VISION BOOTH

WU- Tang Revisited XX Years On Live Orchestral One of the most revolutionary hip-hop acts, Wu-Tang Clan helped prove rap to be an art form, establishing a hip-hop enterprise in the process whilst delivering their uncompromising, dark sound and hard-hitting, intelligent wordplay. Wu-Tang Clan were the antidote to Dr. Dre's G-funk domination, offering a distinctly grimy, hardcore alternative to the West Coast sound with their 1993 debut, "Enter the Wu-Tang (36 Chambers)." Formed in Staten Island, New York, US, the Clan developed into a sprawling collection of artists, rooted by RZA's musical direction and vision. Made up of roughly nine members, each artist delivered their own persona and style, with the crew being started by GZA and Ol' Dirty Bastard, soon expanding to include Method Man, Raekwon, Ghostface Killah, U-God, Masta Killa, and Inspectah Deck. Their debut release forged a new sound in hip-hop, through darkly funky soundscapes full of a sense of eerie, urban-dystopian menace which grounded their seamless, gritty vocal attack loaded with violent martial arts imagery. Achieving widespread critical acclaim and commercial success, Wu-Tang's sound became instantly recognizable which would go on to influence countless artists across genres subsequently. Following their debut, the various artists embarked on a host of solo ventures, with five of the crew landing solo contracts on the strength of the single "C.R.E.A.M" alone. The may artists of Wu-Tang became household names, collaborating with many others in the industry and finding their new projects receiving the same success as their collective recordings. In 1997, Wu-Tang Clan reunited together to work on their second album, the double-disc "Wu-Tang Forever," finding huge anticipation for the release. The album went straight to number one in the charts and sold over 600,000 copies in its first week. Wu-Tang Clan became a branded franchise, expanding its roster of artists to include new members and to aid young protégés gain their first exposure. The collective became a huge business, dominating the airwaves. Meanwhile, Ol'Dirty Bastard's behavior began to become erratic and a series of incidents in 1998 left the rapper incarcerated and in and out of rehab for drug addiction. Following "Wu-Tang Forever," the many artists released further solo albums and projects, although they were unable to maintain such high levels of fervor around these releases, although they were still widely critically acclaimed. The Wu-Tang Clan project was perhaps spread too thin, with the vast number of ventures causing inconsistency and over-dilution. In 2000, the Clan returned with a new effort, "The W," which was a more focused offering, a release marred by Ol'Dirty Bastard's continuing erratic behavior that was quickly spiraling out of control. It was only a year later that a new Wu-Tang release arrived, with their fourth record, "Iron Flag." Solo projects continued subsequently, with the next release for the collective only being the 2004 live album, "Disciples of the 36 Chambers." Sadly that same year, Ol' Dirty Bastard suffered a fatal heart attack, with this release being his last. In 2007, new Clan material surfaced, with "8 Diagrams," which suffered from criticism from GZA and Raekwon about RZA's chosen direction. Another bout of solo albums followed before the 2011 compilation, "Legendary Weapons" was released. To huge anticipation, in 2013, a new studio album was announced, planned for 2013 to commemorate their 20th anniversary. However, the album did not appear until 2014, when it was finally released on Warner Bros., titled "A Better Tomorrow." Alongside this album, Wu-Tang Clan also made music history, after announcing their creation of "Once Upon a Time in Shaolin," a secret album that was only to have one copy pressed, to be sold to the highest bidder, likely to be housed in a museum, with RZA suggesting the music would not be available for another seven years. An artistic statement never before created in popular music.

KVM ENTERTAINMENT NASS FESTIVAL 2017 HIGHLIGHTS

Javone Prince is a British comedian and actor. He has appeared in many British comedy television shows, such as Horrible Histories, Sorry, I've Got No Head and Little Miss Jocelyn, but is best known for starring as Jerwayne in PhoneShop. The pilot episode of PhoneShop was script edited by Ricky Gervais. Prince later had a minor role in Gervais's sitcom Life's Too Short. Prince also appears in several theatre productions including; Measure for Measure, Titus Andronicus and Richard III. He trained at LAMDA and is currently a member of the National Theatre.  In July and August 2015, Prince's eponymous sketch show The Javone Prince Show was shown on BBC Two.

Criss-crossing the narrow divide between rock, hip hop, soul and reggae, incomparable female five piece, Baby Queens reveal details of their debut EP. A blissed out, musical odyssey that promises big things for the future. Two sisters, two cousins and their adopted sister hailing from Cardiff announce their first official release, titled Red Light on Monday 9th September 2013. Baby Queens - Cara, Estelle, Monique, Ruth and Vanity, each equal parts songwriter, musician and music lover – launch their first AA side EP, produced by Cian Ciarán, one fifth and co-founding member of the legendary alternative rock/pop band Super Furry Animals. Title track Red Light finds the band bouncing lush vocals off a smooth guitar line, their effortless cool embellished by deep, crisp production to take Baby Queens in a direction far from the beaten track of other modern, urban pop music. Backed by Star Light - a track which not only alters the mood from chilled to the deep freeze, but allows a solitary male voice to burst the band's bubble – the EP is an appetite- whetting sample of the band's potential. The sickly sweet overtures one might expect from an all-girl band are ditched in favour of beats that force the melodic content to the fore, with the principles of classic soul and R'n'B song writing catching up with the present day sounds of British street genres. Lavishly layered vocals are wrapped up in slick production that marks out Baby Queens' intentions to push boundaries and reintroduce to the masses what a vocal group with melody and beats in their hearts is all about. The delicate, fragile and understated is pitted against unconventional and low-down, dirty aural combinations. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara. As distinct in their fashion as they are their music – to see them is to believe – each band member's solo work and collaborations outside the band vary wildly from punk rock to house. Their genre-hopping side-projects and diverse melting pot of ideas offers a taste of the ingredients that make up the Baby Queens sound. This standout debut might share a DNA blueprint with Aretha Franklin or Tone Loc, but with the words on Red Light sending out waves of inner-city disillusion, the establishment might have to look over their shoulder. Recorded in Cardiff, Wales at Ciarán's Strangetown Studios, every track was written and played by the girls themselves. It was a record Ciarán was compelled to commit to putting down having heard the band for the first time, rehearsing in their living room during a house party. He invited them to the studio the next day, the results of which are featured on the imminent release, with the second double header set to follow, hot on its heels in November. Estelle said: "Musically the EP will offer something a little different to what's already out there, I guess that's what every musician would like to achieve. We have two songs seamlessly intertwined into one -, mellow becomes dirty. You get your monies worth! (laughs)." Vanity continues: "Lyrical content harks back to old school blues references and the rhymes delivered by Monique are reminiscent of Lauryn Hill." 2013 has not only seen the girls develop in the studio but also on the road. They've recruited the talents of Joker Starr who features on the Star Light, and with their heads full of ideas for their debut album, 2014 promises big things for the band and their swelling base of followers.     Baby Queens have released two E.P's on Cian Ciaran's (Super Furry Animals) label Strangetown Records. The E.P's arrived sounding like nothing else that has come out of Wales previously: mixing hip hop, rock, soul and reggae with vocal hooks as irresistible as anything that's fallen out of Pharrell Williams' brain.   For many, including the team at H.Q., the lead track from their debut E.P., the cinematic, slow burn of 'Red Light' (imagine Portishead producing T.L.C) was the soundtrack of 2013's Sŵn Festival. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara.

Criss-crossing the narrow divide between rock, hip hop, soul and reggae, incomparable female five piece, Baby Queens reveal details of their debut EP. A blissed out, musical odyssey that promises big things for the future. Two sisters, two cousins and their adopted sister hailing from Cardiff announce their first official release, titled Red Light on Monday 9th September 2013. Baby Queens - Cara, Estelle, Monique, Ruth and Vanity, each equal parts songwriter, musician and music lover – launch their first AA side EP, produced by Cian Ciarán, one fifth and co-founding member of the legendary alternative rock/pop band Super Furry Animals. Title track Red Light finds the band bouncing lush vocals off a smooth guitar line, their effortless cool embellished by deep, crisp production to take Baby Queens in a direction far from the beaten track of other modern, urban pop music. Backed by Star Light - a track which not only alters the mood from chilled to the deep freeze, but allows a solitary male voice to burst the band's bubble – the EP is an appetite- whetting sample of the band's potential. The sickly sweet overtures one might expect from an all-girl band are ditched in favour of beats that force the melodic content to the fore, with the principles of classic soul and R'n'B song writing catching up with the present day sounds of British street genres. Lavishly layered vocals are wrapped up in slick production that marks out Baby Queens' intentions to push boundaries and reintroduce to the masses what a vocal group with melody and beats in their hearts is all about. The delicate, fragile and understated is pitted against unconventional and low-down, dirty aural combinations. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara. As distinct in their fashion as they are their music – to see them is to believe – each band member's solo work and collaborations outside the band vary wildly from punk rock to house. Their genre-hopping side-projects and diverse melting pot of ideas offers a taste of the ingredients that make up the Baby Queens sound. This standout debut might share a DNA blueprint with Aretha Franklin or Tone Loc, but with the words on Red Light sending out waves of inner-city disillusion, the establishment might have to look over their shoulder. Recorded in Cardiff, Wales at Ciarán's Strangetown Studios, every track was written and played by the girls themselves. It was a record Ciarán was compelled to commit to putting down having heard the band for the first time, rehearsing in their living room during a house party. He invited them to the studio the next day, the results of which are featured on the imminent release, with the second double header set to follow, hot on its heels in November. Estelle said: "Musically the EP will offer something a little different to what's already out there, I guess that's what every musician would like to achieve. We have two songs seamlessly intertwined into one -, mellow becomes dirty. You get your monies worth! (laughs)." Vanity continues: "Lyrical content harks back to old school blues references and the rhymes delivered by Monique are reminiscent of Lauryn Hill." 2013 has not only seen the girls develop in the studio but also on the road. They've recruited the talents of Joker Starr who features on the Star Light, and with their heads full of ideas for their debut album, 2014 promises big things for the band and their swelling base of followers.     Baby Queens have released two E.P's on Cian Ciaran's (Super Furry Animals) label Strangetown Records. The E.P's arrived sounding like nothing else that has come out of Wales previously: mixing hip hop, rock, soul and reggae with vocal hooks as irresistible as anything that's fallen out of Pharrell Williams' brain.   For many, including the team at H.Q., the lead track from their debut E.P., the cinematic, slow burn of 'Red Light' (imagine Portishead producing T.L.C) was the soundtrack of 2013's Sŵn Festival. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara.

Criss-crossing the narrow divide between rock, hip hop, soul and reggae, incomparable female five piece, Baby Queens reveal details of their debut EP. A blissed out, musical odyssey that promises big things for the future. Two sisters, two cousins and their adopted sister hailing from Cardiff announce their first official release, titled Red Light on Monday 9th September 2013. Baby Queens - Cara, Estelle, Monique, Ruth and Vanity, each equal parts songwriter, musician and music lover – launch their first AA side EP, produced by Cian Ciarán, one fifth and co-founding member of the legendary alternative rock/pop band Super Furry Animals. Title track Red Light finds the band bouncing lush vocals off a smooth guitar line, their effortless cool embellished by deep, crisp production to take Baby Queens in a direction far from the beaten track of other modern, urban pop music. Backed by Star Light - a track which not only alters the mood from chilled to the deep freeze, but allows a solitary male voice to burst the band's bubble – the EP is an appetite- whetting sample of the band's potential. The sickly sweet overtures one might expect from an all-girl band are ditched in favour of beats that force the melodic content to the fore, with the principles of classic soul and R'n'B song writing catching up with the present day sounds of British street genres. Lavishly layered vocals are wrapped up in slick production that marks out Baby Queens' intentions to push boundaries and reintroduce to the masses what a vocal group with melody and beats in their hearts is all about. The delicate, fragile and understated is pitted against unconventional and low-down, dirty aural combinations. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara. As distinct in their fashion as they are their music – to see them is to believe – each band member's solo work and collaborations outside the band vary wildly from punk rock to house. Their genre-hopping side-projects and diverse melting pot of ideas offers a taste of the ingredients that make up the Baby Queens sound. This standout debut might share a DNA blueprint with Aretha Franklin or Tone Loc, but with the words on Red Light sending out waves of inner-city disillusion, the establishment might have to look over their shoulder. Recorded in Cardiff, Wales at Ciarán's Strangetown Studios, every track was written and played by the girls themselves. It was a record Ciarán was compelled to commit to putting down having heard the band for the first time, rehearsing in their living room during a house party. He invited them to the studio the next day, the results of which are featured on the imminent release, with the second double header set to follow, hot on its heels in November. Estelle said: "Musically the EP will offer something a little different to what's already out there, I guess that's what every musician would like to achieve. We have two songs seamlessly intertwined into one -, mellow becomes dirty. You get your monies worth! (laughs)." Vanity continues: "Lyrical content harks back to old school blues references and the rhymes delivered by Monique are reminiscent of Lauryn Hill." 2013 has not only seen the girls develop in the studio but also on the road. They've recruited the talents of Joker Starr who features on the Star Light, and with their heads full of ideas for their debut album, 2014 promises big things for the band and their swelling base of followers.     Baby Queens have released two E.P's on Cian Ciaran's (Super Furry Animals) label Strangetown Records. The E.P's arrived sounding like nothing else that has come out of Wales previously: mixing hip hop, rock, soul and reggae with vocal hooks as irresistible as anything that's fallen out of Pharrell Williams' brain.   For many, including the team at H.Q., the lead track from their debut E.P., the cinematic, slow burn of 'Red Light' (imagine Portishead producing T.L.C) was the soundtrack of 2013's Sŵn Festival. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara.

Criss-crossing the narrow divide between rock, hip hop, soul and reggae, incomparable female five piece, Baby Queens reveal details of their debut EP. A blissed out, musical odyssey that promises big things for the future. Two sisters, two cousins and their adopted sister hailing from Cardiff announce their first official release, titled Red Light on Monday 9th September 2013. Baby Queens - Cara, Estelle, Monique, Ruth and Vanity, each equal parts songwriter, musician and music lover – launch their first AA side EP, produced by Cian Ciarán, one fifth and co-founding member of the legendary alternative rock/pop band Super Furry Animals. Title track Red Light finds the band bouncing lush vocals off a smooth guitar line, their effortless cool embellished by deep, crisp production to take Baby Queens in a direction far from the beaten track of other modern, urban pop music. Backed by Star Light - a track which not only alters the mood from chilled to the deep freeze, but allows a solitary male voice to burst the band's bubble – the EP is an appetite- whetting sample of the band's potential. The sickly sweet overtures one might expect from an all-girl band are ditched in favour of beats that force the melodic content to the fore, with the principles of classic soul and R'n'B song writing catching up with the present day sounds of British street genres. Lavishly layered vocals are wrapped up in slick production that marks out Baby Queens' intentions to push boundaries and reintroduce to the masses what a vocal group with melody and beats in their hearts is all about. The delicate, fragile and understated is pitted against unconventional and low-down, dirty aural combinations. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara. As distinct in their fashion as they are their music – to see them is to believe – each band member's solo work and collaborations outside the band vary wildly from punk rock to house. Their genre-hopping side-projects and diverse melting pot of ideas offers a taste of the ingredients that make up the Baby Queens sound. This standout debut might share a DNA blueprint with Aretha Franklin or Tone Loc, but with the words on Red Light sending out waves of inner-city disillusion, the establishment might have to look over their shoulder. Recorded in Cardiff, Wales at Ciarán's Strangetown Studios, every track was written and played by the girls themselves. It was a record Ciarán was compelled to commit to putting down having heard the band for the first time, rehearsing in their living room during a house party. He invited them to the studio the next day, the results of which are featured on the imminent release, with the second double header set to follow, hot on its heels in November. Estelle said: "Musically the EP will offer something a little different to what's already out there, I guess that's what every musician would like to achieve. We have two songs seamlessly intertwined into one -, mellow becomes dirty. You get your monies worth! (laughs)." Vanity continues: "Lyrical content harks back to old school blues references and the rhymes delivered by Monique are reminiscent of Lauryn Hill." 2013 has not only seen the girls develop in the studio but also on the road. They've recruited the talents of Joker Starr who features on the Star Light, and with their heads full of ideas for their debut album, 2014 promises big things for the band and their swelling base of followers.     Baby Queens have released two E.P's on Cian Ciaran's (Super Furry Animals) label Strangetown Records. The E.P's arrived sounding like nothing else that has come out of Wales previously: mixing hip hop, rock, soul and reggae with vocal hooks as irresistible as anything that's fallen out of Pharrell Williams' brain.   For many, including the team at H.Q., the lead track from their debut E.P., the cinematic, slow burn of 'Red Light' (imagine Portishead producing T.L.C) was the soundtrack of 2013's Sŵn Festival. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara.

Criss-crossing the narrow divide between rock, hip hop, soul and reggae, incomparable female five piece, Baby Queens reveal details of their debut EP. A blissed out, musical odyssey that promises big things for the future. Two sisters, two cousins and their adopted sister hailing from Cardiff announce their first official release, titled Red Light on Monday 9th September 2013. Baby Queens - Cara, Estelle, Monique, Ruth and Vanity, each equal parts songwriter, musician and music lover – launch their first AA side EP, produced by Cian Ciarán, one fifth and co-founding member of the legendary alternative rock/pop band Super Furry Animals. Title track Red Light finds the band bouncing lush vocals off a smooth guitar line, their effortless cool embellished by deep, crisp production to take Baby Queens in a direction far from the beaten track of other modern, urban pop music. Backed by Star Light - a track which not only alters the mood from chilled to the deep freeze, but allows a solitary male voice to burst the band's bubble – the EP is an appetite- whetting sample of the band's potential. The sickly sweet overtures one might expect from an all-girl band are ditched in favour of beats that force the melodic content to the fore, with the principles of classic soul and R'n'B song writing catching up with the present day sounds of British street genres. Lavishly layered vocals are wrapped up in slick production that marks out Baby Queens' intentions to push boundaries and reintroduce to the masses what a vocal group with melody and beats in their hearts is all about. The delicate, fragile and understated is pitted against unconventional and low-down, dirty aural combinations. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara. As distinct in their fashion as they are their music – to see them is to believe – each band member's solo work and collaborations outside the band vary wildly from punk rock to house. Their genre-hopping side-projects and diverse melting pot of ideas offers a taste of the ingredients that make up the Baby Queens sound. This standout debut might share a DNA blueprint with Aretha Franklin or Tone Loc, but with the words on Red Light sending out waves of inner-city disillusion, the establishment might have to look over their shoulder. Recorded in Cardiff, Wales at Ciarán's Strangetown Studios, every track was written and played by the girls themselves. It was a record Ciarán was compelled to commit to putting down having heard the band for the first time, rehearsing in their living room during a house party. He invited them to the studio the next day, the results of which are featured on the imminent release, with the second double header set to follow, hot on its heels in November. Estelle said: "Musically the EP will offer something a little different to what's already out there, I guess that's what every musician would like to achieve. We have two songs seamlessly intertwined into one -, mellow becomes dirty. You get your monies worth! (laughs)." Vanity continues: "Lyrical content harks back to old school blues references and the rhymes delivered by Monique are reminiscent of Lauryn Hill." 2013 has not only seen the girls develop in the studio but also on the road. They've recruited the talents of Joker Starr who features on the Star Light, and with their heads full of ideas for their debut album, 2014 promises big things for the band and their swelling base of followers.     Baby Queens have released two E.P's on Cian Ciaran's (Super Furry Animals) label Strangetown Records. The E.P's arrived sounding like nothing else that has come out of Wales previously: mixing hip hop, rock, soul and reggae with vocal hooks as irresistible as anything that's fallen out of Pharrell Williams' brain.   For many, including the team at H.Q., the lead track from their debut E.P., the cinematic, slow burn of 'Red Light' (imagine Portishead producing T.L.C) was the soundtrack of 2013's Sŵn Festival. "These are songs that reflect our love of music of all genres. We wanted to bring any musical differences that might exist and unite them, we think the music speaks for itself, uncompromised, accessible popular music." says Cara.

Laura Alexandra takes us around London to find out why we use social media and if we could live without it. Instagram it, or it didn't happen. This is like the modern equivalent of the old philosophical brain teaser: 'If a tree falls in a forest and nobody's there to see it does it make a sound?'   We express ourselves in 140 characters or less and showcase what we've been up to within the neat confines of an Instagram square. Today many of us document everything we do (well, the cool stuff, the stuff we're proud of) online. We take pics, make it look a little bit better than it actually did and watch the likes rack up. According to ONS statistics, the UK has the highest number of social media users in the EU, the majority of them being in the South East.  This is all still relatively new technology and there have long been concerns about the impact of social media on our mental health. It feels like there's always a new study which says that social media is turning us into miserable, anxious narcissists, like this new research from the Happiness Research Institute in Copenhagen, which found that people who were forced to quit Facebook cold turkey for a week as part of a study felt 55% less stressed than those who continued to use it as normal. While these findings aren't exactly revelatory, there does seem to be a particularly noticeable backlash against the nature of online life at the moment.  Two weeks ago 18-year-old Australian Essena O'Neill caused a media storm by committing what has been rather crudely termed 'social media suicide'. She exposed the fakery and falsehood behind her Instagram life before deleting her account and posting a video online to explain her decision. Essena isn't alone. Recently, Lena Dunham announced that she was leaving Twitter because she felt the space had become too negative, and that from here on in, her account would be managed by her team. According to reports, Facebook is falling in popularity among teenage users aged 13 to 17. Fifity five per cent of Facebook messenger users are 37 or under, while 86% of Snapchat's user base is under this age. Clearly there's something going on here: Facebook tried to buy Snapchat last year and had their offer refused. Young people today are more likely to use Instagram and Snapchat than Facebook or Twitter.  Official figures also suggest that more than 11 million young people have left Facebook since 2011.  So, if a backlash is afoot, then it can hardly be surprising. In the age of overexposure, there's certainly an appeal in going offline. Are things becoming more about capturing moments than sharing 'what's on your mind' as Facebook asks us to do? Snapchat's popularity among teens could demonstrate a desire for less permanent and personal ways of expressing ourselves online, indicating that we're becoming more cautious about what we share. The rise of Instagram, an app which is more about what you're doing and where you're going than what you're thinking or feeling, also seems to confirm this.  While events like last weekend's terrorist attacks in Paris demonstrate the many positive ways in which social media can be used in support, solidarity or just to stay in touch with loved ones, do you ever think your life might be better without it? Do you ever wake up after a night out and wish you hadn't posted quite so many selfies? Do you ever feel overwhelmed by the sheer volume of material in your newsfeed? Have you ever given yourself a stern talking to after realising you've actually been mindlessly scrolling and stalking Instagram for an hour? Just me? I think not. We spoke to young people who've deleted – or resisted the temptation to ever sign up to social media – to find out what a Facebook-free life is really like. Jenny, 27 Jenny deleted Instagram three years ago. One day she caught herself scrolling through her feed and says, 'It felt like I was going through an endless list of photos just because they were there and I'd stopped being able to really see them.'  She felt like she was wasting her time. 'Scrolling through Instagram is a bit like picking up a copy of Vogue in a doctor's waiting room. You just flick through and it's all adverts – I wasn't really getting anything from it.' Does she worry about the impact that Instagram is having on us? 'I feel like it has just replaced fashion magazines as the new thing to look at. When I was a teenager, I read Elle and Vogue. It's not necessarily more or less damaging than that as long as everyone knows that it's fake, right? 'Whatever problems are on Instagram for young women already exist, those problems have been around for decades. It's more accessible now though, I guess.'   Has she been suffering from FOMO since she deleted her account? 'Actually, when I had it I felt like I was missing out more, but as soon as you get rid of something, you realise you don't actually need it for anything at all.'  Jenny says she feels like she has a better relationship with her phone now, it's not the first thing she looks at in the morning or the last thing at night.  She has more time, she reads more. She also says on nights out she feels like she's more present because she doesn't constantly photograph everything, trying to get that perfect drunk selfie. Mark, 28 Mark has never had Instagram. In his first week at uni a friend made him a Facebook account that he's never really used. He feels like he's missing out occasionally, but not enough to persuade him to go online. 'Right from the beginning I wasn't really into it. I remember at the time it all just seemed like a bit of an arms race, like everyone wanted to get as many mates as they could as quickly as possible. You can have like 800 mates, but who are you actually picking up the phone to?' Of his brief stint on Facebook he says, 'Everything seemed a bit exaggerated and I think that's true, especially for Instagram. It's everyone trying to be an exaggerated version of themselves and it becomes a bit tedious.'    He says, in particular, it was his ex-girlfriend constantly posting, being able to see what she was up to and how many people she was adding that put him off. 'I don't want to know', he says.  Mark says he scrolls through his phone much less than his mates, but they share his point of view. 'When when we go for a meal, we all put our phones in the middle of the table to stop everyone using them. We play a little game – the first person to take their phone from the pile and use it has to buy the drinks.' Hilla, 25 Hilla has Facebook but doesn't really use it. She doesn't have Twitter and she's never had Instagram.  'There's something I find a bit irritating about Instagram', she says, 'just the way that people now have to take photos at every single dinner that they go to, plus the whole selfie thing – selfie mania – which I think is so unhealthy.'  Why? It's the 'selfie thing' in particular she says. 'When I see people travelling alone, pouting and taking selfies in front of the fountain or whatever, I do kind of feel like there's a pretence there. In order to take the selfie, there must be something lacking from your present situation, like are you lonely and seeking some kind of validation from the web?' Does she feel like she's ever missing out by not having it? 'Sometimes.' She confesses that her friends let her scroll vicariously through their accounts on occasion. 'When I'm on holiday I will peep over other people's shoulders. It's quite fun seeing their pictures. If anyone takes a picture of me I'm like, ahhhh how many people have liked it, but I'd hate to have that as an ongoing thing in my life!'  She points out that her mates don't really use it either these days, though. 'The only people I know who have it really are my sister and my boyfriend', she says, 'and they don't really use it anymore, anyway.' Jess, 26 Jess has Facebook but she's not really active and has never had Instagram and doesn't feel like she's missing out in the slightest. For her, it's mostly about privacy. She says she doesn't feel like she's missing out on Instagram. 'Occasionally, somebody will tell me Craig David's posted something funny and I'll take a look at their account, but on the whole what celebrities are doing is of no interest to me. I don't know who most of them are.' She uses the Facebook messenger app more than anything, she says. 'I use Facebook to send messages to people, but I don't post or update my status ever. I don't want to tell everyone what's going on in my life. I use WhatsApp a lot – if I want to send photos to my friends I'll do it on WhatsApp.'  Jess occasionally posts photos when on holiday, but the majority of stuff on her wall are things that she's been tagged in. She is effectively a ghost user, a lurker.    She stopped looking at her newsfeed because she started to find seeing updates from people she hadn't seen for years a bit off. 'I have friends on my newsfeed, for instance, someone I haven't seen for six years might have had a baby and I know when it took its first steps. Yet I've never met this baby – it's weird!' She questions why people post stuff online. 'It's like there's a fear that if nobody responds then nobody is interested in what you have to say. I don't need to put myself through that. I don't need self validation. I'm happy in what I do.'  Phil, 27 Finally, Phil. He's recently made an exit from Facebook and never had Instagram. 'It was probably about five or six months ago, I came to the conclusion that Facebook was just stressing me out,' he says. 'Every time I went on it my newsfeed was like having this jet of shit sprayed in my face, everything seemed to be an advert. Even things my friends were sharing were just adverts and clickbait.'  He says he realised he would still see everyone he actually wanted to hang out with. 'I'd rather phone them up or just email them,' he says. Does he worry more generally about what social media is doing to us? 'It's just an echo chamber, it indulges all your most narcissistic fantasies,' he says. 'You put something up and get a hundred likes and you're like, "Wow, a hundred likes", but actually that's not that many people! 'One of the things that really pissed me off was that even if interesting things were being communicated on there, the majority of it was just narcissism. I was guilty of it myself. You look at the image you're presenting to the world, and I confess to doing this, I'd look at my own profile. I realised it's just an unbelievably crap way to spend my time – looking at pictures of myself!!!' It's easy, and arguably important, to be cynical about social media. My generation has watched it evolve from the get go while those just a few years younger have grown up online.  I remember being a teenager before smartphones and social media. It was just as much of a popularity contest as Instagram is now, although one fuelled by three-way landline phone calls and MSN messenger instead of selfies and likes. At the end of the day, social media is just real life writ large and sped up: magnified, curated and edited. My nan used to tell me that watching TV would make me 'square eyed' and 'fry my brain', but neither has happened, yet. Just as you shouldn't sit in front of the TV all weekend, you shouldn't scroll your life away online. We should check ourselves and be aware that what we see online is all a performance. We must remember that real life continues offline and it's not always pretty. But, it hasn't all been bad, and it's important to remember that. Facebook allows us to stay in touch with friends and family across the world, Instagram can actually be quite a nice way of seeing what people are doing in places you've never been, and as the terrible events of the last few days demonstrate, Twitter is a very useful news resource.   

Bakery Boys are a Hip Hop trio from South London – members of the collective are Dirty Dre, Shack Baker and Ace Boogie. After a solid debut year of sold out performances and showcases, being featured in channels 4's Hollyoaks, nominated MTV's best unsigned act for 2013 not to mention their stand out set at Wireless Festival 2012, Bakery Boys are set to continue to fast track through the ranks of new UK Talent. Fusing melodic urban pop with fresh UK hip-hop, that draws its inspiration from pioneers such as Jay-Z, Tupac, Soul II Soul & Jamiroquai as equally as it does to contemporaries such as Kanye West, ASAP, Rocky, Frank Ocean and Drake; Bakery Boys Represent a Credible Urban Pop collective that stands out from the crowd. Read the full biography below and check out their material.  

  Eutopia are London based electro-rock/power-pop duo Part man. Part machine. All music. Eutopia are London based electro-rock/power-pop duo Alexander Kotziamanis and Lea Lennick. Formed in 2011, Eutopia's vision is to combine the big choruses and great guitar licks from classic rock with the rhythmic consistency and free-flow energy of dance music. The result is the highly diverse and catchy sound of 'Eutopia'. Power-pop meets virtuoso guitars and anthemic choruses with enough gritty dance edge to satisfy your modern tooth. The sound has been described as 'DecaDance' and this label extends both into the image and live performance. Polished and glamorous with a richness of sound, Eutopia have just released debut EP 'Satellite Of Love'. Rising through the ranks of the London music scene we offer an alternative to alternative...no jangly chords, down in the dumps lyrics or plaid shirts here! We like big guitars, big choruses, big melodies...not big hair though (some things should be left well and truly in the eighties) and we mix in a healthy dose of synths, sequenced drums and some big bass. I have a feeling you will hear more from us...but until then enjoy the track...have a dance...laugh....smile...take it to everyone you know...smile again...realize life is not so grey and gloomy after all. Light up the world! is and Lea Lennick.  Formed in 2011, Eutopia's vision is to combine the big choruses and great guitar licks from classic rock with the rhythmic consistency and free-flow energy of dance music. The result is the highly diverse and catchy sound of 'Eutopia'. Power-pop meets virtuoso guitars and anthemic choruses with enough gritty dance edge to satisfy your modern tooth. The sound has been described as 'DecaDance' and this label extends both into the image and live performance. Polished and glamorous with a richness of sound, Eutopia have just released debut EP 'Satellite Of Love'. Rising through the ranks of the London music scene we offer an alternative to alternative...no jangly chords, down in the dumps lyrics or plaid shirts here! We like big guitars, big choruses, big melodies...not big hair though (some things should be left well and truly in the eighties) and we mix in a healthy dose of synths, sequenced drums and some big bass. I have a feeling you will hear more from us...but until then enjoy the track...have a dance...laugh....smile...take it to everyone you know...smile again...realize life is not so grey and gloomy after all. Light up the world!

Touted as the British answer to Canadian pop sensation Justin Bieber, Brighton-born Conor Maynard also rose to prominence through cover versions posted on YouTube. Born in 1992, Maynard had been singing from a young age, but it wasn’t until 2008 that he posted his first video -- a cover of Lee Carr’s “Breathe” -- on the video sharing site. Throughout 2009 and 2010, Maynard continued posting cover versions of songs by artists such as Chris Brown, Taio Cruz, and Rihanna, and amassed a considerable following from users subscribing to his YouTube channel. Maynard’s cover of American R&B artist Ne-Yo’s “Beautiful Monster” caught the attention of the singer/songwriter, prompting Ne-Yo to make contact with the rising star. At the end of 2011, MTV U.K. hosted their Brand New for 2012 competition, which enabled fans to vote for their favorite up-and-coming artists. Joined by Lana Del Rey, Delilah, and Lianne La Havas, among others in the competition, Maynard went on to win, picking up 45-percent of the votes. A month later he announced that he’d signed a deal with EMI subsidiary Parlophone, and in April 2012, he released his first single, Can’t Say No. Maynard’s debut album, Contrast, followed three months later and saw him working with a whole host of producers and guest vocalists, including Pharrell Williams, the Invisible Men, Ne-Yo, and Rita Ora. Contrast produced five Top 10 singles for Maynard, including the Labrinth-produced "R U Crazy." As he prepared for a follow-up in 2016, his social media presence increased, with his cover of Drake's "One Dance" surpassing 35 million views. ~ Richard Wilson, Rovi

At the 1992 Grammy Awards, Natalie Cole took the stage at Radio City Music Hall to perform "Unforgettable," a tune popularized by her father, Nat "King" Cole. As a swanky band played behind her, the singer traded couplets from the standard with her long-deceased father, seen in black-and-white footage on a large video screen. The performance awed the Grammy committee – Cole won multiple awards, including Record of the Year and best Traditional Pop Performance. More recently, it also impressed the R&B singer Faith Evans: She cites the Cole segment as part of the inspiration behind The King & I, her new LP of duet-like recordings with her first husband, the Notorious B.I.G., who was shot and killed in 1997. R&B star reworks rapper's classic "Ten Crack Commandments" for upcoming duet album In the decades since Cole's appearance, these sorts of posthumous collaborations have become increasingly popular. In 1999, Kenny G duetted with a long-deceased Louis Armstrong on ''What a Wonderful World." In the fall of 2014, Timbaland and other star producers reimagined Michael Jackson's work for Xscape, and Barry Manilow sang opposite Marilyn Monroe and Whitney Houston on My Dream Duets. The next year, Kendrick Lamar inserted himself into conversation with Tupac on To Pimp a Butterfly, and Elvis Presley was placed in a symphonic context on If I Can Dream. Understandably, these projects often spark controversy. Aside from the estate battles and complicated legal wrangling involved, they're also easily characterized as historically irreverent and sometimes even seem to pander to a lurid fascination with celebrity death. Evans is aware that a posthumous album instantly raises hackles — especially for a beloved artist like Notorious B.I.G. "I wouldn't say it was a worry," she explains. "I know that thought, but that's the creative element of it, for it to go somewhere else that you don't even expect. As long as it's not going somewhere that's whack." Evans is nursing a gimlet at a Williamsburg bar. Though she grew up in Newark, New Jersey, and will forever be associated with the pop-friendly mixture of hip-hop and R&B that stormed out of New York City in the mid-Nineties, she now lives in L.A. She's a gifted impersonator, capable of rapping old B.I.G. lines with his exact cadence and imitating the precise, lilting accent of her Jamaican mother-in-law, Voletta Wallace. (The key, she says, is remembering that "she was a teacher, so her pronunciation is very sharp.") She also nails the raspy, frenetic energy of Busta Rhymes, wiggling her shoulders as she lets loose a "Yah! Yah!" Evans gently pushes back against the idea of The King & I as a cash grab. "If it was just a money thing, I probably would have thought about doing it a long time ago," she asserts. "I have every right to do it, don't get me wrong. But it certainly wasn't about, 'Oh, that would be super big, money, money, money!' It's going to extend his legacy." Evans with the Notorious B.I.G. She says she feels her new album 'The King & I' is creatively valid "as long as it's not going somewhere that's whack." Eric Johnson DJ Premier produced a vicious highlight on each of Biggie's two albums as well as The King & I single "NYC;" in his eyes, the potential benefits of a posthumous record – the chance to recontextualize the work of great vocalists or rappers, and possibly create more greatness in the process – mostly outweigh the costs. "A good record's a good record," he says. He characterizes the right way of approaching a posthumous album as, "always honoring, never diluting." "DJ'ing helps me judge that better than most people," he continues. "I've been DJ'ing since the whole hip-hop culture was born. I know how to approach it." Another former B.I.G. collaborator who reappears on The King & I, the rapper Jadakiss, sees posthumous records in a different light: as important acts of historical preservation. "With the new era, the new kids, some of them never really listened to B.I.G., and they don't understand his legacy or his catalog," Jadakiss points out. (Perhaps he was thinking of Atlanta hitmaker Lil Yachty, who cheerfully confessed his ignorance regarding B.I.G.'s discography.) "It's about bringing B.I.G. back, letting them know what he did for the culture." The King & I also offers a modest archeological contribution by unearthing two previously unreleased B.I.G. vocals. In contrast to artists like Tupac and Prince, B.I.G. "didn't have a great amount of stuff that people didn't hear and definitely didn't have a lot of unreleased stuff," Evans says. But she had access to some old tapes from Atlantic records, which was once the home of the B.I.G. affiliates Junior M.A.F.I.A. and Lil Kim. "I actually used a couple of B.I.G.'s reference demos on The King & I, one that he wrote for Lil Kim and one that he wrote on a Junior M.A.F.I.A. album," Evans explains. "Unless you were in that studio when he laid 'em, you haven't heard it." She also pulled an old B.I.G. radio freestyle, which would've only been heard by those who happened to be tuning into the airwaves at that moment. The King & I might actually be called The King & Us: Evans marshals a large group of former B.I.G. associates for the album, starting with his mother, Ms. Wallace, who provides several interludes, and extending to Busta Rhymes, Lil Kim, Junior M.A.F.I.A.'s Lil Cease, Styles P, Sheek Louch and the R&B group 112. She refers to the album as "a musical movie," and it's roughly sequenced to tell the story of Evans' initial encounter with B.I.G., their legendarily fast courtship (they married nine days after meeting), their time together and the aftermath of B.I.G.'s death. Evans inserts herself into B.I.G. classics like "10 Crack Commandments," which she transforms into "10 Wife Commandments," and "The Sky Is the Limit," where multi-tracked tales of perseverance from Evans appear in between B.I.G.'s rapped lines. In the album's giddy mid-section, when Evans suddenly falls in love, she leaves the duet concept completely and sings "Fool for You" as a classic soul ballad, with no audible B.I.G. vocals. "That's that church joint," she says proudly. Towards the end of the album, she sometimes directly addresses the rapper, as in "Somebody Knows," a mournful record lamenting B.I.G.'s unsolved murder, which can be uncomfortable to hear, like listening to a private grieving session. Evans portrays the recording process, even during some of the rawest numbers, as upbeat. "People ask me a lot, 'Was there ever an emotional moment?'" she says. Just one, and it didn't happen until after the album was finished and she was listening back to it. "I'm not a cryer," Evans says. But "I felt a tap on my shoulder, and I was bawling like, 'I think that was him!' I really feel like [B.I.G.] tapped me on my shoulder, like, 'This is dope.' He felt proud." "It doesn't make me sad," adds DJ Premier, when asked about revisiting the work of his former collaborator. "I got my cry on when he passed. Now, it's more about saluting, celebrating and making another banger that keeps B.I.G.'s voice ringing – in an updated type of way."  

Check out the Multitalented Dylan Dilinjah exclusive with Laura Alexandra. Known by many as "Dylan from MTVs Making the Band/Daband", Dylan Dilinjah shot to fame as one of the shows most memorable characters and has since proven himself as a credible and talented Caribbean hip hop artist. Dylan DilinJah was born in Brooklyn, NY to West Indian parents, and grew up being exposed to both Caribbean and American cultures. Dylan went to school both in New York and the Caribbean where he excelled, particularly in writing and displayed a strong natural talent for composition and prose at an early age. After being a selector and reggae/hip hop DJ for a period of time, he decided to pursue his love for writing music. Dylan DilinJah found a local studio and recorded over 80 songs, sold demos and performed in showcases before deciding to take his talent to a greater audience. Dylan auditioned for the MTV show "Making the Band" fronted by Diddy/P Diddy and was chosen out of 40,000 hopefulls to be one of six to form the group Daband. The group later went on to achieve Platinum success and worldwide TV recognition. After the show's contractual end Dylan embarked on 2 successful United States tours, various shows in the Caribbean, and released mixtapes that have been very well received by music lovers worldwide. In August 2010 his latest mixtape "Let the Music Talk" was released with very little promotion and a modest Facebook following and gained 10,000 eager listeners within one month who all expressed their desire for more from this popular and talented music maker. Now, in partnership with Expat Records, Dylan is working on fresh material for fans and music lovers across the world to embrace. The debut single 'Over You' by Dylan Dilinjah will be available from iTunes and other online stores worldwide from 18th July 2011. A full album will follow in the Autumn of 2011.  

KVM Entertainment presents Vision Booth's Visionary number one. iLLvibe takes us on a melodic adventure cooking up his lyrical heat saturated in this summer seasonal pulsation.  This summer smash will be released on June 9th for the worlds ears to consume.  iLLvibe is a Canadian Hip Hop artist based out of Toronto, Canada.  Born originally in Toronto and having spent some time living in Barrie, ON as well as abroad.  In addition to music, illy is passionate about film, photography and design and spends much of his time creating content for other artists and musicians. iLLvibe is making a lot of noise in 2016 & 2017 - Having won the season premier of the Hit Television show Canada's Smartest Person on CBC, complete with 2 performance on the show as well as being named runner up to DRAKE for Toronto Rapper of the Year by NOW Magazine and 200,000 voters.  Winner of 2 CUT Canadian Hip Hop Awards & Toronto Independent Music Awards nominee.  Main stage performer at 2016's "Fresh Island Fest" in Croatia alongside Chris Brown & Wiz Khalifa as well as more than 100 international tour dates every year.

Age 14 the afro-haired producer went to his first club, Forward>> at London's now defunct Velvet Rooms, the night widely acknowledged for founding the bassy UK garage hybrid, dubstep. Imagine the first club you ever get into is, as you step inside, in the process of changing the face of urban music? Imagine you're only 14 at the time, yet you're already a producer. Well, Croydon dubstep star Benga doesn't have to imagine: that is his life. Having put in years of graft, Benga, now age 24, is a leading light in the rising global dubstep movement alongside his childhood friend, Skream. This year he drops his debut album proper for Tempa, provisionally entitled "Diary of an Afro Warrior," after the mighty mane that sprouts from his head. "If I cut my afro off, I'd have to start again musically," laughs Benga. Aside from the best haircut in dubstep, Benga has a lot to be happy about. At 15 he released his debut 12" "Skank/Dose" on one of dubstep's founding imprints, Big Apple. A&Red by one of the most influential DJs in dubstep, DJ Hatcha, the label was run out of the Croydon shop of the same name, the hangout for much of the early pioneers and future stars such as Artwork, Horsepower, Hatcha, Chef, Plastician and Skream. For years Benga, alongside first Skream, then Loefah, Coki and Mala Digital Mystikz, built exclusive musical ammunition for DJ Hatcha. It was this material, aired by Hatcha alone at Forward>>, that propelled dubstep from UK garage offshoot to innovative genre in its own right After early mentoring by Arthur from Artwork, Benga refined his trade working for a professional studio, linked to the biggest labels in the world. He produced for grime MCs such as Crazy Titch and Ghetto, before concentrating his output on dubstep in 2005. Since then he's had releases on electronic stables Planet Mu and Hotflush, self released his own CD and become a respected DJ in his own right, playing throughout Europe and Australasia.  

It's only been two years since he was spotted by the legendary Chase & Status and promptly signed to their label MTA Records, but Kove continues his meteoric rise into the global dance scene with brand new track 'Hurts' feat. Moko, the follow up to last Summer's smash 'Way We Are' feat. Melissa Steel. A multi-faceted electronic producer, Kove has set the internet and radio stations alight with his remixes of Foxes 'Holding On To Heaven', John Newman's 'Love Me Again' and Bastille's 'Of the Night', demonstrating his versatility to flip between genres and his ever rising stature. With two national US Tours under his belt alongside Netsky and 12th Planet, and another jam packed summer scheduled for some of the biggest dance music festivals across Europe (Hideout, EXIT, Creamfields, Reading and Leeds), Kove is set for a massive 2015.

The London-born vocalist Joel Compass, first came to prominence with his debut EP Astronaut in 2013. Released on the Black Butter label, it effortlessly demonstrated his talent as a singer, songwriter, and producer, and acknowledged his hard work. Drawing from personal experiences and combining them with brooding and atmospheric production, Compass' blend of R&B and modern soul was soon drawing comparisons to the likes of the Weeknd and D'Angelo. His 2014 track, "Back to Me," attracted a large number of YouTube and Soundcloud plays and reached the U.K. Top 40 Chart. The follow-up single, "Forgive Me," fared better and hit number 26 in the charts, confirming Compass as one of the U.K.'s emerging R&B talents.

Manchester native Adio Marchant, aka Bipolar Sunshine, combines elements of pop, R&B, and dance to create his own unique sound. Before launching his solo career in 2013, Marchant was lead vocalist for six-piece ska band Kid British. He found the approach of multiple songwriters too constricting, so upon their dissolution in 2012 he decided to strike out as a solo artist. With the help of producer Jazz Purple, Marchant began to construct a sound and image that aimed to be thought-provoking and musically diverse. His vision of alternative pop gained him many fans early on, with artists such as A$AP Rocky and London Grammar eager to endorse his music. In June 2013, Marchant released his debut EP, Aesthetics, which he quickly followed with the Drowning Butterflies EP in November. Throughout his early career, Marchant would self-release his music, but in 2014 he signed to Polydor; a full-length debut was initially set for release around the same time, but ended up being delayed for a few years. In the interim, Marchant appeared as guest vocalist on numerous dance productions, including Lane 8's "I Got What You Need" and DJ Snake's "Middle," the latter of which saw release in 2016. The following year, he delivered the emotive single "Are You Happy."

Maxwell Ansah (born 14 September 1984), known by his stage name Lethal Bizzle, is an English rapper and actor from Walthamstow, London. He emerged in 2002 as a grime MC as part of More Fire Crew, with their grime single "Oi!" charting in the top 10 of the UK Singles Chart. His debut solo single "Pow (Forward)" attracted attention for its aggressive content, charting at number 11 despite being banned from airplay and clubs. Although known notably for his single releases, Lethal Bizzle released his debut studio album, Against All Oddz, in 2005, followed by Back to Bizznizz in 2007. Throughout his career Lethal Bizzle has experimented with blending mainstream chart genres such as dance music with grime, leading to numerous top 40 singles. He is known for his singles "Pow! (Forward)", "Rari WorkOut" and "Fester Skank", including other top 40 songs such as "Rari WorkOut", "The Drop", "Pow 2011" and "Party Right" – all of which have been non-album releases, besides "Pow 2011", which was included on his first compilation album Best of Bizzle (2011).  

By the time Sheffield-raised, Canterbury-born photograph salesperson Lucy Spraggan had received rapturous applause for her performance of the witty, self-penned "Last Night" during an X Factor 2012 audition, the singer/songwriter already had a self-released album to her name. October 2011's Top Room at the Zoo mixed an observational lyrical style inspired by the Arctic Monkeys' Alex Turner with a playful, lighthearted vocal delivery that recalled Kate Nash. Once Spraggan's audition had been televised, by early September Zoo had reached number 22 on the U.K. albums chart, while "Last Night" just missed out on the Top Ten of the same week's singles chart. In 2013 she released her sophomore album, Join the Club, and featured a new version of "Last Night (Beer Fear)." She then embarked on a nationwide headline tour to promote the record. She returned in 2015 with her third effort, We Are. The effort received widespread acclaim and was commended for its deeply personal and introspective lyrics. She promoted the album with The Unsinkable Tour. Later that year she announced that she had founded her own label, CTRL Records, which saw its first release with her 2016 EP, Home. The EP included a revised version of the track "Tea & Toast" from the Join the Club album. She started work on her fourth full-length effort later that year, stating that the writing process was more spontaneous than planned. The record, entitled I Hope You Don't Mind Me Writing, was released in January 2017.

Becky Hill became the first Voice U.K. contestant to score a number one single when Dutch EDM star Oliver Heldens' "Gecko (Overdrive)," featuring her vocals, topped the U.K. singles chart in June 2014. Born on February 14, 1994 in Bewdley, Worcestershire, England, Hill was no stranger to music when she first auditioned for the then-new The Voice in 2012. As a teenager, she had sung with the acoustic rock 'n' soul group Shaking Trees, which created some local buzz and received several plays on BBC Radio. On The Voice she made it to the semi-final with her powerful renditions of R&B songs by the likes of John Legend, before being knocked out. She was, by her own admission, a novice in the music industry game and it took her 18 months to finally get a record deal. In the meantime, however, her sultry, soulful, older-than-her-years voice was highly sought after by dance artists looking for feature vocalists. Her first recorded appearance, on British drum'n'bass artist Wilkinson's single "Afterglow," went to number eight on the U.K. singles chart. She then appeared on Rudimental's single "Powerless," singing with them at several U.K. festivals in 2013, including Glastonbury. Following her success with Heldens, Hill worked extensively with London-based dance producer MNEK on her debut album, which was scheduled to be released in 2014. Her debut solo single, "Caution to the Wind," was more electronica than pop, with twinkling melodies and production reminiscent of Four Tet.

Annie, Nadine and Frankee, aka M.O, filmed their first A64 session for the hugely influential online platform SBTV. Rather than do a straight cover of an R&B classic, they decided to do a unique re-imagining of Brandy & Monica's 'The Boy Is Mine', with a little help from UK rap upstart Lady Leshurr. The performance went on to become SBTV's most viewed debut A64 ever, with over two hundred thousand views. With Twitter support from the likes of Ed Sheeran and K. Koke, and a roar of online buzz, you'd think most bands would start to rest on their laurels, but for M.O things had only just started. A month later their debut single, the playfully aggressive, Show N Prove- produced banger 'Wait Your Turn' was premiered by tastemaker and DJ MistaJam (who said they were "the only girl group you need to worry about") on his 1Xtra show, while the song's attitude-heavy video was later premiered by The Guardian. Since then the girls have continued to steadily build an impressive reputation – becoming a mainstay on 1Xtra, a feat that's almost unheard of for a brand new UK girl band, as well as working with Black Butter Records producers such as WOZ (on street track 'Come Let Me Show You') and RackNRuin (the infectious 'Ain't Got Time'). Parallel to this critical acclaim has been their desire to steadily build a solid, loyal fanbase as opposed to exploding out of the blocks and fading away just as fast. For Annie, Nadine and Frankee. M.O represents the second bite at the cherry, with all three girls having previous group experiences.

A new year always brings with a slew of carefully crafted chart contenders. But anyone who has heard Ny's music will know she's the real deal. With no svengali manager, label giant or spin doctor PR telling her how to be, she's carved out her own career. And her musical journey up until this point makes for impressive reading.  She was introduced to music from young age, and it was a certain diva who alerted her to the fact that she wanted to sing. "My parents are huge vinyl lovers so we always had a lot of music in our house – old soul and reggae. Everything from Simon and Garfunkel to Blondie were played, and we were always singing together as a family." All those early influences helped to shape her passion for sound, and she soon became proactive in getting involved her local music scene. She started entering talent shows in her native Kentish Town and was soon winning her fair share. "I was taught from home until I was 10 and my mum was very strict and didn't let us watch TV, so I'd listen to music or write poetry instead. I started going to a play centre and there was a worker there called XL Bass, who was also a well-known underground DJ on a pirate radio station called Freak FM. He was always encouraging me to sing and he used to get me to record little jingles for his show. Even though I was so young he was a huge driving force for me in music. Tragically, he was later murdered, but I think of him all the time and all and I'll never forget how he opened my eyes to music in a different way." She soon starting bunking off school and fibbed about her age to get herself onto performing arts workshops at The Roundhouse in Camden. Then aged about 15 she started working for an under 18s rave company called Bigger Fish, doing stage management. "They used to have events at The Forum in Kentish Town, and one time all the power went off, so I got up on the stage and did an acapella of a Mariah Carey song and I knew instantly it was for me. After that I made a point of performing at every single rave - whether it was an acapella or something I'd written. I met Ms Dynamite at one of the raves and she invited me to go on tour with her. I didn't perform but I watched everything that was going on, and it was there that I learnt what it really meant to be an artist in your own right." Come 2005, 17 year-old Ny left home to live with her boyfriend of the time, grime star Wiley (Wear My Rolex), and started recording tracks of her own. "I loved old school garage and grime, but when I looked around all I could see were boys and MCs, no girls. I started working with Curtis Lynch (Alicia Keys, Jamie Foxx), who put me in the studio and we did some recording. I was so in love with how free and expressive grime was, so I decided to be the first girl to sing on grime. Rewind magazine called me 'the new lady of RnG' and things soon started to take off. The next few months were spent cleaning houses and cars and walking dogs in a bid to make enough money to press up her debut CD - a mix tape called Split Endz Vol 1. "I recorded it at a college where my friend was an engineer in the studio. Whenever the cleaners came in after it shut we had two-hour windows to record. I'd already met a lot of people on the scene, so people like Plan B, Professor Green, JME, Ghetts, Talay Riley, Pyrelli, Sweetie Irie ,Jonny Rockstar all featured on it. "I was also working for The Jump Off, a hip-hop battling night, at the time. It's where Professor Green first made his name, so that's how I met him. Plan B and Professor Green have been amazing and supported me so much." Once the CD was pressed, Ny hung outside the likes of Kiss, Choice and 1Xtra, handing it out to the stations' DJs. She also hit the streets of the West End and approached Soho record shops, selling the mix for a fiver a pop. "It sold a couple of thousand copies, which was huge for me at the time. I was still doing shows and building up a good fan base. I hooked up with a small label called True Tiger Recordings and we dropped a track called Fire, which we ended up putting out. We got crazy love for it, so I decided to do create Split Endz Vol 2. One of the tracks, Willow, got playlisted on 1Xtra and Kiss FM. Off the back of that I supported Ritchie Spice, Donnel Jones and sang backing vocals for Plan B on tour. I also did vocals on The Streets first album and I was featured on Sway, Tinchy Stryder and DJ Ironik's first albums, and also on Ironik's single Stay With Me, which made the top five." The next few years were all about shows and recording, then in 2008 Ny got asked to do a project with the British Council, representing UK music at The Roundhouse, alongside a wealth of well known African artists. "It was amazing because we got to go and perform in all of their countries, so we visited places like Ethiopia, Kenya, Tanzania, Zanzibar, Cameroon and performed in front of the Queen at the Commonwealth Conference in Uganda. My dad has lived in Ethiopia for ten years, he works for Save The Children, so I go there ever year. While I was there I recorded a track called Pick Up The Phone with a guy called Johnny Ragga, one of Africa's biggest artists, and it became massive over there. I did so many shows and even performed in Ethiopoa on New Year. "My next project was a funky house track with Wookie called Falling Again, which blew up in the clubs. I was doing loads of mad shows up and down the country and things were constantly building." A tour with Herve and Sinden followed, alongside Mz Bratt. "We did all the crazy festivals in Europe. We opened up for Fatboy Slim at Glastonbury, and we did Roskilde, Pukklepop, Rockness and Gatecrasher. We also ended up doing an eight-day tour of America which ended in Canada." In 2010 Ny released a track called Sea Sick, which featured a remix by Griminal and DJ Ironik and attracted over 300,000 hits on YouTube. She was nominated for best Newcomer at the UMAs, and the music press continued to sing her praises. With such a wealth of experience behind her, she knew it was time to start work on her debut album. "I knew I had to buckle down and actually write an album. Everyone was asking what was coming next after my mix tapes, so I've been locked in the studio working with producers like Davinche, Fraiser T Smith, 3 Mindz, Confectionary and The Jester. My music has evolved a lot. It's still got an urban edge to it but it's also very soulful now. Some of the tracks have got a hard edge, but they're got soft vocals too, which shows my diversity as an artist. With her album ready to drop having created a sound that is as much Rihanna as it is Alicia Keys, Ny is soon to hit the road with N 'Dubz on their nationwide tour. She's close to the band and features on a track, Love Sick, on their new platinum selling album, LoveLiveLife. "Tulisa and I grew up near each other and we've been friends for years. I sang with the band in the Radio 1 Live Lounge when she was ill. The tour is going to be amazing and it will be a chance to get my new material out there. "I've always done everything independently and financed it myself. I'm a workaholic and I still want to do things on my terms, but I'm hoping to get some label support this year because I'm ready to take things to the next level. . Up until now my music has been growing and finding out what I do and don't want to do. Now my album is me. It's my sound. It's Ny."

Rapper, singer, song writer and producer, Lyracis is about to blow up on the UK scene. His first music video 'Speakerphone' reached 300,000 views in the first week of release and with a fan base of over 25 000 (and that's just on twitter), this guy is one to watch! His sound is Hip Hop with a hard, rocky edge. Definitely something different… If you thought 'Speakerphone' was a good track, just wait to hear his exclusive acoustic version for MOBO Mondays, filmed by MOBO TV. The track reaches new levels of AMAZING!! And to make things even better, this was his first EVER acoustic session with anyone!!

Derek Andrew "Sway" DaSafo is a British hip-hop artist of Ghanaian origin who gained attention through a series of independently released mixtapes before winning a 2005 MOBO (Music of Black Origin) award, which positioned him as one of the leading hopes for U.K. rap. Born in London -- albeit unintentionally, when his mother was on a stopover between Amsterdam and her native Ghana -- and mostly raised there as well, DaSafo hails from Hornsey, a North London neighborhood positioned in between posh, middle-class Murray Hill and the slum Wood Green. His carefully constructed rap persona reflects this polarity by combining a literate, reflective approach with a savvy, street-smart sensibility. Together with his broad, cagey sense of humor and often nervously kinetic delivery, it amounts to a fascinatingly complex and undeniably charismatic style, comparable to an intellectual Ludacris or a more ruminative Twista -- it's not hard to hear why he generated an underground buzz that developed quickly into wider awareness. Despite his unique and captivating talent on the mic, DaSafo's initial focus was squarely on production. He got his start in London's underground hip-hop, at age 15, by making beats for other rappers, before his peers encouraged him, on the strength of his battle freestyles, to try his hand at writing rhymes. A pair of mixtapes that he recorded on his home computer and released through his own Dcypha Productions -- This Is My Promo, Vol. 1 and Vol. 2, released in 2004 and 2005, respectively -- garnered airplay on London's pirate radio stations and, eventually, the BBC's urban-oriented digital station 1Xtra. He captured the public eye in September 2005 when he was named Best Hip-Hop Act at the tenth annual MOBO awards -- a surprise upset over 50 Cent and the Game -- despite being unsigned and before he'd even released an album. Despite the slew of label offers that predictably followed this triumph, Sway chose to remain independent, but his proper debut album did arrive the following year, after the teaser single of "Up Your Speed" (a posse-cut remix of a track originally featured on the Promo mixtapes), with the release (by DCypha in conjunction with the indie All City Music label) of This Is My Demo. Its title is a continuation of the overarching meta-conceit to Sway's oeuvre; as he explained it: "my whole career is going to be based on my career." All did not go quite according to plan (selling successfully enough to pave the way for a major-label release of the eventual, hypothetical This Is My Album) -- as Demo stiffed at number 78 on the charts, falling to number 152 in its second week -- though it did spawn a handful of underground hits including "Flo' Fashion" and "Little Derek" (a bottom-of-the-Top 40 hit) in addition to "Up Your Speed" (the reggae-tinged "Products" and the humorous, anti-file-sharing "Download" were also released as singles). However, it was critically hailed, making the shortlist (of 12) for the 2006 Mercury Prize, and led to another MOBO nomination and a BET award for "Best U.K. Hip-Hop Act." Sway supported the Streets on their 2006 U.K. tour and appeared alongside Mike Skinner on the Mitchell Brothers' single "Harvey Nicks," but he has also been active in the global hip-hop community beyond the U.K. -- collaborating with Lupe Fiasco, Chamillionaire, and Small World (of Ludacris' DTP crew) -- and in music beyond hip-hop, working with ska veterans Madness and electronic duo Stanton Warriors. In 2007, Sway signed with Akon's Konvicted label; released the One for the Journey EP, a harder-hitting collection than his debut that featured several of the aforementioned collaborations (and came clearly labeled: "This Is Not My Second Album"); discussed collaborations with Akon, Doug E. Fresh, Mark Ronson, and Pharrell; and announced plans for The Signature, to arrive in 2008.

After narrowly missing out on the final stages of 2003's Pop Idol, U.K. R&B singer Jodie Connor became a regular chart presence seven years later, becoming one of the few female artists to occupy the same grime-pop scene as Tinie Tempah, Labrinth, and Chipmunk. Born in Oldham, Manchester, Connor, inspired by the likes of Janet Jackson, Mariah Carey, and Alicia Keys, competed in various talent contests across the North West of England before entering the second series of the hit Simon Cowell show. After making it through to the wildcard stages, she was denied a place in the finals by eventual Top Five finishers Susanne Manning and Sam Nixon, but was later taken under the wing of Soul II Soul's Jazzie B., who helped her to develop her vocal and songwriting abilities. After a brief stint in a girl band, she enlisted producer Dawood and the self-proclaimed Godfather of Grime, Wiley, to work on various tracks, one of which, "Good Times," later ended up being a number one single for her and East London collective Roll Deep. After the single's success, and appearances on hits for Tinchy Stryder ("In My System") and Wiley ("Electric Boogaloo"), she gave up her day job at the Youth Offending Services, helping families deal with drugs and alcohol problems, and landed a deal with Polydor Records. The first woman to sign with management company Takeover Entertainment, which had recently sealed a deal with Jay-Z's Roc Nation, Connor flew to America to work with established songwriters Makeba Riddick (Beyoncé, Rihanna) and James Fauntleroy (Leona Lewis, Ciara). After appearing at the Glastonbury, Wireless, and Wakestock festivals with Roll Deep, performing on the Clubland and MOBO Award tours, and supporting Diddy-Dirty Money at his U.K. shows, Connorreleased her debut single, "Now or Never," in 2011.  

KVM Entertainment vision the outlook, we live and breathe creativity. We are highly impelled and contemplative about cutting edge concepts; film & music, as well as maintaining a clear visual of the conventional perspectives of art & entertainment. We believe in development, consistency and excellent work ethic! We like to look like no other. We greatly believe that sublime text, imagery and design effects a persons state of mind. We apply an immense quality and expense in marketing and strategic thinking in getting the peoples messages beyond the traditional vision as we know today in the most effective way. The question is, where is your vision and how far are you looking to travel? Our professional team are dependable, authentic and creative, and we work with our clients vision not just ours.  

The festival was founded by Global Rum Ambassador Ian Burrell in 2007, who was keen to promote rum as a drink. Burrell had worked in the drinks trade as a bartender since 1990. In 1998, he had started working with the Jamaican rum distiller, blender and bottler J. Wray and Nephew Ltd. The company initially employed Burrell on a part-time basis, leading to a full-time role in 2003. Burrell subsequently worked for other drinks brands on an ad hoc basis and with organisations such as the West Indies Rum & Spirits Producers Association, which represents several different Caribbean rums. The UK RumFest has led to the influence of rum festivals and fairs all over the world including The Miami Rum Renaissance festival, the Berlin Rumfest, Paris Rhum fest and the first rum festival in Mauritius. The UK's only trade and consumer drinks expert for the rum industry and world's largest rum festival. Staged over three days at the new venue of London's ILEC Conference Centre, Earl's Court. 2016's RumFest focused on the celebration of premium blends on the market. The brand new Golden Tot initiative was introduced inviting people to sample ultra-premium and rare blends on the market, some of which are not available to buy or drink anywhere else in the world.

Fidel Channer finds one of P. Diddy's successful R&B groups and talks about the Bad Boy days. 112 (one-twelve) is an R&B quartet from Atlanta made up of Daron Jones, Michael Keith, Quinnes "Q" Parker and Marvin "Slim" Scandrick. They met in high school in the early 1990s and formed the group Forte, performing at local churches and talent shows until they were discovered by management duo Courtney Sills and Kevin Wales. Sills and Wales introduced the group to hip-hip producers Tim Kelley and Bob Robinson, known professionally as Tim & Bob, who helped the group record demos. Wales secured an audition for the group at Atlanta's 112 Club for Sean "Puffy" Combs, CEO of Bad Boy Records. He signed the quartet and they subsequently changed their name from Forte to 112 as a tribute to the good fortune the club had brought them. After signing with Bad Boy, 112 moved to New York to record their self-titled debut album. 112, which was primarily produced by Tim & Bob, was released in 1996 and went double platinum. It spawned the hit singles "Only You" and "Cupid," both of which peaked at No. 13 on the Billboard Hot 100 and No. 3 and No. 2 on the Billboard R&B/Hip-Hop Singles chart, respectively. Room 112 was released in 1998 and it quickly went gold. The following summer the group embarked on Whitney Houston's My Love Is Your Love Tour. By 2002 Room 112 was certified double platinum. 2001's Part III contains the hit "Peaches and Cream," which marked the group's first and only Grammy nomination for Best R&B Group or Duo. Despite producer Comb's absence during production due to legal reasons, the album was solid and debuted at No. 2 on the Billboard 200. Two months later it was certified platinum.   112 split with Bad Boy Records in 2002, seeking greater creative control. They signed with Def Jam and issued Hot & Wet in 2003. Though the album was ultimately successful, it failed to make a noticeable impact compared to past albums. Pleasure & Pain, their fifth effort, was issued in 2005 and went platinum, thanks in part to the hit single "U Already Know." The album also marked 112's first album to don a parental advisory sticker. Def Jam dropped 112 shortly after the release of Pleasure & Pain and they entered a hiatus. They continued to tour while pursuing their own solo projects. Slim lent his talents to Thee 6 Mafia's "Cruzin'" and released a solo album, Love's Crazy in 2008. That same year Mike issued his debut Michael Keith. In 2010 Q announced that 112 had returned to the studio to work on new material. Daron, Michael and Q are back, but Slim's involvement with the project hasn't been confirmed. The untitled album's release date is unknown. 112 has been performing since kicking off their For the Fans tour in the summer of 2012. In June 2015 they performed during a Bad Boy Records reunion segment at the BET Awards.