Here are the best new songs we’ve heard in the past week, tried, tested and ready for your ears.
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To help tease the project along, the MC dropped new single ‘Pimpin’ last week. Though the Afrobeat label which Sequence has preferred in the past does remain a facete of this new single, the influence of UK Drill and trap is impossible not to the hear.
Triplet flows, varied and disrupted to compelling effect, throughout the chorus set the tone, sanguine in multiple layers of autotune. It’s a melodic hook, an early winner. A guest verse from Galway based MC JugJug dips into Drill flows and delivery, balancing half line and second line rhythmic schemes effectively.
Tight, cleanly produced and melodically engaging Irish hip-hop.
When it rains, it pours.
Fans of boundary-pushing electronica can rest safe in the knowledge that both Four Tet and Caribou will be releasing new albums within a month of each other, spilling from Caribou’s Suddenly in February to Four Tet’s Sixteen Oceans in March. We’re in for a treat.
‘Baby’ the latest preview of Tet’s forthcoming project. One that combines experimental textures, nautic chord swells contrast twinkly synth arps, against the lush melody of the track’s cut-up vocal samples.
There remains the progressiveness and dream state arrangement style of Tet’s most adored material, but ‘Baby’ is largely sugary sweet and doesn’t dean to loose its catchy melody for any extended period of time.
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A gloriously androgynous folk-pop jam from New Jersey native Okay Kaya. Opening lines “Stacy / It really sucks to be your girlfriend / Although you’re a prolific boyfriend / I’m suddenly the center of resentment in your harem” are sung so very sweetly.
Pay What Is Owed
Grime’s coming of age artist Novelist is gracefully maturing into the role of stand-alone MC force of nature. Both single ‘Pay What Is Owed’ and the Inferno EP stand as a testament to the fact.
‘Pay What Is Owed’ is pure malice. Lean, UK flavoured beat with break yer neck speed flows and Rubix cube intricate rhythmic schemes. Sweet.
Canadian folk artist Andy Shauf’s new album Neon Skyline is superb. There are certainly more than a few Paul Simon comparisons that could be made from the album’s arrangements but for me, it’s Shauf’s lyrics which absolutely steal the show.
Take highlight track ‘Try Again’ and its wonderful couplet on the bittersweet emotions one feels when running into a past lover – “Somewhere between drunkenness & honesty/ I make a silent toast to the things I do and don’t miss”.
– Luke Sharkey
Paramore frontwoman Hayley Williams has broken out on her own in a move that is surprising only in how long it took. Glimpses of Williams’ pop potential have always been apparent but ‘Shimmer’ finesses a clear identity and direction for the Tenessee artist. Channelling the glossy electro-pop of Sylvan Esso into a darker offering, ‘Shimmer’ showcases a newfound restraint and subtlety in Williams’ vocals whilst maintaining enough brooding introspection to keep the unreformed emos amongst us happy.
A full-length release appears to be on the horizon this May and it will be exciting to see the next steps Williams takes out on her own.
– Kelly Doherty
Kraut leaning indie pop from London native vocalist, composer and producer Bullion on new single ‘Hula’. For the still moments around Dusk.
‘God Bless’ is gifted to us from Belgian MC Hamza featuring fellow countryman Damso. The beat goes hard and the half English half French lyrics sound super catchy. Can’t make it all out but there’s definitely plenty of flex bars about money.
Australian native Mild Mind’s ‘Movements’ straddles that fine line between club dance music and introspective loner jams. Best of both worlds situation.
New Waxahatchee music is always a treat and ‘Fire’ is no exception to the rule. Continuing the stripped-back approach established on 2018’s Great Thunder EP, ‘Fire’ sees singer Katie Crutchfield swapping in the distortion pedals for a more polished, quieter, adult pop package.
Waxahatchee’s upcoming fifth album Saint Cloud is her first written since embracing sobriety and ‘Fire’ is a journey of self-discovery out of the darkness that feels mature and insightful. It may take some time for fans of Crutchfield’s grungier numbers to adjust to this new sound but it’s worth the stay.