In Celebration of Black History Month 2018 ‘Style in My DNA’ by Lorna Holder chronicles 70 years of Caribbean influence on British Fashion.  


In Celebration of Black History Month 2018 ‘Style in My DNA’ by Lorna Holder chronicles 70 years of Caribbean influence on British Fashion. 

Join Lorna Holder in-conversation with Paulette Simpson, director of The Voice Newspaper and contributors from her new book plus book reading & signing.

This October Black History Month UK celebrates the achievements and contributions, of the BME communities. Anyone seeking to understand the Caribbean migrant experience can learn a lot from striking images from the past.

This eye-catching and impressive book documents seventy years of Caribbean influence on British fashion. The book includes exclusive and never before seen fashion photography and illustrations of Caribbean people in Britain from the late forties and continues right up to the present day.

The book also includes the memoirs of Lorna Holder, a child of the Windrush generation, born in Jamaica, brought up in Nottingham. Graduating with a BA Honours in Fashion and Textiles in 1975, she was the first black graduate of fashion to qualify at Nottingham Trent University. She went on to be a very successful fashion designer, producer, writer, curator and an active figure within London’s Caribbean Community.

 “Style in My DNA is my journey as a black woman, wife, mother, fashion designer and businesswoman, ‘making it happen’ as a migrant in 20th and 21st century Britain.”Lorna Holder

For further information call Tuareg Productions 

tel: 02076922711

Uncovering the unbridled pop brilliance of HAERTS

You may not know the name of the song or the band behind it, but you have undoubtedly heard the shimmering synths, plucky guitar, and soaring vocals of “Wings” that immediately made you feel like you were falling into a pool of sunshine. “Wings” was German indie pop duo HAERTS’s (Nini Fabi and Ben “Benny” Gebert) 2013 debut single that was co-produced by St. Lucia’s Jean-Philip Grobler and quickly shot the pair up onto the international stage as indie pop darlings. That song alone captured the attention of major labels and landed HAERTS a deal with Columbia Records.

In 2014, HAERTS released their debut self-titled album but it didn’t catch fire the same way that “Wings” did and soon after, Nini and Benny parted ways with Columbia. What followed was a period of deep self-reflection and a re-commitment to making music true to themselves.

Enter 2018 and HAERTS’s New Compassion album. The collection of eleven tracks exists as a tribute to the band’s dedication to self-transformation and unwavering persistence.  Written in the isolation of upstate New York’s Hudson Valley, New Compassion sees Nini and Ben’s creativity set free, marking a new beginning for the two.

We had an opportunity to catch up with the pair to chat about a little bit of everything – successes, set backs, New Compassion, and more.

FAULT: The album New Compassion is about self-transformation and unwavering persistence. Can you tell us in more detail about the experiences that shaped the songs on the record?
Nini: This album is us and it’s about our personal experiences of the past years. It’s about the whole spectrum of love, everything from breaking to healing and the notion of having to go through it all in order to live fully.

When we wrote it we were going through a lot of changes. We had just been dropped from our label, and were going through a very stormy time. The decision to make the album seemed crazy at first because there was no support, and we did not know where the band or where we as partners were going. But at the same time we felt that we had to focus on the work and make this album. It was our way of communicating with each other, things that we could not put in words. In writing we tried to make sense of our life and love by shaping it into music.

After having such immediate and astronomical success with your first single “Wings,” how would you describe the evolution of your sound from then to now?
Benny: Our sound has changed quite a bit, especially on this new album. It seems that we kept stripping back layers over the past few years. We originally came from writing simple songs on guitar and piano, and with this record we wanted to go back to that, because we thought that we could be more direct and clear that way. The production and instrumentation followed that approach and we just tried to support each song with a rather limited song palette.

Is there any part of you and how you create that tries to recreate what you had with “Wings?”
Nini: Of course we would love another one of our songs to have the reach that “Wings” had, but from an artistic standpoint I don’t think it’s possible to recreate any song. It’s nice when a song works and has some success, but when we write music it’s just our way of communicating something, moving through something. Sometimes what comes out can connect with people and sometimes it can’t, but trying to chase that is not something we are good at. We just want to keep doing our work.

You’ve been long-time residents of NYC. What about the city continues to inspire you?
Nini: The noise, the electricity, but mostly all the different people that manage to live here side by side and still feel connected through the city. We left the city to write and record this album, because at the time everything became to intense, too frantic, and we were looking to find peace and solitude. But every time we came back we still felt the magnetism and as long as we feel that I hope we can find inspiration here.

What is your favorite song on the record and why?
Nini: This answer changes every day and I think it will change even more once we tour the album this winter and start playing the music live. Today I will say No Love for the Wild. The song was the key to the rest of the album. After we wrote it, we knew where we wanted to go with this new music and so I feel grateful for this song.

Benny: Special. I initially did not want the song on the record because it seemed a bit alien in the context of the album. Especially in the chorus Nini’s vocals are very different from what she has done in the past. But then again I think she was expressing something new in this song and I am glad the song made it on the album.

What are the biggest differences between being on a major label to being an independent band? Is there anything that you miss?
Nini: It’s hard to make a general statement about this, because I believe that the important thing is not so much whether you are on a major label or independent, but whether you are in an environment that feels right to you, that supports you. We’ve been with a major, we’ve been completely on our own and now with Arts & Crafts with people that we love and who completely support us and who we are as artists.

What is your fault?
Nini: Many things, they are all on the album.

HAERTS Socials:

Golden Vessel’s “BIGBRIGHT” is a meeting of Australia’s buzziest musicians

Brisbane artist Golden Vessel has managed to pull together some of the buzziest Australian musicians on a single song, “BIGBRIGHT.” Featured on the track are Elkkle, E^ST and DUCKWRTH, who are each given their time to shine with a solo verse.

Written about the butterflies and head rush of a new crush, “BIGBRIGHT” has an accompanying visual that gives life to the feeling of head spinning infatuation.

“It was the first time that anyone on the track had met each other, and while four days was maybe overkill, we had such a fun time and we wanted to make it as good as possible,” Golden Vessel says about the making of the video. “I wanted everyone to be in their own unique locations alone singing their verse, and then at the end of the video we all come together for one big scene as friends.”

We asked Golden Vessel to take a deep dive with us to explain the inspiration behind the music video.

Brockhampton has been a huge inspiration for me both musically and visually and I love this video so much. The energy and friendship they project is really amazing and I wanted to capture a similar feeling for “BIGBRIGHT.”

I randomly found Relbw on Instagram and immediately fell in love with their photography and styling. The colours and shapes they use are amazing and we used this as a reference for the outfits and styling.

Harry who directed “BIGBRIGHT” loved the photography by platon and we used this as a key reference for the Duckwrth studio scenes.

We used artist and production designer Dave Court to build the colourful room in the final scene of the video. He built it the room out of wood inside a studio and painted it using different techniques. A big influence for him is the painter Katharina Grosse.

I also loved the energy and choppiness of this video by A$ap Ferg. It’s so fast and intense and we wanted to cut between shots at a similar rate for “BIGBRIGHT.”

Golden Vessel Socials:

Lily Allen cover shoot with FAULT Magazine: FAULTs and all

Lily Allen X FAULT Magazine

FAULT Magazine Issue 29 - Lily Allen cover
Photography: David Yeo
Fashion Editor: Rachel Holland
Hair: Jake Gallagher
Make-up: Georgina Ahmed
Nail Technician: Diana Drummond
Set Designer: Andrew Macgregor
Fashion Assistants: Ana Cirnu And Lupe Baeyens


Words: Miles Holder & Elly Watson 


FAULT: So obviously No Shame is amazing, congratulations! How’s the reaction been so far?
Lily Allen: The only reaction I’ve really seen is live from fans, and that’s been really amazing. I guess the other thing is reviews which have been on the whole really good. Couple of bad ones, but it is what it is…


It’s been four years since Sheezus and you’ve previously said you made “a record for a record company”, how did you approach No Shame differently?
Lily Allen: Well I don’t know if I’d made it for the record company, but I made it for the market. When I first started making music I didn’t think I was going to be a pop star. To be honest, I thought I’d be like Jamie T support act. Then when ‘Smile’ came out and whatever happened… It was beyond all my expectations. I don’t even know if it was really what I wanted, but it happened like that. Because it was successful it’s like you’re trying to repeat that cycle and I think that became wrong in whatever way, and that’s what culminated in Sheezus. I had to reevaluate what it was that I was doing, what it was that I liked and what it was that my fans liked about the first albums when it was going right, and not really thinking about the commercial aspect of things. Because those things aren’t really in an artists control now anyway, it’s all to do with algorithms and streaming figures.


Releasing a song at the right time and all of that?
Lily Allen: Not even that! I think it’s all to do with marketing. If you’re not a priority then it’s not going to happen like that and I knew that it was no longer a priority so I was like “Well, what are you doing this for then?” If it’s not to be a pop star it’s got to be for the other reasons, so it was going back to the other reasons.


FAULT Magazine Issue 29 - Lily Allen cover
And how was it going back to those previous reasons?
Lily Allen: A relief, I think. Just having the freedom to do whatever it was I wanted and reconnecting. I think it was interesting as well that the first and second albums were very truthful and honest, but from a different perspective. I was a lot younger and I didn’t have any responsibilities – it was all about drugs and sex and the good sides of that. No Shame is the other side.


What made you want to explore those other sides in No Shame?
Lily Allen: Just because I was in it! That’s where I was. I’ve always written about my lived experiences and what it is I’m going through. In the first album it was all about going out and London and boys because that’s what I was! I was 19 and that’s what I was seeing. On this album I was really lonely and very isolated from my friends and my peer group, even from members of my family. I suppose maybe because I was writing a book alongside the album I became quite introspective and started thinking about myself and what’s happened more. I spent a lot of time on Twitter and seeing what other people think about the world, but it was the first time I sort of explored myself outside of therapy.


What made you want to write a book?
Lily Allen: Money!


Lily Allen: Money and running out of it! Not seeing many avenues to make it anymore. And also, aside from that slightly facetious answer, I actually don’t have a very good memory, I get really bored of repeating myself and I think that this period, the last four years at least, have been not only really important formative years for myself but for my children as well. And they’re going to ask questions about what happened with Mummy and Daddy and I’m not going to want to go over it. Also it’ll not be accurate in 10 years time when I’m retelling the story. Lots of parents have that difficulty but most parents’ children don’t have the Daily Mail online as their point of reference to find out the truth about what happened and I just don’t want them to think that that’s what it is. So it’s my way of explaining that… and getting paid, yay!


And what’s the book called?
Lily Allen: My Thoughts Exactly.


FAULT Magazine Issue 29 - Lily Allen cover


How about No Shame? Where did that name come from?
Lily Allen: It was called The Fourth Wall for ages because it did feel like that moment in House of Cards where Kevin Spaces turns to the camera and starts talking to the audience and saying that everything else that came before was a bit of an act really – which is true to a certain extent, but it’s slightly exaggerated. But my manager said “imagine if you’re on Graham Norton and you’re having to explain this, that makes you sound really pretentious.” Then one day I came up with No Shame and he was like “you can explain this better.” And I guess it’s just being a woman in music and being tabloid fodder for such a long period of my twenties, everything kind of came with a side dish of guilt and shame and humiliation, but it was all kind of written for me. No-one ever said “are you really embarrassed by this?” or “aren’t you really upset by this?”, it was just “she’s upset, she’s embarrassed, she’s a failure.” So I think it was me addressing all of those things that I do on the record but putting up a bit of an armour really, just saying I’m not ashamed. That’s how we move forward from these things that lots of people go through, but maybe not a lot of us talk about because we feel ashamed.


Obviously a lot of us don’t have our lived plastered on the front of the Daily Mail for everyone to read but especially being a young woman, is that motto of not being ashamed something you want people to take from this?
Lily Allen: I think most of of my albums have had a double entendre thing to it – except Sheezus. It’s me saying that I’ve got no shame but Daily Mail readers will listen to it and go “oh she’s got no shame that one.”  You can make it what you want to really. But then also, so often when I’ve been experiencing really great things, like album sales and playing on the Pyramid Stage at Glastonbury or whatever, it’s like I almost don’t let myself have it. I’d be like “didn’t the band play a really great show?” or “didn’t Greg Kurstin produce a really great album?” It’s difficult I think as a woman, especially when people are being so rude about you the whole fucking time and trying to tell you that everything’s happened because of other people, we find it difficult not to feel guilty about our accomplishments in a weird way. It’s that imposter syndrome thing.


Like claiming the narrative for yourself and not being ashamed of it. Is that what you want people to feel when they listen to the album?
Lily Allen: I’ve come to terms with the idea now that you put something out and people will make of it what they want. That’s almost another reason why the album’s got that title, it’s like you can either hate it and think that I’ve got “no shame” or you can listen to it and be like “oh that’s good, she’s rid herself of all of that guilt and shame.”


And you’ve just mentioned Twitter, do you think it’s important to call out people when they’re being twats on it? Because a lot of people in the public eye get people who are mean about them online but don’t address it.
Lily Allen: I probably address 0.00001 per cent of what it is that I get. And I’ve spent a lot of time online and I think most of my peers do as well. The analogy that I tend to use now is that Twitter is the modern pub. You know? And if people would talk to me like that in real life – if someone was really drunk and lecherous and annoying, I’d probably walk away and ignore him, but if I felt what they said really crossed a line I would call them out. So that’s kind of my filter for it, I guess.


You also use your social media to bring up issues that are happening. Do you think it’s important for artists to do that?
Lily Allen: It depends what their goal is. If it’s to make money and get lots of brand endorsements then probably not. If what you’re striving for is something different, which I do, then yeah. I feel like you’ve got to be able to back it up, you know? And I think that’s why the tabloids and everyone hates me so much is because they can’t get me. I am a leftist, I am a socialist, I pay all my fucking tax, you know? I don’t have a company registered in the Cayman Islands and they know that. That’s why they’re so angry because they can’t… if I am being hypocritical I’ll put my hands up and say “yeah that is”, but I believe in what I say. I walk the walk and I talk the talk and that’s why they hate it so much.


Completely. I think you’re using the influence and followers that you have to promote important things that people need to be talking about instead of being like “oh if I bring up this issue Missguided might not give me that 10% off sample sale.” So what would you say has been the worst piece of advice you’ve gotten in the industry?
Lily Allen: Sign this record deal for £25,000 from my lawyer at the time… In all seriousness I think there’s a real issue with the legal firms that are giving advice to really young people. I signed that deal when I was 19 years old and I’m still in it. It was a five-album deal for £25,000. And I paid for the advice to sign that deal and it was not good advice.


FAULT Magazine Issue 29 - Lily Allen cover


Is there any way you can get out of it?
Lily Allen: I’m working on it but I’ve only got one more album to go. But I am very concerned for other young artists for sure.


Yeah, it’s terrifying. Finally, what else have you got planned. There’s a big tour at the end of the year?
Lily Allen: I don’t really make plans anymore. It’s all so unpredictable. I just kind of see where the wind takes me. I’m doing this book, which is coming out in September. There’s talk about maybe people buying the rights to it and whether to make it into either a film or TV, and then I’ll take the producer credit on that and do it through my production company so I don’t know, I might really enjoy that process and decide I don’t want to make music anymore and do something else. Or I might decide to do another album.


Was there ever a time in those four years between Sheezus and No Shame where you were like I’d rather just…
Lily Allen: Never that I’d rather just do something else. I did do something else when I did my clothes shop with my sister and also having babies. Also having kids is choosing to go on a different tangent. So I do have those moments but I’m completely unqualified, I left school when I was fifteen, this is the only thing I know how to do and I do really enjoy it.


And finally, what’s your FAULT?
Lily Allen: Brexit, apparently! I dunno, everything? It’s all my fault, blame me for it. Like what’s my inner fault? What’s wrong with me? Again, the answer is just everything. I think just write everything.




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Calum Scott bares all for FAULT Magazine Issue 29

Calum Scott X FAULT Magazine






Yorkshire lad Calum Scott shot to fame in 2016 after his goosebump-inducing cover of Robyn’s “Dancing On My Own” on Britain’s Got Talent. As well as breathing new life into the record, the rendition propelled Scott into the spotlight, landing him a record deal and changing his life in more ways than than he could ever have known.


Your cover of Robyn’s ‘Dancing on my own’ was the most downloaded song of the summer in 2016 after BGT and you became a household name pretty quickly. How did it feel to lose your anonymity so suddenly? 

Calum Scott : It felt incredibly surreal. I went from having a very normal life with a very normal day job and in one moment, the whole trajectory of my life completely changed. Britain’s Got Talent gave me a springboard and a platform where the audition and ultimately my single would be seen and discovered by people all over the world – had I known that going in it would have completely freaked me out. I am lucky in that I still have some anonymity, I still remain a very normal person and do what everyone else does, go to the same places.. staying grounded is very important to me.


Although it’s a cover, you sing it with such piercing emotion that you must have related to it quite strongly. Tell me what the song meant to you then and what it means to you now?

Calum ScottI remember hearing the original back in 2010 and was a huge fan because there is no denying, it is a smash! At that time, because of the cool pop production on it, I didn’t hear the lyrics as heartbreaking as they actually are. When I covered the song it was just me and piano.. the words literally leapt out and hit me straight in the chest. I completely relate to them as a guy who is a sucker for falling in love with the straight guys so in my cover I purposefully didn’t change the pronouns – I wanted it to be from my own perspective because I related so much. Now, the song still means the same to me but has complete new purpose. This song undoubtedly changed my life and I feel whether its Robyn’s original or my interpretation of her song, it is changing other people’s lives which is the most humbling feeling ever.

You’ve said that ‘If Our Love Is Wrong’ is effectively your coming out song. What led you to open up about your sexuality on this track?

Calum ScottGrowing up I found it really difficult to identify who I was.. I struggled when I was younger working out if I was gay or if I was just going through a phase and after putting trust in my friends at the time and talking to them about it, I was completely abandoned. That made me suppress my sexuality for the best part of my life. I came out to those closest to me but after my career took off, I had to open my private life to the world and that’s where I had to make a decision on how I was going to handle it especially because at this point, I still hadn’t told my Dad. I literally went into a songwriting session, told them the situation, cried my eyes out and ‘If Our Love Is Wrong’ was born. After we had written that song, it opened the path to my most honest songwriting and made me feel the most empowered I’ve ever felt.


You signed with Capitol records back in 2016 but released your debut album ‘Only Human’ this spring. What happened in that time?

Calum ScottThe biggest adventures of my life! I had such unprecedented success with ‘Dancing On My Own’ that it completely changed my world! When Capitol brought me to LA to discuss signing with them, that visit was the first time I had been to the states! Since then I began writing my own songs, travelling all over the world to perform at shows, on TV and radio, supporting incredible artists in the UK such as Jamie Lawson and Emeli Sandé, and all the while trying to record my debut album! It’s been a whirlwind adventure but I have loved every moment of it.


You’ve said that, after hearing your music, people have told you it’s given them the courage to come out themselves, or helped them face difficult times. How are you finding the reception of the record so far? 

Calum Scott :The record is becoming exactly what I hoped for – it is becoming a ‘medicine’ for people. I am always incredibly touched when people get in touch to tell me their stories that are/were influenced by the music on my album. To write honest music and remain relatable and approachable was always my goal but releasing this record was more about helping others through my own personal stories and struggles. My fans have been very patient waiting for this album to be released and the reaction has been unreal, it continues to be discovered beyond my fan base in all corners of the world, I couldn’t have asked for a better reception of a debut album.

Tell me about the role your family – especially your sister – has played in supporting your musical career?

Calum Scott :Without my sister I don’t think I would be sat here answering these questions! I only actually discovered my voice because of her. One day she overheard me singing in my room and took it upon herself to put me into a competition and not tell me… NOT impressed initially but with the belief from my friends and family, I took to the stage for the very first time and a passion ignited in me that I had never felt before. Ever since then I have dreamt of what I do now and it is 100% down to them that I believed in myself enough to chase it.

Who would you say your musical idols are?

Calum Scott :When my sister and I were younger, my Mum would always play her favourite artists; Whitney Houston, Diana Ross, Michael Jackson, Queen, Celine Dion.. all these powerful and emotional performers and they just resonated with me! I knew even before I started singing that if I was to open my mouth and perform, it would be that style that came out. I personally still love those artists but my more current influences are artists like Adele, Ed Sheeran, Sam Smith, artists who for me, write and sing real music. Adele is my number one though. I admire her songwriting, her voice is unreal and she has remained the same down-to-earth girl that started out which is 100% the same footsteps I wish to follow in.


What is your FAULT? 

Calum Scott :Making a lot of people cry probably! I don’t mean to but with my music, it just happens! I guess, because I write from very real, sometimes painful places, people can see I am being genuine and I think that goes a long way. That’s something I will continue to be over the course of my career. That might mean more tears though… sorry in advance!



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FAULT Weekly Playlist: Reyn Hartley

Rising talent Reyn Hartley hits hard with his unapologetic debut single “Snitch” to introduce listeners to his sultry, urban-alternative sound.

The Harlem, New York-based singer delivers a heavy punch on the hook “six foot ditch for my snitch / paparazzi on my ass like click click click” as he flows through a visual narrative of the American dream, and the threatening ideology of fantasy versus reality. “I’m like a super-white boy / kingpins call me decoy” alludes to his upbringing in east Dallas, where he struggled through adolescence as he was pressured to portray a certain image in the community, while having to live a very different life at home.

‘Snitch’ is produced by Dan Edinberg and mastered by Grammy award-winning mastering engineer Joe LaPorta (David Bowie, The Weeknd, 21 Savage)

Texas has a huge influence on Reyn’s sound, as evident in the exclusive playlist he’s put together for us, including one of Paul Wall’s greatest hits and homage to the Third Coast “They Don’t Know.” The track’s lyrics, “grew up south so I love my cash / I’m talkin’ Johnny Cash, bitch I’m talkin’ dyin’ fast” draws from Reyn’s idol Johnny Cash. Hartley listened to Cash’s “God’s Gonna Cut You Down” on repeat growing up, and says it inspired him to become an artist.

Johnny Cash – God’s Gonna Cut You Down – Johnny Cash

Cash is my idol. He’s a legend and single handedly the reason why I started making music. This song is my go to when things get bad. When this song comes on I’m instantly back in Texas, in the country chillin and not worried about a damn thing.

The Game – Put You On The Game

I still listen to this song every day. It makes me feel like I can take on anything, anyone who tries to get in my way or stop me. This song was huge back in east Dallas so it’s another reminder of home to me. I actually couldn’t listen to it for a long time because when it was popular things were bad and it just reminded me of the pain, but now it reminds me that you can overcome everything.

Lil’ Wayne – Steady Mobbin

It’s really hard for me to pick a favorite Lil Wayne record, but this one might be it. This one amps me up and makes me want to get on stage the second it starts playing.

Fleetwood Mac – The Chain

One of my favorite songs of all times. I grew up listening to urban music at school, but when I got home my mom would always play Fleetwood Mac. This reminds me of my mom and everything she’s sacrificed to keep a roof over me and my sister’s head. Family first always. It’s a beautiful record, they don’t make them like this anymore.

Paul Wall – They Don’t Know

These rappers out here don’t give enough credit to Paul Wall. He’s one of the greatest to come out of the south. He made me feel proud as hell to be from Texas.

Nirvana – Smells Like Teen Spirit

There’s only a couple of songs that can grab me with the opening line. “Load up on guns / bring your friends” – that’s how I feel all the time. Me and my friends we’ve all had to fight our way to stand on our feet and make something of ourselves. I love this record because it brought us all together and makes us feel badass.

Twenty One Pilots – Heathens

This is just a sick vibe. I really like visual music and movie soundtracks. I think music and film together as an art form is one of the coolest things in life. One of my favorite things is to go to the movies by myself, just get lost in a good film for 2 hours and forget everything.

Amy Winehouse – Back to Black

Amy is one of the most talented artists to ever do it. A true poet. I wish I got to meet her, I got a lot of questions for her. I was too young when she was big to relate to it at the time, but as I’ve grown up I’ve realized how vital her albums were to today’s music. I visit her old flat when I’m in London, it’s still got this crazy energy to it. She was on some super natural shit.

Selena Gomez – Good For You

Selena is hot as hell and so is the record. It makes me want to do bad shit but in like a good holy way because she seems like a good girl. I’m glad Justin married Hailey or whatever because she’s #1 to me. I’m not even famous but I hope she reads this someday.

Jay-Z – Dirt Off Your Shoulders

Nothing to say here other than…King.

FAULT Weekly Playlist: Lostboycrow

Lostboycrow draws from Santa Fe, New Mexico’s natural creative energy and endless high desert landscape for his new single “Since The Day I Was Born.” It’s the first look from his forthcoming album aptly titled Santa Fe and where he wrote most of the album. “I was already in love with the people and energy of New Mexico, and Santa Fe is so beautiful,” he admits. “Santa Fe is a vehicle of exploring gratitude for where I am, who I am, and how I came to be Lostboycrow and ultimately do what I’m doing.”

Revered for his rapturous voice, off-kilter R&B panache, pure alternative perception, and airtight songwriting, Lostboycrow has emerged in 2018 with over 150 million streams with no sign of stopping.

In addition to sharing his new song “Since The Day I Was Born,” we asked Lostboycrow to put together a playlist of songs that inspire him. Check it out below.

1. Grouplove – Borderlines and Aliens
This band is equal parts compelling, original and just completely fun. you can just tell they had the best time making it. makes me want to get on a stage overtime.

2. Cage The Elephant – Portuguese Knife Fight
They always seem to have a classic timeless feel while just fucking shit up. I love that.

3. STRFKR – Kahlil Gibran
Portland boy is a sucker for these sounds. i dare you to find me a strfkr track that doesn’t have a perfect groove. relaxed. sure of itself.

4. Tame Impala – List of People (To Try and Forget About)
This song is just flat out believable. the music, lyrics and melody each coexist in such a perfect place.

5. Charlie Burg – Episode III
Feels like you’re at a house show without actually sounding like a typical one. recording live (assuming here) is always enjoyable to me as a listener.

6. Pale Waves – Karl (I Wonder What Its Like To Die)
This band is so special and i think this is the most unique and compelling piece yet. no words do this one justice. just honest writing.

7. Bear Hands – Agora
This song just radiates a kind of invincibility. unconventional and yet so easy to listen to.

8. Josh Ritter – Miles Away
A true storyteller in true storyteller fashion.

9. Spoon – Do I Have to Talk You Into It
Such an effortless song to get into. classic Spoon with a groove you can just sink back into without having to think about it, yet totally original.

10. Alvvays – Dreams Tonite
A perfect song.

Lostboycrow Socials:

Get acquainted with the eclectic sounds of Demons Of Ruby Mae

Opening with dark, possessed synths, “Young Blood” is the latest ’80s influenced single from Manchester based duo Demons of Ruby Mae. Comprised of Jonny Gavin and Adam Rowley, the pair teamed up with James Sanger (Faithless, Brian Eno) to expand the boundaries of their compositions, evident in “Young Blood.”

In an email, Demons of Ruby Mae say the song “is about taking a chance on love when you’re young and have nothing to lose.” “Young Blood” comes from the duo’s forthcoming debut album due out October 26th.

1. Intro
2. To Be Adored
3. Synesthesia
4. Records
5. Young Blood
6. What Is Now
7. Beneath The Surface
8. Someday
9. This Is The End

Tour Dates:
October 3rd – Brighton @ Hope & Ruin
October 4th – London @ The Black Heart
October 5th – Sheffield @ Cafe Totem
October 6th – Manchester @ The Night and Day Cafe
October 11th – Glasgow @ Broadcast
November 1st – Nottingham @ The Chameleon Arts Centre
November 3rd – Newcastle @ Head Of Steam

Demons Of Ruby Mae Socials: