Meet the Sydney producer and vocalist making pop music her own way.
The best or worst songs of the week depending on your angle – either way, they’re worth a play.
Her latest cut puts her in the league of Jessie Ware, Nao and Katy B.
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.
There’s nothing like the feeling of tracking an artist right from their early days into eventual stardom. Here at the interns, we’re all about you feeling good inside so we’re giving you the chance to track six new artists from their early beginnings. You can thank us when they hit number one on iTunes.
FOXTROTT, who is known to her parents as Marie-Helene Delorme, is a singer/songwriter/producer from Canada whos been releasing music since 2012 but seems to have hit her stride of later with the release of new track Driven. Upon starting out, FOXTROTT mostly released instrumental music before deciding she wanted to expand her music and express something deeper, as she puts it.
Shes currently readying the release of her debut LP A Taller Us. Of the record she says, My goal was to find the perfect balance between rhythms and frequencies, the production style that I wanted to put forward, and lyrics and emotional presence expressed by the voice. Listening to Driven, it sounds as if she was successful in completing her goal. Its a perky track perfectly weighed down by her brooding vocal. Theres so many artists who operate under two hats of producer and vocalist but rarely are they as good at both as FOXTROTT.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/foxtrottfoxtrott/driven[/soundcloud]
It takes something really special to back an artist purely off one song and thats exactly what were doing here. To be honest we cant really tell you that much about Her. We can tell you that they released their debut single a few weeks ago titled Quite Like and its an effortless triumph.
Quite Like has the same endearing quirkiness as an alt-J track with the smooth sensuality of Rhye and the intimacy of Wild Beasts. The fact that they seem to be going about this whole thing remaining anonymous with only one track to their name shows that theyre quietly confident about the strength of this track. And they should be. This is the kind of track that breaks new artists.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/thebandher/quite-like-2[/soundcloud]
Well preface this by saying that if youre feeling bad about what youve accomplished in your life for your age then dont read this. If not, then youll share in our joy at knowing that this producer is only 18 and already churning out phenomenal stuff. His debut EP Someday Somewhere, released this year is a collection of beats that traverse hip-hop and RnB genres with guests including Nao and Denai Moore.
Someday Somewhere is one of the most effortlessly accessible electronic EPs weve heard since Ryan Hemsworth was establishing himself. Its melodic, full of personality and even funky in points. How on earth somebody achieves something like at an age like 18 is beyond us but it happened and we better believe it.
Also hes got a great Twitter. Case in point – don’t ask if you can use my music, just do that shit. if you’re doing it in some backass way that makes you money i’ll sue you later dw.
Australia has no shortage of great electronic producers but rarely are they as intricate and atmospheric as Leon Osborn. Hes as interesting as Flying Lotus with a dark tinge reminiscent of Shlohmo and an earthy aesthetic not dissimilar to Brian Eno. Last years Nature Strip release showed promise but it’s the West-Australian producers latest offering You Were Gone that has us excited.
You Were Gone is a jolting and rough yet soothing listen thats as suited to early morning club sessions as much as it is perfect for an afternoon lay-back. Whats most impressive about Osborne is that hes the first producer whos managed to encapsulate the Australian landscape into an electronic sound. Without following down the Flume/Wave Racer route, Osborne has crafted something that sounds distinctly Australian. A twinkling collecting of twilight tracks that reveal a producer who is interested in crafting his own sound. And thats always worth rewarding.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/pilerats/you-were-gone-ft-barksdale[/soundcloud]
Listening to the only solo track on her Soundcloud, RIOT, you may not guess it but Bibi Bourelly wrote Rihannas Bitch Better Have My Money and a few more on her forthcoming eighth studio album as far as we know.
The 20-year old, LA-based artist is just about to blow up, not only because shes writing for Rihanna but also because it looks like she has plenty to give as a solo artist. For such a young artist shes already kicked a number of goals including a recording session with Kanye West. A producer she met online, Paperboy Fabe, set up the session West gave her a beat and isolated her in a small room with a microphone. The song that resulted was Higher – a track that Rihanna has teased on her Instagram.
Her debut RIOT is a feisty, acoustic track that beautifully demonstrates her raspy and charismatic voice. The obvious comparison is Rihanna but theres also hints of Sia in their as well in terms of the strength that projects her voice.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/bibibourelly/riot[/soundcloud]
There are a lot of great electronic artists coming out of Sydney right now but theyre arent enough great vocalists in the genre to match in our opinion. Thank goodness then for Tashka who first jumped on the scene last year with her feature on Loudons Gold. Shes just returned with her debut single Taken which is set to feature on a forthcoming EP called Deals. The track oscillates between pop and electronica and is bound by Tashkas breathy, ethereal vocals.
Unfortunately we dont have much more information on her right now but Taken is the kind of track that breaks an artist instantly so we wont be surprised if shes following it up with another golden tune sooner rather than later. Stay tuned.
[soundcloud width=”750″ height=”200″]https://soundcloud.com/tashkamusic/taken[/soundcloud]