Most independent artists eventually learn the same lesson, and the woman behind Akashic Gods says she learned every one of hers the hard way. She describes the environment that shaped the project as hostile and manipulative, marked by deception and music exploitation she compares to a modern-day Dante’s inferno. She walked away from it. What she built afterwards is the more interesting part of the story.
The evidence sits in the airplay. Her first single “Gods and Machines” reached No. 2, drew worldwide radio play and was featured on Norwegian rock musician Petter Wavold’s national TV music show. “Weapons In Space” went one better, holding No. 1 for three weeks on the UK Talk Radio Hot 100 Top Singles chart. “Karmic Justice,” the third release, stayed at No. 1 on the independent airplay charts for four consecutive weeks. Three singles, three chart runs, one artist running the project herself.
All three belong to The Ether Element, the ten-track concept album arriving August 28. It’s built in two halves. The first, which she calls The System, covers the manipulation, technology and betrayal that press in from outside. The second, The Sanctuary, deals with what happens after a person decides to stop absorbing it. That plays out as alternative indie rock guitars stacked against orchestral strings, glitch programming and layered vocal harmonies, a combination she describes as an ancient cathedral wired straight into a cybernetic matrix.
Only one new song drops alongside the record. “Bring in the Elohim” is the album’s focus single and its loudest statement, an aggressive stadium-rock track about surviving a hostile personal conflict by refusing to fight on the aggressor’s terms. “Lyrically, the song is my decision taken of dealing with an oppressor stating it’s his way or the highway,” she says, describing a track that trades retaliation for what she calls weaponizing silence. The arrangement follows the same logic, keeping the verses tight and claustrophobic before the chorus opens into a wall of distorted guitars and choir-like backing vocals.
The record was made with a small circle. Producer Carlone Lewis set the tempo and laid the foundation for that wall of sound, working with orchestral tracking and ethereal backing vocals, and the pair checked the single on every device they could find before taking it to Andy Baldwin at Metropolis Studios for mastering. Guitarist Alan Riggs (Delta 5) worked on tracks including “Skies Dripping Gold” and “Karmic Justice,” and joins her for future live performances along with Lewis.
The rollout is handled by specialist music marketing agency LMSUK, with German promoters Medialuchs running the radio campaign for “Karmic Justice” and securing rotation on stations there ahead of the album. LMSUK chief executive Josh Robinson heard the record early and sent back a note artists tend to keep. “Oh my goodness this is SO good, I’m in shock,” he wrote. “Surf the Future is definitely my favorite track of them all.”
She arrived here from somewhere else entirely. Her earlier work sat in dance music, where she picked up DJ support from David Guetta and Fatboy Slim, and she spent years travelling as a backing vocalist, with live credits that include Shalamar, Radio 1 Live, Arthur Barker’s Return to New York event, a touring run with Secret Life and shows at Camden Club and Water Rats. Akashic Gods began in 2024, born out of what she calls intense personal trials, isolation trauma and emotional warfare. “Instead of sinking into bitterness or reacting with physical retaliation, I made a conscious choice to claim the highest moral ground,” she says. The music is designed to act as an archive, a literal akashic record of the invisible battles of the human soul.
The press has caught up in pieces. She appeared in the Daily Mirror’s Streets of Peace campaign, received Notting Hill’s Rockstar Award, landed the cover of The Guild of International Songwriters and Composers Magazine in November 2024, and was interviewed at the UK film premiere of Dream Hacker earlier this year, followed by a guest spot on the Martin Talk Show podcast. Live shows are next, with a showcase set in preparation.
What makes the August 28 release worth watching isn’t the concept or the theology, both of which will find their own audience or won’t. It’s the structure underneath. A one-woman project put three singles onto the charts, two of them at No. 1, brought in a specialist marketing agency and an international radio campaign on her own terms, and is releasing a ten-track album with a music video attached. “You have the sovereign power to walk away from a rigged game,” she says, addressing the disillusioned, the survivors and the independent artists she says are fighting the system. Coming from someone who did exactly that, it reads as something closer to a case study than a slogan.
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