Music Blog – RCRD LBL

May 26, 2026

May 26, 2026May 26, 2026 amy771937

EVILLE and Mazare Set the Scene Ablaze With ‘King For A Day’

EVILLE and Mazare released their joint single ‘King For A Day‘ this past weekend, May 22, alongside its music video on Universal Music Italy. Based in Brighton, EVILLE has picked up momentum through plays on BBC Radio 1, Kerrang! and Radio X, festival sets at Reading and Leeds and 2000 Trees, and tours with WARGASM and Delilah Bon. Mazare, raised in Northeast Italy, first connected with electronic music after hearing David Guetta’s ‘When Love Takes Over’ in 2009, having already absorbed Pink Floyd, U2 and Genesis from his father’s collection. He now moves between metal-electronic hybrids and pop-rock textures and has released music on Monstercat and Insomniac Records that have surpassed 35 million Spotify streams.

Production begins with punchy Jersey club kick drums that build and then hit a layered drop of distorted guitars, aggressive breakbeat drums and weighty Reese basses. Eva Sheldrake fronts EVILLE with commanding vocals while Mazare adds his rap verse in the second half for extra bite. The video arrives in grungy VHS form, mixing performance shots of Mazare and EVILLE with cuts to an ominous figure draped in red and Mazare playing chess with himself to ultimately win a kiss with the figure in red.

Watch the Music Video:

Mazare had this to say: “‘King For A Day‘ was born from the discomfort caused by the current geopolitical situation and the impact it’s having on everyone’s lives. I felt the need to speak up about it, and that’s why this time I challenged myself with writing and performing the small rap section in the second verse. I wanted the song to be as direct and unaltered as possible. And I need to shout out EVILLE for being very respectful of the vision for this one. They took the song, made it their own, and delivered an incredible performance that perfectly captured the feeling I was going for.”

Stream King For A Day ft EVILLE:

Follow Mazare:

Instagram – Facebook – X – Soundcloud – TikTok – Youtube – Spotify

Follow EVILLE:

Instagram – Facebook – X – TikTok – Spotify

May 18, 2026

May 18, 2026May 18, 2026 Mew Zikwryder

DJZEPiC Accelerates the Funk House Revival with ‘i GOT A FEELiNG’

Australian DJ and producer DJZEPiC continues to carve out his place in the new wave of funk-driven electronic music with his latest single, ‘i GOT A FEELiNG‘. Building on a succession of high-octane releases, DJZEPiC channels nostalgia through a distinctly modern lens, fusing the shimmer of neon-lit nights with a retro-futurist sensibility. The result is a sound that balances escapist energy with crisp, contemporary production, crafted for today’s dancefloors.

’i GOT A FEELiNG‘ is anchored by a relentless groove, filtered synths, and a rhythm section engineered for movement. The track draws on the enduring appeal of early 2000s dance-pop, reframing it with a polished, progressive edge. While echoes of Daft Punk’s innovation are present, DJZEPiC asserts a distinct sonic signature, delivering a funk-laden anthem that captures the exhilaration of surrendering to the music. The single bridges the freewheeling spirit of classic disco and house with the precision and punch of contemporary electronic production, positioning itself for both late-night club rotation and wider mainstream resonance.

’i GOT A FEELiNG‘ affirms DJZEPiC’s ability to integrate retro influences into the fabric of contemporary club culture with authenticity and charisma. As funk house continues its ascent across global playlists and dancefloors, DJZEPiC emerges as a compelling new voice shaping the genre’s trajectory into 2026.

His upcoming single, ‘Light Years‘, explores hypnotic space-age funk and uplifting house, made for those moments when the lights go down and the crowd lets loose.

Stream ‘i GOT A FEELiNG’:

Follow DJZEPiC:

Spotify – Instagram – TikTok

March 23, 2026

March 23, 2026March 23, 2026 Mew Zikwryder

New UK Music Study: Black Artists Behind 80% of Industry Revenue in UK Since 1994

Equity and representation issues stand out sharply in the music business according to fresh data released March 17. UK Music‘s report shows that despite massive contributions from Black creators, support structures have not matched their influence. Only 22 percent of senior roles go to Black, Asian or minority ethnic workers. Black professionals point to persistent unfairness in contracts, pay, funding access and general backing within the sector.

Titled Black Music Means Business: Driving Economic Growth In The UK, the document marks Europe’s first major calculation of Black recorded music’s footprint between 1994 and 2023. It reveals these artists delivered 80 percent of all UK music revenue during the period – a total of £24.5 billion from an industry pot of £30 billion. The findings frame Black music as a central force in the UK’s commercial music landscape over those 30 years.

Tom Kiehl, Chief Executive of UK Music, explained: “UK Music wants this report to not only be a point of reference but also a basis for facilitating change and positive action through its recommendations.” Ammo Talwar MBE, Chair of the UK Music Diversity Taskforce, had this to say: “The report should give us great optimism for the future of Black British music. However, this phenomenal cultural force must be nurtured. The aim of the report is to act as an advocacy tool and rallying cry, that is a catalyst for ongoing analysis, growth, increased representation, equity and stronger collaboration, thereby building confidence in Black music.“

Read the full report: HERE

September 26, 2025

September 26, 2025September 26, 2025 Mew Zikwryder

Three cities, one strike: the forward drive of ZOCO’s debut “Restless”

The appeal of “Restless” is its engineering of momentum. ZOCO plots a straight line from idea to impact: write a song about killing routine, gather a cast that can play it with feel, and record it where the energy lands on tape. Sessions rolled through Los Angeles (Licorice Pizza Records) and Milan (Massive Arts Studios), with vocals produced and recorded in Nashville—three cities, one coherent picture. Gunnar Nelson produces (and sneaks in harmonies), Kerry Brown oversees, and Stephen DeAcutis mixes for punch and headroom; Howie Weinberg masters with the kind of top-end confidence that survives playlists and broadcast alike.

Players matter: Carmine Rojas’ bass lines are fluid and song-serving; the drum chair is shared—Slim Jim Phantom brings brush finesse, London Hudson adds modern weight—giving the track its dual character of glide and thrust. Marco Zocco’s baritone sits center, guitar work drawing clean lines rather than monuments. The chorus—co-written and sung with brothers Paolo and Matteo—is engineered for participation, the “whoa”s cueing the room.

“Restless” reads as a mission statement for LUMANISTA (Part 1) (January 2026): alternative rock with cinematic side-lighting, pop-scale hooks without the plastic. It’s independent music with professional torque, and that combination tends to travel.

Stream ‘Restless’: