Les Sins (Toro Y Moi) drops ‘Why’ featuring Nate Salman

Les Sins is the dance side-project for Chaz Bundick otherwise known as Toro Y Moi. He’s releasing a full length album titled Michael on 4 December and proceeded it last month with the brilliant BotherToday he’s delivered us, Why, another cut from the album. The album has more of an effortless groove than Bother, sounding slightly closer to his material as Tory Y Moi. It features Nate Salman on vocals and is a disco-funk number that shares a lot of similarities with Daft Punk‘s Random Access Memories. Another stunner from an album that’s sure to bring 2014 home strong.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/company-record-label/les-sins-why-ft-nate-salman-1[/soundcloud]



Tinashe makes a ‘Bet’ with Dev Hynes


We’re loving everything we’ve heard of Tinashe‘s forthcoming album, Aquarius and that love continues with the drop of another track, Bet. Bet features Dev Hynes but not as you’ve heard him before. Hynes usually revels in throwback RnB numbers a la Solange‘s Losing You, but here he closely follows Tinashe‘s aesthetic and turns out a bass-heavy, contemporary tune. Tinashe sounds brilliant as per usual, winding her way through slightly more unconventional melodies than she’s used to- think more Kelela than Jhene Aiko. It’s an interesting cut that has us hyped to hear what the rest of the album has in store. Bring on 7 October.

Update: Fuck the song, hear the whole album here.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/tinashenow/bet[/soundcloud]


Stream Caribou & Zola Jesus’s albums in their entirety


Dan Snaith made a stunning follow-up from his 2010 album, Swim, with Can’t Do Without Youthe first single from his fourth album under his Caribou moniker. The Canadian producer also had us swooning with the slow burner title track, Our Lovewhetting our appetites even more for the release of his forthcoming album. Snaith stated in a recent interview regarding Our Love: 

“The whole thing is a kind of reflection on love and my life and the life of people close to me for the happier moments and the more melancholic moments…its different from previous Caribou records people might have been following.”

Our Love is out 3 October through Warp Records and Inertia but in the meantime, you can stream it exclusively via iTunes RadioAnd we highly recommend you do.

Zola Jesus has also provided exclusive access to her forthcoming album, Taiga. Releasing the equally grandiose Go (Blank Sea) and Dangerous Days, you can expect more of the anthemic melodies and throbbing beats from the rest of the album. Zola has said of Taiga:

“The music on the record is massive, with big brass and beats, crystal clear vocals…It’s the most accessible music I’ve ever made, but also the most earnest and passionate. I gave everything for this record, more than ever before.”

Taiga is out 3 October via Create/Control and Mute but can be streamed through NME  starting from…right now.



First Impressions: Kendrick Lamar, Azealia Banks, Ryan Hemsworth + more

FI_30SeptFirst 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. 

Jeremih- Nobody But U

[soundcloud width=”750″ height=”200″]https://soundcloud.com/europeangelique/jeremih-nobody-but-u[/soundcloud]

Lizzie: I am little bit flustered after this. I feel I have been seduced by some stranger, an artist I have never heard before – whispering sweet nothings in my ear. There is an effortless flow, and I can actually understand the words what he is singing unlike others of his kind! 4

Bianca: If a slow grind were to be translated into a song, this would be it. Even Jeremih on cruise control is so much smoother than your average Joe making a move in a club, as he flicks out lines with the ease and suaveness of a true pro. 

Sam: No other artists moves between the mainstream and alternative RnB than Jeremih. Here he’s back in mainstream mode preparing for the release of his next album, but it’s still an interesting, tongue-twister of a tune. When the music drops out and Jeremih spits effortlessly, it’s like there’s no better thing in the world. 3.5

Hudson Mohawke- Brainwave

[soundcloud width=”750″ height=”200″]https://soundcloud.com/hudsonmohawke/brainwave[/soundcloud]

Lizzie: The start is very cinematic – that Dolby surround sound feeling you get at the cinema. THEN, it just stops! This rather short track has definitely captured my attention, and struck a weirdly cool wavelength that I seem to be on today also. Any other day I may have hated it I feel, but today you’ve got my vote! 3.5

Bianca: I feel like I’ve literally stepped inside Hudson Mohawke’s brain, watching his neurons transmit electrical and chemical signals hack and forth. Judging by the wobbling synths and frantic melody, it would be a pretty intense, mysterious expedition but I’m happy enough to venture in to take a look. 3

Sam: I liked Chimes when I first heard it but to be honest it hasn’t really stuck with me. This one’s totally different- less bass, less anarchy and more atmospheric tinkles. It really doesn’t go anywhere rather sounding like a pleasant interlude. That said it’s a pretty stunning piece of synth work. 3

Ryan Hemsworth- Snow in Newark

[soundcloud width=”750″ height=”200″]https://soundcloud.com/ryanhemsworth/snow[/soundcloud]

Lizzie: “You are a million miles away.” This is a real departure from what I am used to hearing from the Canadian, which takes you to a pensive place far far away. The song is stripped-back, and delicate and the vocals by Dawn Golden really seals the deal for me. But why am surprised? Hemsworth always delivers! 4

Bianca: Snow in Newark transports me right to a bus window, pensively watching the snow falling gently on the ground after packing my bags and leaving my old life behind. A classic sadboy tune with a touch of emo, without all the pimples and angsty screaming. 3.5 

Sam: The same week Hemsworth drops a perky collection of bubblegum electronic he drops the moody first single from his next album. It couldn’t be more of a juxtaposition, but I’ve always admired Hemsworth’s ability to traverse genres. One of my favourite songs of last year was his track One For Me with Tinashe and this is in the same vein. He doesn’t overdo it, rather subtly laying down twinkles and organic percussion. Dawn Golden is the perfect addition for a track that proves less is more. So restrained and so brilliant. 4

18+- All The Time

[soundcloud width=”750″ height=”200″]https://soundcloud.com/houndstoothlbl/18-all-the-time[/soundcloud]

Lizzie: Her “talking” singing voice is utterly obnoxious but if it wasn’t for the chorus you would have lost me halfway through this track. The production is actually quite beautiful, but I just cannot get her out of my head, and not in a good way! 2

Bianca: The combination of her drawly talking voice in the verses and slightly creepy, floaty vocals in the chorus manages to make me a little bit unsettled. Both ominous and alluring at the same time, I’m kind of getting horror movie vibes from this. In saying that, it’s a nicely made track with the twinkling synths and steady RnB beat managing to pull everything together quite nicely.

Sam: The production on this is seamless- a wave of floating synths and metallic beats but the chorus lets it down. I actually like the talking verses. They’re seductive and interesting but the chorus is just a bit of a wet blanket. There’s not really any dynamic to it. Maybe It’ll grow with me in time and I hope it does because I think this duo has great promise. 3

Kendrick Lamar- I

[soundcloud width=”750″ height=”200″]https://soundcloud.com/topdawgent/i-1[/soundcloud]

Lizzie: This song is the healthy injection of narcissism we all need in our day! Kendrick has produced a jazzed up Santana vibe, which gives you the same uplifting vibes as Pharrell’s Happy – but way cooler. 4.5 Lizzie’s Pick

Bianca: Kendrick loves himself, and rightly so. His rapid fire roll of the tongue is hella admirable, while the megaphone vocal samples are a gritty juxtaposition to the almost too positive nature of the track. The grooving bass finale makes for a perfect ending. Hot tip: Don’t listen to while driving if you’re easily susceptible to believing that car beeping samples are happening in real life.

Sam: I can’t imagine any artist that is under more pressure for his next release to be brilliant than Kenrick Lamar. The most brilliant thing about i is that it shows no sign of desperation for another hit. The breezy, Isley Brothers sample is refreshingly self-assured and Kendrick sounds completely relaxed. While the rest of the world is dabbling in crisp, streamlined RnB, Kendrick goes for a completely different throwback vibe. It may just be the best hip-hop track of the year. 4.5

Azealia Banks- Chasing Time

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

Lizzie: Just as I thought she was going to 212 herself out of the music industry, this song is undeniably brilliant. Yes, I know it’s Azealia singing, but she has done such a 180 degree turnaround that I could barely believe it was her. A soft, yet poppy tone is the perfect comeback, and it’s (for once) not in your face and annoying. Welcome back Miss Banks! 4.5

Bianca: This is such a fun comeback for Azealia. It’s a refreshing change of pace, with her more melodic mode of vocal transport and the Disclosure-esque syncopation bopping the track along nicely. I do, however, find the change of pace between verses, choruses & bridge slightly off-putting and unnecessary. It feels like she puts on the breaks right before launching into a too-short chorus. Despite this, she’s certainly got my attention, and all without using the ‘c’ word! 4 Bianca’s Pick  

Sam: Is it slightly ridiculous that Azealia Banks is making a comeback this early in her career. Her whole path since 212 has been pretty disastrous and has put her in this position where she pretty much has to start from the bottom. Luckily, this has completely restored my faith in Banks. It’s not a 212 copy- it’s a perfect pop tune that effortlessly blends together her New York raps and cool-as vocals. It may be a tune about someone wasting her time but for the first time she actually sounds at ease. I guess this means I’m back on the Azealia Banks train, let’s just hope for no more trackwork. 4.5 Sam’s Pick


Listen Out, Sydney – Wrap-up


After a successful first year, Fuzzy’s IDM Festival, Listen Out, returned to Sydney and brought with it a lineup that cheered on more homegrown talent than 2013. Flume was always going to be a huge drawcard and as such, two of the dates on the Festival tour sold-out. Sydney wasn’t at capacity but it still had a huge crowd ready to enjoy a beautiful day of electronic music.

Electronic music has grown exponentially over the past few years and the fact that this year’s Listen Out was such an Aussie affair goes to show that Australia is at the forefront of the genre right now. Apart from a herd of fence-jumping fools, Listen Out drew an appreciative crowd for those who didn’t want to shred for Stereosonic or mosh at Soundwave. Turns out, it’s a nice middle ground to be in.

Refer to our key below for the ratings of each performance. We also added the appropriate foods to accompany each set, just ‘cos.



LA producer Shlohmo is a late night music-maker. His music is dark, insulated and smooth- everything that 3pm on a sunny weekend isn’t. Dressed in all-black, Shlohmo looked every bit as uncomfortable as the crowd. The thick bass tried to hug centennial park but it was just too large of a field to capture the brilliance of his sound. Shlohmo was one of the best bookings on the Listen Out bill but he was definitely disadvantaged by an afternoon set. There will surely be no complaints about his club-sets while he is here. The man embodies the RnB/electronica crossover sound that everybody is trying to emulate at the moment. It’s not his fault that nobody wants to grind in the broad daylight.


Bondax were the closest thing to Disclosure on this year’s bill. The English duo are making sunshine-infused deep-house music that, unlike Shlohmo, was perfectly suited to the mild, daylight conditions. Armed with a slinky female singer and a male who was slightly past his prime, the pair tailored a light, breezy set for an excitable and tipsy crowd. It was refreshing to see a live set amongst many DJs, with the pair performing mostly their own songs.

The track that started it all for them, Baby I Got That, brought with it an undeniable groove, while their super-smooth single Gold, showed that they can perfectly induce a bit of deep house with RnB. The height of the set came with their cover of Duke Dumont’s I Got U. For a crowd that wasn’t very familiar with their material, they were content throughout the whole thing. It was an example of perfect scheduling and weather-appropriate music.


Chet Faker was possibly the most hyped name on the bill, after Flume, and he effortlessly filled the paddock to usher in the night time. There’s no doubt that his one-man show is a marvel and he did all the right things at Listen Out. 1998 was soulful where it needed to be and beat-laden when dancing was needed while Gold created an unexpected singalong. I’m Into You was the perfect partner for the dusky heat and had the thick crowd swaying in admiration.

Despite his moments of brilliance, a one-man show like Faker’s is best enjoyed in tighter confines. Some of the sound was lost in the expanse of the crowd and sounded a little thin at times. His moments of playing with his instruments were also a little unnecessary as some began to get restless. A festival crowd, after all, has limited patience.


Enigmatic producer Zhu could’ve answered all the questions at Listen Out but instead he answered none. He took to the stage with a screen covering him from anybody’s vision and launched straight into his mega-hit Faded. It was a euphoric, throbbing moment but the whole time it felt there needed to be another climax. You couldn’t tell whether he was singing nor see what he was playing and no matter how good it there was always the feeling that the crowd wanted more – probably brought on by the lack of presence.

Despite not seeing him, he had some great moments. His remix of Lana Del Rey’s West Coast was a moment of chopped and sliced brilliance and the light show that carried on through the whole set was a spectacle. His set-finishing cover of CHVRCHES’ Gun was also a hands-in-the-air moment that ushered in a rare singalong. With a huge set under his belt already it’s hard to imagine how long Zhu will be able to keep this mystery up. It seems to do nothing but put more pressure on him to speak with great music.


With the sun completely gone, Orlando Higginbottom brought with him the type of DJ set that only the night time would embrace. Gone was the summertime sounds that permeated the afternoon, as the crowd welcomed a fist-full of bass, with a set of largely unrecognisable music. T.E.E.D is clearly a producer who digs a little bit deeper than most but he never came across as pretentious. For every instrumental banger, there was crowd-pleaser thrown in. They came in the way of the bombastic Core by RL Grime and Ain’t Nobody by Chaka Khan which radiated through an excitable crowd.

It’s obvious by his latest track with Aussie, Anna Lunoe, that T.E.E.D’s musical output is altering slightly but it’s no less impressive. Feels Like was a nugget of gold in the set- a slowly building, throbber that commanded the crowd to go harder. He finished valiantly on Household Goods, ensuring we got a little taster of just what to expect when he comes back (hopefully) soon with his live show.


Listen Out could’ve only announced Flume on the bill and still pulled a massive crowd. He’s the golden-boy of Australian dance music and this truly felt like a homecoming victory run. His set hasn’t changed much since his solo tour earlier this year, but it was his first major Australian Festival headline set and it went down very well. Still looking humbled by his overwhelming popularity, he dropped hit after hit. Sleepless was followed by Holdin’ On which was topped by his Hyperparadise remix. He barely even needed to say or do anything, the crowd was so enamoured with his tracks as just an audible spectacle.

He was happy to share the spotlight for a little as he brought on label-mate George Maple for a new track and her new single, Talk Talk. The pair meshed perfectly together in a display of vocal prowess and intricate production- the most seductive numbers of his entire set. His remix of Lorde’s Tennis Court and On Top further proved the strength of the catalogue he’s gathered in a short time. Naysayers may call him overrated, but there’s very few Australian artists who can command an audience like Flume does purely with his own material.

Check out our Listen Out pics here. 


Annie Mac presents Låpsley’s ‘Falling Short’


When you get the stamp of approval from Radio 1 DJ Annie Mac, you know you’re doing something right. That’s exactly what Liverpool songstressLåpsley has received with her latest track Falling Short set to appear on her latest Annie Mac Presents compilation. The track is a sweet hum of soulful melodies and giddy trills. The subtle, electronic stylings behind the track give it a warm undercurrent that helps it lull you into an unsuspecting haze. Folk music always has a tendency to play it very safe butLåpsley is wears her heart on her sleeve and is not shy of a little experimentation and it makes all the difference.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/hollylapsleyfletcher/falling-short[/soundcloud]


Listen Out, Sydney – Photo Gallery



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The EDM Inbetweeners


Electronic Dance Music has gone mainstream and there’s no denying it. What was once confined to the bunkers of an intimate 4am boiler room has catapulted onto the main stages of Coachella, a spot which was once saved only for rock legends or pop princesses. While many arguments thrown around about artists “selling out” their music to Las Vegas or the highest bidder may actually be on point, going mainstream and appealing to the masses in one way or another, however, is not necessarily the devil, if played correctly.

Adaptation in the music industry is completely natural- it’s the survival of the fittest instinct which should push artists to produce engaging and unique new music. Many of these big name artists who have made their name and claimed their unique slot within this dance music industry have hit the mainstream and never looked back. But let me be clear here, going mainstream does not mean it is acceptable to be complacent. Yes, Calvin Harris has created the perfect anthem recipe, and yes he is now the highest paid DJ in the world for the second year – but his complacency, and that of David Guetta, has not gone unnoticed.

Who could forget Deadmau5‘s infamous “We all hit play” posted on his Tumblr in 2012, an interesting read on what it was like to be a DJ/Producer in 2012. While it is often unclear of the line between “DJ” and “Producer”, in his signature Mau5  rant honesty, he expressed how, as an actual producer, “[his] ‘skills’ and other PRODUCERS’ skills shine where [they] need to shine…in the goddamned studio, and on the fucking releases.” Furthermore, he stresses that it is a DJ’s job to take a crowd “on a roller coaster…and connect with them.” Anyone who has seen Laidback Luke play live would understand the talent in gauging a crowd and adapting your set to get them up and pumping.

While I did say the mainstream is not necessarily the devil, it can trap young artists whether they choose that path or not. If we take Swedish DJ Producer Avicii as an example: Off the back of his Levels tour, there appeared to be no stopping the then 22-year old superstar. Producing hit after hit, and doing over 250+ shows in a year, it then came at a complete surprise when he tried to break out, acting out his own rebellion to a televised audience ad at Ultra Music Festival in 2013. What should have been commended as a great leap of faith for the young talent – creating a folk album full of unexpected tracks and bootlegs – in fact left him in an even bigger mainstream big black hole. But should he be punished for trying something different, is it his fault that everyone learned to love Aloe Black again?

All hope is not lost, however. There are artists who have managed to successfully slip between the headline set at Stereosonic, to the top of the charts, to producing a pop-star’s hit, and right back to the 5am unplanned sets at Bonarroo festival (I’m looking at you Skrillex), with little to no resistance. These are what should be better known as the “EDM Inbetweeners.”  The clever adapters who have infiltrated the mainstream, our radio airways and our pop-charts, very often without you even realising. And the funny thing is, whether you admit it or not, or whether you know it was them, you love their work!

Here are a few EDM Inbetweeners who have caught our attention in one way or another.



Here’s something you’d probably find hard to Believe, Justin Bieber and Nicki Minaj‘s Beauty And A Beat was originally produced by Zedd for his album Grammy award-winning album Clarity. While Clarity proved to be a mainstream hit for the well-established Russian-German EDM artist, it was his production on this Beiber hit which solidified himself as a lovable inbetweener. If that was not enough for the 25-year old, then his collaboration with R&B girl of the moment Ariana Grande has proved his versatility and knack for wielding lolly-pop infused dance perfection which surprisingly appeals to a wide-ranging audience, myself included.

…But is producing major tracks for major pop-artists a sell-out?

The answer is no. Zedd has managed to put his name, and his unique sound, behind some of the biggest tracks of the last two years as a producer and as an adapter to the market. Bridging the gap between the relatively unknown and the superstar mainstream, without eventually pissing off everyone, takes incredible skill and understanding of the industry. For Zedd, it was about choosing a pop artist who is in their prime, but also someone who compliments their dance production style. However, sometimes this does not always work, and this is probably the cue that Avicii should have been given before collaborating with flailing come-back kids Coldplay.



Dillon Francis

This lovable prankster, born out of the Mad Decent crew, is quickly becoming the biggest non-mainstream mainstreamer of them all. His track this ‘Get Low’ alongside DJ Snake, has found itself in every movie trailer release of the last two months, plus landing him a headline spot at this year’s Sydney Field Day later this year in Sydney. To add to this, he as be caught teaching Zac Efron to DJ and earlier this week, and signing to major label Colombia Records in May of this year.

…But is signing to a major label a sell-out?

Although the signs may be pointing towards this, who can really call Dillon Francis a sell-out? While many fans were quick to jump on the “DILLONSELLOUTFRANCIS” Twitter bandwagon, if you take note, he has maintained his relationship with his origins at Mad Decent and remained true to his cheeky public persona throughout this accomplishment. Francis has etched his way into the mainstream by playing sets and producing tracks which are always a surprise to the system, and a unique Moombhatton sound. Furthermore, he has won our hearts with the ingenious use of social media to perpetuate his “I don’t give a fuck” attitude – a little nudge I’m sure Diplo gave him early on in his career.


Flume (+ What So Not)

It seems like a lifetime ago that we were introduced to Flume, a young Sydney talent who had a knack for using a launch pad and cutting and mixing the best of R&B samples. A game-changing album and a bucket load of ARIAs later, it’s hard to believe that he has managed to stay under the radar, meanwhile being the most loved and well-recognised electronic artists in the country.

…But is being endorsed by David Beckham a sell out?

He is a popular guy, there no doubt about it. But Flume lets the music do the talking – and that is how it should be. His unique sound has lasted the initial hype, but it his ability to adapt and continue to create is what has garnered him respect amongst his myriad of fans and industry professionals.

Omnia mutantur, nos et mutamur in (“Everything changes, nothing perishes”). Ingenuity is definitely key, and just last year saw him team up with relatively unknown Sydney DJ Emoh Instead, to create What So Not. This gold-mine of a combination, backed by none other than successful inbetweener Skrillex,   has offered a new spin on his work, and kept any ounce of the distasteful mainstream out of the picture. The duo has gone from strength to strength, appealing to the masses of the clubs, while still separately standing on their own and flying an Aussie flag on a competitive international market. Above all from what it appears, he is a good guy with a clear level-headed head on him, even telling The Guardian last year that he will do anything “to avoid the poisons of success.”



This British duo have garnered an epic amount of success over the years, bringing the underground electronic sound to the mainstream and hitting the higher reaches of the UK charts with hits such as ‘White Noise’ and ‘Latch.’

…But is selling over 1 million singles selling out?

Since signing with big name label Universal, all could have been lost for the talented Lawrence brothers. In fact, it was quite the opposite. When signing with their label, they said told Billboard, “we had an agreement with that they could carry on doing what we’re doing and they could just let us get on with it, and that’s exactly what happened.”

Disclosure’s achievement should not be in anyway underestimated. This well-oiled machine continues to pump out talented vocal artist after talented vocal artist into the spotlight, whilst remaining themselves relatively unscathed – not through any act of god but through careful planning and commitment to their cause and their music. They have created chart-friendly dance music, whilst retaining underground credibility and not softening their sound to cash in on any current trends or the temptation of a Las Vegas $$$ slot. A crossover of old school house and garage culture, crossed with exquisitely produce instrumental electronica, combined with hooks to seduce a wide-ranging mainstream audience, they are truly building their style on top of countless dance acts who have gone before them and succeeded such as Daft Punk and The Chemical Brothers.

When asked, “now that you’ve got a song in the charts, are you going to change your music? Are you going to sound like EDM guys?” Guy Lawrence aptly replied, without any arrogance, “why would I need to change what I do? You’re always going to get haters, but I believe the dynamic has changed this year in the charts.”

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10 Songs You Need To Hear This Week


Over the week we’ve witnessed Bachelor dramas, tri-breasted woman hoaxes and the new iPhone literally bending over backwards to infiltrate people’s lives. Here at the interns, we try to block out the distractions from daily life and keep our headphones firmly on and our fingers constantly on the pulse of our keyboards and linear, unbending iPhone not-6s to provide you, our dear readers, with the latest and greatest 10 songs the week had to provide. Go forth and prosper.

Drake- Worst Behaviour (Saint Pepsi Edit)

Of course you’re going to be on your worst behaviour when there’s brass involved. Drake’s original of this was fiercely badass, but Saint Pepsi, almost comedically, turns it on its head, packing it with sunshine and making it completely danceable. It’s a different kind of Worst Behaviour to what Drake would have condoned. It’s more one where you get a little bit tiddly at a garden party and kiss the host’s niece for an accidental moment. More Pimms, please.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/saintpepsi/drake-worst-behavior-saint-pepsi-edit[/soundcloud]

TALA- Alchemy

T?L? is releasing a new EP, Alchemy, in a few months’ time and this is the title track from it. Where her last offering, Black Scorpio, was the Londoner in full-producer mood, Alchemy sees her adapt as a vocalist. She coos throughout over top a glitchy, middle-eastern flavoured beat placing modern RnB alongside traditional, cultural music. We haven’t heard anybody do it this well since M.I.A.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/talaofficial/alchemy[/soundcloud]

Ryan Hemsworth- Snow In Newark

Whether it be his own or someone elses, Canadian producer Ryan Hemsworth has been releasing music at a rapid rate in the last few months. Snow In Newark is the first single off his forthcoming album which, at the pace he’s going, will probably have 46 songs on it. Snow In Newark is one of the more delicate tunes he’s turned out with vocalist Dawn Golden giving a fragile vocal alongside icy, twinkling beats.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/ryanhemsworth/snow[/soundcloud]

Hudson Mohawke – Brainwave

Hudson Mohawke is due to drop his solo EP, Chimes, next week and in anticipation, he’s shared the new single, Brainwave. This track sees the former TNGHT member dabbling into more meditative territory, creating a tapestry of glitches, beeps and bloops, sewn together with heavenly vocals and a shuddering bass which feels like we’ve crawled into the Scottish producer’s head and taken a peek inside grey matter territory. Certainly an interesting prelude to his upcoming EP.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/hudsonmohawke/brainwave[/soundcloud]

Kendrick Lamar- I

This was the main event of the week – Kendrick’s first track off his forthcoming, yet-to-be-titled album. It samples The Isley Brothers’, That Lady and is one of the most upbeat things Lamar has produced. It’s easy, breezy and shows the lighter side of the Compton rapper. For somebody who’s done some seriously fierce raps (Control), he sounds like a genuinely nice guy and Kendrick if you’re reading this, tea, scones and some great banter await. Call us 😉

[soundcloud width=”750″ height=”200″]https://soundcloud.com/topdawgent/i-1[/soundcloud]

Azealia Banks- Chasing Time

Today marks the 133rd month that we’ve waited for Azealia Banks’ album Broke With Expensive Taste and while it’s still not here, we’ve got the best thing we’ve heard from her since 212. Girl can sing and she shows it here with a track that mostly features her vocals with a few quick-witted raps thrown in for good measure. Finally she sounds relaxed in the beat and unconcerned about what’s going on around her. Once again we wanna beat our chests for B.A.N.K.S.

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

Sable – Surf

This track from Sable is so kawaii-cute it will make you want to squeeze the cheeks of that infuriatingly endearing Pokemon-inspired mammal accompanying its Soundcloud as hard as you possibly can. Surf sees the Perth producer dabbling into Nintendo territory, with electronic synths and glitchy bleeps guiding the way down the rainbow road. Accented with a throbbing bass and ratchety drums, it’s the perfect prelude to the dawning weekend.

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

Left.- When My Body Sleeps

Left. are a boy/girl duo from the epicentre of the earth, Sydney and while they’ve only released two songs previous to this one, they’ve left quite a mark with their delicate, tapping electronica. When My Body Sleeps is from their debut album Sirens and sees vocalist Sarah Corry’s breathy, beautiful vocal overtop Jono Grahams darkness-infused, late-night beats. It’s one of those tracks that you’ll have to sit with for a while but like a good wine, you’ll be drunk before long without even knowing it.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/leftprojects/when-my-body-sleeps[/soundcloud]

BANKS – Beggin’ For Thread (Bag Raiders Remix)

Following up from their remix of Kimbra’s Miracles, Bag Raiders have once again chopped, changed, twisted and turned BANKS’ dark, sultry Beggin For Thread into a glittery, poppy rework, shedding some light onto the London singer’s melancholia. Don’t be fooled into thinking it’s all sunshine and rainbows, however. The thumping bass and textured, looping vocals will surely keep things in check.

[soundcloud width=”750″ height=”200″]https://soundcloud.com/banksbanksbanks/beggin-for-thread-bag-raiders-remix-1[/soundcloud]

Kiesza- Bad Thing (Feat. Joey Bada$$)

We’ve heard a lot of ‘90s throwback gold from Kiesza but nothing in the RnB arena. In her first trip into the world of gold chains, booty and grillz, Kiesza recruits hot-as-shit rapper Joey Bada$$ and a beat that shudders like a prison chain. While she’s known for heighty vocals and climatic choruses, here she tones it down letting the chorus’ understated melody work its wonders before letting Bada$$ in to deliver an equally understated beat.



SBTRKT’s ‘Wonder Where We Land’ reviewed


London producer SBTRKT has released his new album Wonder Where We Land today and the title alone leaves a lot up in the air. We’ve heard a bunch of songs from the album but none of them have really given us a huge clue as to the overall direction of the album. We’ve spent the whole week with the album, much of it in the air, but now we’ve finally landed in a land of jazz-infused beats, twists and turns and soulful vocals. We were left a little lost for words so instead we made variations of the SBTRKT mask as a way of reviewing the album…and then we found our words again so we added some for your convenience.

Wonder Where We Land (Ft. Sampha)


Indeed. SBTRKT’s debut album etched out such an iconic sound, there was always a question above what we would get. With gentle taps, sporadic keys and Sampha up front, this is the SBTRKT we’ve always known, however there’s always that hovering doubt of where he’s going to take the rest of the record.



And this is where we land – right in the heart of an 8-bit world built upon strobing synths and J-pop beats, all the while a lurking atmosphere creeps up behind you. Three songs in and the darkness has been present in each. SBTRKT’s always been a producer who’s beautifully soundtracked the move from the club to the home and it’s no different here.

Higher (Ft. Raury)

Higher_RauryRaury is the most hyped young-gun on the album and he’s been recruited to help take the album to church. While Raury’s rap rolls off the tongue as quick as liquor slides over it, it’s all about that luminous chorus. Raise your hands to the air child, you have been saved.

Look Away (Ft. Caroline Polachek)


While the darkness hovers throughout the album, it completely floods this track. Caroline Polachek’s heighty vocals are haunting and over-kilter throughout with an unsettling piano, enticing you to look. Polacheck brings a hip-hop flavour to the verses in what is an altogether odd but wonderfully successful detour for SBTRKT.

Temporary View (Ft. Sampha)

Temporary View

Sampha pops up four times on the album, but this one is the most similar to his contributions on the debut. It’s soulful, minimal and glittering but it really adds nothing to an album that thrives on moments of oddity. Following Look Away, this one centres you once again, making you comfortable but not excited.

NEW DORP. NEW YORK. (Ft. Ezra Koenig)


Who better than to sing on an anthem about New York than Ezra Keonig? Alicia Keys did well and we tip our hat to her but Koenig embodies that sleek, socialite side of New York. Meanwhile, SBTRKT drops his most out of the box beat, oscillating between indie pop and jangling, warehouse electronica. SBTRKT knows, if he can make it here, he’ll make it anywhere.

Everybody Knows


This one takes us straight into the heart of London. It’s grimey and the most intricate track on the album- a tribute to Jamie xx and those who spin beats on rooftops with a rare glimpse of London sunshine. There’s jilted keys, a throbbing beat and a hesitance that says “don’t dance, look cool”.

Problem Solved (Ft. Jessie Ware)

jessiewaremaskJessie Ware also collaborated with SBTRKT on his debut and she’s back her as a fully fledged star. With her new found stardom she could’ve easily overshone SBTRKT but she delivers a beautifully understated vocal over a jazz-infused beat. This pairing feels completely naturally and as such it’s the most effortless track on the album.

If It Happens (ft. Sampha)


Sampha is in the blinding spotlight here, with SBTRKT taking a backseat allowing Sampha to sing like a love-lorn singer in a smokey jazz club. It’s a well-deserved breather and a warming track – an example of how SBTRKT can succeed with simplicity.

Gon Stay (ft. Sampha)


It’s Sampha hour now and he’s cheered up a bit since the last track. For the first time, there’s no sign of that looming darkness – it’s full sunshine delivered through funky bass and a perky snare. It’s more indie-pop than London electronica but we’ll take it as a welcome flood of light into an otherwise shadowy album.

The Light (Ft. Denai Moore)


It’s perhaps ironic that the light disappears on a song titled after it. Upcoming London songstress Denai Moore steps up on this heart-wrenching track. “Tell me I’m not the only one,” Moore sings sounding completely devoid of any more energy. At the same time, SBTRKT keeps upping the density of the track ending right in the thick of swelling emotion.

Voices In My Head (Ft. A$AP FERG)


It may take until the final track but here it all comes together. SBTRKT’s penchant for live instrumentation melds perfectly with his signature beats and the unsettling keys create an odd yet followable melody. A$AP Ferg’s rap is so full of character and woozy that you almost forget how batshit weird the whole thing is. If weird is the flavour of the album, then this track is the best indication that SBTRKT can pull it off with the utmost style.

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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