Tonight sees the launch of I'm Lovin' It Live, a free weekend of music entertainment brought to you by, wait for it, McDonalds.

Including performances from Jess Glynne, Lewis Capaldi, Becky Hill, Stormzy, Kaiser Chiefs, Olly Murrs and Craig David.

Kicking off this evening 30th October with performances from Jess Glynne at 19:00 and Becky Hill at 21:00 GMT.

Tomorrow 31st October sees Kaiser Chiefs from 19:00, Olly Murs at 20:00 and Craig David at 21:00 GMT.

Sunday night Lewis Capaldi performs at 19:30 and Stormzy closes the weekends streams at 21:00 GMT.

To access the event, simply download the My McDonald's App here, enable notifications and tune in to the free shows.

McDonalds has also teamed up with End Child Food Poverty Campaign and FareShare to provide support to those families in greatest need this year. McDonald's UK will fund the provision of one million meals in the coming weeks.

The best bit… no ID required meaning everybody can get involved.

– – –

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

 

Speaking to Spin Magazine in 2001 for a state-of-the-art interview two rappers from Atlanta explained the current state of the hip-hop scene. “They’re real comfortable out there right now. Nobody’s hungry anymore,” said one. Followed by the other frontman stating: “Man, as far as hip-hop… I used to be a real big fan, but not anymore, really. It’s not that it’s not good. It’s just not inspiring”.

Three albums deep into their career Andre 3000 and Big Boi, the composite members of duo OutKast, were getting bored with the music being released at the time. Something had to change.

OutKast’s previous albums, ‘Southernplayalisticadillacmuzik’ (1994), ‘ATLiens’ (1996) and ‘Aquemini’ (1998), all redefined the meaning of hip-hop and put the Atlanta duo on the map. A mix of fans were drawn to them through their range samples, heavy beats, southern patois and storytelling ability. With each record being so uniquely refined in OutKast were pushed to the forefront of the scene. The duo were now household names who had proved themselves and everyone else of what they were capable of. Their next record didn’t have to keep breaking barriers, but it did, and it cemented their status as the biggest duo in hip-hop and beyond.

‘Stankonia’ was released on Halloween in 2000, 20 years ago today. The album shows OutKast at their most extreme; the duo had reached the mainstream by this point, but they went against the idea of making another album to fit the mould. Their hunger to keep stretching the sounds of hip-hop hadn’t succumbed.

– – –

– – –

The album was named after the recording studio that the duo bought in 1998. ‘Stankonia’ was a word that Andre created himself, and he explained that ‘Stankonia’ “is this place I imagined where you can open yourself up and be free to express anything”.

The album cover shows Andre standing shirtless facing forward, arms stretched outward and chin held high, along with Big Boi rocking a baggy t-shirt and big necklace. Both are placed in front of a huge drooped black and white American flag. The image is simple yet iconic, but gives little away as to how colourful the 24 track album really is.

The leading single 'B.O.B' exemplifies the album; it never sits still, unapologetically getting in your face with constant surprises. Bombs Over Baghdad remains calm for a maximum of five seconds, before a countdown from Andre 3000 sets off the fireworks. Both loud and lively, the song makes commentary of life in the ghetto, whilst referring to political turmoil in Iraq at around the same time. The duo's influence on the 90s rave culture can be heard through drum 'n' bass beats. The track is constantly switching, adding other layers. 

– – –

– – –

With most OutKast songs, it's easy to tell who has had the most influence creating the track. Big Boi firmly stands at the front for 'We Luv Deez Hoez'. The sarcastic pimping song is both catchy and straight up gangster. Whilst ‘Stankonia (Stanklove)’ is all Andre 3000, he sings the hook, stretches his voice during the verses. The song is all harmony, with no rapping, providing more of an insight into what you would hear more of on their following album ‘Speakerboxx / The Love Below’.  

The duo were now grown ups, and the subsequent problems they faced are referenced on the album. Standout track ‘Ms. Jackson’ is a prime example of this. Both radio friendly and catchy, the track pushed them into stardom, winning a Grammy and being the first of three songs to reach No.1 on the Billboard charts. If you hadn’t heard of OutKast before, you certainly would’ve by now.

Influenced by Andre and his relationship with Erykah Badu, ‘Ms. Jackson’ is the story of ruined relationships, and promises that weren’t kept. A storm is centred as the central theme through the music video and track, a metaphor for 'stormy' relationships, as Andre states: "Hope that we feel this, feel this way forever/You can plan a pretty picnic, but you can't predict the weather, Ms. Jackson".

– – –

– – –

‘Stankonia’ is a journey through sounds of funk and hip-hop, 'So Fresh, So Clean' is a straight up anthem, both catchy in the hook and beat. Then, there’s the turbulent ‘Toilet Tisha’, a vivid story from the hood of a 14-year old girl struggling with the idea of having a baby. 'Spaghetti-Junction' shows the duo's chemistry at its fullest. Each raps a verse before coming together on the last back-to-back, with their flows blending into each other. The opener ‘Gasoline Dreams’ has guitar strings that hit you like a truck and ‘Gangster Sh*t’ is an aggressive head bopper. In-between songs, skits lead onto tracks or are used for comedic effect in heavy Atlantian slang.

Like Big Boi said in an interview when it came to making 'Stankonia': “All the doors were blown off, there were no boundaries”. In hindsight, that’s when some of the best music is made. But more importantly, it opens the doors for other artists to enter. The Young Thugs and Migos of the scene wouldn’t be around if OutKast didn’t lay down the foundations and if albums like ‘Stankonia’ weren’t made. The group was always in the neverland, not belonging anywhere, setting the example that it’s okay to be different, as those who do shine better than the rest.  

When Big Boi and Dre said they were bored with the state of hip-hop, they managed to bring back a spark from the scene that had been missing. ‘Stankonia’ was fun, something that gangster hip-hop wasn't. It appealed to a wider audience and broadened the scope of music altogether.

– – –

– – –

'Stankonia' has been re-issued for its 20th anniversary.

Words: Joe Hale

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

UK rap phenomenon Tion Wayne has shared new single 'Deluded'.

The rapper's single 'I Dunno' smashed into the Top 10 earlier this year, featuring Dutchavelli and national treasure Stormzy.

One of the year's defining UK rap tracks, follow up single 'Deluded' doesn't hold back.

A brash does of energy from one of the best in the game, it also features bars from Brum hero MIST.

An up-front mic assault from two singular talents, 'Deluded' should by rights follow 'I Dunno' to the pinnacle.

Tune in now.

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

What do you do when you are launching a new album? In the case of E from Eels you post an imaginary conversation between himself and his musical hero John Lennon where they discuss everything from the TV show Friends (good) to Trump (bad, very bad!).

This dialogue is yet another reminder of E’s storytelling which has been reflected throughout the thirteen albums released by the band. The fourteenth is ‘Earth To Dora’ a delightful, mainly soothing collection of songs that is a comforting departure from previous records that have had a propensity to be pretty dark.

If previous albums were the storm, ‘Earth to Dora’ is the calm after the storm and it follows the beginning, the end, and the potential return back to the same relationship. It is essentially a soap opera in twelve songs.  

The beginning of the album (and the relationship) is akin to that all-important honeymoon period and starts in a sweet and good-natured way with ‘Anything For Boo’ which is bound to put a smile on anyone’s face, despite the slightly basic lyrics "Anything for Boo, my love is true / It’s true, it’s true…" and so on (you get my drift!) This then leads on to ‘Are We Alright Again’ which is essentially someone looking for reassurance from their partner.

The album (and the relationship by the same admission) takes a slightly darker turn with ‘Are You F***ing Your Ex?’ which lets call a spade a spade is a pretty direct and accusatory track that is also deliciously catchy. You can imagine this track appearing on many an Instagram reel posted by a spurned lover.

This then leads on to ‘The Gentle Souls’ which seemingly represents the final nail in coffin in the relationship and you think it’s all over, but in true soap opera style, there is a dramatic plot twist which comes in the shape of ‘Baby, Let’s Make it Real’ and ‘Waking Up’.

For all of E’s melancholy brooding, ‘Earth to Dora’ still has a tender and vintage vibe. Although E seems to have adopted the role of a hapless romantic that is unlucky in love, this record is still strangely upbeat. The plot thickens!

7/10

Words: Emma Harrison

– – –

– – –

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

There's something unique about the atmosphere of late October and early November.

It's something in the light, the way the night suddenly descends, with those sharp, clear evenings seeming to offer foreboding at every street corner – perhaps folklore has it right, perhaps there truly is a breach in the walls between the dead and the living.

Hallowe'en arrives tomorrow – October 31st – so a few Clash writers put their heads together to conjure the scariest moments in music.

Along the way, you'll encounter sonic manipulation, the pleas of abandoned children, Scott Walker's incantations, and outright cannibalism.

You have been warned…

– – –

The Dillinger Escape Plan – 'Come To Daddy'

Aphex Twin’s nightmarish video for 1997’s 'Come To Daddy' is intense enough, but on The Dillinger Escape Plan’s cover version, guest singer Mike Paton truly curdles the blood with a sinister, electronically manipulated snarl to haunt your sleep for the rest of your life.

Will Fitzpatrick

– – –

Scott Walker – ‘Jolson & Jones’

The entirety of ‘The Drift’ is pretty much one long anxiety dream, but there is nothing more harrowing than the sudden appearance of the braying ass around two and a half minutes through this Lynchian nightmare, unless, of course, you keep on listening.

Altogether now, ‘I’LL PUNCH A DONKEY IN THE STREETS OF GALWAY!’

– Josh Gray

– – –

Slint – 'Good Morning, Captain'

The entirety of Slint's only full length album 'Spiderland' is like a rusty nail being driven in to your spinal cord, but 'Good Morning, Captain' is perhaps where the tension finally snaps, and the darkness becomes overwhelming.

Transposing the pain of divorce and family fragmentation as viewed through a child's eyes into a kind of post-rock Ancient Mariner, it's a harrowing plea for connection made as the oceans finally come to reclaim them. Bleak enough, but its strange, dream-like atmosphere somehow transcends all this, delivering something of a quite staggering intensity.

Robin Murray

– – –

The Velvet Underground – ‘The Gift’

It’s a classic romantic setup: boy meets girl, girl goes to college, boy gets suspicious, boy hides himself in a large cardboard box and posts himself to girl, girl struggles to open package, girl’s roommate stabs through the box (and boy’s head) with a sheet metal cutter.

Told over eight minutes in John Cale’s wonderful Welsh brogue, the final minute is a truly skin-crawling experience.

– Josh Gray

– – –

White Room – 'Cannibal Song'

Love and cannibalism aren’t usually themes that you would pair, but White Room did so perfectly in their 2017 banger, 'Cannibal Song'.

As the band’s name suggests, twisted and manipulated themes are not unfamiliar to this band. With their sadistic song writing and deathly vocals, they take what should be the next big docuseries for Netflix and manipulate the audience into falling in love with this crazed protagonist in their pursuit of love. “Got a taste for you” takes on a new meaning and yet still we become ignorant to the danger that is posed and fall down the rabbit hole, taunted by their desperately longing tone.

Whilst the song continues its search, the video offers closure as we see two cannibals join together over a sweetcorn cob gagged victim and a glass of wine. It certainly shows that there’s someone out there for everyone, but in a far more sinister way than your traditional ballads.

– Megan Walder

– – –

Lingua Ignota – ‘DO YOU DOUBT ME TRAITOR’

After a deceptive opening three minutes of gentle percussion and muted pianos, Kristin Hayter takes out her axe and starts hacking the song to pieces.

"HOW DO I BREAK YOU, BEFORE YOU BREAK ME?" she screams in torment as the track breaks up into skittering fragments around her. Not one to stick on your Hallowe'en party playlist, I’m afraid..

– Josh Gray

– – –

Dr Dre – 'Deep Water' (ft. Kendrick Lamar, Anderson Paak., Justus)

The clip of the guy drowning that opens the song and comes back three and a half minutes in is genuinely distressing. He keeps begging for help with such desperation that you feel complicit, like you’re ignoring his pleas.

If you’re listening to the full album then thankfully he gets saved at the beginning of ‘One Shot One Kill’, but if you’re listening to it on it’s own then that shit will haunt you for days.

– Josh Gray

– – –

Got a pick of your own? Tell us on Twitter.

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

There's something truly engaging about Thom Southern's songwriting.

A musician with a gilded touch, this Belfast-born, Liverpool-based artist drapes his every utterance in something melodic.

New single 'Perfect Someone' taps into those shoegaze influences, and from the opening note you feel it's going to be something special, a sugar-coated dream pop hymnal.

Shoegaze-fuelled guitar pop thrills akin to Slowdive's more direct moments or even Lush, the nagging two-note guitar riff sears a hole into your brain.

It's a song about mistakes and regrets, one that is wrapped around some beautifully opaque melodies.

He comments…

"'Perfect Someone' is a bittersweet story of nostalgia and young love. I wanted to write a song about that moment when out of the blue an old romance pops into your head and takes you straight back to a specific time and place. The lyrics are about finding an old coat that hasn’t been worn in years with a photograph inside one of the pockets. You remember how good that day was but inevitably you know it will never be the same again."

Out now, we've grabbed a neat performance clip featuring Thom Southern blasting through 'Perfect Someone' – tune in now.

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

London artist Bakar has shared new single '1st Time'.

2019 brought his outstanding 'Will You Be My Yellow?' EP, a blend of indie songwriting, R&B, and left-field ideas.

Sleeper hit 'Hell N Back' clocked up over 100 million streams, but Bakar opted to take his time over a follow up.

A full album is seemingly in the works for 2021, and his new chapter is launched by '1st Time'.

Quietly anthemic, it matches subtle neo-soul inflections in the verse to a rabble-rousing chorus.

Hector Dockrill crafts the video, with Bakar front and centre.

Tune in now.

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

Pa Salieu has shared the full video for his new single 'Block Boy'.

The Gambian-by-way-of-Coventry rapper is one of the defining figures in British music right now, someone who has blown apart the definitions places on him.

Hosting an incredible live stream last night (October 29th) featuring his debut live show, Pa's mixtape 'Send Them To Coventry' follows on November 13th.

Ahead of this, he's just shared new single 'Block Boy', and it's a seismic piece of ruffneck UK rap that embraces an eloquent sense of honesty.

NOS directs the visuals, a bold new chapter for an artist playing the game by his own rules.

Tune in now.

'Send Them To Coventry' tracklisting:

Block Boy
No Warnin’ (feat Boy Boy)
Frontline
Flip, Repeat
Informa (feat. M1llionz)
Over There
Betty
Pile Up (interlude)
More People (feat. Eight9Fly)
Active (feat. Ni Santora, Lz Dinero, Stizee & Shakavellie)
T.T.M They Don’t Know (Interlude)
My Family (feat. BackRoad Gee)
B***K
Energy (feat. Mahalia)

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

'Tis the season to get spooky, so with that in mind, what better time to hit up some gothic albums to get yourself in the mood?

Now, as a fine and reputable music publication, we must warn you that trying to argue which bands and albums actually classify as goth is a fool's errand; hell, some of the bands on this list vehemently refuse the label. Goth is indeed a subculture with a tangible beginning, dress code, and landmark pieces of media – but it's also a state of mind.

For those whose undead hearts beat with melancholy and melodrama, who love the darkest of clothing and the most reverbed of music, we present a bluffer's guide to some key gothic masterpieces.

Will you be able to present a lecture on the evolution of the culture from Poe to London’s Batcave? No.

Will this give you enough fodder to annoy your friends over a pint?

Absolutely, my children of the night.

– – –

Bauhaus – 'In the Flat Field' (1980)

Why Goth?

Arguably the beginning of it all, one of the first albums truly worthy of the title 'goth.'

But what of The Doors' darker cuts? We hear you cry. The Velvet Underground's nightmare pieces? Hush ya gums, we say; this is a bluffer's guide. Peter Murphy is literally a vampire.

Why Important?

While the likes of Joy Division and Siouxsie and The Banshees were already pushing guitar music into bleaker directions, the Bauhaus' debut landed as a fully-formed gothic masterpiece. Preceded by the single 'Bela Lugosi's Dead,' 'In the Flat Field' sounds like a glam-rock band sentenced to Hell. It's a chaotic affair and still packs a mighty punch.

Simply put, Bauhaus pushed the limits and looked great while doing it.

How Dark We Talking?

As dark as an Americano on a moonless night – a ghoulish 8. Forty years on, Northampton's finest freaks sound as unhinged and menacing as ever. They may have sired many acolytes, but they stand tall as the Kings of Shadow.

– – –

Siouxsie And The Banshees – 'Juju' (1981)

Why Goth?

The Banshees always had an intoxicating darkness at their core, but by 1981 they had the musicianship and ambition to truly let it soar. With guitarist John McGeoch and drummer Budgie now fully entrenched in the group, the quartet was able to marry their live ferocity with dashes of psychedelia and abrasive art-rock.

Couple that with Siouxsie's iconic look (soon aped by sometime Banshee Robert Smith) and you've got yourself a goth record.

Why Important?

For many, this is The Banshee's greatest work, a beautiful mix of raw punk energy and sinister ambition. It's the sound of a band beginning to create the twilight world they'd soon inhabit for following albums. A world of danger, sex, drama, and temptation.

How Dark We Talking?

A solid 7.

There are definitely moodier albums on this bluffer's guide, but 'Juju' is perhaps the most thrilling. There are the buzzsaw riffs on 'Monitor' and an actual track called 'Halloween', while closer 'Voodoo Dolly' is a droning nightmare – in a good way, of course. Grab some hairspray and go check it out.

– – –

The Cure – 'Pornography' (1982)

Why Goth?

Released as the subculture was getting into full swing, The Cure's fourth record saw Robert Smith and Co. fully adopt their somber look while pushing the band to breaking point. It remains their bleakest and most visceral release.

Why Important?

Hated by the majority of critics at the time, 'Pornography' stands as a shining jewel in the band's discography, usually placed next to 'Disintegration' as their crowning achievement for hardcore Cure heads. Helping shape post-punk with 1980's 'Seventeen Seconds' and 1981's 'Faith,' The Cure, alongside peers The Banshees, would morph their punk roots into something darker and brutally emotive.

Today they're alternative figureheads thanks to the balancing act they managed between giddy pop and lush melancholy, but this is the OG shit for many.

How Dark We Talking?

We've gotta go with a full 10/10 here.

The album's opening lyric is "It doesn't matter if we all die" and finishes 43 minutes later on "I must fight these sick thoughts / Find a cure." Goth AF. There's talk of slaughtered pigs, screeching psych guitar work, and a boatload of LSD being taken during the recording.

This is the sound of a band hating the world and, well, disintegrating.

– – –

Nick Cave & The Bad Seeds – 'Tender Prey' (1988)

Why Goth?

Nowadays, Mr. Cave and friends may be (rightfully) regarded as poetic geniuses and artisans of fine song, but let us not forget what utter maniacs they were back in the day. Cave spent the majority of the 80s strung out with a backcombed mess up top, spewing apocalyptic imagery. 'Tender Prey' acts as the bloody climax to that period.

Why Important?

While Cave’s interest in the wicked side of life has never left him, his work with The Birthday Party and the early Bad Seeds albums capture the gothic realm perfectly.

While the English groups of the time inherently had a more detached and pensive atmosphere, The Bad Seeds’ mix of country and Americana added a sense of volatile menace that few others could match. With fan favourites 'The Mercy Seat' and 'Up Jumped The Devil' on show, 'Tender Prey' captures the sound of a band who sound as if they're riding into town at midnight with nothing but ill intentions.

How Dark We Talking?

A sinful 7. There is more groove and melody on The Bad Seeds’ fifth full-length than most gothic albums, but there's also a substantial level of insanity and haunting imagery. Beauty and chaos make happy bedfellows.

– – –

The Sisters of Mercy – 'Floodland' (1987)

Why Goth?

If you knew a little about goth music and were imagining what it sounded like, you'd probably be hearing Sisters of Mercy in your head. 'Floodland' takes all the tropes from the scene’s beginnings – big drums, arpeggio guitar, and crooning vocals – and dials them up to stadium size. An operatically dramatic record with pop sheen.

Why Important?

Despite Sisters mastermind Andrew Eldritch REALLY not digging the goth tag, one look at the crowd then and now will tell you which sort is sucking up tracks titled 'This Corrosion' and 'Dominion.' With American bassist and uber-goth Patricia Morrison along for the ride, the group's second effort is a perfect time-capsule of peak 80s goth rock. Before long, groups would be merging the genre with metal, electronica, and even rap.

Goth's insidious influence lives on.

How Dark We Talking?

With its lush production and catchy melodies, we're going with a 6. 'Floodland' is less the sound of sheer madness and despair but more of a group wrapped in night's sweet embrace and living deliciously. We suggest grabbing a glass of Cabernet Sauvignon and getting good and lost in the notes.

– – –

Words: Sam Walker-Smart

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine

 

Nova has won the SAY Award 2020.

The Scottish Album Of The Year Award returned last night – October 29th – to bring some light during this dark year, platforming a number of exceptional albums from Scotland. In the end there could be only one winner, with Edinburgh based Nova winning the SAY Award 2020 for her project 'Re-Up'.

A startling record that melds together deconstructed grime tropes with her raw lyricism, it explores identity through the prism of Glasgow after parties.

The elated Nova commented:

“It is such an incredible feeling to have won the 2020 Scottish Album of the Year Award, just a couple of weeks shy of my 25th birthday! It is so affirming – any doubts that I might have had previously are now out of the window and I’m seriously so excited for the future. I’m excited to keep on this upwards trajectory, thrilled to encounter new experiences and take my professionalism to the next level. To think that my manager and I had no idea where we would end up when we started working together and now to have made it here is just fantastic!”

“It hasn’t always been easy – there have been a lot of late nights, night buses and moments of uncertainty, to name a few challenges, but winning this award has solidified my belief that hard work and determination bring results. So don’t call me lucky because I worked my butt off to move forward – and you can too.”

“There is so much possibility in the air and I feel so free, nurturing old bonds and making new ones is what I can see on the horizon. I’ve already begun working on my next project and I cannot wait to see how THAT is received. I’m sending much love and blessings to everyone who made this possible.”

While previous winners Young Fathers are undoubtedly a rap group, Nova's 'Re-Up' is perhaps the first pure rap record to win the award, while Nova herself is the youngest recipient to date of the SAY Award.

Watch some highlights HERE.

Jonathan Rimmer provided Clash with an outstanding sampler on Scottish underground rap some time back – it still holds up, and you can find it HERE.

Lastly, check out 'Re-Up' below.

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

Buy Clash Magazine