Off a forthcoming new album.
Off a forthcoming new album.
You’d think the music world would ease us into 2017 but nope. Here’s 10 ridiculously good songs to start the year.
A woozy, hypnotic dancefloor anthem.
The title track from a forthcoming EP.
Ranking these like the funnest ballot paper you’ve seen in your life…
The highlight of the new record comes before its release on Friday.
This week Australia had Bieber fever and we were way too busy figuring out the best way to respectfully ask him for a photo to focus on new music. Luckily we got sick of him by the time he got to hand out with Kochie and our attention was easily pulled to British producer SOPHIE releasing a butt plug. As Biebs would say, “what do you mean?” Read below and find out friends.
Player (Feat. Chris Brown)
Tinashe promised us big hits on her forthcoming second record Player and it seems like she’s delivering. Player is her most immediate, radio friendly track to date with a beat straight from the dancefloor Chris Brown’s inclusion is probably just to amp up the songs’ starpower which is fine if it jumps straight to the top of the charts. 2015 Tinahse is here for world domination and she might just achieve it with this one.
We’ve seen our fair share of weird promotional stunts in our time but selling a butt plug alongside a singles collection is new. That’s exactly what enigmatic British producer SOPHIE did this week and then right when he had everyone’s attention he dropped MSMSMSM. It’s a HudMo-flavoured instrumental track with a little less sugar than his previous outputs but it’s no less enjoyable and will probably sound better than any of his tracks in the clubs.
World Record (Feat. Lido)
Wave Racer is gearing up to release his Flash Drive EP on 16th October and World Record is the second taste of it. The Lido-featuring track is classic Wavey, creating a hyper reality which is only briefly interrupted by Lido’s glitchy drops. The pair of them work seamlessly together, creating one very cute track.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/futureclassic/wave-racer-world-record-feat-lido[/soundcloud]
DJ Dodger Stadium
In The Flames
DJDS are back with one of their darkest tracks yet. In The Flames was released this week alongside DJDS candles which is lovely and it also happens to be an after-dark banger. It’s a little more subtle than anything from their debut album Friend Of Mine taking a slight deep house route but it’s no less mind-bending. It’s also centred around a chopped and screwed vocal that actually manages to sound pretty heartbreaking. Stellar stuff once again from Samo Sound Boy and Jerome LOL.
Well Melbourne duo GL became Australia’s greatest popstars over night this week. Their latest tune Number One is a certified ear worm borrowing its nostalgic sound from ’80s pop masters. We loved it so much that we popped it straight into our September Recap Mix after one listen. It’s a breezy, sleek pop song that will take GL’s status to another level – mark our words.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/plasticworld/gl-number-one[/soundcloud]
Kiwi music is on heat right now. Seriously, though what is going on over there? MAALA is the latest Kiwi to drop a huge song and this is said song. Unbound is dark and brooding with a swelling chorus built with heighty vocals and damning drums. One Soundcloud user commented “Oh good Lord…heavenly,” and we really couldn’t put it better ourselves. Beautiful stuff.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/maalamusic/unbound[/soundcloud]
DMA’s have just spent the year casually playing some of the biggest festivals around the world but they’re going to be sharing the love with Australia early next year at Laneway Festival. Lay Down is their latest track and it’s been a staple of their live sets for a while. We heard it back at BIGSOUND in 2014 and we’re immediately blown away. It’s got a huge chorus of thrashing drums and stirring acoustic guitar, designed for mass sing-alongs. HUGE.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/dmasmusic/lay-down[/soundcloud]
I’m Not Sorry
If you’re a regular reader of theinterns you’ll know that we think Banoffee is perfect and we make no apologies for saying that. Banoffe is also not sorry on her latest track I’m Not Sorry plucked from her EP Do I Make You Nervous? which dropped today. The track continues her foray into a more dance-focussed sound, spending its duration building up to a club-ready finale. Her voice sounds delicate but soulful while the production is top notch, complete with chopped and manipulated vocal samples. She gets better every time we hear from her and deserves all the congratulations she’s receiving for this EP.
I Know There’s Gonna Be (Good Times) (Skepta Remix)
Just when you thought this song couldn’t get any better it does. Jamie xx’s Good Times is 2015’s song that just keeps giving. We’ve had a Dre Skull remix with Assasin, Konshens and Kranium on the track, a brilliant video this week and now a version with Skepta on it. The beat is switched up on this version as Skepta throws down a few flawless verses. With Jamie xx’s In Colour pulling so many influences from the British garage scene it only seems right that he eventually got to work with Skepta.
Robyn & Metronomy
The Hardest Thing To Do
Robyn and Metronomy have tried to pull the wool over our eyes releasing The Hardest Thing To Do under the monikers of Tony Primo and Nixxie. And they have actually been scarily successful. Despite the obviously distinctive vocal styles, the song has been floating around since early May and no one noticed. Until this week. It was done for a film called Partisan which came out in late May and is a lo-fi, VHS-inspired tune that actually sounds exactly as you’d expect a Robyn and Metronomy song to sound. Shame on us, we’ve failed as detectives.
First Impressions is an interns roundtable review of songs on their first (or second) listen. Each week we review six new songs from the past week, each giving them a score out of five and awarding our pick of the week. This week we pick apart tracks by Robyn, Selena Gomez, Thundercat and more.
Robyn & La Bagatelle Magique
Love Is Free
Zanda: This is just dripping funkiness. The bass oozes out over a bunch of fun and funky samples and sound effects in a way that will make you want to boogie. Again, another track from Robyn that has a typical rawness about it, not that there’s anything missing from the production. The rhythms, bass and beat are just raw in such an organic way, it feels natural from start to finish. 4
Sam: Well this is one way to make people dance their sweaty arses off. Robyn has always made killer bangers. She had Don’t Fucking Tell Me What To Do and We Dance To The Beat and this is in the same kind of vein as that. It’s so dirty and commanding yet the production is so pure and clean. Robyn has literally not made one bad thing for a decade and this is no exception. 4.5 Sam’s Pick
Zanda: This feels like it should be part of a Hollywood blockbuster in that mandatory scene where they go and do peyote or shrooms in the desert and one of them has a bad trip. My main gripe with this track lies in that it’s more than half over before that dope bassline kicks in. Up until this point there’s nothing that really makes it stand out for me, but in saying that the rap verse in the second half is, as they say; straight fire. 3
Sam: I don’t know if I’m fully on board with what Raury is doing yet. It’s kind of like Mumford & Sons cross Vic Mensa and that’s not really my thing. I do appreciate that he’s a passionate musician and he’s trying to do something different so props for that. In saying that, the latter half of this track is killer. His raps have this really organic darkness to them and he injects so much rhythm into the song in just those final seconds. More of that please. 3
face the sun (Feat. Lenny Kravitz)
Zanda: Miguel is about to be a much bigger name in the near future if he keeps writing stuff like this. Everything he does is just the definition of smooth, and this track really compliments his uber-smooth vocals with its up-beat, almost pop/rock style instrumentation. The intensity builds nicely throughout the track, however I get a bit of a murky vibe towards the end where if anything there are a few too many elements crammed on top of each other. 3
Sam: Cliche alert- Miguel could sing the phonebook and I’d be entertained. His voice is just a cut-above the rest and this kind of song allows it to shine unobtrusively. The Lenny Kravitz feature is pretty unnecessary but other than that it’s a blazer. It’s sensual and yet rough and raw. Miguel slowly builds and builds it until its soaring at the end. It’s not as modern or innovative as Kaleidoscope Dream but it’s the mark of an artist who’s discovered his voice’s best pockets and is using them. 4
Good For You (Feat. A$AP Rocky)
Zanda: Selena Gomez’s voice is clearly heavily edited on this track, but I actually don’t mind it too much. The production is decent without being anything special, and A$AP Rocky is undeniable in his delivery as always. Definitely listenable. 2.5
Sam: Shit. I hadn’t heard this before now and I thought it would be a bit of a laugh to listen to but goddammit, I think I actually really like it. Gomez hasn’t done anything of significance in her career to this point, but this one actually makes a stamp on her artistry. Everything from her slightly twisted accent to her reluctance to explicitly create a climax shows that she’s actually trying to forge a career as an artist who’s capable of making interesting music. I’m so entranced by Gomez’s verses that by the time Rocky comes in, I’m unphased. Look, if liking a Selena Gomez track is the worst thing that happens to me this week it’s going to be an excellent week. 3.5
[soundcloud width=”750″ height=”200″]https://soundcloud.com/japanesewallpaper/arrival[/soundcloud]
Zanda: The first thing that comes to mind when listening to this is, ‘holy crap Dustin Tebbutt’s voice is epic on this’. The Aussie producer/singer is really killing it right now, and suits Japanese Wallpaper’s style of delicate melodic production perfectly. This track contains some glassy smooth melodies and the interplay between layers brings joy to my eargasm. 4.5 Zanda’s Pick
Sam: Japanese Wallpaper is absolutely creaming it at the moment. He’s reached that point where triple j worships the ground he stands on and tickets fly out the door like free candy. I’m not sure this really sets me alight with excitement but it’s definitely a sweet, nuanced listen. I had to go back and listen to where this sits on the EP to really understand it and in that context it shines. As a standalone though it wafts in and wafts out for me barely even leaving dust in its tracks. 3
[soundcloud width=”750″ height=”200″]https://soundcloud.com/brainfeeder/thundercat-them-changes[/soundcloud]
Zanda: There’s so much to like in this it’s hard to separate some of it. The interplay between synthetic sounds and organic instrumentation gives it a really real and raw feel, and I love the use of both piano and sax sporadically underneath the dominant guitars and bass. The vocals are complimentary to all of the above as well, allowing each aspect of the complex instrumentation to have its own space and shine on its own. 4
Sam: Thundercat is the go-to guy for funk right now. He was a winning inclusion on Kendrick Lamar’s To Pimp A Butterfly and seems to have a new shot of career-momentum. Teaming up with Flying Lotus is a choice-move as the two operate in the same musical spectrum. It shows on Them Changes as it all seems so damn right. There’s so much of this funk stuff floating around at the moment and so much of it is imitation. The effortless vocal and floating bassline on this show that it’s the real deal – no imitation here. 4
Bitch, these are the 10 tracks that you should be all over this week with 100 percent less Madonna, Beyonce and Kanye. However, we would’ve been happy to have them on board if we knew how to get in contact with them :/
Robyn & La Bagatelle Magique
Love Is Free
We’re always waiting on new Robyn material and we’re yet to be disappointed by anything she’s churned out. Her latest project is Robyn & La Bagatelle Magique and the first single is Love Is Free – a ’90s house-inspired tune. Robyn half-raps the whole thing, in control and bringing the cool as always. It’s a stylish track but it’s also designed for those inclined to get down and dirty on the dance floor. The production may be clean but there’s nothing clean about what will happen when this drops after midnight in a club.
Little Boots is killing it at the moment with her Ariel Rechtshaid-produced work from her upcoming Working Girl LP. It feels like she’s finally found away to entertain her pop sensibilities while also bringing a point of difference and operating in the dance world. No Pressure is far less breezy than the first single Better In The Morning, sounding more closely aligned to the sublime pop on her debut Hands. There are twinkling synths, heavy beats and a pop-laden chorus. It’s her biggest shot at a radio-pleaser in a long time.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/littleboots/no-pressure[/soundcloud]
Taken (Dugong Jr Remix)
Tashka‘s Taken was already a throwback RnB winner but now Melbourne producer and Moving Castle-affiliate Dugong Jr has turned those original vibes up even more. Dugong Jr has given the track a slight renovation, moving it into a dream-like realm where airy RnB vocals circulate the atmosphere. Now we’re starting to hear Ciara and Aaliyah in Tashka’s vocals, giving the tune a second life at the interns’ office.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/dugongjr/tashka-taken-dugong-jr-remix[/soundcloud]
Little May are finally prepping the release of their debut album and Home is the first taste from that. They’re one of Australia’s finest exports at the moment, even managing to catch the attention of The National’s Aaron Brooking Dessner who produced the single. It’s a slightly more haunting style for the three girls who have generally traded in lighter folk music but it’s a great direction to go in. The track was filmed in New York, offering up a few of the city’s most iconic themes while the girls jam it out in a church.
There’s been a little confusion surrounding this Aussie artist lately. She was previously known as Grace, however, there is now another Grace tearing up the charts with her cover of You Don’t Own Me, meaning that the first Grace has had to add an R and a W to the beginning of her name to distinguish herself. Luckily, it hasn’t affected her music at all as she’s effortlessly followed up 2014’s beautiful Pluto with Shell. Her smokey vocal sinks into a part organic, part electronic instrumental-arrangement. She sounds like an artist who’s completely in charge of her artistic path and as such she sounds confident and in control on this track.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/rwgrace/shell[/soundcloud]
Future Classic have turned ten this year and while the label is known for Flume and Chet Faker, every week we’re reminded of the wealth of other talent they have. Sydney producer Charles Murdoch is an example of one of those talents and he’s getting ready to release his debut album this year. Straws is the first single from that LP and it’s a heavenly slice of electronica that’s both melancholic and uplifting. The track is bound by a hushed vocal sample which wanders around the delicate synths. Stick around for the subtle drop at the end – not much bass but plenty of bliss.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/futureclassic/charles-murdoch-straws[/soundcloud]
face the sun
We’ve had plenty of great album releases this year but Miguel‘s WildHeart looks set to rival them all. Coffee was a sure-fire winner and this week he dropped three other album tracks just to prove there’s plenty more where that came from. The Lenny Kravitz featuring face the sun is the one that stood out to us the most. Despite its big-name feature the focus is completely on Miguel who blitzes his way through a sleek, electric guitar-driven track. “I belong to you,” is the general notion of the song and Miguel uses those four words to lead the song straight into a full-force climax.
Atlanta rapper Raury is a hard one to work out. He’s got this folk-side never explored before in hip-hop and then he’s got a more traditional rap side. Somehow he brings the two together effortlessly and his latest Devil’s Whisper is an example of that. It begins as a dark, spiritually-twisted track and then detours into strobing-synths and rapping. He’s a damn good rapper and we have to admit we’re keener on the second half of the song than the first, but the whole thing is killer.
Awful Records have released some of the year’s more challenging electronic tracks but ABRA‘s output is perhaps their most accessible yet. She’s just dropped a brilliant lo-fi RnB album Rose and with it launched a video for Roses. The track is bound by a sweet melody and bounces along with hollow beats which create a certain DIY charm. Sweet as the melody may be, ABRA’s image is strong. “I’m young and I’ll waste you away,” she sings, suddenly making it very clear why she’s dropping from Awful Records.
What Went Down
It’s hard to believe this is the same band that released songs like Cassius and Two Steps, Twice. It’s not that Foals are unrecognisable now, it’s just that they have bolstered up their sound and puffed out their chests, evolving into a fully-fledged rock band. What Went Down, the title track from their forthcoming fourth LP is a foot-hard-on-the-accelerator type track with frontman Yannis Philippakis howling throughout. It feels anxious and chaotic yet in control. This is a band ready to become a festival headliner.
If you’re familiar with the interns you’d also be aware that we’re disciples of Swedish pop-genius Robyn and today is a good day because we have new Robyn. Love Is Free is a collaboration with La Bagatelle Magique which includes bandmate Markus Jägerstedt and Christian Falk who sadly passed away last year. it also features self-proclaimed dominican raver Maluca. The track is part of a mini-album which should drop “really soon” according to the lady herself who spoke to Radio 1 upon its premiere. Her last project with Royksopp was full of dense synth-pop but this new project sounds far more groove-based with ’90s house undertones. Quite frankly, it’s an undeniable banger that goes hard from the first second.