We Speak Music
Zkeletonz weave their vibrant 80’s synth wizardry to perfection on new single ‘Lonely’!
“Sounds like disco never died”- Tom Robinson, BBC 6 Music.
“a very seductive groove…7/10”- Louder Than War.
Electronic force of nature Zkeletonzhave been carving outtheir own singular path in the music industry in recent years, headlining their own self-promoted London gigs, tearing up festival stages at the likes of All Points East and Alex James’ Feastival, recording a live session for Scott Mills, and gaining love and support from BBC Radio 2, BBC 6 Music, Radio X and Channel 4’s Sunday Brunch, and many more.
The trio continue their mission for world domination this year with their first ever UK tour, which is already underway and features a new London headline date at Oslo In Hackney and support slots with Craig Charles and Martin Kemp (Spandau Ballet).
Zkeletonz also have their ‘Enhance Your Dance’ debut album currently in production at TYX, Tileyard Studios, King’s Cross where they recently won 10 hours of free time as the best on the night at their A&R mixer event hosted by Sarah Beaumont (Defected Records).
With crowd-funding support from their ever-growing and passionate fanbase, the album is due to feature collabs with; Shuta Shinoda (Hot Chip & Mercury Prize winner for Ghostpoet), Jamiroquai bassist Paul Turner and Alex Gopher (Ed Banger Records). The next taster of the album to be unveiled will be new single ‘Lonely’ out 13th September.
‘Lonely’ is an uplifting infectious, groovy banger that sparkles through a vibrant glitterball of revolving, kaleidoscopic bass loaded electronics. The track locks the listener deep into the mind of Zkeletonz singer Gav where he is “Researching on the other side of life”, wrestling with his digital spirit equivalents, who offer up paranoia, temptation and play.
The band’s own production on ‘Lonely’ by electronic drummer and multi-instrumentalist member Ed Trotsky (also Runrummer, Coin Operated Boy) weaves a sonic pallet replete with 1980s synth wizardry that evokes classic pop from the Pet Shop Boys and Human League, combined with tasteful electronica, new rave and indie sleaze sounds typified today by the likes of Confidence Man, Sofi Tukker and The Dare.
The gritty POV video for the single, directed by Adam McHattie (Star Wars, Rocketman, Guardians of the Galaxy, see IMDB), subverts contemporary social media culture with inspiration from the classic filmography and hedonism of ‘Smack My Bitch Up’ by the Prodigy. It was shot at one of the band’s own wild ‘hyperfunk’ club nights in Shoreditch, East London.
Join the party and catch Zkeletonz at the following dates in 2024. Tickets and more info here: https://zkeletonz.com/
Charlie McDonald isn’t chasing trends — he’s chasing truth. With his second single “Time,” the emerging singer-songwriter delivers a devastatingly beautiful meditation on grief, memory, and the slow erosion of the past. After gaining attention with his debut “You Broke Me” — a quietly viral track that amassed over 120,000 views — McDonald returns with a deeper, darker cut, one that proves he’s more than a one-song storyteller.
The origins of “Time” are heartbreakingly human. While clearing out an old closet, McDonald stumbled upon forgotten photos of a best friend who passed away nine years ago in a car accident. What overwhelmed him wasn’t just the rediscovered snapshots — it was how many memories had already faded. That moment of guilt and emotional paralysis became the seed for “Time,” a track that captures the fragile, cruel nature of remembering.
Sonically, “Time” sits at the intersection of cinematic pop and soulful R&B. Its arrangement is richly atmospheric — echoing the emotional resonance of artists like Labrinth or James Blake. But McDonald’s voice, hushed and heartfelt, keeps everything grounded. It’s the kind of performance that doesn’t ask for attention — it commands it by sheer vulnerability.
There’s a curious serendipity to how the song was born. While walking through a London HMV, McDonald heard Harry Styles’ “Sign of the Times.” Though the two songs share little in sound, the emotional gravity of that moment stayed with him. Hours later, just before attending a Sigur Rós concert, “Time” came to him in one overwhelming wave — and the bones of the song were written in minutes.
For McDonald, “Time” is more than a tribute — it’s a reckoning. It asks what we owe to the people we’ve lost, and what it means when even those memories start to fade. In a world overflowing with disposable pop, McDonald’s work stands as something rare: a song with a pulse, a heart, and a story worth hearing.
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