28 · 10 · 2025 London artist Neue Grafik has announced plans for his upcoming album ‘Rachael’. The songwriter's music blends elements of jazz and soul, balancing club vibes with personal introspection. With a variety of projects under his belt, Neue Grafik is at the forefront of his new album, set to be released in the early weeks of 2026. Scheduled for release on January 30th through the Cologne-based label Week-End Records, the first track from the album is now available. ‘Bold’ marks an impressive return, showcasing Neue Grafik’s artistic touch as he enriches his jazz-infused sounds with vibrant colors. Featuring the powerful vocals of Jerome Thomas, it serves as a striking introduction that hints at the album’s deeper themes. Listen to ‘Bold’ below. Join us on WeAre8 to explore global cultural events. Follow Clash Magazine HERE as we joyfully navigate through clubs, concerts, interviews, and photo shoots. Get exclusive backstage insights and a glimpse into our world as the excitement unfolds. Subscribe to the Clash mailing list for the latest updates on music, fashion, and film news.

      Some artists seek happiness, while others learn to grapple with it. For JayaHadADream, joy and pain are not opposites but rather allies, continuously influencing one another. In her debut mixtape ‘Happiness From Agony’, the Jamaican-Irish rapper, who navigated from Cambridge to Nottingham, transforms emotional turmoil into creative energy, producing eleven tracks that explore the complex divide between public success and personal strife.

      The opening track ‘State of the World’, produced by her long-time collaborator Zoutr from Nottingham, encapsulates the anxious clarity that accompanies significant life changes. Composed after Jaya left her teaching job to devote herself entirely to music, it establishes the tone for a project that consistently weighs ambition against emotional repercussions. The production builds with intent – tense yet vibrant – as Jaya expresses the feeling of being caught between exhaustion and renewal.

      From there, the energy fractures in various directions, showcasing an artist who refuses to limit her sound. ‘The Bank’ transforms UK garage rhythms into a declaration of purpose, highlighting that confidence can resemble survival, while ‘Repackage’ critiques industry stereotypes, confidently asserting her independence with sharp precision. Capo Lee contributes swagger with a polished verse, even referencing Glastonbury in a seemingly prophetic way (the track was recorded well before Jaya’s performance at Worthy Farm), but it’s Jaya’s steadfastness and her choice to remain authentic that makes the strongest impact.

      In ‘Hideout’, Jaya effortlessly holds her ground beside grime legend Frisco. This track solidifies her as a generational voice: consistent, self-assured, and skilled in navigating various realms. Meanwhile, the lo-fi glow of ‘Bug’ (produced by New Machine) provides a contrast; a moment of calm reflection before the intensity of ‘Yoga’, featuring fellow emerging artist Keeya Keys. The spacious beat allows both MCs the space to breathe, letting their lyrics land with weight and intention.

      One of the album’s most memorable moments occurs with ‘Main Characters’, featuring Big Zuu – a mix of bravado and introspection where Jaya’s candidness pierces through the distractions as she explores themes of false love, superficial personas, and industry illusions. Immediately following, ‘If It Ain’t’, featuring Coops, maintains this narrative, showcasing Jaya wrestling with the emotional influences of family, friends, partners, and life itself.

      When the second-to-last track ‘At The Abbey’ arrives, she broadens her view to reflect on her past: memory, location, and identity intertwine over production reminiscent of DOOM and early Wu-Tang. It serves as a cinematic moment of grounding before ‘Nothing’s Changed’ wraps up the project. This track doesn’t necessarily resolve Jaya’s journey but instead gathers its various threads and acknowledges their complexity: her dual existence as an emerging industry figure and a human being in search of tranquility.

      ‘Happiness From Agony’ is a debut that feels authentic and organic – a collection of work that prioritizes truth over flawlessness. JayaHadADream writes like someone who has devoted her life to observation: of politics, of people, and of herself. There’s a distinct clarity in her expression that sets her apart; an artist not just recording her experiences but striving to make an impact.

      8/10

      Words: Gemma Cockrell

To promote his solo Japanese debut album, ‘HIBI’, Chanyeol launched ‘The Days’ Japan Tour, which culminated in a headlining performance at the National Convention Hall in Pacifico Yokohama. Chanyeol gained fame as a member of EXO, one of the most renowned and impactful K-pop groups in history. More recently, he has made a name for himself as an actor in K-dramas and as a solo artist with mini-albums like ‘Upside Down’ and ‘Black Out.’ He recently unveiled ‘HIBI’, marking his solo debut in Japan. In an interview with The Japan Times, he mentioned being inspired by his passion for J-pop, aiming to infuse his own style into the genre. His popularity and lasting influence in the K-pop scene across East Asia was clear as 5,000 fans filled the picturesque National Convention Hall in Yokohama, reminiscent of London's Southbank Centre. — — As the main lights dimmed, ‘Moonlight’ by EXO-K played, illuminating the audience with their glow sticks. It’s fair to say that around 80% of the crowd had glow sticks, creating a mesmerizing scene as they swayed in unison. Chanyeol opened the show with ‘Back & Forth’ and ‘Black Out.’ The latter performance was particularly thrilling as he began with an acoustic guitar, then switched to an electric guitar when the stage lights went dark, showcasing his guitar skills. The energy in the hall was immediately electrifying, and it was evident that Chanyeol thrived off this atmosphere, fully engaging with the audience on stage. A quick note on the overall concert experience in Japan: it was refreshing to see the crowd fully present, mostly without their phones. The lack of devices contributed to a more genuine and immersive concert experience, which seems to be diminishing in Europe and the US. — — Chanyeol’s songs took on a new vibrancy during the live performance, especially with the heavy rock influences featured prominently in ‘Upside Down.’ He left the stage during the instrumental outro of ‘Nothin’ by EXO-SC, allowing the incredibly talented band to take center stage and deliver an impressive rock solo. The performance showcased great versatility, as he skillfully shifted the mood with songs from ‘HIBI’ like ‘Tokyo Tower’ and the R&B-influenced track, ‘Cherry.’ During an EXO medley, Chanyeol ventured into the crowd, interacting with thrilled fans on the arena's first floor before returning to the stage to perform on his electric guitar amid bursting smoke cannons. Witnessing such a high-caliber performer was a delight. Chanyeol demonstrated his mastery as a performer, captivating the audience throughout the show. This is no surprise, given his decade-long experience performing in large arenas and stadiums with EXO. What stood out was his ability to connect with the audience in Japanese, singing, chatting, and sharing anecdotes throughout the performance without a translator. Chanyeol's solo career saw substantial growth in 2025 with the release of two mini-albums and a Japanese tour. However, he is not done yet, as EXO has announced their long-awaited return with a fan meeting in December, followed by the release of their eighth studio album in early 2026. — — Words: Adam Davidson

The Scottish band The Twilight Sad has released a new track titled 'Waiting for The Phone Call'. Their last album, 'It Won’t Be Like This All The Time', was well received.

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