Simon Smith is a Contributing Writer at various esteemed publications. He covers a diverse range of themes including arts and entertainment, music, sports, and the food industry, with a particular focus on competitive sports and marketing. Simon's work has been featured in notable outlets such as CBC, The Lancet, and Yahoo Sports UK, among others.
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Simon Smith's articles cover a wide range of topics including sports, music, technology, and gaming. A significant portion of his coverage includes promotional deals.
If you have insights into new products or promotions related to mobile phones, computer hardware, or gaming that could appeal to a UK audience with an interest in technology and gaming then Simon might be interested in your pitch. Additionally, if you have information about upcoming music releases or events that would be relevant to the UK market it may catch his attention.
Given Simon's focus on Skipton and the United Kingdom more broadly he is likely particularly interested in stories and promotions that are accessible within these locations.
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A mystical witches’ cauldron of dark ambient, Nordic folk and electronica with worldly influences.
Beautifully reflective and melodic felt piano original compositions.
“My attention span is not what it used to be. It comes in short bursts played with some misery” barks Lucy Alexander – one half of London post-punk dup Scrounge. With Lucy on guitar and vocals, and Luke Carteledge on percussion, the two create enough noise for a four-piece with their tight anthems about modern-day decay. Lucy and Luke were in several other bands before forming Scrounge themselves and have cited Warpaint and Sleater-Kinney as musical influences. I’d argue their music goes much harder than those though.
Cosmic semi-improvisational folk music built from a spine of hammered dulcimer tones.
A mixture of melancholic J-Pop, uptempo electronica and RnB flavours wrapped up in a bundle of nervous energy.
Avant-Garde piano-based singer-songwriter bridging the gap between experimental and chamber pop.
By: Simon Smith
The title of this post says it all really. Electronic quartet Anamanaguchi brings us the most hardcore track I can think of in their repertoire – a cover of Nirvana’s ‘Territorial Pissings’. The band commented that it’s been 33 years since Kurt Cobain screamed ‘I’d better wait’ at the climactic finale of their song and they felt it was time to revisit the track to see if the sentiment and urgency remained.
When composers and sound designers move from scoring music to creating their own compositions as a standalone body of work, it can create some fascinating albums and releases. Often, they bring parts of their cinematic design with them and the integration of musical artist elements (vocals, hooks, genres) can be unusual too. I say this upfront because that’s the journey Jonathan Fitas has taken. He is a composer and studied sound arts as a master’s degree at the National Audiovisual Institute in Paris. Since then he has worked in cinema, TV, radio and the web.
Bubbling ripples of soft electronica, dressed in a dangerous undercurrent of guitar effects.
Defying subgenres, Bandler Ching is a Brussels-based trio that tackles all kinds of electronic music without sticking to one type. For their sophomore album ‘Mercurial’, they will be flirting with the edges of industrial trap whilst blending in elements of vaporwave, hip-hop, ethereal ambient and deconstructed synth electronica too. Bandler Ching mixes in real instruments such as bass, live drums and the saxophone but often in non-traditional ways. Each track is a dynamic shapeshifting expression of music in a digital age.
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