly removing their Invisalign, you know you’re in for an experience and that’s exactly what we got with Billie Eilish’s full length debut, ‘WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?’.

With an army of young fans from the age of 14, expectations were high for the now 17-year-old Eilish, however, sceptics were quickly silenced by this confident and emotive debut. With tracks such as chart hit ‘bad guy’ exhibiting her distinctive way of combining darkness, angst and a carefree nature, whilst also receiving the ultimate accolade of our time, being ‘meme-ified’, Eilish has cemented her position as pop music’s latest heavyweight talent. – REVIEW

Jumi Akinfenwa


Nilüfer Yanya Miss Universe

Nilüfer Yanya – 'Miss Universe'

It feels like we’ve been building towards this debut full-length from Nilüfer Yanya forever. Over the last few years, singles and EPs have dropped with regularity and offered shades of diamond-in-the-rough-type genius. On ‘Miss Universe’, Yanya goes above and beyond any of this initial hype.

Spanning 17 tracks and running the best part of an hour, this concept album that comments on our current state as a cold, faceless, consumerist society does a fantastic job of combining social commentary with brilliant pop-rock sensibilities and reveals it’s central creative force as one to watch in years to come. – REVIEW

Michael Watkins


AJ Tracey – AJ Tracey

AJ Tracey - 'AJ Tracey'

After building significant buzz – through collaborations with the likes of Dave and a plethora of mixtapes and EPs – AJ Tracey had a lot to prove with his self-titled debut album. Carrying the weight of the pirate radio era with him, the Ladbroke Grove MC managed to curate a set that embodied an authentic exploration of sound, grounded by a consistent commercial appeal.

Joined by veterans and newcomers alike  – Wiley along with Not3s – this album is effortless in its weaving together of sounds from multiple points in time. From its incorporation of Jorja Smith samples (‘Wandering Romance’) and the fusing of grime, soca and hip-hop, Tracey embodies the experimental sound and approach that UK music is embracing in 2019, and the genres that have informed this shift. – REVIEW



Giggs – Big Bad

Giggs - 'Big Bad'

The Hollowman dropped his fifth album in 2019, and reminded us all that he really is one of the biggest and baddest. Bouncing with comically sensual lyrics – you can almost hear him smiling through the bars, relishing his own weirdly witty wordplay – icy cold production gives the South London rapper’s bars room to luxuriate and breathe, in that trademark husky Giggs style.

Elsewhere, warmer soulful cuts like the introspective ‘Show Me Respect’ and the intimate ‘Shade’ demonstrate his versatility, and features draw from both sides of the Atlantic – such as Ghetts (on menacing standout ‘Run Me Down’) and Lil Yachty. With this project Giggs is taking UK road rap to new, infectious heights. – REVIEW

Emma Finamore


Lizzo – Cuz I Love You

Lizzo - 'Cuz I Love You'

With enough chutzpah to fell the White House, Lizzo's first-big time album ‘Cuz I Love You’ is an emotionally-raw, studio-polished collection of red hot bangers. She’s been a feel-great bop star for years, but in 2019 Lizzo brought her knack for fizzy one-liners, huge vocal hooks and hairbrush-miming soul pop into a league of its own through sheer force of talent and personality alone. And it rightfully hit the big-time.

With many of her songs now rocketing up into the tens of millions of streams, and the rumbling ‘Truth Hurts’ far exceeding the 100 million mark, turns out Lizzo is “100% that bitch”, as her own merch proudly states. – REVIEW

Jess Atkinson  


Cinematic Orchestra – To Believe

Cinematic Orchestra - 'To Believe'

Expectations were high for the Ninja Tune stalwarts’ first proper release in 12 years. So, rather than re-scaling the majestic heights of masterworks ‘Every Day’ or ‘Ma Fleur’, Jason Swinscoe and his electro-jazz innovators embarked on a deeper, more introspective journey for their second coming. 

Every track here is an oasis of peace, a haven in which to shelter and take stock before returning to the noise of the outside world. Star turns from Tawiah and Moses Sumney lend this record an equal, if not greater, emotional heft than its predecessors: a stunning achievement for a project presumed finished by most. – REVIEW

Josh Gray


Swindle – No More Normal

Swindle - 'No More Normal'

Swindle’s ground breaking ‘No More Normal’ demonstrates a unique knack for traversing grime, jazz, reggae and soul, but also his vision for what music can be: it’s a project that actively encourages cross-pollination between genres.

He’s joined by a stellar line-up to do this, from MCs like Ghetts, D Double E and P Money, to instrumentalists like Yussef Dayes and Nubya Garcia, and singers like Kiko Bun (more than reason enough to check out the album) but it’s the skill with which Swindle weaves sounds together that make it. Take ‘Drill Work’ with Ghetts, oozing swagger and fusing jazz instrumentation with grime, or the stripped down, pensive ‘Take It Back’, pairing D Double with reggae artist Kiko Bun…who else could pull off a project like this? – REVIEW

Emma Finamore


Denzel Curry – ZUU

Denzel Curry - 'ZUU'

Racing back to his Miami roots, Denzel Curry’s ‘ZUU’ is the epitome of Carol City, Florida – his hometown. With features from the likes of Rick Ross and production credits including Tay Keith and Charlie Heat, even though Denzel has been in the game for almost a decade, this acts as a perfect re-introduction.

Highlights include ‘Ricky’, ‘Shake 88’ and ‘Carolmart’, which help demonstrate that Denzel is more than the screaming lyrics that fans are accustomed to. The project shows that he’s evolved dramatically – exhibiting different and alternating flows throughout, while maintaining the form fans fell in love with. This album is a prime example of growth. – REVIEW

Debbie Ijaduola


Ariana Grande – thank u, next

Ariana Grande - 'thank u, next'

In February 2019, on the back of many public personal and professional struggles, the release of – and subsequent success of – Ariana Grande’s fifth studio album ‘thank u, next’ became proof of the R&B pop singer’s developing artistic prowess. A collection of fascinating sonics that mixed intense pop with hip-hop beats and lyrical beauty, the production is a clear indication of the long journey the Nickelodeon star turned pop star has come on.

From the cutesy, cat-ear wearing youngster to a mature musician making a statement of independence in ‘7 Rings’ , to the message of vulnerability brought forth in ‘Fake Smile’ and the catchy confidence of the title track, Grande has blossomed into a woman whose voice makes a difference to the world.

Malvika Padin


Sharon Van Etten – Remind Me Tomorrow

Sharon Van Etten – 'Remind Me Tomorrow'

The onetime purveyor of tragic, skeletal folk ballads finally made the leap from small to widescreen that she threatened back on 2014’s ‘Are We There’.  After taking some time off to become a mother, Sharon Van Etten returned with the aptly titled ‘Comeback Kid’ towards the end of 2018.

The following album added subtle electronics, not-so subtle electronics and bonafide, balls-to-the-wall rock anthems to her already formidable arsenal of song writing tools, reminding the world exactly why she’s already talked about as one of the finest songwriters of her generation. – REVIEW

Josh Gray


Vampire Weekend – Father Of The Bride

Vampire Weekend - 'Father Of The Bride'

It was a long wait for Vampire Weekend's fourth full-length, but we were richly rewarded. With Rostam Batmanglij's departure from the group weighing heavily on fan's minds, Ezra Koenig and co bounced back with a collaborative heavy double album loaded with new and old magic. 

Previously New York had played a crucial role in VW's world, but 2019 found Koenig living the LA life and experiencing fatherhood for the first time. It proved a heady mix, numbers such as 'This Life,' 'Sunflower' and 'Stranger' unveiling a band whose boyish charm had been replaced by laid-back maturity. Another gem in one stellar back catalogue. – REVIEW

Sam Walker Smart


Anderson .Paak – Ventura

Anderson .Paak - 'Ventura'

The R&B sister project to his previous, more rap-focused ‘Oxnard’, Anderson .Paak showed us with 'Ventura' that he’s not afraid to reinvent and experiment. .Paak  described the concept behind this and his previous LP as the drive to and from a night in Vegas, with ‘Ventura’ being the emotional comedown after the brasher, more hedonistic ‘Oxnard’.

Opening track ‘Come Home’ certainly feels like a rough morning after, filled with bleary-eyed melancholy and regret. Along with the pop brilliance of  ‘Make It Better’ the album is playfully experimental, .Paak switching up flows and structures on tracks like ‘Winner’s Circle’ and ‘Chosen One’. It’s equally impossible and exciting to try to define the sound of this album, sliding between multiple genres. A bold move, and one that paid off. – REVIEW

Will Rosebury


Solange – When I Get Home

Solange - 'When I Get Home'

Solange’s ‘When I Get Home’ is thoughtful, soulful and unforgettable. It starts with ‘Things I imagined’ – a dreamy, wistful way to set the tone for the album – before the album goes on to draw on jazz, funk, reggae and electronic stylings, all underpinned by her heavenly vocals.

Tracks like ‘Way To The Show’ and ‘Stay Flo’ are instantly appealing, helping to deliver Solange’s message, while the impressive credits include PharrellSampha , Earl Sweatshirt and Tyler, The Creator. Solange’s son Julez also played a hand in co-producing some tracks, adding an even more personal element to the project. But it’s the album’s sonic fluidity that really makes it so well loved. – REVIEW

Narzra Ahmed

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Chali 2na – Jurassic 5’s fast-flowing baritone – and master of turntablism, Krafty Kuts, are gearing up for a summer release.

After launching the first single ‘Guard The Fort’at the BBC 6 Music Festival in March, the duo have announced their upcoming album and shared new single, ‘Distance’.

Their LP ‘Adventures Of A Reluctant Superhero’ drops in August, and it's set to be an adventure through funk, breaks, rolling basslines, buckets of groove and everything in-between.

Throw in a generous portion of expertly delivered bars and vocals from genre sidekicks like Harry Shotta, Skye (Morcheeba), and Dynamite MC, and you’ve got the makings of a perfect summer record.

“We laid down a gritty raw funk beat that had a bit of attitude in it,” Krafty says of the project’s latest head-nodding single.

“Chali heard it and the inspiration behind the vocals came from a couple of people in his life who had been treating him badly, and taking advantage so it’s a message saying they had better keep their distance!”

We’re able to host it up-front  – tune in now.

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Ed Sheeran and Khalid have paired up on new track ‘Beautiful People’, and shared a video celebrating the exact opposite.

It’s the third track Sheeran has revealed from his up-coming ‘No.6 Collaborations Project’ LP, set for release on 12th July.

The sure-fire summer anthem spotlights the importance of staying true to yourself. The tongue-in-cheek video, directed by Andy McLeod, follows a happy couple dropped into a world of excess and high glamour, yet don’t feel compelled to fit in with their new surroundings.

Khalid’s got an undeniable, soulful voice and I knew he would be perfect for this track,” says Sheeran.

“I think we both connect to the song in the same way and I’m really happy we got to work together.”

The tune opens with pretty vocal harmonies and the refrain “We are, we are, we are” floating over a winsome melody with handclap-enhanced rhythms.

Sheeran and Khalid each sing a verse about uncomfortable social situations, where a person can feel “surrounded but still alone.”

“We don’t fit in well/We are just ourselves,” each of them soulfully sing. “I could use some help getting out of this conversation.”

Check out the track and its accompanying video now.

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Exmag have their ultra-vibrant feel to their music.

Fusing 80s body funk to that HudMo sense of maximalism, their squelching future soul electronics veer off in a thousand different directions at once.

Somehow, new single 'Really Good For Me' manages to keep it all together, an incisive, intense blast that matches songwriting classicism to club tropes.

Pennsylvanian artist Ari De Leo leaps on top, with that scorching vocal pleading: “how will my heart know if you’re really good for me?”

The whole song feels like a release, with 'Really Good For Me' blazing out of the traps and then hitting accelerator straight away.

Ari explains: “I wrote this song to help release me from my fears and experience the freedom that boundless love has to give…”

Tune in now.

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Iceland's múm released their debut album when nobody was looking.

Arriving on December 23rd 1999, most music fans were doing their Christmas shopping, or making up plans for the Millennium.

But debut LP 'Yesterday Was Dramatic – Today Is OK' went on to find a global audience, passed from friend to friend.

Becoming a true building block for modern electronica, its deft fusion of left field arts and deeply human songwriting made an immediate impact.

Set to be re-issued through Morr Music on August 30th, the original album has been spruced up with some exclusive bonus cuts.

Take this new rendering of 'Smell Memory'. In lieu of the originals electronic wash, Kronos Quartet have supplied something organic, a note for note representation.

A subtle, exceptionally fine tribute, you can check it out below.

Catch múm at London's Union Chapel on September 21st.

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Nathan Dawe is taking on the world one show at a time.

The DJ / producer has perfected his sound, this ultra-effective lowslung blend of garage rhythms and house textures.

Breakout single 'Cheatin' popped off in 2018, and this summer brings his wicked new house bumper 'Repeat After Me'.

Out now, it's set to be followed by a full support slot alongside Craig David, and as you can see his live sets are popping off…

Ahead of this we've grabbed an exclusive mix from Nathan Dawe, something he's titled 'Keepin' It Urban'. Packed with hefty bangers, re-edits, and neat twists, you can tune in below.

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East London's Unknown T is one of the capital's most electrifying rappers.

Part of a new generation of talent making the city their own, his emphatic drill style dominated 2018 with the 'Homerton B' single.

Set to hit the ground running this summer, Unknown T played a sold out show at Shoreditch venue the Village Underground last night (June 26th).

Special guests included fellow East London types NSG, while Not3s, KO, SL, and WSTRN all made their way onstage.

Photographer Qavi Reyez was in the pit – check out the results up top…

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