[Audio] Avec Sans’ ‘Heartbreak Hi’ album


Avec Sans

What I can I say about Avec Sans that I haven’t already? Probably not a lot; but they’ve just gone and released their début full-lengther so let’s give it a go, eh? To call their new album, sharing the title Heartbreak Hi with their first single, long-awaited would be an understatement. I’ve always seen The Sans as an album band, so the slow trickle of singles over the past four years has been tantalizing in the extreme and now that time has come I can well and truly say that a large body of Avec Sans work feels as satisfying as I’d always thought it would.

To bring you up to speed (insert American TV voice here: “Previously on Avec Sans…”); Avec Sans are, without question, amongst the top tier ElectroPop artists the UK has ever produced, and definitely one if, if not the best in the past decade. Striking the perfect balance between machine music and deep emotion in all elements of their sound as Jack St James offers up a deft combination of spiky, jagged synths and lush, evocative arrangements while Alice Fox’s voice flits between icy aloofness and heartfelt passion. This blending of cold and warm, dark and light, is what makes Avec Sans’s music such a rich experience. And it’s pretty groovy too! They serve up something for the heart, the head and the feet.

Avec Sans Heartbreak Hi Album

Heartbreak Hi is a both a culmination of the past few years of work and an introduction to new, sometimes surprising, material. All the singles are present and correct from their premiére tracks Perth and Heartbreak Hi, through The Answer, Hold On, Shiver, All Of Time,and Resonate to When You Go. So, rather than going over the singles again, we thought we’d take a trip down memory lane and re-visit our first impressions of the tracks. Here’s a rundown of Avec Sans’ previous singles, featured on Heartbreak Hi, via the medium of quoting our original thoughts:

♫ Avec Sans – Heartbreak Hi

Heartbreak Hi: “The track itself is glorious, rousing slice of razor sharp ElectroPop. With a very slight Industrial quality to it, that is tempered by Alice Fox’s impassioned vocals. It’s rare for a new ElectroPop act to come along and sound so polished and mature from the get-go.” (June 2012)

Shiver: “Catchy, but in an intelligent way, the tune is a cavalcade of buzzing synths and dance beats. Ms. Fox’s vocals sound more epic than ever, set to a sweeping, driving, slice of ElectroPop gold.” (November 2013)

When You Go: “Swoosh! That’s how When You Go begins. Once suitably swooshed you’ll be treated to a booming and majestic tune that sees Jack playing with an almost Dubby groove, albeit it a Dubby groove run through his humming RoboPop machines while Alice’s smoky vocal delivers that particular gloomy optimism that only she can.” (July 2015)

Hold On: “Hold On delivers compelling beats, a swirl of biting synths and a chorus that’ll stick in your head all day. What more could you want?” (June 2013)

The Answer: “If you said to me that this was a track created by a guy who has experimented with many different forms of electronic music and a vocalist who cut her teeth on the Indie band circuit, I would say that’s exactly what it is.” (November 2012)

Resonate: “Resonate is a thumping mid-tempo ElectroPop epic that it’s hard not to get swept up in as the starlight arpeggios swirl around an intimate and intoxicating vocal performance, all set to a hammerfall kick.” (April 2015)

All Of Time: “…a rousing, emotional SynthPop track with a surprising and powerful Indie sensibility. Piercing synths and Alice’s passionate vocal delivery wash over some tight dance beats on this one.” (August 2014)

Perth: “…a seriously classy cover of Bon Iver’s Perth” (June 2012)

All of which goes to show two things. Firstly that I am a terrible writer (but we knew this anyway, right?). Secondly that Avec Sans have been offering up the finest of tunes consistently since 2012; and by ‘consistently’ I don’t mean quantity, I mean consistently high quality. There’s a craftsmanship (and craftswomanship) and attention to sonic detail going on here that I’m sure some other acts would have found exhausting to keep up.

♫ Avec Sans – Shiver

All of that is precluded by the album opener, Even The Echoes, which layers on the atmosphere in true album intro style. The track actually sets up the album really well, all the Sans elements are in place. Jack’s sample manipulation and growling tones, Alice’s slightly sad anthems. All just a little reined in, tempo-wise, to ease you into proceedings. To the trained ear (and when I say trained, I mean: have listened to a lot of Aves Sans on busses in the past four years) the evolution and increasing musical confidence throughout their carrier is apparent in Heartbreak Hi’s catalogue; and damn, We Are is an evolved and confident tune. A sublime Pop track with beats and a hook that are surprisingly early-90s. I mean, seriously, it’s synth horns and hushed vocals could have easily been featured on the early days of MTV UK. A proper Pop anthem.

History, for me anyway, is the unforeseen standout of the new album tracks. A departure from Avec Sans’ crisp and regimented SynthPop into something with a gentle, almost R&B swing at times, a thick dancefloor bass and an IndiePop refrain. Which is an odd combination but when put into musical context, with Jack’s production and Alice’s delivery, is a combination that both works as an Avec Sans track, and give the duo a chance to flex their musical muscles slightly outside of the comfort zone (with total success!).

Gun to my head; Close My Eyes is my least favourite track on the album. Not a bad song by any means, I particularly like the lyrical imagery and the little squirly (that’s a word damnit!) bit in the riff, but it doesn’t quite reach the heights of it’s album mates. The album closer, Mistakes, however, is perfectly placed to ease you out of the record. A song full of regrets and reflection that pairs a hushed lament with a hazy swirl of rising keys that eventually breaks, like tension snapping, for the track’s, and album’s, beat driven finale.

♫ Avec Sans – When You Go

Which leads us to one last point of order. What’s my favourite Avec Sans song then? Well, now there is a large enough body of work out there I can safely say that it’s Hold On, for various reasons. Musically it speaks to my love of abrasive sounds made into something beautiful; an emotional and warm track comprised of chainsaw synths and piercing leads with a catchy as hell hook. Lyrically I find it totally relatable. I’ve no idea what Alice wrote the track about, but in the finest tradition of the listener interpreting the song, it is scary how it could have been written about a certain time in my life (more than any song I’ve head in the past decade or so!). Thankfully a time long in the past, still gives me goosebumps hearing a song about it though. Especially one that makes me want to dance!

♫ Avec Sans – Hold On

To sum up, in case you haven’t been paying attention. Just go and buy this album. A ‘summing up’ paragraph seems a little redundant at this point, if you read this website then you will love this album, without a doubt. It’s been a long time coming and doesn’t disappoint. It also feels a bt like the end of Aves Sans chapter one, and we are already excited about what Jack and Alice will bring us for chapter two.

Avec Sans’ Heartbreak Hi is out now on digital and CD, you can pre-order the vinyl here.

Buy Avec Sans’ music from:


[Audio] Jari Menari’s ‘Tiki Man’ EP


Jari Menari   Tiki Man   YouTube

The Tiki Man EP is the latest release from London’s Musik Box label and it’s arguably their best, and most eclectic, to date. Musik Box is, of course, home to all things House, Disco and Boogie set up by renowned beat-mongering duo Punks Jump Up, now PJU; now on it’s sixth release after a string of rock solid, and slightly quirky, floorfillers.

Tiki Man is the product of Jari Menari; who are, in turn, one half of PJU teaming up with one half of Swiss Disco experimentalists In Flagranti. Which makes sense as they are both products of that early 2000s Indie-Dance boom.

In Flagranti have been knocking out woozy Disco epics since way back in 2002, largely on their own label but occasionally for the likes of Kitsuné, Phantasy and Gomma. Intergalactic Bubblegum and Business Acumen both hold a massive place in my heart as the soundtrack to my last few years living in London. Similarly Punks Jump Up have served up some of the finest Boogie-fuelled monsters of the last decade. From Dance To Our Disco to the Chromeo’s Dave1 featuring Mr. Overtime, via collaborations with Dubka and Earl Grey, a new PJU release is always something to get excited about. Particularly the basslines. Oh how I love me some PJU bassline!

The EP’s title track is an insane six minutes of half rapped/half chanted vocals over one of those basslines. A thick late-80s House groove, pure white glove stuff, accentuated with synth stabs and popping purcussion, Tiki Man has a Chicago House core with a particularly British twist. Tanz La Tête continues in a similar vein, upping the jacking element into a hypnotic symphony of rolling 909 purcussion and punchy Roland bass; tied together with looped vocal snatches, a pure vintage floorfiller.

There’s a slight EBM/Newbeat slant to Body Conscious with it’s reverb heavy synthetic industrial purcussion and undulating waves of effects rolling in and out of the track while I Want U (But I Want U 4 Myself) serves up an almost New York Indie-Disco flavour mixed with a little Detroit Electro and Chicago warehouse vibes. Live bass and organ set this one apart from the rest of the EP.

The TIki Man EP is an example of what can happen where people truly steeped in the history of dance music come together to experiment, the results are eclectic and left-field, but rock solidly classic House.

♫ Jari Menari – Tiki Man

♫ Jari Menari – Tanz La Tête

♫ Jari Menari – Body Conscious

♫ Jari Menari – I Want U (But I Want U 4 Myself)

Jari Menari’s Tiki Man EP is out now.

Buy Jari Menari’s music from:


[Audio] Lindstrøm’s ‘Closing Shot’



Norwegian Cosmic Disco pioneer Hans-Peter Lindstrøm’s output can swing from the crowd-pleasing floorfillers to eclectic and freeform sonic experiments. You never know quite which you are going to get but you know what either way it will be musically exciting; and no doubt funky as all hell.

Closing Shot is the man’s new single, taken from a forthcoming EP set to drop 8th July on Lindstrøm’s own Feedility imprint. Closing Shot kicks off Lindstrøm’s 2016, after a super busy 2015 loaded with collaborations and reMixes (notably reMixes from Foals and Grizzly Bear and collabs with Todd Rundgren & Emil Nikolaisen), and see’s Hans-Peter getting his head down and serving up what he does best. Full on Cosmic Disco weirdness.

In the classic Lindstrøm vein, Closing Shot hits around the seven minute mark and is loaded with nice vintage synth hook set to a wobbly bass groove. The opening salvo of claps and chords set the tone for this return to the dancefloor, as with all Lindstrøm tunes; taking it’s time to ease you into it’s hypnotic flow. Gradually layering bright retro leads and spaced-out percussion over a commanding kick, Closing Shot builds it’s base until it’s final minute kicks in with a spine-tingling finale of sparkling arpeggios and syncopated synth stabs.

It’s a lovely, nostalgic and fun track aimed squarely at the dancefloor and one that bodes extremely well for the forthcoming album.

♫ Lindstrøm – Closing Shot

Lindstrøm’s Closing Shot is out now.

Buy  Lindstrøm’s music from:

[Video] Ladyhawke’s ‘A Love Song’



There’s definitely a soft spot in my heart for New Zealand’s finest Indie-Electro export Pip Brown A.K.A Ladyhawke. Although her sophomore album, Anxiety, was a tad too Rocky for my tastes; her self-titled début (from way back in 2008) was the bomb. A slick and personal combination of funk-fuelled breezy ElectroPop with a dusting of New Wave layered over some truly catchy songs that spanned deeply heartfelt to party anthem. That album was in our headphones for a long time. And the reMixes, oh the reMixes! Modular really delivered, getting the top ‘Blog House’ producers of the day to work on the 12”s.

As mentioned, the second album was very good, just not-so-much my thing. A little too much emphasis on the guitars, a little less emphasis on the synths. There was some good songs in there, but the sound didn’t do much for me. So it was with a mixture of excitement and nervousness that I greeted the news that Pip was back with a third full length record.Titled Wild Things, the new album is due out on 3rd June via Polyvinyl and the first single from the LP is A Love Song. And it’s good.

A Love Song is upbeat and purely electronic, two things I wasn’t anticipating from Ladyhawke. The massive Pop chorus is unexpected, but not unwelcome ,making the synth bass heavy verses sound almost low-key in comparison as Pip quiet vocals deliver bittersweet lyrics over subtle beats and a slow build. Then the chorus happens; a big sing-a-long over huge sidechained leads. A Love Song has definitely got my attention again.

Check out the lyric video below. While I hate, hate, hate lyric videos, this one is kinda’ neat; featuring animation by Paul Robertson who Pip got in touch with after seeing his pixelated take on the Simpsons intro with it’s psychedelic couch gag.

Ladyhawke’s Wild Things is released 3rd June.

Buy Ladyhawke’s music from:


[Audio] Touch Tone’s ‘Taken By You’


Touch Tone

Touch Tone has only gone and made an ElectroPop record, hasn’t he! Andrew Verner, one time Short Circuit Dreamwaver, has come on in leaps and bound since becoming Touch Tone. From his retro Robo-Pop beginnings through a Tropical House odyssey to this point. With a tune ready for the big time.

Andrew’s output has been solidly top quality for the past seven years since his Binary beginnings (has it really been seven years!). You can always rely on Touch Tone to drop something quintessentially electronic with heapings of synth funk in the bass department. Taken By You is no different. Well, it’s a little different.

Teaming up with vocalist Amanda Ply, Touch Tone serves up his most commercially viable offering to date. Seriously, this could quite easily chart. Built on a core of thick Synth Disco, the track layers up the big-room House elements and isn’t stingy with the coursing sweeps and chill-inducing hooks. This provides a fine backing for Amanda’s massive vocal performance, both epic and insanely catchy.

The track was released at the end of last month, so you can go and pick it up right now. I hope the weather is starting to get better wherever you are, ‘cos this is one for sunny days and free time. Without a care in the world, you’ll be humming this for hours afterward.

♫ Touch Tone (Feat. Amanda Ply) – Taken By You

Touch Tone’s Taken By You is out now.

Buy Touch Tone’s music from:


[Video] Makala Cheung’s ‘Feel The Rush’


Makala Cheung 張   Feel The Rush   YouTube

This is the new video from Bristolian dubby ElectroPop artist Makala Cheung. It’s been sat in my inbox for about a month now, which means I definitely missed the Chinese new year launch; but 2016 has been one of those year, and you know I’m not so focussed on ‘news’ anymore, so here we are. Better late than never.

Makala is creating some of the most interesting music around right now. Haunting and beautiful; her sound draws from both downtempo ElectroPop and oriental instrumentation to create something truly unique. Addin in Makala’s ethereal vocals just make the tunes all the more enigmatic.

Feel The Rush is a symphony of sparse Hip Hop beats, relentless synths and sparse strings whose shuffling patterns provide a broken soundtrack for Makala’s heartfelt lament.

The video is obviously inspired by Audition and is surprisingly lavish for a DIY artist, looking every bit as pro as it should. By taking it’s cues from Audition, it’s as creepy as it sounds and put a whole new haunting spin on the track itself.

Buy Makala Cheung’s music from:

[Audio] BeatLoaf’s ‘Texas Benchmark’



Y’know what we love about BeatLoaf? The Detroit based producer isn’t scared of making music. The man has got his groove, and it’s a groove seeped in the history of dance music, but he’s not afraid to experiment either, to think outside the musical box. While his tracks are unequivocally House floorfillers, he spices them up with hints of Detroit Techno, Electro, PowerNoise, Berlin sounds and SynthPop; all the time keeping things funky.

BeatLoaf has released a string of fresh single over the past few years, each one bringing new surprises to his robotic dancefloor sound, not least with last years mechanical monster Romantic, and this year he releases his latest robust beats in the forms of the intriguingly named Texas Benchmark; due out tomorrow.

Texas Benchmark bristles with shuffling electronic percussion and in terms of overall tone feels very much like a spiritual sibling to Romantic. Those slowly building beats and the occasional snatched of hollow synth bass before the riff fully drops are reminiscent of the tension that Romantic built. Texas Benchmark, however, has an almost playful, magical quality provided by effervescent and sparkling melodies that intertwine themselves throughout the track.

These shimmering and intoxicating hooks dance around your brain, taking control of the track. Weaving in and out of this techy House jam giving it a kinetic sense of narrative. Fat beats to take you on a journey. Toy-town synths telling the story.

Equally fit for headphones or dancefloor, Texas Benchmark is one to forget the world for seven minutes and let BeatLoaf do the driving.

The single is released 8th March via trill.wav

♫ BeatLoaf – Texas Benchmark

Buy BeatLoaf’s music from:


[Audio] Let Em Riot’s ‘Programme’ EP



Do I need a disclaimer at the beginning of an article about Let Em Riot? I mean, he has graced electronic rumors records with his SlashWave EP way back when and Alan is considered electronic rumors fam around these parts; so yeah, there may be bias. But look at it this way, I sunk my own hard earned cash and personal reputation (although that second one is pretty worthless!) into Let Em Riot, I was that convinced of how awesome they were. When did you last invest in an artist ‘cos you were so excited by them, huh? Exactly. So shut up and let me write.

And why did I invest in Let Em Riot? Well it’s simply because Alan Oakes is the single most talented singer/songwriter working in the SynthWave/RetroWave scene. Hands Down. In fact, he’s one of the most talented singer/songwriters working on ElectroPop or Indie-Electro, as a whole, today. Big words maybe, but just listen to one of his EPs, c’mon! I can’t even.

Speaking of EPs, Today sees the release of Let Em Riot’s latest EP on his Bandcamp page. The Programme EP is Let Em Riot’s fourth and, like the rest of his catalogue, see Alan exploring topics of love and loss to a soundtrack of sumptuous nostalgic synths. Dig in!

The EP kicks off with In Between. The thing with Let EM Riot songs is, no matter how melancholic they might be, they are always quite cheery and upbeat. You feel like even the tales of heartbreak have a happy ending somewhere. In Between dishes out the longing in spades between stabbing synth riffs and heavy duty drums (the drums are beefed up for this EP).

What sets Alan apart from some of his contemporaries is that, although he is making pure SynthPop, his songwriting and vocal style draws more from Indie and Alt-Rock than classic electronic music; and that’s a sweet combination. Rich synthesizer music and deeply emotional croon fit together perfectly. Saying that, though, I Don’t Want To Fake It is pure retro Pop. This tune could have easily charted in the mid-80s with it’s sparkling keys and fist-pumping earnest chorus. Kept fresh with just the tiniest injection of a Tropical groove. It.s even got some distant “Whoa-oh”s giving it a Nik Kershaw-goes-Tropical vibe.

Stranger Places’ Depeche Mode-esque post-Industrial rhythmic hammerfalls pin down this sweeping instrumental. It’s Sci-Fi soundscape ripe for cinematic visuals; Stranger Places is more nuanced and intricate than many of it’s peers, drawing as much from Jarre and the aforementioned Mode as it does from period soundtracks to delivers it’s melodic but tense package.

Want some unadulterated Let Em Riot? Upbeat beats, digital bass, heartfelt verses and big chant-a-long choruses, a nostalgic sheen? Well, Waiting For You has everything you need right here. This tune is the euphoric apex of the EP with relatable lyrics and some truly special synth riffing, this one’ll put a spring in your step.

The EP closes on Home Again, a beautiful, optimistic, heartfelt slice of ElectroPop. It’s raid fire bassline driving the track but never overtaking the considered delivery of the vocals, which seem to reign the machine gun synths in. Home Again brings to EP to it’s end but leaves a good taste in your ears.

See! That’s wasn’t to bias was it? Seriously though, if you like the three E’s, Electronics, Energy and Emotion in your music then you need to be at the very least investing Let Em Riot and you could do worst that starting with the Programme EP.

♫ Let Em Riot – I Don’t Want To Fake It

♫ Let Em Riot – Waiting For You

♫ Let Em Riot – Home Again

Let Em Riot’s Programme EP is out today via his Bandcamp page.

Buy Let Em Riot’s music from:

[Audio] Avec Sans’ ‘Heartbreak Hi’


Avec Sans

It looks like the Avec Sans train is really starting to roll out of the station now. You could consider the past four year since England’s finest ElectroPop outfit emerged as one big training montage and now it;s time for the big fight. Releasing a couple of single’s a year they have stayed in the consciousnesses of discerning music lovers, honed their skills on the live circuit and now their long long awaited début album is finally on the horizon. It’s time to kick things up a notch.

The first single from the album? Heartbreak Hi; which is extremely pleasing in a lovely symmetry kinda’ way. Of course, Heartbreak Hi was The Sans’ first ever track; the track that had us hooked, so it seems fitting that it was chosen to be the track to hook new listeners at the start of this album cycle. The beginning of this chapter of Avec Sans kicks off in the same bombastic fashion as the previous one.

Also, Heartbreak Hi sums up Avec Sans perfectly. It’s Avec Sans condensed and distilled into it’s purest form. It’s neat Avec Sans. No ice.

For a start Heartbreak Hi is exemplary of The Sans’ lyrical flavour. A deep melancholy and undercurrent of darkness intertwined with a healthy amount of tongue-in-cheek and word play. Anyone who spent the early-to-mid 90s slumped in front of teatime telly will instantly make the connection with the Aussie equivalent of Grange Hill, Heartbreak High. When Sci-Fi Debbie Harry Alice Fox turns that into “Hello heartbreak; hi” there’s an instant feeling (aside from ‘why the hell has no-one thought of that before’) of comforting nostalgia that tempers the track’s themes of loneliness.

The Sans haven’t just dumped a four year old MP3 on the world though. This Heartbreak Hi has been completely re-recorded and remastered. Instantly noticeable it that it sounds much warmer than it’s predecessor. Novation Yoda and part-time Clive Lewis cosplayer Jack St. James is renowned for his clean, crisp melodies and razor sharp synths which here are delivered in a more well-rounded whole than Heartbreak Hi’s predecessor.

As always, Avec Sans’ killer app is the combination of somewhat abrasive, somewhat aggressive, exhilarating and emotional electronic music and Alice’s Sarah-Cracknell-but-friendlier vocals. There’s a certain tone to Alice’s voice that could probably sing you a Cancer diagnosis and have you saying “ahhh whatever”; and weirdly (I say ‘weirdly’ because I have no justification for this at all) that blend of jagged and euphoric electronics with a voice with displays both confidence and fragility always makes me think there is more going on in the track’s narrative, like each Avec Sans song is a small slices of a larger story. Or maybe that’s just me and I should shut up and dance?

So; Heartbreak Hi is released 18th March with a full reMix package. Aces Sans forthcoming première album drops 3rd June. The album is, as-yet, untitled. In keeping with the 90s nostalgia my suggestion would be The One Where Alice And Jack Release An Album. You’re Welcome.

You can pre-order the album (including on vinyl!!!), and a whole host of other goodies including CDs, tote bags, private gigs, Jack’s sage-like production nouse, Alice’s clothes and a dress-up-like-me kit on their PledgeMusic page which is well worth a browse ‘cos there’s a ton of stuff there. If you’re in old London town next month you can catch them at The Old Blue Last; I’ll be there so, y’know, leave me alone please (joke!). Or if you’re at SXSW they’ll be doing the rounds (Great! More people on my friends list to join in the annual reminder that I’m not at SXSW and how everyone is having a much better time than me!).

Check out Heartbreak Hi below. Then go and pre-order the new album. Then get a little restless waiting until June. Ahhh, the double-edged sword of the pre-order. You should though; Avec Sans are super DIY and self-funding, and in the words of respected philosopher Mr. John Tesco “Every Little Helps”.

tl;dr Yay, Avec Sans have finally got an album coming out.

♫ Avec Sans – Heartbreak Hi

Avec Sans’ Heartbreak Hi is released 18th March followed by their début album on 3rd June.

Pre-order the album, the single and tons of other goodies here.

Buy Avec Sans’ music from:

[News] The Blog Sound Of 2016 result



Evening all. We sincerely hope a rad X-mas and New Year was had by all. 2016 is taking it;s time to get started so as usual when this time rolls around we’re not quite back yet, just popping in to drop off this announcement.

The Blog Sound Of 2015 results are in and backed up in the top five by The Japanese House, Aurora, Aquilo and Loyle Carter is this year’s winner, Mura Masa. Although now one of our choices, this 19-year old hailing form Gurnsey, of all places, serves up quite a smooth line in Lo-Fi R&B fuelled Electronica that a few years ago would have probably been called Chillwave at it’s most laid back and experimental Electro-Pop at it’s most energetic. Despite being a bit samey, we’re pleased the top five wasn’t as full of Indie and Folk acts as it could have been and interesting electronics have more or less dominated this year. You should check Mura Masa out, there’s some quite pleasing to the ear grooves up in there.

If anyone’s interested; we voted for Tear Council, Tove Styrke and Leo Kalyan.

♫ Mura Masa (Feat. Shura) – Love For That

♫ Mura Masa – I’ll Be Alright (Tonight)

Anyhoo, we’re going back to coming to terms with the new year.. Catch you in a bit!

The UK music blogs that took part (i.e. the good guys) were:

A Pocket Full Of Seeds, A World Of Music And Madness, Across The Kitchen Table, Alphabet Bands, Beat Surrender, Bratfaced LDN, Breaking More Waves, Brighton Music Blog, Buzz Unlimited, Cruel Rhythm, Chord Blossom, Daisy Digital, Dive, Details Of My Life, Dots And Dashes, Drunken Werewolf, Digital Shuffle, Echoes And Dust, Electronic Rumors, Encore Northern Island, Even The Stars, Faded Glamour, Get Into This, Get Some, God Is In The TV, I Love Pie, Just Music I Like, Kemptation, Killing Moon, Little Indie Blogs, Love Music: Love Life, Metaphorical Boat, Monkey Boxing, Music Liberation, Music Like Dirt, Music Umpire, Neon Filler, Not Many Experts, Popped Music, Pursuit Of Sound, Rave Child, Record Rewind Play, Scientists Of Sound, Some Of It Is True, Spectral Nights, Sweeping The Nation, Synth Glasgow, The Blue Walrus, The Devil Has The Best Tuna, The Electricity Club, The Evening’s Empire, The Mad Mackerel, The VPME, This Must Be Pop, Thoughts On Music, Too Many Blogs, What If I Had A Music Blog, When The Gramophone Rings