UK-based Georgie shares the expressive ‘Chasing Kites’ taken from her album, out now. Georgie was the first signing to Soul Kitchen Recordings (the label set up by Jake Bugg’s management company: Soul Kitchen), and it’s the only song on the album that she didn’t write or produce during the lockdown. Listen below for that uplifting feel.
Swedish artist and producer Kasbo shares his emotionally-charged new single ‘Play Pretend’. Featuring Ourchives’ soaring vocals, the track marks a new chapter ahead of his second studio album ‘The Making of a Paracosm’ will be out on 23 October via Foreign Family Collective / Counter Records, and features a passionate embrace amongst nature.
American-born French residing Jesse Hite combines music from the West Coast of the US with synth-laden electro inspired by his French antics. His new single ‘I’m Glad You Called Me’ combines poppy hooks with a generous nod to 80s disco.
A new wave of rockstars are taking over, and with Billie Eilish‘s seal of approval, Dominic Fike is making huge waves with his modern take on emo-pop. The track ‘Double Negative (Skeleton Milkshake)’ is one of the more indietronica-friendly tracks taken from his genre-bending new album, ‘What Could Possibly Go Wrong’.
Glass Animals shares the David Wilson (Tame Impala, Christine and the Queens) directed video for new single, ‘It’s All So Incredibly Loud’. Written about three seconds of life, in which during that short heartbreaking moment, devastation creates a deafening silence, followed by a point of no return.
Sounds like: alt-J, Tender, Pale Hands, Foreign Air, Everything Everything, Son Lux
When you are in flow, you are completely engrossed in the task in hand. Hours can pass without even noticing. This appears to have happened to South London multi-instrumentalist, performer and bedroom producer Jamws whilst working on his debut EP ‘Toronto’.
The five heartfelt tracks describe various stages of heartbreak, starting with a separation, following his partner of ten years moving to Toronto.
It’s always worthwhile to take a step back sometimes, and reflect.
NYC-based singer-songwriter/vocalist VictorPerry does exactly that in his lyrically mature new song ‘What I Observe’. As he croons in a poetic form of self-expression, we witness a subtle electro-pop space in which the track really starts to breathe.
Our favourite producer Roosevelt (aka Marius Lauber) returns with the first new single since his sophomore album ‘Young Romance’ in 2018, and we are OBSESSED.
The new single ‘Sign’ focuses on all things digital, as luscious drum and vocal loops lead us into his spine-tingling world of early house and vintage synth-pop. Sparse and dazzling at the same time, ‘Sign’ is a prime example of Roosevelt’s deft craftsmanship.
Speaking about the emotive new track, he explains,
“I wanted to make something intimate, so I started with these spherical Juno 60 chords. When I added rhythmical elements, I realised that the track could work in a dance music world – I normally record a lot of real drums but stripped this one back to just an 808 beat. A nice contrast between the intimate feeling of the synth and the dancefloor qualities of the vocal sample, bass line and 808 started to emerge. I found it really inspiring to make something that’s initially made for listening alone on your headphones, but that hopefully can come alive in the near future when played out at a dance club or festival and create a form of unity again.”
Sounds like: Cut Copy, Goldroom, Day Wave, The Whitest Boy Alive, Caribou, Tourist, Jagwar Ma, Washed Out, Neon Indian, Du Tonc, Joe Goddard, Classixx
Nashville bootgaze/indie-rock outfit Creature Comfort share the fuzzy ‘Arcade Fire’.
Not to be confused with the track ‘Creature’ Comfort’ by the band Arcade Fire (a cheeky nod to Arcade Fire unexpectedly releasing ‘Creature Comfort on the same day Clark and his bandmates performed at Bonnaroo Music and Arts Festival in 2017), this is a psychedelic explosion with wavy electric guitar and unrelenting percussion.
Fresh rising artist Zachary Knowles quenches our thirst for love with ‘Cherry Wine’, a song written about the girl he loved before she even realised (and don’t worry, it all worked out fine – they are very happy together as far as we know!)
Signed to the prestigious FADER Label (home to Clairo, Matt & Kim), The Texas-bred songwriter/instrumentalist crafts addictive R&B with silky flair.
Sounds like: The Weeknd, Alec Benjamin, Kayden, ASTN
Originally planned to be released in this month, UK duo TENDER has made the decision to still share ‘Living’, inspite of the fact it serves a well recognised backdrop to these “unprecedented times”.
Speaking about the track, they explain,
“It’s about inspired by isolation, before we were isolating. It’s a song about locking yourself away with sadness. Hiding your emotions, in fear of showing how you feel to the world. The segregation only pushing you further into despair.”
Sounds like: MOTHXR, Jungle, Glass Animals, HUNTAR, Caribou, Air, The National, Tame Impala, Boxed In, Honne
It may only be April, but the summer-tinged tracks are making their way out of the studios. Or maybe we’ve got this completely upside down, as Australian artists are coming out of summer and moving into their winter.
Anyway, cue Briskey and his new single ‘Don’t Want To Talk About It’. An emotionally-driven song that tinkes with alt-pop, dance, electronica, and even includes a cheeky sax solo.
Introducing the new project by Pietro Filippone – aka uomo.
His latest release, ‘All I Hear’, is the first song that Filippone has written by himself for the project. A decent bit of autotune in there, the softer house elements give the song a gorgeously gentle uplift.
Sounds like: Henry Green, Roosevelt, Goldroom, Hayden James, Elderbrook
DJ and producer Amtrac has teamed up with Grammy Award-winning British musician, DJ and producer Alex Metric on vocals in new single, ‘So Afraid’.
Looping vocals contemplate a simple question, “why you so afraid of love?” as Alex Metric’s breathy, enunciated voice lends an edge to the droning synths beneath, forming a steady crescendo of sound and passion that blooms.
UK duo Dirty Nice releases ‘100,000 Heartbeats’. A synth-wave pop at the core, it’s the perfect counterpart to the more lo-fi B-side, ‘Love Team’.
Originally presented as a special Valentines Day release, Dirty Nice sent a number of personalised cards to fans. Continuing this theme on their Instagram, an intergalactic cartoon epic has unfolded with a new card revealed every day.
Sounds like: Elder Island, Camel Power Club, Gorillaz, Everyone You Know, 10 O’Clock Chemical
Rising Danish pop songstress ELBA is making waves.
Starting her musical journey in the local choir at the age of six, it was clear her destiny was singing. Her new single ‘Remember Me’ showcases her powerful vocal range, and perfectly fits with the electro-pop production.
The Norweigan artists are smashing it this week, and it’s truly great to see Emilie Nicolas return.
Showing a new side to her music – less “cool pop” and more reflective – ‘Who’s Gonna Love You’ is centred around the difficulties of letting go of a relationship, succinctly capturing despair, unbridled joy, and the desire to dance.
He’s Australian. Based in Los Angeles. And has made a distinctly European turn in his new song.
Harry Nathan‘s ‘Frontin Me’, ladies & gentlemen.
Speaking about the new lo-fi house track, he explains,
“The song was recorded into a 1984 SONY M-10 microcassette recorder. I wasn’t really sure what I was singing, I was just jamming and mumbling, stream of consciousness kind of thing. When entering this kind of trance, my lyrics tend to reflect unsurfaced emotions, and it wasn’t until after I had finished recording that I realised the song was about people that are fake, putting up a façade trying to impress all the time.”
We can’t quite work out if this is filmed before, during or after the party, but with visuals as quirky and comedic as always, we suggest you go check it out!
‘Frontin Me’ is available everywhere now via French tastemaker label, Kitsuné.
Sounds like: Moby, Joe Goddard, Roosevelt, Classixx, Goldroom, Hayden James