Nia Archives - Silence Is Loud : Album + Ticket Bundle (Album Launch Gig at Mint Warehouse Leeds) *Pre-Order

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Nia Archives - Silence Is Loud

CD Album + 1 Ticket - £18.99 - Limit 4 per person
Vinyl LP + 1 Ticket  - £33.99 - Limit 2 per person
Indies Blue Vinyl LP + 1 Ticket  - £33.99 - Limit 2 per person
1x Ticket only - £15.50 - Limit 1 per person max

We urge you to consider buying an Album bundle rather than Ticket only as they only cost £3.49 more to get a CD,  PLUS this way you are helping the artist AND the more albums we sell the more of these exciting Album Launch shows we are able to put on in the future.

 PLEASE NOTE Album + Ticket Bundles are limited to 4 per person. Ticket only isArchived Gigs limited to 1 per person


To celebrate the release of her new album 'Silence Is Loud' Nia Archives will perform at a Launch show at Mint Warehouse on Wednesday 10th April 2024 .   Doors 8pm  Curfew 1am.

We have set up special bundles (in the drop down box above) for this release where fans  can purchase an album on a format of your choice and get a ticket for this exclusive Show

There is a limited capacity for this event so we would expect all the album and ticket bundles to sell out very quickly. 

Age Restriction is 18+ only

Please speak to the venue if you have any access requirements before purchasing a Bundle / ticket

PLEASE NOTE: this is an E-Ticket event , details of how to access your ticket will be sent via email so please ensure you use an email address to order with that you have access to and can recieve emails - this information will be sent a few days before the event.

Albums will ship out on or just before the release date of 12th April

There is NO  Collect in store option all tickets and stock will be shipped out.

Album is also available on all formats without a ticket here

Silence Is Loud

Cards On The Table

Unfinished Business

Crowded Roomz

Forbidden Feelingz

Blind Devotion

Tell Me What It’s Like?



Out Of Options

Silence Is Loud (Reprise)

Killjoy !

So Tell Me…

Nia Archives is the star at the forefront of the latest era of jungle. Since her emergence in
2020, her collagist soundscapes have helped bring the sound to a new generation of
clubgoers (though fair warning: don’t call her a “revivalist” – she’s the first to point out that
the scene never went away). So when it comes to talk of the 24-year-old producer, DJ,
singer and songwriter’s much-anticipated debut album, the odds are you’re thinking of a full-
length record of weightless jungle tracks with basslines so intense they’ll leave your ears
But the reality of the Bradford-born, Leeds-raised artist’s first ever album – while very much
replete with that exquisite jungle sound she does so well – is also doing something a little
different. On the thrilling and freeing Silence Is Loud, Nia Archives is looking to make music
for beyond the rave. As she explains: “I think music can be experienced in different ways,
and there’s different kinds of music for different scenarios. Say you’re at a festival listening to
music with thousands of other people, that can feel really uniting. But then you might listen to
an album on your own in the bus, or in a taxi; and this project is definitely more a record to
sit and listen to than a collection of club tracks.” Nia is intent that Silence Is Loud is taken in
as a full body of work of something “more song-focussed, putting interesting sounds on
jungle.” It means that this is a record which finds gloomy Britpop, warm Motown, soaring
indie, a love for Kings of Leon’s Aha Shake Heartbreak, skittering IDM, Madchester, classic
rock, old skool hardcore and more, woven and fused into her ragga and junglist tapestry, all
layered with feeling, imbued with her songwriterly lyricism about loneliness, relationships,
family, navigating her 20s, and the intense potential power of silence.
The vast sonic palette on Silence Is Loud comes down to Nia’s broad array of influences
through her life. With her Jamaican heritage, Nia remembers hearing jungle as a child via
her nana, as well as at Bradford Carnival, where she was drawn to the soundsystem culture,
dancing carefree on the floats in the parade. The first album she ever bought was Rihanna’s
debut, Music of the Sun, and she also went to Pentecostal church back then, and was
obsessed with gospel. Aged 16, she moved to Manchester, where she didn’t really know
anybody: and so, her solution to meeting people was going out. “Partying was a huge part of
my life,” she says, “They used to do little freestyle cyphers at the house parties and I would
join in – that’s kind of how I got into singing.” She had found music boring at school, but in
meeting all these new people she became interested in making her own music as a hobby. “I
was making boom-bap kind of stuff which I didn’t really like in the end,” she laughs, “My
lyrics are quite deep, so on a hip-hop beat it all sounds really depressing. I wanted people to
dance to my music.” And so she began experimenting with faster tempos alongside that
melancholy songwriting, teaching herself how to make beats on Logic: “It’s all been a lot of
trial and error, really.”
Nia went to study music in London, and was also interested in visual art, making collages
and VHS: “Before the music, I was trying to make a visual archive of my life and the people
around me,” she explains, “And then my music was like my diary, and a sonic archive, as
well.” Hence, she paired the word “archives” with her middle name, Nia. To this day, in her
spare time she’s working on pulling together a documentary on the global nature of the
jungle scene.
Back on those first two EPs, Headz Gone West (2021) and Forbidden Feelingz (2022), she
honed that junglist sound, painting it with new flecks of colour and vibrance. It was only after

she started releasing work that she realised pursuing music could be a viable life path for
her. The decision has been paying off ever since. Nia Archives placed third in the prestigious
BBC Sound Poll for 2023, alongside garnering a nomination for the Brit Awards’ Rising Star
prize, plus wins at the DJ Mag, NME, the MOBOs and Artist and Manager Awards. She has
also toured the world – be it North America, Europe or Asia – and even opened a show in
London as part of a little something called Beyoncé’s Renaissance World Tour. She’s
renowned as a party-starter in her own right, too, with takeovers at Glastonbury, Warehouse
Project and her own Bad Gyalz day event. She’s done official remixes for the likes of Jorja
Smith, had a huge summer hit with her Yeah Yeah Yeahs rework ‘Off Wiv Ya Headz’, and
worked with brands like Corteiz, Nike, Flannels, Burberry, FIFA and Apple. In just three
years, it’s fair to say that Nia Archives has become a need-to-know name in dance music.
But Nia is not interested in being one fixed thing. Building on the terrain from her third EP,
Sunrise Bang Ur Head Against Tha Wall, the universe of Silence Is Loud is not totally
unfamiliar territory; but it’s still emblematic of a bolder scope than we’ve heard from the artist
before. Working with Ethan P. Flynn (the songwriter and producer known for his work with
FKA twigs and David Byrne), the resulting record is an impressive feat of deftly-sculpted
textures; sometimes big and euphoric, like the wobbly, lusty bass of ‘Forbidden Feelingz’, or
elsewhere notably gentle and quiet – see: the gorgeous, surprisingly drumless ‘Silence Is
Loud (Reprise)’, a heartfelt number that sits somewhere in the school of Adele. “I really
sharpened my songwriting skill on this project,” Nia says, “I was really intentional about what
I was writing about, and I really loved co-producing with Ethan. His process is so different to
anyone I’ve worked with before, and he’s got a kind of DIY set-up like me.” Flynn’s flat
overlooks the Barbican, adding that unquantifiable futurist urban quality that the area holds
to the music. The pair enjoyed the collaborative process so much that the album was done
within three and a half months.
Perhaps this is why Silence Is Loud maintains an exuberant immediacy while still being
sleek and spacious, interspersed with flourishes of metallic beats, lush melody and topped
with her sugary but powerful vocal, floating over it all. There is an intimacy to the record,
perhaps in part due to Nia writing most of her lyrics while sitting in bed in her flat in Bow
(once a bedroom producer, always a bedroom producer). You can hear it on the refrain for
lead single ‘Crowded Roomz’, which finds rippling guitar lines cutting taut through the beats
as Nia refrains: “I feel so lonely crowded rooms.” The song is an examination of life on tour,
constantly surrounded by people, but not necessarily those she can be herself around; more
than that, the track is exemplary in the category of sad bangers.
Silence Is Loud often finds itself in that push and pull between melancholy and euphoria.
There’s a celebration of her unconditional love for her younger brother (the title track), a
rumination of an evening with an Irish boy she met by Temple Bar (‘Cards On The Table), or
a letter to herself on the light and airy ‘Unfinished Business’, even coming to terms with a
lover having a past they haven’t quite processed yet (“nobody comes with a clean slate”).
The latter was recorded the week after a music festival, and accordingly captures Nia’s vocal
in its not quite healed, husky state.
Nia’s work is always a snapshot of where she’s at when she’s making it. This might not be
the debut album you were expecting, but that’s what makes Silence Is Loud so special. Nia
Archives has learned the rules of her sound, and is unafraid to break them, pushing jungle

and herself into new, unchartered territories that, in turn, go some way to map the history of
the greats of British dance music. More than that, it plants her firmly in that lineage.

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