Only three months since the release of his EP 1000, Ben Khan returns with Blade (Tidal Wave of Love) – and it’s good. Really good.

In my review of 1000 I commented that each of the four tracks showcase a sound that is partially rooted in the style he’d already shown us on previous EP 1992. That said, he’s clearly started dipping his toes into a deeper, murkier musical lagoon.

From toying with messier rhythms that don’t strive for clarity on singles like Zenith, and the experimental components of (my personal favourite track) 2022, you can really map out this progression to the dark side.

Blade takes it further, to a whole new level – way down to the basement. You’re enveloped in this glitchy, wompy, misted-over atmosphere, with dirty lyrics and seductively multi-layered vocals. Strange and brooding, but still totally catchy, I’m really excited to find out what’s next for the young UK producer.

I originally wrote this on Indie Shuffle

I came across Ben Khan last year after the release of his four track EP 1992, and from the very first listen I was hooked. His unique penchant for soulful, funky electronic tracks with incredible melodies and guitars that reminded me of Dave Harrington’s work in Darkside were infectious to the point where I’d play it on repeat, multiple times a day.

So as you might expect, I was over the moon to hear that a brand new EP was on its way. And now it’s here. 1000 is really interesting. You can certainly hear progression since his last release, while he’s retained a sound that I dare call his ‘signature.’ Each track showcases something entirely different from the others, and each track is remarkable.

Opening on title track 1000, the shuffling beat is a little muddier, and a lot more subdued than what I’d come to expect. The swift beat and bluesy bass get you in the mood, before the deep and super playful melody comes in. It’s a lighthearted way to kick off the record, setting the scene, getting you in the mood. From here, we move on to the slow and sultry Red, slathered with a deep, crackly bass and bubbly funk guitars. The vocals kind of take a backseat here, intertwining with the other layers rather than taking the lead. The sensual, velvety atmosphere has a shady edge to it, one which I certainly wasn’t expecting, but one which I really love.

Second single Zenith continues in that understated vein, but at the same time it’s the closest sound to his earlier tracks. In fact, I wouldn’t be surprised if he’d written this one closer to the release of 1992. The rich vocals are catchy and full of soul, while the beat immediately pulls you into a serious groove. Satisfyingly bluesy, while still bright and funky, it’s really hard not to dance to this track!

At just under two minutes, EP closer 2022 Zodiac is probably my favourite track on the EP, despite being less than two minutes long. The subdued sound is cool, calm and collected, with a bobbing rhythm and simple, beautiful tones. Khan picks out some of the strongest moments from the three previous tracks – a crunchy, crackly bass which contrasts against those gorgeous synths, bluesy chords and a seductively smooth atmosphere. Extending his experimental arms further than ever before, eerie vocal samples break up the music. The scared voices speak of mystery and unknown beings, toying with your imagination, putting all sorts of spine-tingling ideas in your head.

Ben Khan is on a journey, and he’s bringing all of us along with him. Musically, emotionally, experimentally, it’s fascinating to hear how his music and style blooms within itself, and I’m looking forward to seeing what’s next. Step by step, he’s drawing us in. These EPs are but tiny puddles in the endless oceans we hear each year; it’s not even twelve minutes long, but it’s enough to make me yearn for so much more.

Morning Harvey – Smith Street Swap Meet

Brisbane psych pop band Morning Harvey are an act we cannot get enough of right now, even if we tried. Their first single for 2015, Smith Street Swap Meet came after the hugely successful T.I.D.E, and the accompanying clip has made me love the track all over again. According to frontman Spencer White, the clip was inspired by Bjork and Nick Cave in regards to narrative-based videos, but it’s also open to your own personal interpretation. “This guy has some kind of a bond with this computer monitor and in someways wants to get rid of it and is fed up with whatever they have… But as soon as this certain thing is gone, he wants it back. What that might mean is up to the viewer.” Seriously though, this is my favourite song of this year.

Jamie xx – Gosh

The second single from Jamie xx’s highly anticipated forthcoming album, In Colours paints an even more exciting picture of what we can expect from the prolific producer. Gosh is a percussive dream with sweeping beats and a groove I just can’t get enough of, and in true Jamie style, the accompanying visuals are something to truly be marveled at. Compiling footage from NASA, JPL and Goodard Space Flight Centre Scientific Visualization Studio, the clip directed by Erik Wernquist, shows a projection of space in the future. We cannot wait for this album to drop next month!

Slum Sociable – Anywhere

It’s a pretty great feat, getting as much love as Slum Sociable have been getting from just one single, but when it’s a song like Anywhere – it all makes sense. Now, that hype will surely reach a critical level thanks to the fantastic accompanying video clip. Directed by Danny Cohen (who has previously worked with Mac DeMarco and Chela), the clip shows a bunch of cloaked figures standing on small pillars, with quite a peculiar background. As it gets further into the song, the figures start dancing and eventually writhing around, before leaping across the scenes. It’s really quite beautiful, and is a testament not only to the director but to the song as well.

HEALTH – New Coke

After six years, LA’s HEALTH are well and truly back with their latest video for new single, New Coke. Coming from their third album titled Death Magic, The dark track is frenetic and anxiety-inducing, with it’s quick drums and ethereal vocals, but there is also a sense of fun in there (or is that just me?). The accompanying video, directed by bassist John Famiglietti is equally as ominous, featuring a cameo from Alice Glass as it depicts a harrowing representation of clubbing. Spoiler alert, there is some artistically filmed vomit in one part, so probably best to mentally prepare for that before watching it.

Miami Horror – Love Like Mine (Ft. Cleopold)

Citing “weirdness and sunshine” as two of the band’s biggest mood-influencers, Miami Horror continue their return with the release of their single Love Like Mine. Upon first listen of the track, I imagined a similarly looking video to go along with it – bright, fun, probably involving dancing. However, the boys have gone for a different approach, and instead have opted for a static shot of a car, with their song playing on the radio whilst an unsuspecting story plays before your eyes through the car window. It’s completely different from a lot of other clips seen today, and is definitely one of my favourites of this year!

Ben Khan – 1000

One of the most exciting names in the world right now is Ben Khan, noted perfectionist and game changer. His David Lynch-esque clip for his single 1000 is no exception, with the whole thing taking on a Twin Peaks via some dream wonderland feel. Khan himself appears, splitting his time between typing on a typewriter and hanging out in weird, eerie halls fitted out with tarps and strobe lights, and other such bizarre activities until things get really weird. The track is taken from his forthcoming EP out via his own Blessed Vice imprint.

Ben Khan totally blew me off my feet with his debut EP 1992 last year. I couldn’t possibly count the number of times I’ve listened to those four tracks, and I’m yet to tire of them. So the news of new music from this British 22-year-old has left me practically ecstatic.

A little muddier and more subdued than his first tracks, 1000 splashes straight in, with a fast-paced synth, swift beat and bluesy bass. The melody is deep and really playful, dancing and twirling around the instrumentation.

It’s interesting to hear the kinds of sounds he’s started playing with – in many ways, it shows a pretty significant shift from his first EP. I think we’ve got a lot to look forward to when Khan drops his next four-track EP.

The new EP is also titled 1000, and is set for release on May 11 via his own imprint Blessed Vice.