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Elliphant & MØ drop risqué video for ‘One More’

Elliphant and MØ had us enamoured when we first heard One More in this week’s First Impressions and now they’ve definitely grabbed our attention again in the accompanying clip. Donning Geisha-inspired hair-dos and Adidas-clad in matching jackets and light-up slides, the pair get messy out on the town on a night of drunken debauchery. Directed by Tim Erem, it features the two gals drinking, dancing, fighting, kissing and making up.

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SAFIA release apocalyptic video for ‘You Are The One’

Canberra locals, SAFIA have released their apocalypse-inspired clip for their latest single, You Are The One. Directed by Jimmy Ennett, it was filmed in one single shot and features cameos from both Yeo and Citizen Kay. Ennett has said of the video:

“I really wanted to do the theme justice without going deep into cliche or the easy route… The end of the world seemed like a good place to start, and it meant we could also stretch creatively and cinematically to create a piece that has a complete symbiotic relationship with this amazing song.”

The trio has gone from strength to strength this year, touring with Lorde and performing at both Splendour in the Grass and BIGSOUND. You can catch them at their You Are The One national tour this week, opening at Bendigo.

Star Bar, Bendigo VIC – Friday 26th Sept

Karova Lounge, Ballarat VIC – Saturday 27th Sept

Northcote Social Club, Melbourne VIC – Sunday 28th Sept

‘Yours & Owls’ 4th Birthday, Wollongong NSW – SOLD OUT Saturday 4th Oct

Oxford Art Factory, Sydney NSW – Sunday 5th Oct

‘Halloween Party’ @ The Bakery, Perth WA – Friday 31st Oct

 

 

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Stream Ryan Hemsworth’s entire Secret Songs compilation + new single, ‘Snow in Newark’

ryanhemsworthRyan Hemsworth has been busy overnight, releasing the first single from his second studio album as well as the entirety of his Secret Songs compilation. The former, titled Snow In Newark, is a collaboration with Mad Decent’s Dawn Golden and is a softer, more sentimental offering from the Canadian producer. Although more subdued than previous works, it still features his signature Japanese-inspired percussion, creating a sound similar to a wind-up jewellery box. Hemsworth has said to Vogue that his upcoming, self-proclaimed “happysad (one word, no spaces)” album is “about trying to get back to my first love, emo music.”

This release has also coincided with the debut of Hemsworth’s full Secret Sounds compilation, #ffb6c1, a spotlight of ten of his favourite songs at the moment. You may have heard Swick, Lewis Cancut and Tkay Maidza‘s Wishes on the collection a few weeks ago and now the complete set has been made available. Featuring Kero Kero Bonito and et aliae, it’s a colourful, kawaii collection of cheeky, quirky melodies. Stream both Snow In Newark and #ffb6c1 below or experience the latter in its full glory over at its dedicated website.

FUN FACT: #ffb6c1 denotes a light pink colour on the RGB colour space. Hopefully this means there will be some more hues on the horizon.

 

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Stream the brand new single from Kendrick Lamar, ‘i’

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Kendrick Lamar has dropped the very first single from his hotly-anticipated follow-up album from Good Kid, m.A.A.d. City. Produced by Rahkiit’s all about me, myself and with the artwork reportedly depicting members of the Bloods and Crips street gangs in unity.

Check out the world premiere below:

https://soundcloud.com/topdawgent/i-1/s-GT9Cd

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Bluejuice on breaking up, the past & the future

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In a decade-spanning career, Bluejuice have become one of Australia’s most-loved bands. If you’ve been to a festival in the last ten years, chances are you’ve seen a vitriolic Bluejuice, burning up the stage in questionable gold leotards.

While their energy and humour was a big part of their appeal, behind them are three albums that showcase brilliant pop writing. As such, the band scored a platinum record with their 2009 track, Broken Leg and went on to have two albums reach the top 40 in Australia.

If you look at their Wikipedia page now, you’ll notice it says “Bluejuice was a musical act”. It’s not completely over yet but Bluejuice referred to in the past tense will soon be a reality as the band parts ways after one more tour and a greatest hits compilation, RETROSPECTABLE. We chatted to Jake Stone from Bluejuice for the final time on why it’s the right time to break-up, the highlights, the lowlights and what’s next.

Have you found the response overwhelming regarding the breakup?  

Yeah, it’s been really good, actually. We’re going out on our own terms which is the right way. I’m glad that it’s working out that way and I wouldn’t have known how to do it otherwise. I think that by making that decision, while sad, we did the right thing.

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Is there a part of you that’s like, “maybe I shouldn’t be doing it” after all the positive responses?

We’re only getting that positive feedback because we’ve done something dramatic. It feels right to go out now. Otherwise we’d die a slow death, not because we wouldn’t be able to do good music, but because people wouldn’t care enough even if we did do good music. I think in a way it’s the right decision and we’ve managed perception in the right way. We’ve gotten on the front foot and done what needed to be done so people are happy and comfortable and we aren’t working against people’s perceptions. It doesn’t matter what anybody thinks, what matters is how we come out of it. I’m not sure I’m going to be happy at the end of this but I’m happy that it’s working out now.

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Was there a specific moment that felt like the right time to end it?

When Jerry left, I thought there was a good chance that it might be the end of the band. That that was about a year and a half ago now. I knew it would be challenging to continue because of his talent but, in actual fact, we continued on and put out singles anyway and now the band is at a good stage where the people in the band are just as good as what Jerry was. But it’s kind of hard to continue because now we’ve got this great setup and can write good songs. But I don’t think that it’s possible to do it under this name, in a way.

So do you feel like there are more projects that you’ll go onto after this that reflect a changing musical taste?

Yeah, I hope so. I’m basically writing constantly at the moment. I’ve had a lot of songs for a long time and it’s kind of like a long-standing accruing of tunes that I’ve been doing in my studio at home. I’ve got some songs there that are ready to go that I just have to figure it out because I don’t want to put them out in a way that’s going to be associated with me directly, as people can easily say something about it that’s negative. They can have a negative perception of it and not support it, both the media and the public, so I just have to just sneak the songs in someway that will be good.

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So I suppose that’s kind of the flip side to dealing with media, that they can have perceptions of you that are hard to change. We’ve always seen Bluejuice in a really positive light and as a very fun band but have there been tough times as well?

Of course. For seven years we didn’t have a hit, so you can imagine. It’s been hard because you’re always kind of trying to make people believe that you’re something they need in their lives, but without sounding desperate, because people are very hard to pin down. You have to seduce them. Really, that’s what it is. You have to be seductive, in whatever fashion, whether it be sexually, comically or whatever it is that you have to do and for seven years, we were the ugly duckling of the Sydney music scene. Nobody wanted a bar of us and it’s hard to do that and get people on your side and draw them into what you’re doing, to make them believe in you and to think they’re the ones that made the decisions.

Luckily, Vitriol did that, seven years in. But seven years prior to that, we were working very hard. I was a music journalist, I worked at two bars, it was really hard. And we’ve been a band that fought with other a lot as well so it hasn’t been that easy. Nothing that’s worthwhile just sort of happens like that. I don’t think London Grammar, for example, just happened. I think they did a lot of stuff for a long time and people picked up on it. So perhaps they went  from being small to very big really quickly and that might’ve been challenging for them and I think every type of career projection has its own challenges. Ours has just been really focusing on keeping that stuff happening and making sure that it continues that way.

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Were there points early on before Vitriol where you were just like “this is a really hard slog, is it worth it anymore?”

Everyone was ready to break up the band just before Vitriol came out. Like, literally. I was never going to break up the band, I was never going to stop playing. It’s not easy being in a band. Some people have the stomach for what it takes and some people don’t. I don’t mind because it’s my job, to think my way around it and to come up with good songs. It’s not just about the music – you’ve got to figure out how to get people into the thing beyond just the music.

Looking back in hindsight, is there a record where you feel like you really hit the nail on the head?

I think Company. All of the things that happened around that record, everything centred around it were sort of perfect. The relationship I was in was the most important relationship that I ever had in my life and probably one of the most dramatic I’ve ever had. So, whether it was healthy or not, it was making an impact on my writing. Other than that, we figured out how to produce it in a way that wasn’t shit. We were like, “oh, we can actually be okay in the studio now,” be what we want rather than be completely be held onto a producer who might not share the vision for what we’re trying to do, which had been the case before.

On Company, Alex and I wrote Act Yr Age and Shock and those songs really galvanised the band’s reputation on the radio and continued to push forward and allowed us another three years of professional work, cementing our reputation beyond Broken Leg. In my opinion, Act Yr Age is the most sophisticated song we ever put out because it followed two big songs and continued to be able to be successful. When you play as a DJ, and put the record on, it still sounds current, it still has the production quality that cuts through next to music with modern production.

One of the songs featured (The Presets’) Julian Hamilton and it’s got a lovely quality that only that guy could lend to it. The design is also good. It’s very personal, taken from a photo of my ex from Skype that we then refigured and then re-cast.

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Company was my proudest moment as a writer. It sums up the band’s interest and was the best thing we ever did. It’s not the best record I’m going to make, I hope, and it might be the most interesting album I’m going to make as Bluejuice but I don’t think it’s the most sophisticated or mature thing I’m ever going to do.

I still have a lot of those songs that are unreleased. A lot. And they’re all really good songs. I’m just keen to put out more music, that’s what I want. When the band ends, I want to figure out how to do that in a way that will work. We were much harder on ourselves as editors than you think. There are a lot of great tunes that didn’t make the record that weren’t Bluejuice songs that I wrote myself that, by politics or otherwise, never made it onto the album. Managers, they don’t know everything, they don’t all know what’s appropriate for the time. There’s all these songs flying around now that I want to put out.

Did you record I’ll Go Crazy with the knowledge it would be one of your last songs?

Yes we did, absolutely.

So you weren’t planning to record another album or anything like that?

Well, we had been writing so we probably had enough material to do a record but then we hit on the idea that we’re going to wrap up the band and will be doing our last tour, and we needed some singles to put out. And so then we thought we only really needed three good songs to be able to put out a greatest hits record with new material on it. And I personally need, as an artist, to have the last two songs tell a certain story.

So I need a pop song that everyone’s going to love, that kind of represents the pop band that we are, that we always have been. And then I need a ballad that’s going to close the band in a way that’s emotional for other people and connects them to the band’s history, to make them understand where we came from and tell that story in a sincere way. And that’s what the one after this will be. And that’s how I see the band wrapping up. It just makes it easier. Because I’m really proud of the songs so I think it’s worked out alright.

 

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Azealia Banks drops new single, ‘Chasing Time’

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Azealia Banks has released the second single to her upcoming, (delayed) debut album, Broke With Expensive Taste. The latest, Chasing Time is a little less fiery-tongued and a bit more melodic compared to her earlier material, with Banks half-singing, half-rapping over a grooving, syncopated backbeat. Listen below:

[soundcloud width=”750″ height=”200″]https://soundcloud.com/yung-rapunxel/chasing-time[/soundcloud]

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Introducing…Magic Yume Records

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the interns’ ‘Introducing’ series is a new segment focusing on labels and collectives who are making the music world infinitely more interesting in 2014. Each fortnight we’ll look at an individual or group of people that are spicing up their particular. This week we’re looking at music label, Magic Yume Records.

For the last Introducing, we looked at Moving Castle, an American-based label born from the internet and this time, once again, we’re looking at a label that’s been conceived in the Soundcloud age. From U2 dropping their album on iTunes to most artists uploading their album to release before streaming, it seems most artists have accepted that music exists in a non-tangible sense now.

Producers and labels alike are taking on this idea and creating collectives that exist almost solely on the internet. It’s a world that unites people through similar tastes and nostalgic references, collecting a following mostly of those who grew up in the ‘90s. Introducing, Magic Yume – a self proclaimed internet label with a logo that features Japanese anime and our favourite Pokemon Jigglypuff.

On first look, you’d be forgiven for thinking Magic Yume is a Japanese-based label. Yume in Japanese literally means dreams and much of their output inhabits that kawaii sound that Japan has nurtured for years. Dig a little deeper and you’ll discover Magic Yume is actually an Italian label, not that the geography of the label means much.

Their about page reads, “Magic Yume Records is an internet label and a promo collective of musicians. Born to find new talents on the web, the goal of the label is to create a roster of artists who can transmit emotions to make you dream.” They further add that they’re spreading “love, peace and friendship”. And you know what; given the sfumato, dream-state of the music, they probably are.

The label was created in April of this year by Ricardo Danielli and has since amassed quite a following on Soundcloud by churning out nostalgic, Japanese-inspired music that says Dance Dance Revolution, Nintendo and dial-up internet. It’s hard to imagine that Italy would produce such a thing but creating music from a bedroom for the internet has meant boundless possibilities in this age. It’s the reason why Ryan Hemsworth was able to be so influenced by Japanese music without having travelled there and how Sampology is about to release Brazilian-flavoured music despite living his whole life in Brisbane.

In its short history, Magic Yume has released seven albums and 10 singles, mostly for free to a niche market that growing ever-larger. Their Soundcloud followers now include Grimes’ producer Blood Diamonds and influential Japanese label, Maltine. It’s impossible to believe that any of this music would have seen the light of day if it had to be shipped to stores and survive on the power of the press.

It speaks volumes that most of the producers that have released music through the label have more followers on Soundcloud than they do Facebook. This music is enigmatic and faceless with no real need to reveal itself. As such, we wish we could give more information about Magic Yume but just like a dream, this is all we can gather.

Below are our favourite releases from the label so far and an attempt to make sense of wtf is going on.

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Findserene from “the land of lost love”, according to his/her Soundcloud, is making atmospheric, emotional music that is probably the least kawaii thing that the label has released thus far. “I hope at least one song stays on your mind enough to keep Findserene alive,” Findserene says about the release. It’s the first release from the producer and is accurately described as ambient and nostalgic with a mix of trap and pop. The result of that is brooding, contemplative music that is sometimes depressive but always with a light glimmering somewhere. On a song like Please Don’t Go, the synths hover above in an unsettling manner while on Ayanami’s Oyasumi, the beat pulsates like an irregular heart-beat.

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Et Aliae- W A I T I N G (Ulzzang Pistol Remix)

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Ulzzang Pistol has only released this one remix through AM Discs but this gives us a chance to talk about the young producer, because he’s doing some very impressive stuff. Firstly this remix of the enigmatic Et Aliae, is a glitchy, tempo-raising masterpiece and one of the best things released by Magic Yume. At 30,000 Soundcloud plays, more than the original, the remix is a testament to the infectious, universal nature of Ulzzang Pistol. The rest of his productions take a more j-pop inspired route, but they’re no less melodic or energy-laiden. Special mention to his I Miss You EP which puts him right up there with Japanese producers like Tofubeats and AZUPUBSCHOOL.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/magicyumerecords/et-aliae-w-a-i-t-i-n-g-ulzzang-pistol-remix[/soundcloud]

inbirth- Kawa

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There is very little we can tell you about Kawa about from the fact that the producer joined Twitter in 2009, which means that he/she wasn’t a trailblazer but also wasn’t slow on the uptake when it comes to tweeting. That’s completely besides the point, but very much on the point is the fact that their EP, Kawa is a perfect melting pot of kawaii sounds and trap-based hip-hop. Cascading beats define inbirth’s production with songs like Compression sounding like they could easily house a rap by Future if it weren’t for the mournful piano. All the tracks on the EP find a peaceful middle-ground between ambient and trap which sees it maintain a laid-back beat that lulls you in and keeps you there right until the very end.

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Friendly Sneakrz- Flowers From Above

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We’ve made you stick around right until the end for a hit of kawaii-filled, anime-inspired sound, but thank goodness you’ve stayed because Friendly Sneakrz has that in abundance. Flowers From Above is the debut album from yet another faceless producer making music with plenty of personality. The album is defined by dense soundscapes of perky synths and high-pitched vocal samples. At times it creates the dreamstate of a ‘90s Mariah ballad while at other times it’s rushing at a mighty pace like a video-game soundtrack. All the while, it maintains these delectable melodies that sink right in like a perfect pop track. It’s the most optimistic release by Magic Yume and a colour-infused success for Friendly Sneakrz.

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Watch: Video for SBTRKT & Ezra Koenig’s ‘New Dorp. New York’

Read our review of SBTRKT’s Wonder Where We Land. 

It seems like every day we have new material surfacing from London-based producer, SBTRKT. Leading to the release of his upcoming album, Wonder Where We Land, we’ve heard tracks such as Higher, The Light and Voices in My Head and now he has released a video for the first single, New Dorp. New York., featuring Ezra Koenig. 

The animated video was directed by Fond Schiedon, a Dutch director/visual artist whose work is internationally recognised and has been featured in such publications as The Guardian, ELEPHANT and Cartoon Brew.

Wonder Where We Land is out in Australia this Friday, 26 September.

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AO Beats flips Rihanna’s ‘Rude Boy’

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We wrote a few weeks ago about how Moving Castle is one of our favourite collectives right now and today one of the co-founders, AO Beats has proved just why we think so. He’s taken badgirl RiRi’s ultimate badgirl anthem, Rude Boy, and turned it into a delicious laid-back, number complete with vocal tampering and funky synths. It’s been almost two years since we’ve had a new Rihanna album which is almost unheard of for rapid hit-maker, Rihanna so this is a nice interlude while we wait. Actually if Rihanna’s next album sounded exactly like this that would be great. Rihanna meet AO Beats.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/aokamura/rudeboy[/soundcloud]

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ZHU reworks CHVRCHES’ ‘Gun’

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On the back of his Lana Del Rey rework, featured in our Top 25 Songs of 2014 (so far),  ZHU has released another cover, this time favouring CHVRCHES’ Gun. Premiering last night on Triple J, the release comes just in time for the LA-based producer’s upcoming Listen Out debut. Radio announcer, Richard Kingsmill said of the track, “ZHU wanted to something special before he came here for the very first time” and that he’s “a big fan of (CHVRCHES).” Listen to the cover below or head over to Triple J for a free download.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/zhu/zhu-gun-chvrches-cover[/soundcloud]

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Introducing The Harry Heart Chrysalis & his new single, ‘Vex’

 

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Following on from supporting the likes of Glass Towers and The Delta Riggs with his two previous EPs, Sydney-based The Harry Heart Chrysalis has released his latest single, Vex. Nominated as a Triple J Unearthed High Finalist in 2010, London-born Harry began to focus on his aspirations as a solo artist and has since enlisted a 5-piece band for his on-stage performances. Describing the writing process as a “lonely, unpredictable, fulfilling experience,” his latest offering is an honest, heartfelt tune surrounding relationships and betrayal.

Keep your eyes and ears out for The Harry Heart Chrysalis, who will be touring in support of Vex in the very near future.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/theharryheartchrysalis/vex[/soundcloud]

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First Impressions: MØ, Elliphant, RL Grime + more

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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 introduce our guest contributor, Peter Rubinstein, who joins us all the way from Los Angeles. 

Made In Heights- Ghost

[soundcloud width=”750″ height=”200″]https://soundcloud.com/madeinheights/ghosts[/soundcloud]

Sam: I played DEATH by these guys about 1413 times which is about 1413 more times than I’ve listened to the U2 album, so as you can imagine I’m pretty enamoured with Made In Heights. Ghost only furthers my fascination with their minimal RnB-cross-pop sound. From the get-go the melody just effortlessly flows out with breathy vocals adding to the ease of he whole aesthetic. It’s almost as if JJ stopped smoking pot and went outside. 4

Lizzie: This track grabs your hand and instantly pulls you up to dance. The cow-bell-esque beat is a a bit of fun, and the glistening backing track is a little ’90s R&B. My favourite part of this song is the pace, ain’t nothing slow and boring about Made In Heights at the moment, that’s for sure.

Bianca: From the very first second, the syncopated rhythm of the cow bell bounces along with energy, setting the perfect backdrop to Kelsey’s sugary-sweet vocals and the romantic, wobbling synths. Love both the scratching breakdown and the synth solo finale which meld into the track so effortlessly. 4 Bianca’s Pick 

Peter: The tight percussion and rumbling synths are a great side order to Kelsey Bulkin’s soft and melancholy vocals in this track. I would have loved to hear more of the sexy R&B soloing introduced near the end, but the frequent evolutions throughout the song definitely kept my head bobbing. This is another great addition to the group’s already impressive catalog. 3.5 

RL Grime- Reminder (Feat. how To Dress Well)

Sam: Following the abrasive masterpiece that was Core this is a serious change of pace for RL Grime. So much so that it really sounds like a How To Dress Well song more than an RL Grime song. Tom Krell moves in and out of falsetto providing a sweet vocal that punches when it needs to. As for the instrumental, there’s really not much to say. It’s more of a subtle accompaniment to the vocal. 3

Lizzie: Is it just me, or does this sound like Justin Timberlake’s brother? I could easily add this heartfelt track to my depressed hangover playlist – that sounds like an insult, it’s not, there is just a time and place for tracks like these. 3.5

Bianca: Classic Krell, fitting more syllables into each line than one would think humanely possible. This is definitely a departure from Grimes’ usual trap offerings but it was definitely necessary to strip the production right back in order for the beat to live harmoniously Krell’s emotionally-stirring voice. Although downtempo & RnB in nature, it still has an underlying current of intensity, one that doesn’t sit too well with me at this time in the morning. 2.5

Peter: Following Steinway’s colossal release of Core, by far my most-played song of the summer, I expected this release to blow me away, especially with support from How To Dress Well. Sadly, I was pretty disappointed by the production on this one. The vocals seem very out of place and even off key at some points, and the lack of any musical progression left me wanting much more. Where Because of U succeeded in being a refreshing, slower anthem, Reminder missed the mark in this humble RL Grime superfan’s opinion. 1.5

Elliphant- One More (Feat. MØ) 

[soundcloud width=”750″ height=”200″]https://soundcloud.com/elliphantmusic/elliphant-one-more-featuring-mo[/soundcloud]

Sam: Oh hell yes. This just proves my theory that Scandinavian girls are the best people in the world. The instrumental of this is so understated yet both their vocals are so cool and full of reckless abandonment. And this sentimental, Robyn-esque chorus hits and it’s like, why bother making music if you’re not from Scandiavia? This is a duo I whole-heartedly endorse and this may be the best work of both their catalogues yet. 4.5 Sam’s Pick

Lizzie: I am all smiles after listening to this. Such talent bundled all up into one song with a pretty bow on top. It has this perfect balance of pop and street grunge cool with MO’s short interlude sounding just magical. Love. 4.5 Lizzie’s pick

Bianca: There is such a youthful energy that emanates from these two. The vocals of the Swede and the Dane unite to make a sweet-talking duo that could get away with murder. Once the synths begin to escalate, their badassery really shines through amongst rumbling synths. Girl power, indeed.

Peter: These girls are truly talented. Elliphant and MØ’s vocal ranges complement each other perfectly as they maintain a provocative harmony throughout the track, transforming into a back and forth shouting match as the song comes to a close. The swell of energy keeps the whole production exciting and forward-moving. I think they’ve got a hit on their hands. Now if only they could get Grimes in the studio with them… 4 Peter’s pick

Yung Lean- Ghosttown (feat. Travi$ Scott)

https://www.youtube.com/watch?v=frnOhVxF6Zw

Sam: Yung Lean’s hook in this is gold in my opinion. It’s dark and haunting that has this clumsy attitude that’s hard not to like. I know Travi$ Scott is the one to watch in hip-hop right now but his verses on this sound a little clunky. Only when Lean distorts the rap a bit does it sound in tune with the song. Having heard Iggy Azalea on booty this week I think I can forgive an offshoot verse because the rest is pretty great. 3.5

Lizzie: I am always a sucker to a warping synth, but it needs to be with the appropriate accompaniment. Young lean is an off-note distraction, who ruins the poor synths! Thank god for auto-tune, it is an attempt to make sense of all this mess. 2

Bianca: Yung Lean’s warped chant is giving me vibes of a monk’s sermon and not in a palliative, Enya kinda way. Seems like he’s Yung Leaned too hard onto the auto-tune. Which, by the way, doesn’t do much to disguise his inability to hit certain notes. 2

Peter: I made sure to recline against a wall before checking out Yung Lean’s new release. While the beat had me moving, the overall setup of this track is pretty basic. The autotune and lazy vocal hook were nothing new. He also mentions that he doesn’t “give a f*** about no one expect Lean” but later includes an entire section about all of his homies. Well, which is it?! I just want answers. 2

Montgomery- War Cry 

[soundcloud width=”750″ height=”200″]https://soundcloud.com/iohyouparty/montgomery-war-cry[/soundcloud]

Sam: Tom from Big Scary is having a great year so far. First he was involved with Airling and now he’s jumped on production duties for this one. Montgomery’s voice is sweet and the whole instrumental of this is part-polished and part-industrial pop making for a Lorde-esque soundscape. It’s a good start but I’m sure there is more in the tank. 3

Lizzie: A classic example of a song that would blow you away if you away if you saw it live. It hits straight to the heart, whether you are a fan of her music or not. I am admittedly not the biggest fan, but I could appreciate it in its big room glory. 3

Bianca: Beautiful, clean production accompanied by an ethereal voice. I’m definitely getting Airling vibes from Montgomery and who better to produce her tracks than Tom Iansek? Dreamy and pensive, War Cry definitely has arresting qualities, although I did find myself becoming a bit bored towards the end. 3  

Peter: This one was way too corny for me. Even though Montgomery’s voice is pretty and controlled, the lyrics completely took me out of the vibe. Wishing she had said things she didn’t, trying to forget someone, “feeling the cold”…bleh. Not up my alley. 1.5

T.O.L.D- Lucifer’s Eyes

[soundcloud width=”750″ height=”200″]https://soundcloud.com/t-o-l-d/lucifers-eyes[/soundcloud]

Sam: We’ve always had a bit of a thing for steel drums at the interns and on Lucifer’s Eyes it’s really the hero of the song. I feel as if this is a guilty pleasure because it’s so outwardly enjoyable on first listen, but I suppose given he’s a new artist with a dark, mysterious look, it’s not really in the same way that Fancy is, is it? This track comes just in time for our Summer and it’s actually kind of faultless. And for that I remove one point. Nobody’s perfect. 4

Lizzie: This track could have easily found itself on the Tomorrowland After movie released this week. The floaty nostalgia is present throughout, creating this Summertime love story soundtrack. On my first listen I had this desire for the song to become more layered and intense, however after a couple more spins I have come to appreciate it just how it is, in all its simplicity. 4

Bianca: The second the steel drums hit my ears, I was sold. If an artist ever were to win my heart, it would be through the clanging of these Caribbean pans of heaven. Creating happy, tropical vibes, they provide a wonderful juxtaposition to T.O.L.D’s dark, brooding voice which leaves me to wonder whether I should be feeling celebratory or melancholic. Either way, it’s a nostalgia-ridden, evocative tune that’s dropped just in time for Summer. 4 Also Bianca’s Pick 

Peter: “I sleep with no voice, and wake with no name”: vague with extra cheese. I didn’t want to like this one, but the steel drums and droning guitar plucks reminded me too much of seeing big, magical acts like this at music festivals. Take these sounds and rhythms and add 30,000 swaying people, and I’ll listen to Lucifer’s Eyes any day. 3

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