10 Songs You Need To Hear This Week: Years & Years, Diplo, Jamie xx And More


Here's a collection of tracks we loved this week. Tick them off your list so you can move onto next week confident that you took everything from this week that you possibly could.

Years & Years

British trio Years & Years had a mighty task following up their UK chart-topping single King, but it seems as though they've done it with ease. Shine takes a slightly different pace to King but it's no less euphoric with frontman Olly Alexander's vocals once again sounding flawless. At this point it's hard to see the band making any missteps on their forthcoming album Communion which is due out 10th July.

Love Me Badder

Swedish songstress Elliphant has been churning out perfect pop for the better part of two years but it finally feels like she's hit her stride. Last year's MO-featuring One More was one of our favourite tracks of 2014 and this latest one Love Me Badder is just an impressive. It's a big-sounding, dancehall-sampling ballad with a chorus made for the masses. Elliphant's voice is smokey and full-bodied and tackles the huge melody without any problems at all. Her Splendour In The Grass shows should make her plenty of fans here.

Ignore And Wot

I've spent the better part of the week trawling through grime history for a piece that is about to go up on the site. It feels like an appropriate reward that at the end of it all a new Novelist track emerged. Ignorant And Wot popped up on Novelist's soundcloud and it's a corker. It's a ready-made anthem with a simple but hard-hitting hook bookended by fast-flowing verses. It's baffling that this guy is only 18 years-old.

[soundcloud width="750" height="200"]https://soundcloud.com/novelist/ignorant-and-wot[/soundcloud]


Rudimental collaborators have had a pretty good track record when it comes to moving onto their own solo careers. John Newman had a number single on his own, Ella Eyre is making waves with her solo tracks and Sinead Harnett looks set to make a big splash with She Ain't Me. Anne-Marie has toured with Rudimental as their live vocalist but looks to be more than ready to do it alone. Karate, her debut single, is a little more left-field than what the aforementioned names are making. It's experimental pop with a strong melody and airy vocals. It may not be a number one single in waiting but it doesn't feel like that was the goal.

[soundcloud width="750" height="200"]https://soundcloud.com/iamannemarie/anne-marie-karate[/soundcloud]

Bitch Better Have My Money (Diplo & Grandtheft Remix)

For one of Rihanna's less-successful tracks Bitch Better Have My Money keeps popping up everywhere. Last week we got the EDM remix courtesy of R3hab and now we have a remix firmly in the trap-world courtesy of Diplo and Grandtheft. It's far more true to the original than any other remixes we've heard but it does give it an extra dose of oomph with abrasive horns and hard-hitting beats. It's definitely one of Rihanna's more curious singles but it really does just keep getting better. Diplo and Grandtheft have helped that cause.

[soundcloud width="750" height="200"]https://soundcloud.com/diplo/bitch-better-have-my-money-diplo-grandtheft-remixofficial-you-losers[/soundcloud]

Charli XCX
Doing It (Carmada Remix)

It's criminal that the original of this song didn't reach number one for 40 weeks on the Australian charts but Aussie duo Carmada may have the answer to ensuring its resurrection. They have been on the Groovin The Moo festival trail with Charli XCX playing their Doing It remix along the way but now we finally have the proper, final product. They keep that stellar chorus and around it build a world of flickering synths, high-pitched vocal samples and mournful keys. We reckon Charli would approve of this one.

[soundcloud width="750" height="200"]https://soundcloud.com/carmadamusic/charli-xcx-doing-it-carmada-remix[/soundcloud]

Rita Ora

Rita Ora really doesn't get enough credit. She's currently trying to crack America and in that market she looks like an underdog but in the UK she's had four number one singles. That's damn impressive. Poison is the latest tune to be taken from her forthcoming second album and it's another perfect piece of pop. "I've picked my poison and it's you," she sings over a hard-hitting beat that only eases up for the euphoric verses. It may not be as immediate as I Will Never Let You Down but after two days of listening we can guarantee it's a grower. Listen here.

Jamie xx
I Know There's Gonna Be (Good Times) (Feat. Young Thug)

Popcaan and Young Thug may not be the most likely suspects for a Jamie xx track but goddam does it work. This version that leaked this week only features Young Thug but you can see where Popcaan would happily slot in on the album version. While the feature-vocalists may suggest otherwise, it actually doesn't sound that far out of Jamie xx's world. There are still steel drums, warm bassy synths and a soulful throwback sample (of The Persuasions' Good Times. Like Gosh and Loud Places, it's uplifting music, which seems to be a theme of In Colour when you also consider the multi-coloured album art.[soundcloud width="750" height="200"]https://soundcloud.com/looie31007/young-thug-ft-jamie-xx-i-know-theres-gonna-be-good-times[/soundcloud]Laura Clock

Robyn is the queen of mournful dancefloor stompers but in her absence there are plenty of other artists keeping the space warm. One of them is Laura Clock (previously known as Butterclock) who's gearing up to release her debut EP under the new moniker, Baby - Part One. Fade is the first single from that and it's a dancehall-inspired track made for the latest point of the night when the dancefloor is empty enough to really cut loose - Dirty Dancing style.

[soundcloud width="750" height="200"]https://soundcloud.com/goldenbruise/fade/[/soundcloud]

Billie Black
Going Under

We've been waiting a while for new material from London singer Billie Black but now we finally have it. Black has returned with a killer new hairstyle and a sleek sound that recalls Sade and Jessie Ware. Going Under is her most confident sounding track yet with the latter half exploding into a clean slice of electronica that immediately sounds like London. The track is taken from her forthcoming Teach Me EP which is due to drop 25th May.

[soundcloud width="750" height="200"]https://soundcloud.com/billie-black/billie-black-going-under[/soundcloud]






Years & Years Return With The Mighty 'Shine'

Interview: Years & Years

It's not an easy task following a single as massive as King, but it seems as if British trio Years & Years have managed it just fine. Shine is taken from their forthcoming album Communion and is slightly less up-tempo than its predecessor but it's just as anthemic. Frontman Olly Alexander's voice soars in the chorus belting, "It's you that I've been waiting to find." No doubt this will spark a singalong full of warm and fuzzies when they play Splendour In The Grass in July.


REVIEW + PICS: Years & Years | (Le) Poisson Rouge, New York

There's a few things that you tick off along the way when you're a hyped band to validate that you're on the right track. Infiltrating the blogs, winning over the critics and scoring a number one single are all good indicators but perhaps the biggest is playing a sold out show in New York City.

Brits Years & Years are yet to really crack the charts in the US but they have managed a number one single in the UK with King and last night at (Le) Poisson Rouge it seemed as if the hype had traveled the seas. A packed out room stood waiting for the band to take the stage for the last show of their US tour, many of them donning Years & Years crowns.

Taking to the stage with Take Shelter it was immediately clear how the band have kicked so many goals in such a short amount of time. They oscillate between soul, pop and house music, effortlessly borrowing the good elements of commercial music and blending the, together to make something delectable. Take Shelter also confirms that the band have already developed a small but dedicated following in the US - one that know all their released material inside out.

Though frontman Olly Alexander was clearly suffering from illness, coughing in between songs, he still managed to push through and deliver silky smooth vocals complete with dance moves. He's shy, but there was a quiet confidence poking through as he hurled his arms around the air in the dance breaks of each of the tracks.

The band continued to fire out gold for the entirety of the night offering a short but impressive set that made it impossible to believe that they haven't even released their debut LP. Memo offered a beautifully solemn moment, one where we got to truly hear Alexander's vocal capabilities while early track Real brimmed with popping beats and a brilliant chorus that found a perfect balance between RnB and electronica.

The few new songs they played sat much in the same lane as what we've heard from them before, only extending the belief that the band have more than just one hit single up their sleeves from their forthcoming album Communion. Even Worship which is only a matter of weeks old found huge favour with the crowd as they elevated its gospel-flavoured chorus. Many of Years & Years' songs are crafted around those types of hands-in-the-air moments that can only be properly realised when the whole crowd is on board.

Things really heated up for the final few songs of the set kicking off with the strobing bass of Desire. Desire sits in the dance lane more so than any of their other tracks and that works strongly to their favour in the live arena. It was the first true jumping moment if the night and the band lapped up the ramped-up energy.

After a short and perhaps unnecessary break the band returned for an encore of their massive hit King. The song with it's howling synths and meteoric chorus rightfully provided the golden moment of the night. The crowd sang ever word back with mighty passion, giving the sense that it won't be long before this infiltrates the charts in the US (it's slowly doing so in Australia).

Years & Years' best sets are yet to come as they're set to join the European festival circuit armed with a debut album but their New York show provided a short showcase that one, proved we should believe the hype and two, built excitement for what will be one of the best selling debuts of the year. Rarely has pop music ever sounded this good and come so guilt-free.

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Read our interview with Years & Years here.


First Impressions: Earl Sweatshirt, Swick, Of Monsters And Men + More


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 Earl Sweatshirt, Swick, Of Monsters And Men + more. 

Earl Sweatshirt

Zanda: A bit less melodic than a lot of Sweatshirt’s other stuff, but the droning style of synth that accompanies his smooth rapping is captivating enough for the most part. If I’m being completely honest my favourite part is the conclusion of the track. Not only does it provide some needed sectional variation, but the symbol-dominated drumming and various drum-licks reference a gorgeous style of lounge jazz. 3.5

Sam: Just when poor Earl couldn’t be any more disillusioned with the world his record company go and fuck up his album release. This is some of the darkest hip-hop we are bound to hear this year. It circles around your head with minimal beats and washy undertones which ultimately blend in with his deep, affecting rap. I’m not sure I’m interested in this as much as I am intrigued by it. The video is dark as hell and it’s pretty distressing to watch. This is probably the tightest we’ve ever heard Sweatshirt rap but it’s going to take play after play to make this devilish tune completely sink in. 4

Meshell: Ah, the first taste of new Earl. After the success that was Doris the bar has been set incredibly high for the young rapper. Grief takes the angst felt throughout his debut and twists it up tighter and tighter into psychosis. The low-fi production and undulating synth are the perfect backdrop for Earl’s smooth, lagging rap style. As he tells us all how much he hates going outside, I’ve decided that although the track is angry… it’s not aggressive and by the time we hit the sweet little outro I absolutely love it. 4

Bianca: I'm all about dat outro; a dramatic turnaround from the deep, dark depths of Sweatshirt's thoughts, giving us a chance to reflect on the outpouring of grief in the form of his threadbare rapping style. Hot tip for iPhone users: Invert the colours to the clip via Settings > General > Accessibility > Invert Colors for an even trippier viewing experience. 3.5 


Zanda: Undeniably catchy, and really just a fun tune to jam out to. The chorus is definitely on point, but I’m a little disappointed with how same-same the chorus is compared with the bridge and the verse. A fun track nonetheless. 3

Sam: I think we can agree that we’re due for another naturally cool girl group and I’ve been saying for a long time that these girls are the group to do it. This is a breezy, effortless RnB anthem that showcases the group’s biggest strength - their harmonies. I’m really not sure why the UK charts haven’t given M.O. any love yet, but hopefully this will be the tune to change their luck. They’re so tight. 3.5

Meshell:I feel it’s my responsibility as a reviewer to be completely honest with you dear reader. What we’re hearing with this latest offering from M.O is a poor woman’s Destiny’s Child ¯_(ツ)_/¯

I’m not saying it’s bad, it’s totally fine, but therein lies my problem…fine is the only word I can muster for this track. Its kind of catchy but not enough that I’m going to be singing it whilst making my lunch. The classic pop stylings of it make me feel like it was just written with the intent of cracking the charts and music for the sake of a rating lacks sincerity. I don’t know the origins of M.O but to fresh eyes they look like the major label machine is now manufacturing hip-stars instead of pop-stars. These girls look fresh as f**k and I think that might be the only thing I really like about them. Brilliant marketing…average music. 2.5

Bianca: It’s funky, it’s kinda catchy and good on them for championing the return of girl groups with matching outfits and dance moves...though I really can’t shake the feeling that I’m listening to a Jessica Mauboy song that I’ve already heard 1,500 times. Not that that’s necessarily a bad thing. It’s just not my thing. 2.5  

Years & Years

[soundcloud width="750" height="200"]https://soundcloud.com/yearsandyears/worship[/soundcloud]

Zanda: Years and Years seem to have just about perfected a crossover between boy-band and stand-alone electro production. Proved by the fact that the track would work perfectly well as an instrumental, but at the same time the vocals compliment the track rather than detract from the excellent production. This is the sort of track that gets stuck in your head, especially that chorus. 4

Sam: So these guys aren’t a hype act anymore, it’s already confirmed that they’re huge (a number one single will do that to you). Worship doesn’t have the same immediacy as King but it’s a crisp, funk tune nonetheless. It’s nice to hear this mid-tempo verse flourish into an almost gospel chorus. Like any good pop tune, its chorus is its heart and soul built around layered vocals and well-placed words (any religious word in pop always goes down well). Olly’s voice is just so impossible not to be wooed by. 4

Meshell: God dammit, I listen to Years & Years every day at the moment and I cannot get over how wonderfully unique this dude’s voice is. Having an excellent range is one thing, but having a voice that is so incomparable is just next level awesome. Excellent instrumentation again from these boys, sometimes I get too excited by their singer but of course credit needs to be given where credit is due, the whole band pulls their weight when it comes to excellent songwriting and musicianship. Worship  might not take out a number one spot like King did, it has however given their loyal fan base (points at self) a little sneak peak at how epic their album is going to be. 4.5 Meshell’s Pick

Bianca: How have these guys not completely blown up on Australian airwaves yet? Their sound is so refreshing and immediately affecting with each of their tracks hooking me in  at first listen. Worship, with its lush, tropical-inspired synths and just enough pop, is no exception. Looking forward to hearing the rest of the album. 4 Bianca's Pick

Crystal Palace

[soundcloud width="750" height="200"]https://soundcloud.com/swickswick/swick-crystal-palace[/soundcloud]

Tropical vibes for days. Swick has delivered a polished, up-beat, catchy tune here that will have you wishing it was still summer. The echoey, steel-drum sound melodic lines give off the aforementioned tropical feels, and I would describe a lot of the production as almost Kilter-esque. That is, if you like Kilter, you’ll love this. 4.5 Zanda’s Pick 

Sam: The thing I really like about Swick is that he’s operating in that kitsch, PC Music-esque world but there’s more weight to it. That thumping bassline really drives it home and sets it apart from some of the lighter rave-tunes that are floating around. That build-up in the middle is one of the more exciting things I’ve heard in electronic music this year and as far as synth-lines go it’s one of Swick’s more approachable ones. At the moment the Nice Age label is really being defined by hearty bass and it’s something that defines being in a club after midnight. Really exciting stuff once again from Swick. 4 Sam’s Pick

Meshell: While I can imagine myself loving this in the middle of a DJ set, it’s not doing anything for me at the moment. It’s punchy and up-beat and all a bit fun but it’s nothing new. With so much stupidly impressive electronic music being made in Australia alone, you really have to pull some magic out of your arse to get noticed around here. Swick has put together a track that will surely get your head bopping but you won’t be sharing it on your wall with all your mates saying, “TUUUUUUNE”. 2.5

Bianca: Crystal Palace isn't super multi-instrumental or three-dimensional but, like PC Music, that's not its point. What it does do for me in terms of dimensions is take me to another one: right now I'm riding along the rainbow road and there are no banana peels or red shells on the horizon. It's smooth sailing alllll the way while I leave all the other players in my dust. Suck it, Princess Peach. 

Of Monsters And Men

Zanda: Of Monsters and Men seem to just constantly deliver captivating, emotion-filled music. It’s the simple things that are always done so well, with the use of guitars and other melodic instruments never encroaching on the amazing use of texture and aural space that creates so much room for variation and interest. The vocals are always given so much space, and are so powerful that they could stand alone, but are complimented by a complex yet minimal use of drums and other instruments throughout the track. 4.5 

Sam: This is sure to delight many but it makes me feel slightly ill. That whole epic, inoffensive pop-rock genre helmed by Coldplay is driven by its desire to be as beige as possible and in that sense this song succeeds. There’s plenty of metaphors in this but none that really show any sense of genuity. The voices are actually quite affecting and I feel like if they weren’t trying so hard to craft a song that will light up a stadium with smartphones it would hit at the heart a little better than it does. 2

Meshell: I actually really like the drums in this song. I’m kind of not listening to anything else first time round and now that I’m on second listen I’m going to try and pay a little more attention. Vocally this song is nowhere near as annoying as Little Talks so that’s a step in the right direction. Subtle horns are a nice added touch too. My imaginary hat (I look terrible in real ones) goes off for great mixing of this song, does it reach me on an emotional level? No, it’s not actually that good, but I guess there’s plenty to appreciate. 3

Bianca: Ughhhhh. Not even the elimination of the banjos made this palatable. I also take away half a point for Youtube's autoplay feature leading to Little Talks. 


The Thrill

[soundcloud width="750" height="200"]https://soundcloud.com/nero/the-thrill-1[/soundcloud]

Zanda: Pretty much exactly what you’d expect from Nero. Appropriately placed vocals accompanying bass-heavy production and dark riffs, with sections of build up that will satisfy most fans of the genre. Nothing special, but a well-produced track nonetheless. 3

Sam: To me this is an Imagine Dragons song disguised as an electronic track. Ok, that may be a little bit far, this is much better than Imagine Dragons but it does have a soft-rock heart. I just find this quite confusing. It’s like a slowed-down hardstyle track that you can neither dance nor head-thrash to. When the instrumental drops out and you just hear the vocals it’s easy to enjoy but apart from that it’s just a bit assaulting. They’re better off when they’ve ramped the tempo up and are going OTT. Promises still remains their greatest triumph. 2.5

Meshell: This is all very loud, genre-confusing and wildly disappointing. I’m talking super basic lyrical content, loud overdone synth and drops that I cannot figure out if they’re meant shove the song into the EDM pile or the shit stadium-rock pile. I felt really uncomfortable playing such a terrible song out loud…what happened to the Nero who won a grammy? 1

Bianca:  The ear-thrashing that follows the drop was definitely not worth the headache. 1.5 

If you feel the need to abuse us for our opinions, you can reach some of this week’s writers below:

Content Director: Sam

Managing Director: Bianca

Contributor: Zanda

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10 Songs You Need To Hear This Week: Kendrick Lamar, Tinashe, Years & Years + More


This is for all those who were too busy listening to Kendrick Lamar’s To Pimp A Butterfly to listen to any more new music. Take some time out and hear the best songs of the week past which actually includes Kendrick too.

Kendrick Lamar
King Kunta

It was a big week for Kendrick this week. We were all waiting until next week for the release of To Pimp A Butterfly but alas it fluttered into our ears early. King Kunta is the most immediately likeable track on the album. It’s Lamar does funk complete with female backup singers and a groovy instrumental. The whole of the LP is politically and socially charged so it’s not surprising that while the instrumental may suggest otherwise, the lyrics tackle everything from ghost writers in rap to race.


M.O. are the freshest girl group around right now and yet they haven’t completely caught their break. No doubt they’ll be hoping for that to change with this feel good anthem Preach. With typically throwback ‘90s vocals, the girls’ harmonies are tight and their solo sections are super smooth. The instrumental is pretty casual so it’s completely up to them to light the flame and they do so effortlessly.

Years & Years

These British lads have finally announced their debut album Communion off the back of their UK number one single King. This track Worship, from the LP, takes it straight to church in a club with a vocally-layered chorus bound for the heavens. Olly sounds silky as per usual while the beat tackles a future bass aesthetic. These guys have served out ace pop tune after ace pop tune and it’s no different here. Another knockout.


RnB’s rising star Tinahse dropped a seven-track EP this week as a thank you to fans. For what I’m not sure given that she’s doing all the work but we’ll take it anyway. AMETHYST was recorded in her bedroom in between tour breaks and sees her serve up more warm tones over some of the tightest production in the game. Ryan Hemsworth takes the reigns on this one and offers a typically skeletal instrumental with a dab of auto-tune on some of Tinashe’s vocals. I get the feeling these two could knock together a collaboration album in two seconds. Make. It. Happen.

[soundcloud width="750" height="200"]https://soundcloud.com/tinashenow/02-wrong[/soundcloud]

Earl Sweatshirt

Rappers are having some bad luck with album releases this year. First came Kendrick’s foiled attempt to release the biggest album of the year on its proper date and now iTunes has leaked details of Sweatshirt’s album before it was meant to. He’s pissed but the good news is now we know we’re going to get new Earl next week. Grief is the first taste and it’s a dark, distressed number with an industrial beat driving the heavy tones that loom over it. Given the title of the album, I Don’t Like Shit, I Don’t Go Outside, and the general feel of this track It’s easy to assume that Sweatshirt is not a happy man right now.

Lupa J
Waiting For Her

We have our fair share of Aussie females killing it with electro-pop right now but somehow each one brings something different to the next. Lupa J is making perhaps the darkest music we’ve heard yet with a brooding vocal accompanied by icy instrumentals made for 5am cityscapes. Her latest Waiting For Her is a haunting track; the type that lingers over you the whole time never quite allowing you to feel settled. There’s an anxiety to it that makes it utterly captivating. It helps that the production is top notch too.

[soundcloud width="750" height="200"]https://soundcloud.com/lupajmusic/waiting-for-her[/soundcloud]

Jhene Aiko
living room flow

Aiko’s slow-burning debut LP is still flourishing in front of me, but she’s already onto making new music gifting us living room flow this week. The song seems to be a one-off release and it easily stands on its own two feet. She’s one of the most sultry singer around and she uses every bit of that to her advantage here, slinking around the beats with impossible ease. “Whatever turns you on, just let me know,” she sings making us all feel as if dating Jhene Aiko would be the pinnacle of life.

[soundcloud width="750" height="200"]https://soundcloud.com/jhene-aiko-1/living-room-flow[/soundcloud]

Set Mo
White Dress (Feat. Deutsche Duke)

We’re already big fans of Deutsche Duke and now we’re also big fans of Sydney production duo Set Mo based off this track. White Dress is a crisply-produced piece of deep house centring around the smooth vocals of Deutsche Duke. The keys married with the throbbing beat is absolute perfection going hand-in-hand with Duke’s imagery of a the girl standing in a white dress. Australia has dabbled with this kind of music commercially but traditionally it’s far more popular in the UK. This could be a top ten there.

[soundcloud wdith="750" height="200"]https://soundcloud.com/setmomusic/set-mo-white-dress-ft-deutsch-duke[/soundcloud]


In the latets instalment of Scandinavians do everything better than most, here is a thumping house track from Norwegian producer Boska. We’ve got a deep appreciation for club tracks that really dig their feet in and go hard and Saviour is one of them. The bass may be abrasive but it’s complemented by warm undertones and vocal samples which up the temperature just a tad. It spends the majority of its 6 minute plus duration working its way into your head and swirling with a delectable repetitiveness which is broken up by brief moments of solace. Saviour will be released via Norwegian label Bolsa Wood and is part of his Cascades EP due for release on 22nd May.

As Real As You And Me

Rihanna is seven albums deep in her career and yet she still hasn’t had a truly classic record. It looks like she’s trying for it on album number eight saying this week that she wanted it to be “timeless”. As Real As You And Me may be for the Home soundtrack but it’s definitely got that classic vibe to it. It’s a piano-led ballad featuring Rihanna’s vocals in all their raspy glory. This is RiRi at her most haunting, gloriously drifting through the keys in a sleek fashion. We’re sure she’s hiding some serious gold nuggest for #R8 but we’ll take this for the moment.


Years & Years Announce Debut Album, Share New Track, 'Worship'


After winning this year's BBC Sound of Award and their single King reaching #1 in the UK charts, Years & Years are the band on everyone's lips. Teasing us with only a handful of songs, the British trio have finally announced their debut LP, Communion, due for release 22nd June. To celebrate the announcement, they've shared a brand new track from the album, Worship. Not unlike their previously released tracks, it's a delicious mix of pop, R&B and house influences, driven by lush synths and lead-vocalist Olly Alexander’s smooth vocals. Check out the new track below, as well as the track list for Communion. 

Read our interview with Years and Years on the pressure of being the world's most hyped band here

[soundcloud width="750" height="200"]https://soundcloud.com/yearsandyears/worship[/soundcloud]

Communion Tracklist
1. Foundation
2. Real
3. Shine
4. Take Shelter
5. Worship
6. Eyes Shut
7. Ties
8. King
9. Desire
10. Untitled
11. Without
12. Border
13. Memo


Years & Years On The Pressure Of Being The World's Most Hyped Band


When you're names being mentioned amongst Adele, Sam Smith and 50 Cent, you know you're doing something right. They are all past winners of the BBC Sound of Award which was awarded this year to British trio Years & Years.

With a sound that borrows elements of RnB, pop and deep-house, Years & Years exemplify the world's current musical palette. Driven by lead-vocalist Olly Alexander's impossibly smooth vocal the band have concocted some of the biggest melodies of the past year. Their latest single King is the band bringing together everything that makes them so great and delivering it in one mighty pop songs, a track that has a good chance at topping the charts in the UK next week. If that happens, you can have no doubt that it will flood Australian radio soon after.

We spoke to bassist Mikey Goldsworthy about the pressures that come with receiving the BBC award, what to expect from their debut album and casually signing autographs in Paris.

the interns: The last few months must have felt pretty crazy for you guys?
Mikey: Yeah, it’s been the most intense year so far and it’s only February.

So the BBC Sound prize was decided in January and since then it’s all been go, go, go I’m guessing?
Yeah, exactly.

Has that award changed your perspective on anything or is it all just business as usual?
It’s very flattering but we try not to let it get to our heads. We’ve got this far doing what we do, making our own decision so we just thought we’re going to keep on doing that.

What about releasing an album. Does it put pressure on you to get that out?
Kind of, yeah. You’ve got to ride the wave a bit. We have finished the album and we’re probably going to release it in June. That will be announced quite soon I think.

It feels like there’s been a trajectory with singles getting better with each release. Did you hold King back for a while on purpose?
Umm, we were actually going to hold it back longer. Like try and put one out, but then we thought we should put our best foot forward. We had written that quite a while ago, there had just been lots of different stages of it. It used to be a bit more mellower but yeah, it’s become that kind of massive song. 

King hits you right away as being a massive song. Did you feel good about it when it came to fruition?
When we recorded that version it felt really good. Hearing it on the producer’s speakers it was like “oh shit.”

What’s the recording process like, does it start with one of you guys on the demo and then the rest join in?
For the majority Olly will write on the piano all these chords and sing it almost like a ballad and Emre does a lot of laptop stuff and beats and he might have something at that tempo so we’ll replace the piano and I’ll come in and put a bass line under it and it kind of just builds from there.

Who is producing the album?
It’s a producer called Mark Ralph. He does Hot Chip and Jagwar Ma. He did a few Clean Bandit songs also. We just work with him. We kind of keep it in house when we write all our songs.

Are there any surprises to look out for on the album?
I did like a theramin solo on one of the songs that made it in there (laughs).

How’d you end up deciding to sign with Polydor? I imagine you would have had a few offers.
It was mostly the personnel. We met Ben Mortimer who takes care of Florence and the Machine and HAIM and Tourist and we got along really well with him and we felt most comfortable with him so that’s why we chose Polydor and they also have an amazing roster. He also works with Shura by the way. 

Do you feel weird looking back on previous winners like Adele and Sam Smith?
It’s really freaky. And 50 Cent don’t forget.

Oh never. I guess the plan for you guys is to follow in 50 Cent’s career?
Eminem’s going to be on the next album. But yeah it’s crazy. If we could even have a little bit of their success then...it’s crazy how well they’ve all done.

How are the live shows going at the moment now you have songs people know?
We played a show in Brooklyn, New York a few weeks ago and they were all singing along. We’ve only released a few singles and it’s just crazy that they know all the words. They even know some of the other songs so they must just be on the internet somewhere.

It must feel like you’re really getting through when people are Youtubing the band to find songs that haven’t even been released yet?
Yeah it’s crazy. We actually just had a really weird experience. We just got to Paris and outside the hotel there were people waiting to take photos of us and get our autograph and stuff. How do they know we’re staying at the hotel.

"We just got to Paris and outside the hotel there were people waiting to take photos of us and get our autograph"

When do you think this all clicked? When did people start remembering your name?
What I’m quite proud of is I think we did it kind of the right way where each single did a little bit better than the last. It’s been building up quite slowly. I can imagine if you had this crazy big number one song you could be thrown into this world. It feels progressively like we’re getting better. It makes more sense that way. The BBC was a huge boost. People did start taking notice of us.

Do you still feel like you’re sitting on some gold after King?
I think so, I don’t want to speak too soon.

The bar's quite high now.
Ah, I think we shot too soon. Damn. Nah, the album sounds great.

Are all the songs written and in their final stages now?
We’ve got maybe one song left to fix up and then it’s done.

What sort of stuff should we expect. The electro-pop style that’s been going on?
Yeah but there will be some slower moments. There’s one with just piano and then there will be some strings on one. There’s a really epic one and there’s a really industrial sounding one so we’ve tried to change it up a bit because we’re quite...I still love albums. I know some people just buy singles these days but I’m still quite a big fan of an album being a body of work.

In that way have you guys really worked on the tracklist and created sonically a story?
Yeah, it’s not a concept album but there’s a carefully selected tracklisting.

Do you guys get to work on the artwork as well?
Yeah we have a big hand in everything like videos, artwork and the photos. We’re kind of doing that process now trying to find the right artwork for the album.

It seems you guys have come from being a blog-buzz band to crossing over to the mainstream. Does that feel good that you’re appealing to two audiences now?
Yeah I think it’s quite important and it’s really good that people like that sort of stuff. I like the DIY aspect of it because all the bands we admire like Little Dragon, even Radiohead, they write their own stuff and do everything that’s the best way to go about it.

Do you feel now with a big label that they’ve seen you can do cool stuff by yourself so there’s a certain amount of creative control they can give you?
Yeah, it feels like that. We did everything up to a point like wrote all these songs and they’re doing really well so they do trust us to write a good song. Like the theremin solo.

How long after you moved to London did it all kick off with Years and Years?
I literally started it the second day I came. I met a guy in a pub and we started making music and then I met Emery through him and we started making music and then I met Olly at, like I used to work in a restaurant, and met him through a friend.

I heard you first heard him singing in the shower. Is that right?
Yeah, true. He was having a house party and I went over and I stayed the night. The next morning he was singing in the shower and I was like oh, he’s pretty good.

"The next morning he was singing in the shower and I was like oh, he’s pretty good."

He’s got quite an RnB vocal. Did that alter your sound at all when he first came on board?
He came in at quite an early stage so he fitted in quite well. We used to play folk music and I was really obsessed with like Beirut and Fleet Foxes and stuff so it sounded nothing like it does now. And then eventually Olly got more into RnB and house and stuff so I got into syunthesizers and Emery got into making beats and after five years it turned out.

What are some of the common influences that you guys agree on?
Talking Heads, Little Dragon, Flying Lotus, Caribou, stuff like that. Kind of like what we’re doing - band-style, electronic music.

Is there anything that somebody in the band really loves and nobody else can get their head around?
I like a lot of metal music like Nine Inch Nails, stuff like that.

Do any of those influences come through at all?
Probably not.

I read that you’re also quite influenced by one of Marilyn Manson’s album as well?
I love Marilyn Manson. That was me. Mechanical Animals is a great pop album. It’s got really good melodies in it. I don’t see it as a crazy anti-christ type album I just see it as a really good pop album. That kind of got me into synths. I think it was Last Day On Earth has a really good synth line and I was like “Ah, what is that instrument?”

For me it feels like sometimes your melodies are so strong that you could place them into any genre.
Yeah, that's what we like to explore. On the album we’re going to put an acoustic version of King on it because it works in many different ways.

Are you guys enjoying the live, acoustic promotional stuff you have to do in the UK?
Yeah, I’m kind of getting into it. When we go to Europe, Europeans seem to love acoustic versions. They love it! I find it less stressful and a little easier to play than those gigs with the big synths because it’s kind of like, what if the computer breaks?

[soundcloud width="750" height="200"]https://soundcloud.com/yearsandyears/breathe[/soundcloud]

What are your plans in the next six months?
We’ve got America in March, I think three weeks, east coast and west coast. April is European shows and then the festival season starts and the album will come out. I’m not sure after that.

Any Aus plans?
Hopefully. That’s my dream to come back and play one of the festivals here. Especially in the summer.


the interns' Class of 2015


The artists to watch in 2015...

Kermit Cintron vs Walter MathysseThanks to Nicki Minaj’s undeniable reign, female rappers aren’t a new thing. In 2014 we had Angel Haze, Azealia Banks, Tink, Little Simz and plenty more show that they can rap just as fiercely as the boys. Dej Loaf isn’t an aggressive rapper. She’s a finessed rapper. One that trades in ferocity for subtlety, carefully weaving her raps around delectable melodies in the way that Drake does when he trades rapping for singing. She too, flicks between rapping and singing meaning that even her harder tracks have a warmth to them. Try Me peaked within the top 50 in America after Drake quotes its lyrics in an Instagram post. It takes more than that though, to get audiences to fork out money for a song. The song’s got to have personality. And Dej Loaf’s songs have plenty of that.

Kermit Cintron vs Walter MathysseThe PC Music Soundcloud label was a revelation in 2014. It sounded like the future but it also reeked of ‘90s nostalgia, like Siri meeting Sega. One of the artists on that Soundcloud that churned out consistently brilliant material was Hannah Diamond. Best described as a digital popstar, she is the best one to carry the PC Music movement further. While tracks like Attachment and Pink and Blue were a little polarising (for those not already enamoured by PC Music), Every Night, dropped in the dying months of 2014, has the appeal of a bonafide pop smash. Just like Hey QT, it takes the foundations of a pop song (sugary verse, big, bass-heavy chorus) and runs it through the PC Music filter. She’s confusing, enticing and addictive. All of which lead to one action: repeat.

Kermit Cintron vs Walter MathysseThere’s one Like A Version that stands out firmly in our minds this year and that’s Peking Duk’s. Not because of Peking Duk themselves but because of their feature artist JOY. The 17 year-old from Brisbane who steadily grew her profile in 2014, stole the spotlight with her vocals on a cover of Kylie Minogue’s, Can’t Get You Out Of My Head. Like Kylie, JOY. doesn’t have a big voice, but she has a great one. It’s smokey and ethereal, best delivered atop shimmering electronic beats. Her solo work is just as impressive. Stone, is a brooding, after-dark number with brass stylings while her cover of Drake’s Marvin’s Room is haunting. With the right producers around her, JOY. could churn out some of the best material to come out of Australia in 2015.

Kermit Cintron vs Walter MathysseWe are severely craving a new record by Grimes, but we may now have somebody capable of delivering something just as good. KU?KA is the moniker of Laura Jane Lowther from Perth who’s making, haunting, after-dark tunes built on interesting electronic landscapes. She has a bit of Bjork running through her veins, meaning she treads a careful line between heavenly and hellish. She just keeps getting better and her latest track, Divinity, is her most accessible yet. It’s a twinkling pop song that allows us to hear the different textures in her voice as she weaves her way through a slinky melody. It’s hard to remember the last time we had a female artist in Australia with the potential to be as captivating as KU?KA could be.

Kermit Cintron vs Walter MathysseIt seems for the moment, that electronica in 2015 will continue to head down the path of kitsch and kawaii, but one producer that defies that is Seattle producer, Lucas. Lucas has the stamp of approval from Ryan Hemsworth and has littered 2014 with atmospheric, dark electronic songs that have captured the spirit of lo-fi indie rock. His remix of Hemsworth’s, One For Me is one of the most heartbreaking things we heard all year and his contribution to Secret Songs, Keep U Warm struck us with its effortless warmth. Amongst all those saccharine tracks, we may just need some melancholy to bring us back down to earth. Lucas is the man for that job.

Kermit Cintron vs Walter Mathysse“Really how long till the world realise/ Yes, Yes, I’m the best fuck what you heard”, Shamir declares on his debut single for XL Records, On The Regular. It was a latecomer for the best single of 2014- an unexpected, pop manifesto which introduced him to the music world with the same youthful energy as Azealia Banks in 2014. In 2014, this Las-Vegas artist released his disco-tinged EP, Northtown, and then followed it with On The Regular which would’ve sounded completely out of place on the EP. What’s so exciting about Shamir in 2015? We have no idea what road he’s going to take, but he’s nailed so many genres at this point it doesn’t really matter. We’ll see how long it takes until the world realises he’s the best fuck, but we suspect it may take less time for them to see him as the greatest thing to grace pop in 2015.

Kermit Cintron vs Walter MathysseWe heard a lot of wispy female artists in 2014 and quite frankly we’ve grown a little bit sick of it. So many of them slip into the mundane, without any emotional commitment. London songstress, Shura, is an artist who does none of the aforementioned. In 2014, she dropped three perfect, dimly-lit pop songs (Touch, Just Once, Indecision) and made us fall in love with her careful melodies and finessed lyrics. Her first single, Touch, remains her greatest asset at this point. “There’s a love between us still but something’s change and I don’t know why”, she sings with the intimacy of two naked bodies standing side by side. Her latest single, Indecision, proves she can bring a bit of nouveau-disco funk to the table, making us even more excited for an album which will probably break our hearts.

Kermit Cintron vs Walter MathysseIt seems that the traditional singer/songwriter is back in vogue, if the success of Hozier and George Ezra is anything to go by. Tobias Jesso Jr. is a far more subtle, nuanced songwriter than the aforementioned with the voice of John Lennon. There’s nothing tricky about Tobias Jesso Jr. When you’ve nailed the melody and have the vocal chops to deliver, sometimes all you need to do is sit at the piano and churn it out. It worked for Lana Del Rey’s Video Games and for Bat For Lashes’ Laura. His greatest opus, Hollywood, matches the strength of those two songs. For six minutes he sits at a lonely piano, lamenting about whether showbizz is worth it: “I don’t know if I’ll make it/ and I don’t know If I should”. His debut album, Goon, is out in March and we’re expecting it to be timeless.

Kermit Cintron vs Walter MathysseCalifornian rapper Vince Staples has been releasing tracks since 2012, but 2014 felt like the first year he truly made an impact. The 21 year-old released his EP, Hell Can Wait, which was a vicious display of industrial beats and a relentless flow. Blue Suede sounds like an alarm piercing at the ears, yet somehow manages to draw you in with a simple hook and aggressive verses. Staples is the kind of rapper who will release an album like Kendrick Lamar’s Good Kid Maad City, rather than play a feature rapper to popstars. There’s only one guest spot on the EP and that’s because he’s a rapper with enough skill and charisma to hold the show himself.

Kermit Cintron vs Walter MathysseThis British three-piece chipped away at the music scene, track-by-track in 2014. While there was some brilliant material, none of it really tore apart the charts in the way that it should (their single, Desire, deserved far more attention). That’s not to say Years & Years are a band that have been manicured by labels for a hit. This is a band that will reach the top of the charts purely on the strength of their tracks. Their latest single, King, seems to be the one poised to do that. Their perfect amalgamation of soul, pop and dance genres makes them susceptible to a number of different audiences- the type of band we could see playing Laneway Festival the same day they were interviewed by Kyle and Jackie O.



10 Songs You Need To Hear This Week: Action Bronson, Joey Bada$$, Charli XCX + More

Kermit Cintron vs Walter Mathysse

...And we’re back into it. 2015 is well and truly here and the new music is rushing once again. It seems, however, that the only musicians not taking an extended break is rappers because they are unleashing music like nothing else. Joey Bada$$ has an album dropping, so does Action Bronson and ILOVEMAKKONEN seems to release new music every 23 minutes. Here are 10 songs you must pass by your ears this week.

Future Brown- Room 302 (Feat. Tink)
Future Brown is an electronica supergroup of sorts and they seemed to have mustered up a nice musical friendship with Tink. She featured on their debut, Wanna Party, and now returns for Room 302, the opening track off their forthcoming record which is out February 23. Room 302, is an after-dark banger that does for Tink what Shlohmo did for Jeremih.
[soundcloud width="750" height="200"]https://soundcloud.com/future-brown/room-302-feat-tink[/soundcloud]

ILoveMakonnen- Super Clean
Super clean probably best describes the style of production on the latest track by iLoveMakonnen. It’s the slickest thing he’s done yet, characterised by an aqua-inspired synth. It actually sounds like the type of thing you would hear on Tinashe’s debut album, which incase you haven’t heard it, is a very good thing. As for iLoveMakonnen he just does his thing. He sounds a little drunk and maybe a little high. It’s all good.
[soundcloud width="750" height="200"]https://soundcloud.com/noisey/ilovemakonnen-super-clean[/soundcloud]

Sam Smith- Leave Your Lover (Motez Remix)
Just about every producer on earth has picked up on the fact that Sam Smith’s voice is very suited to a dance-beat (thanks Disclosure). Motez has taken on Leave Your Lover off Smith’s criminally ignored debut, In The Lonely Hour. He takes the track straight to the clubs, laying down a deep-house beat and chopping and screwing the vocals for some great climaxes.
[soundcloud width="750" height="200"]https://soundcloud.com/motezmusic/sam-smith-leave-your-lover-motez-remix-sutured[/soundcloud]

Action Bronson- Actin Crazy
Action Bronson cancelled his Australian tour for the 401st time this year to concentrate on finishing his album, Mr. Wonderful. While we’re sure many disgruntled Australian fans would disagree with that title, there’s no denying that Actin Crazy is a very good song indeed. Bronson has borrowed Drake’s producer Noah 40 Shebib for a demure, melodic beat that he runs all over with his characteristically aggressive rapping.
[soundcloud width="750" height="200"]https://soundcloud.com/actionbronson/action-bronson-actin-crazy[/soundcloud]

Years & Years- King
We’re still not quite sure why Desire wasn’t a huge hit, but it took everybody about five years to realise Charli XCX was brilliant, so we’ll have patience. King, however, is an absolute banger and if it’s not picked up by radio everywhere then we’re going to have to have words. The vocals are, as always, silky smooth and the instrumental is inspired by the tropics but also planted firmly on ‘90s dance floors. This is the type of song that everyone will forget and then in 15 years it will be played on a golden oldies radio station and commuters will simultaneously lose it.
[soundcloud width="750" height="200"]https://soundcloud.com/yearsandyears/king[/soundcloud]

Susanne Sundfør- Delirious
The last time we heard Norwegian songstress, Susanne Sundfør, she was trilling all over Royksopp’s Running To The Sea. It was a dark, sordid affair, but her latest solo track Delirious is far more effortlessly enjoyable. It starts with dark, brooding vocals and we instantly fear we’re headed back to the sea, but then this strobing bass sets in and she delivers one hell of a chorus. She says she wanted to write a “cinematic” song and she’s done exactly that. It’s an expansive, lush pop song.
[soundcloud width="750" height="200"]https://soundcloud.com/susannesundfor/delirious[/soundcloud]

Dan Shake- Out Of Sight
The dancefloor has become such an intellectual place with all these producers laying down intricate melodies and vocal melodies that are not so much to be enjoyed as they are considered. It’s refreshing to hear a producer go four-to-the-floor and produce an instant classic which is exactly what Dan Shake has down with Out Of Sight. The track meshes together live instrumentation with electronic elements, taking us back to the days when Detroit Techno rained supreme.

The Fader is hogging it, so you'll have to go here to listen.

Jimmy Napes- Give It Up
You may not know of Jimmy Napes by name but chances are you’ve heard plenty of the songs that he’s written. He’s served up songs for Disclosure, Sam Smith and Mary J. Blige, to name a few, and now he’s stepping out on his own, prepping an EP for March, The Making Of Me. Give It Up is our first taste of the EP and sees him team up with half of Disclosure (we’re not sure if it’s who Azealia Banks would classify as the ugly one or not). The track is a straightforward, RnB-pop tune and shows that he’s got some serious vocal chops.
[soundcloud width="750" height="200"]https://soundcloud.com/jimmynapes/give-it-up[/soundcloud]

Joey Bada$$- Teach Me (Feat. Kiesza)
We saw Joey Bada$$ at Falls Festival over New Years and we’re pretty sure that he doesn’t need Kiesza to teach him how to dance, but she’s giving it a shot anyway. Teach Me is a bonus track on his forthcoming album, B4.DA.$$ and is pretty different from anything he’s done in the past. It sits firmly in the lane of pop and has the potential to be Joey’s biggest hit to date. Is now a good time to contemplate why Kiesza hasn’t had much success since Hideaway? The girl’s on fire.
[soundcloud width="750" height="200"]https://soundcloud.com/kanyetothestream-1/joey-badass-ft-kiesza-teach-me[/soundcloud]

Charli XCX- Doing It (Feat. Rita Ora)
Charli XCX’s, Sucker, came out in December for much of the world, but she’s making the UK sweat it out until February (probably because they were one of the only countries not to send Fancy to number one). As a gift for sticking in there, she’s added Rita Ora to one of the highlights of the album, Doing It. The two singers actually sound quite similar so it’s a really difficult spot the difference between the original and this. But if this is what it takes to get her a number one, then so be it. We couldn’t care less if she threw Celine Dion on the track as long as people got to hear XCX. She's coming to Australian shores in April, head here for all the details.
[soundcloud width="750" height="200"]https://soundcloud.com/charlixcx/charli-xcx-doingit-ft-rita-ora[/soundcloud]

If you can't be bothered reading, cut straight to the chase below:



10 Songs You Need To Hear This Week: Major Lazer, George Maple + Cosmo's Midnight


This week, Kim Kardashian exposed her body all to #breaktheinternet. People say that sometime it's harder to bare your true feelings and opinions than stand naked. In the interest of that, we’re going to show true bravery and give you our 100% honest opinion on what the best songs of the week were. Here’s hoping we #breaktheinternet.

Jessie Ware- Keep On Lying (TOKiMONSTA Remix)

There’s been about 53 remixes of Keep On Lying released this week thanks to Red Bull Studios who had artists from Pional to Nina Kraviz remixing the song. This one by TOKiMONSTA is our favourite one though. It’s a bubbling masterpiece that chops and changes tempo and switches between Ware’s original vocal and vocally manipulated samples. The song is great on Tough Love, but this breathes new life into it.

Blende- Running (Feat. Gustaph)

We already know the Swedes know how to craft a melody or two and this track by London-based Swede, Blende proves that fact once again. He’s recruited the vocals of Gustaph from Hercules & Love Affair for a funky number that glitters like a Donna Summer cut. It’s crisp, electro-funk that is just calling for some bouncing dance moves.

[soundcloud width="750" height="200"]https://soundcloud.com/eskimorecordings/blende-feat-gustaph-running-4[/soundcloud]

TĀLĀ - Unfinished Business

It’s true, TĀLĀ had unfinished business and by that we mean she was yet to drop the final track from her Alchemy EP. That track is infact aptly titled Unfinished Business and is another tightly-produced, innovative track. It sees TĀLĀ dabble in drum n’ bass influences with her voice hovering above in a haze of reverb. TĀLĀ’s expertise is in crafting songs with lots of noise but a killer melody at its heart. That’s the stuff you can really sink your teeth into.

[soundcloud width="750" height="200"]https://soundcloud.com/talaofficial/unfinishedbusiness?in=talaofficial/sets/alchemyep[/soundcloud]

George Maple- Vacant Space

Talk Talk was enough to stamp Aussie vocalist George Maple as one to watch but her latest, Vacant Space launches her to the stratosphere. Seducing with those dusky vocals, she ushers in a stomping dance beat that bubbles under for the entirety. Behind it, she whispers and hushes creating this dim-lit atmosphere that’s warm and encompassing. We can’t remember a song that was this good by an Australian female vocalist in a very long time.

[soundcloud width="750" height="200"]https://soundcloud.com/george-maple/vacant-space[/soundcloud]

Major Lazer – “All My Love” (Feat. Ariana Grande)

We’ve never seen Hunger Games but we’re taking an unusually active interest in the latest film thanks to the Lorde-curated soundtrack. The latest track to drop off it features 2014’s queen of pop teaming up with Major Lazer for an absolute stomper. It’s one of the less-manic creations from Major Lazer, with Grande’s pop voice and melody taking total control. We weren’t aware that there was a dancehall scene but we’re so up for dutty dancing in the cinema.

Jones- You

London newcomer Jones dropped her debut track, Deep, last month and immediately drew comparisons to Solange but it seems on her latest track, You, she’s setting out to dispel that. Produced by A.K. Paul (who should probably not be referred to alongside his brother any longer), the track is an innovative, industrial RnB track that sees her really go for it vocally. It doesn’t have the immediate appeal of You but its longevity will surely be greater.

Cosmo’s Midnight - Snare (Feat. Wild Eyed Boy)

We’ve been waiting for a minute for a new track by Sydney duo, Cosmo’s Midnight, but finally we’ve got something new from them. Snare is the new track in question and it’s a cruisy track that’s caught up in the clouds. It’s one of those slow-burners that just hovers in your head, slowly working its way into your psyche. Keep them coming, Cosmo’s Midnight, don’t leave us hanging so long.

[soundcloud width="750" height="200"]https://soundcloud.com/cosmosmidnight/cosmos-midnight-snare-feat-wild-eyed-boy[/soundcloud]

Chiefs & Nick Acquroff- Inside Out

In terms of new Australian music, this cut by Aussie producer Chiefs and Sons et al vocalist Nick Acquroff would have to be our pick this week. With the same kind of chemistry that Flume and Chet Faker fell upon, the pair have turned out a dense, melodically-sound track that peaks and troughs perfectly, both vocally and instrumentally. Inside Out is from a forthcoming EP that’s out next Friday, thank goodness.

[soundcloud width="750" height="200"]https://soundcloud.com/die-high/chiefs-nick-acquroff-inside-out[/soundcloud]

Wills- Going Through It

These days electronic-RnB floods our inbox everyday. It’s hard to find one that really stands out but when it does it’s a goosebump moment. Going Through It by enigmatic Bronx artist Wills, gives us that exact moment. It’s a confident, accentuated tracks that delivers a startlingly aggressive alongside silky smooth vocals. This is perhaps what Frank Ocean would sound like if he wasn’t a dedicated minimalist.

[soundcloud width="750" height="200"]https://soundcloud.com/willsslliw/wills-going-through-it[/soundcloud] 

Years & Years- Memo

God damn the vocals of Years & Years just get us everytime. Memo is the b-side to their latest single Desire and it’s a slow-burning stunner. It’s good to hear the group stripped-back and really testing out those vocal chops. Splendour In The Grass should take note and book these guys know, it’ll be one of the most sure-fire bookings of the week.

[soundcloud width="750" height="200"]https://soundcloud.com/yearsandyears/years-years-memo[/soundcloud]