Another week, another few hundred (maybe even thousand) new singles to get into your earholes. We know it’s hard work, so we’ve done it for you! Check out a list of the best new songs from this week below:
PLGRMS, Fools And Their Gold
What do you get when you combine an exceptional singer-songwriter and a multi-instrumentalist/songwriter? Something like Sydney based duo PLGRMS, and their stellar new single, Fools And Their Gold. Indie pop at it’s darkest and most brooding, with a hint of mystery and intrigue, PLGRMS have really stepped up to the plate with this latest song. Following on from their previous single, Pieces, PLGRMS are just so damn impressive here. With so much going on, it’s a dynamic exercise that pairs flutters of percussion with heavy drums and staggered synths, all swirling together in harmony whilst vocalist Jacob Pearson’s stunning voice soars over the top. It’s a dream.
ABBE MAY, Are We Flirting?
Abbe May returns! And she’s got even more sass than ever before. Releasing Are We Flirting? to herald her arrival back on the scene and in our ears, this features a swaggering bassline, erratic percussion and intermittent electronic noises firing off whilst her voice shows off an impressive range effortlessly conveying her lyrics with just enough seduction to keep you hooked, but a certain nonchalance like the sonic embodiment of the “swerve” emoji (you know the one, with her hand at her shoulder smiling with her dead, not-caring eyes). Coming back after a triumphant battle with serious health issues that saw an untimely departure from the scene when it looked all but hers back in 2013, Abbe May is hungry to pick up where she left off, and Are We Flirting? (and by extension, her forthcoming record, Bithcraft) are definitely going to see her get there.
SAATSUMA, Floating
Saatsuma is a collaboration between Melbournites Memphis Kelly, Cesar Rodrigues and Joel Ma, and their latest single, Floating, is a beautiful take on solitude and the feelings that come with insomnia. Themes that are normally dark and alienating are given new life by Saatsuma, thanks to hypnotic electronica and soulful, enchanting vocals in this song, and proves the group aren’t afraid of tackling big issues – or their realities. As someone who struggles with these issues a lot, it hit particularly close to home, but it was more like a hug than a hit, and that’s exactly what you need sometimes. The trio are an exciting addition to Melbourne’s sonic landscape, and it will be really great to see where they go.
High Water, Changed The Locks
Released via Nicolas Jaar’s OTHER PEOPLE label, this bad boy is about the strangest song you would have heard this week. Described as “a mongrel, electro-acoustic jazz” in its press release, it’s the twisted brain child of one Will Epstein and is an experimental aural journey from start to finish. With pained, impassioned vocals over guitar loops and tinkering drums, Epstein sounds like a more electronic Nick Allbrook. Not down to compromise himself or his sound one bit, it’s one month until the release of his forthcoming debut album, Crush, and it’s shaping up to be a remarkable release indeed. Taking inspiration from his labelhead, Jaar, Epstein plays and experiments with sounds in a way that surprisingly works, combining a kind of controlled chaos that isn’t pulled off by just anyone. No, Epstein is onto something really good here, and Changed The Locks is a shining example of whatever it is he is trying to do.
Soto Voce, Better
Better is Soto Voce’s first single EVER, and it’s so impressive you’d think they’d have been in the game for much, much longer. It’s a slow burner, erring more on the pop side of the R&B spectrum, but captures a certain emotional element that is often missing from this kind of style. As it goes along, it continues to unravel itself revealing from brooding R&B to a soulful build before unleashing into a buzzsaw synth breakdown. It’s expansive, immersive and irresistible. It’s also incredibly ambitious and will serve them very well for future releases. I have very high expectations for this Oakland duo!
Arthur Wimble, It Breaks
Just one week out from the release of his debut, Hearts, the elusive Arthur Wimble has shared one more cut in the form of It Breaks. Pairing glitchy, upbeat, computerised beats with modulated vocals that almost moan the hook, Wimble plays with so many different sounds and styles, whilst keeping it tight and refreshing – always keeping an arm’s length from the fray on standard producers that make this kind of pixelated dance music. Out via tastemaker label TEEF Records next week, Hearts is looking set to see Wimble start to get some widespread acclaim, so I’m not sure how much longer he can try to remain elusive for. Enjoy it while you can Arthur!
Young Greatness, Moolah Remix Ft. Yo Gotti & Lil Wayne
Mhm, this is a banger. Chasing those dollar bills comes naturally to these three, and together they hustle hard. The song is a bright, sunny banger; all three of them rapping about their love of all things $$$ with huge smiles on their faces. Recognising their struggle in the come up, Yo Gotti and Lil Wayne inject fresh life into the original, with their verses about getting “back in the kitchen for that moolah,” and being a “chef and a jeweller.” It was initially suspected Young Thug was going to share his own remix after teasing it online, and whilst that would be pretty great as well, Yo Gotti and Lil Wayne will do us just fine!
Unknown Mortal Orchestra, First World Problem
Unknown Mortal Orchestra share their first single since their 2015 widely acclaimed album, Multi-Love, and whether it was what fans were hoping for or not, their slightly more dance-y direction has been amped up in this new single. Titled First World Problem, it is definitely one of their most fun singles, all upbeat and groovy. It’s in the same vein as Can’t Keep Checking My Phone where it’s a total earworm that has an irresistible hook, and is exciting if it is signifying a slight deviation from their usual psych sounds. Although I never really pictured UMO being a must-have in a party playlist until last year, they’re doing a great job at making sure they stay there!
Bugs, Pretty
Brisbane band Bugs shared their latest album this week, and it’s yet another example of how strong the scene is in Brisvegas. Fronted by the prolific Connor White, who is involved in more bands/projects than I’ve had hot dinners, pop punk has never sounded so good. His deft lyricism is paired with in your face guitars and explosive choruses, and some lovely thrashy drums. With an impeccable knack for making really great songs, Bugs and by extension White lay down another impressive tune here in an album absolutely brimming with them. With a consistent output of quality music, Bugs are gathering a loyal following around their hometown, but it’s only a matter of time before that extends beyond and out into the rest of the world.
Cleopold, Not Coming Down
Cleopold burst onto the scene last year thanks to some fantastic singles and a few guest features (one particular one on a Miami Horror single), but he seemed to have disappeared towards the end of the year. Now it’s been revealed he was busy working on his soon to be released debut EP, Altitude & Oxygen – the first taste of which we have heard this week! Titled Not Coming Down, Cleopold’s new single is a reminder of everything he is about and everything he can do: exciting, upbeat electro beats, a stunning voice and deft lyricism that still fit in the pop world. Out June 10 via Chet Faker’s Detail Records, this could be the year of Cleopold, and I’m already loving the sound of it.
https://www.youtube.com/watch?v=65zXUif2QvQ
London band Arthur Beatrice release their sophomore album today, and our anticipation is high. From the slew of singles we’ve heard so far, Keeping The Piece is set to make its mark on the sonic landscape of 2016 with its poppy yet ethereal feel and penchant for big drums – not to mention sensational vocals.
Their latest single, Since We Were Kids, is a kaleidoscopic blend between Florence + The Machine and CHVRCHES, with even a touch of the sound our own Jezabels work in. Dramatic and captivating, the band show that their debut was no flash in the pan, and that they are here to stay.
To get to know them a little better, we asked the group about three albums which have changed their lives. Check out their answers below and jump on their sophomore record, Keeping The Piece today!
Destiny’s Child, Writings on the Wall
This is the first CD I ever bought and remains one of my favourites of all time. I think I drove my mum nuts with it, it was in the car on the way to school, in my room, morning noon and night. I’ve still got the disc, its scratched to bits but I’m not throwing it away, its such an important childhood memory for me. The production and song writing is insane and everything just wants to make you dance like you don’t have a care in the world. Beyonce is a force to be reckoned with, I’m still such a massive fan. My best mate and I managed to catch her at the O2 and cried, we fully lost it. Her voice has been the soundtrack to so many stages of my life its hard to pinpoint a particular moment but this album is where it all began.
https://www.youtube.com/watch?v=sQgd6MccwZc
https://www.youtube.com/watch?v=NiF6-0UTqtc
Bon Iver, Bon Iver
Justin Vernon’s voice is so hauntingly beautiful it makes my hair stand up every time I hear it. We’ve always been influenced by his music and it was so surreal to be able to play before him at Midi Festival a couple of years ago. The album feels so immersive and you can hear the personalities of each individual instrument. For me, this was the soundtrack to our first tour, we did a lot of driving and I’d put this on and stare out the window. It’s that kind of record, so expansive yet heart-breakingly lonely and personal, there have been a few times I’ve sobbed through it. Beth/Rest is an amazing way to end an album as it just sounds like the closing scene to some tragic romantic film.
https://www.youtube.com/watch?v=TWcyIpul8OE
https://www.youtube.com/watch?v=9UtQe0JOCnM
Radiohead, In Rainbows
Orlando and I skipped school to see them play this in Victoria Park… We got away with it but I would have taken full punishment if we had gotten caught. They’ve achieved that rare thing of making an album that’s super emotional but without losing the energy that keeps the whole thing moving. All the rhythms are rapid but jazz oriented and mix electronics and acoustic instruments so well that it’s somehow loose and tight at the same time. It all combines perfectly with the lyrics feeling familiar but not too simple and the melodies always emotional but never too sweet. Its one of those albums that I just sit and listen to the whole way through and just soak it all in.
https://www.youtube.com/watch?v=8nTFjVm9sTQ
https://www.youtube.com/watch?v=kPWvpDm076o
There is no question that Ngaiire is becoming one of the most exciting artists in Australia right now. After a whirlwind trip to the US for CMJ earlier this year, she has come back with guns a-blazing in the lead up to the release of her second album, Blastoma. Having quickly jetsetted around the country at the start of the month for Groovin’ The Moo and announcing an upcoming tour of her own, it’s safe to say Ngaiire is only just getting started – and her latest single, House On A Rock, is her best release yet.
With thick synths buzzing to open the track, the electronic influence is much stronger in this one than previous singles like Once, Diggin’ and I Can’t Hear God Anymore. With almost garage-y/footwork drums, her native soul and R&B elements are still very strong here, particularly in the verses but overall this is much more danceable and almost liberating to listen to. Set to be an absolute stand out for her upcoming tour, her soaring chorus and catchy loops add to the impressive nature of the song.
But, although on first listen to may make you think otherwise, this is no positive, good vibes song. With lyrics like “Living on ‘I love you’s and recycled prayers,” Ngaiire puts her poignant lyricism to task once again here, managing to effortlessly capture the frustrations and disappointments of love and loss. Blastoma is looking set to be one of the best Australian releases of the year, and it’s singles like this that will see Ngaiire take her (very well deserved) place as one of the most recognisable and interesting home grown artists in recent times.
Blastoma is out June 10.
See more: Read our interview with Ngaiire
BLASTOMA NATIONAL TOUR
Supported by triple j
Sat 11 Jun // Peak Festival, Perisher Valley
Fri 17 Jun // Fat Controller, Adelaide
Sat 18 Jun // Jack Rabbit Slims, Perth
Fri 24 Jun // Karova Lounge, Ballarat
Sat 25 Jun // Northcote Social Club, Melbourne
Sat 02 Jul // The Foundry, Brisbane
Wed 06 Jul // Festival of Voices, Hobart
Fri 08 Jul // Oxford Art Factory, Sydney
Sat 09 Jul // Transit Bar, Canberra
Also catch her at Splendour In The Grass
Image: Supplied
Perth band The Love Junkies have had a cracker of a year so far. After setting SXSW alight with their rocking tunes, they’ve now come home with a new song and a new tour to show everyone here what they learnt across the pond. Titled I Had A Party Once, it’s a tune about a “shitty romance and all the repercussions,” says lead singer Mitch McDonald. “Bad decisions made under the influence always make for good song writing.”
Already a few dates into their national tour, The Love Junkies head to Brisbane tonight before wrapping up in Sydney and Melbourne over the weekend. Set to be one hell of a party at each show, we asked the band to give us the low down on their must-have items for their ultimate party survival guide. Check out their answers below, and keep these in mind for your next party (especially the dog).
1. Always bring a puppy – the ultimate wingman. Especially if it can skateboard
https://www.youtube.com/watch?v=R8XAlSp838Y
2. King size rollie papers – to roll massive durries for all your friends.
3. Swag (both kinds) – for looking cool AND sleeping.
4. Aux chord – because no one ever has one and then you get to control the music and play all your favourite power ballads from the 80s.
5. Manners – so you can ask politely for another export craft beer when yours have run out.
6. 10 bucks worth of goldies – so you can buy 1 can of overpriced export at the closest sickest dive bar after all the beers have run out, and the cops have come to bust up the party.
The Love Junkies tour dates
Thursday May 26th – Brisbane QLD – Black Bear Lodge
with Walken and Deluso
Friday May 27th – Sydney NSW – Brighton Up Bar
With Maids and BadTooth
Saturday May 28th – Melbourne VIC – The Workers Club
With Skyways are Highways and Ohms
Tickets available via venues or www.thelovejunkiesmusic.com
Images: Supplied
When Flume shared his album details and tracklist for his new record, Skin, there was one song that particularly stood out to me. One featuring Beck. It struck me as a really unlikely collab, but one I had high hopes for given how talented both are in their own rights, as well as how great they both shine when collaborating. Now, with just one day to go until the release of Skin, we finally have confirmation that this collab track is all we had hoped for.
Titled Tiny Cities, Flume shared this latest cut on Zane Lowe‘s Beats 1 show overnight. After a brief chat with both Flume and Beck about how the track came about (with Harley very casually saying he just “caught an Uber” to Beck’s house, because that is a very casual, every day thing to happen), it was pretty clear that this was no ordinary collaboration. Citing both Beck’s tradition, almost old-school approach juxtaposed with Flume’s new school tinkering with computers and programs that come naturally to him, the pair spoke about how they “captured” something special from both of these approaches. Also Beck talked about how he “just ran around the house singing a bunch of random things in gibberish.” Mmm yes.
What we have is a slower jam than the last few singles that Flume has released. Big drums and high pitched vocal lines fill out the song whilst Beck’s voice is sublime singing his lyrics. About half way through though, we’re thrown into a huge bassy, trap breakdown as Flume’s instrumental part grows bigger and bigger. It’s very different, and somewhat unexpected given the more pop-oriented stuff we have heard from Skin so far (Never Be Like You and Say It in particular) and is making me very excited for what else we can expect from Skin (which is out tomorrow via Future Classic).
Catch Flume at Splendour In The Grass in July, or on his huge tour at the end of the year. Dates below!
Splendour In The Grass 2016:
Friday 22, Saturday 23, and Sunday 24 July
North Byron Parklands – 126 Tweed Valley Way, Wooyung
Flume Tour
November 25 | Perth, WA | Perth Arena
December 1 | Brisbane, QLD | Riverstage
December 9 | Sydney, NSW | Qudos Bank Arena (formerly known as Allphones Arena)
December 15 | Melbourne, VIC | Sidney Myer Music Bowl
December 17 | Adelaide, SA | Adelaide Entertainment Centre
Image: NME
The Tambourine Girls have been around for a little while now, but they’re really starting to make some waves with their latest single, Police. Taken from their forthcoming debut album out later this year, the band is comprised of members from Deep Sea Arcade, the band have hit the ground running this year.
Building on the groundwork they laid out with their 2014 EP, The End of Time, they’re drawing even further on their 70s influences and amping up the nostalgia-tinged psych rock with their latest release and we are expecting huge things to come from them over the next few months.
Having hit 150,000 plays in Spotify in just two weeks, and nearly selling out their single launch, it’s clear that it is not just us here at Howl & Echoes who think The Tambourine Girls are onto something good, so we asked them to give us the inside scoop on some of the records that changed their lives. Keep up to date with them on their Facebook here, and check out their answers below!
https://www.youtube.com/watch?v=9NDR1XqXURo
Crowded House, Together Alone
I wasn’t very cool in high school as far as my taste in music went. I liked bits and pieces of what my friends were in to, but the whole time I was pretty much obsessed with Neil Finn. Everything he did seemed golden to me and I wished I’d written all the songs he’d written. I played music a lot but I never thought writing songs was something I’d be able to do (especially when I listened to him) and when I sang, I always sounded like a bad Neil Finn impersonator.
https://youtu.be/lfEZ7VXnRtQ
https://youtu.be/JQErb2CZhCw
Erykah Badu, Mama’s Gun
I bought this record because I liked the album cover, and it was one of the best decisions I’ve ever made. I didn’t know who Erykah Badu was, but this album along with The Roots’ album Do You Want More, ended up being the soundtrack to a great Summer when I was living with some friends in Manly on Sydney’s Northern Beaches. We spent our days on the beach and our nights going to gigs and jam sessions in the city. Erykah Badu is a force of nature. I’ve seen her live show twice now and it’s inspirational to be in the presence of people making music like that.
https://youtu.be/f4mdQtw5wTU
https://youtu.be/Np21rH7Ldto
Bob Dylan, Blonde on Blonde
My parents had a couple of early Dylan records when I was a kid but I didn’t really like his music the first time I listened… It was just a guy and a guitar. Years later, I bought this album and Morrison Hotel by The Doors for a road trip up the coast and fell in love with both, playing them on repeat the whole time (my friends must have hated me). Most of the music that I really love didn’t have much of an impact on me the first time I heard it. In fact, some of it I just plain did not like.
https://youtu.be/WH3_5cq5F_0
https://youtu.be/IW_qMLnbRJw
The world is still grieving after the sudden and devastating death of Phife Dawg. The five foot assassin was one of the most influential figures in hip-hop, and provided so much inspiration to so many people around the world, many artists who we now revere today included. Tributes continue to flow to honour his legacy, and whilst words don’t quite do it justice, they do serve as a way we can remember him as the incomparable, incredible artist that he was.
As revealed on DJBooth recently, a lost interview from 2001 with the man himself has now come to light. Providing a glimpse into not only the state of his promising solo career which he had just embarked on, but also insights into the demise of his group, A Tribe Called Quest and his thoughts on the then-state of hip-hop, it’s a must-read for any Phife fan.
On his solo endeavour (which had recently been released just prior to this interview), Phife spoke about the change in dynamic and how he then only had himself to answer to. He goes onto say that the ideas he worked on for his solo album were in his mind for a long time, but that he had to “chill” as “I wasn’t only representing myself, I was representing 2 other individuals so I always had to hold back on certain things and represent what Tribe was all about.”
“Now that I was on a solo mission, it was all about me, so I put my best foot forward and did what I had to do. It was a little bit difficult of course because you didn’t have the other 2 around to like really conversate on what should go down and what shouldn’t, but at the same time we were a veteran group so it was about that time for me to do my own thing anyway. I think it came at the right time. It just didn’t work out the way I wanted it to.”
Not working out the way he wanted to was also discussed, as Phife previously mentioned before this question that he was not happy with how the release of his album went. “I was happy with it as far as what we achieved in the studio and what we put together, but as far as the marketing and distribution, no I wasn’t happy at all, and it wasn’t the labels fault it was actually the distributors,” citing that the distributors only distributed the record to “40% of the markets.”
“It did well for the markets that it was in but it could have done better and I felt like it was a waste a time basically, and I hate working my tail off and it goes in vain.”
Phife went onto imply that their label at the time, Jive, was part of the reason the group broke up. Saying that the label were “embracing the Backstreet Boys thing and the N’Sync and Brittany Spears thing,” he detailed the tension that stemmed from this. When asked if Jive was the reason for the break, he replied, “Jive is one reason, and at the same time being together for ten years is a very long time. We needed a break so to speak, so we could go off and venture into different things, but it didn’t have to go down the way that it did.”
The interview then delves into the “political bullshit” of the break up, as well as their last album, The Love Movement and Phife’s involvement in it (or lack there of). It’s a very interesting read, and you can see it for yourself here.
Image: DJBooth
In one of the most unlikely pairings in, well, ever, experimental four-piece Animal Collective have shared a new remix today of none other than Bob Dylan‘s quaint, carefree tune Don’t Think Twice, It’s Alright.
Subtle and gentle and totally unlike the erratic insanity of their latest album, Painting With, Animal Collective provide a delicate touch to Dylan’s song. Having been a Dylan fan for most of my life, I am always skeptical of those who try to take on the man and his work in an attempt to put their own spin on it, so I was pleasantly surprised with just how well it worked.
Bird calls and watery, bubbling synths babble below Dylan’s twang. The synths layer upon each other, gentle and restrained as Animal Collective (in particular, members Geologist and Deakin – the two who made the remix) let a little bit out at a time. Instead of a full on aural assault, this remix is actually quite beautiful. Dylan’s lyrics reaffirming lyrics that “It’s alright” are given an almost pretty soundtrack as it slowly snowballs into a percussive, swimming dream before it fades away to some simple static and intermittent bird calls.
The release comes after Bob Dylan’s 75th birthday this week, and is a fitting tribute for one of music’s most influential and loved figures. Although I’m not totally convinced that Bob would enjoy this take, I certainly do and find it a fitting tribute indeed.
See More: Read our retrospective feature on Bob Dylan’s “Blonde on Blonde”
Image: Fact
It was just yesterday that the one and only Snoop Dogg announced a new album was on the way, scheduled for release come July 1. Now, it seems he is hellbent on making that happen and has gone onto share not one, but two new singles. Although his last single prior to this was only released in April, I don’t think it ever gets old seeing fresh music from the one and only S-N-Double O-P D-O-Double G!
First, we have Top Down. Produced by Bongo da Drum Gawd, it’s a Cali song for cruising around with the top down. Looking back on the years when he wasn’t one of the kings of hip-hop, the lyrics recognise the struggle faced in the come up and features some silky smooth singing from vocalist October. That, and a lot of references to weed. #JustSnoopThings.
https://soundcloud.com/snoopdogg/top-down-mix
Next up is Love Around The World. This time tapping Big Bub for some soulful, sensual vocals, Snoop talks about his touring and the extent of his influence. Giving shout outs to “the whole globe” and talking about having “100 fans show up at my door,” Snoop knows he’s the bomb, and now he’s wanting to spread that love that is given to him all over the world.
It’s assumed these two tracks are from his forthcoming record, but that is still yet to be confirmed. Saying yesterday he intended for his new record label, DoggyStyle Records, (which will be releasing his album) intended to release up to 100 singles by August, so it seems they’re off to a good start. Going from that, we can probably expect to hear a lot more from Snoop and his DoggyStyle crew in the coming months – and that is definitely a good thing… as long as there is no more Snoop Lion.
See More: Read our retrospectives “What Ever Happened To Baby Snoop?” Part One and Part Two
Image: Bosslady