We Speak Music
Andrew Pattie Delivers Masterful Tune ‘You Are’
Andrew Pattie unveils his polished new single ‘You Are’. Showcasing artistic maturity, the song showcases his unwavering dedication to his craft, while emerging himself into extraordinary new artistic heights.
The indie, synth-pop offering displays his multi-faceted artistry. The upbeat undertones bring the audience on an engaging soundscape while featuring instrumental pieces including an electric guitar, a Roland System 8 synthesizer, a drum kit sequence by Liam Chapman, and backing vocals from his wife, Alexis.
This song in particular appears to capture the essence of Andrew Pattie’s persona as a musician and artist—yet another outstanding attempt. He is dedicated to making music that resonates deeply with audiences as he progresses in the music business.
When asked about the inspiration behind this new single, Andrew Pattie has the following to say;
“‘You Are’ deals with acceptance. Acceptance of yourself. A dialogue fighting with who we feel we should be against how our society and surroundings expect us to act. To have continued to be a musician through the last 11 years has been a struggle for me. Not only financially but with my mental health. Much of REPAIR deals with coming to terms with a lifelong struggle with depression and anxiety. I look at these musical creations as a way to repair myself. To find ways of communicating difficult and abstract feelings in music, lyrics, and mood. My wife, Alexis added her voice to this furthering the dialogue concept.”
In a musical landscape that often feels overcrowded, Andrew Pattie continues to stand out with his distinct style and unwavering dedication to his craft. ‘You Are’ is a brilliant addition to his discography and a promising indication of the greatness to come with forthcoming releases. Whether you’re a long-time fan or new to his music, this single is a must-listen.
We Speak Music
Waz-u drops ambient gem ‘Vermillion’ ft. Lilyg

London-based multi-instrumentalist and producer Waz-u returns with his second album, Preludes: Dusk Psalms, set for release on 16 May 2025 via independent label Biodiversity. The 15-track record further refines the artistic depth of his debut, blending electronic textures and classical compositional techniques in an intricate, immersive listening experience.
Ahead of the album release, Waz-u is dropping an exclusive vocal version of ‘Vermillion: G Major’ from the album, accompanied by its original instrumental version. ‘Vermillion’ with Lilyg will be released on 18 April 2025, evoking intimate indie-folk and pop and follows the release of a vocal version of ‘Lament’ with Tom Norrington. ‘The singles are a way to give a voice to the atmosphere of the record and to lyrically encapsulate some of the themes explored,’ explains Waz-u. ‘Lily and Tom are good friends of mine and have both been listening to early iterations of these preludes – it felt right to involve them directly on this record.’
‘Preludes: Dusk Psalms’ marks a new branch of Waz-u’s emerging sound, guided by the duality of tradition and innovation. Combining his musical roots in early ‘90s dub techno and classical music, the album weaves carefully layered synthesizers and electronics to evoke the ambience of sacred music — from the gentle timbres of a choir or an organ to the quiet, open, and reverberating spaces of a church. Also featured throughout the album is experimental musician G9 LUV, who creates textures and drones by bowing his bass guitar, resulting in cello-like sounds. The release follows Waz-u’s 2024 debut LP, Prayer For Dawn, which merged dub, techno, and electronica in an exploration of the ritualistic traditions associated with both organized religion and dance.
Bringing the album’s themes to life, Waz-u will celebrate the release of Preludes: Dusk Psalms with a special performance at Our Holy Redeemer in Clerkenwell, London on 14 May 2025. Set against the church’s resonant acoustics, the event will feature live performance arrangements, including a choir, with further details to be announced soon.

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