20 Tracks You Have To Hear This Week (26/2/14)

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20 Tracks You Have To Hear This Week (26/2/14)


20 Tracks You Have To Hear This Week (26/2/14)
The Horrors – I See You

“We want to make music you can dance to, music that elevates,” Rhys Webb told NME earlier this year. ‘I See You’, the first taste of The Horrors’ fourth album, matches up to that statement, building from synth loops into a psychedelic dreamscape that blasts the old gloom away. It’s topped off by Faris Badwan getting his Mystic Meg on as he sings “I can see your future… And all the things you might do/All the things you’d like to.”

Rhian Daly, Assistant Reviews Editor

Sisyphus – Rhythm The Devotion

In Greek mythology Sisyphus was a disgraced king made to roll a massive boulder up and down a hill for eternity as punishment for trickery and lies. In 2014 it’s the name of something way more positive: Sufjan Stephen’s new project with Chicago rapper Serengeti and NY’s Son Lux. Much more electronic than his previous work, ‘Rhythm Of Devotion”s an imaginative, infectious blast that suggests the three were made to work together.

Lucy Jones, Deputy Editor, NME.com

Honeyblood – Choker

The raw sound of Glasgow female duo Honeyblood is immediate, scrappy and already remarkably accomplished. Comprised of one scuzzy singer-guitarist (Stina Marie Claire Tweeddale) and one thud-loving drummer (Shona McVicar), the troublesome pair serve up an almighty racket on ‘Choker’. “What doesn’t kill you just feeds your hunger,” spits Stina about a bad relationship. On the strength of this song, Honeyblood aren’t just hungry for success. They’re ravenous.

Eve Barlow, Deputy Editor

Chvrches – Do I Wanna Know

Chvrches jump on the Arctic Monkeys cover version bandwagon also populated by Katy B, Jagwar Ma and err, Miley Cyrus with their own take on the ‘AM’ single. Recorded for an Australian radio session, lead singer Lauren Mayberry wraps her Glaswegian burr around Alex Turner’s lovelorn “I’m sorry to interrupt, it’s just I’m constantly on the cusp of trying to kiss you” line while the original’s desert rock muscle gets a slinky synth-pop makeover.

David Renshaw, News Reporter

Four Tet And Terror Danjah – Killer

In November, Four Tet’s Kieran Hebden tweeted, “The tracks me and Terror Danjah are working on right now are bananas.” Set to be released on Hebden’s own Text Records, ‘Killer’ (backed with the more melodic ‘Nasty’) is heavily rooted in the latter’s grime territory. It slips between four shades of brilliance, from deep breakbeats, reverberating vocal snippets, Danjah’s trademark goblin cackle and an unyielding bassline that only creeps in half way through.

Hazel Sheffield, writer

Fear Of Men – Luna

Taken from forthcoming album ‘Loom’, the androphobian four-piece are picture perfect on this piece of C86 emotional whimsy, delivered with Jessica Weiss’ clean-cut glassy vocal. “I open at your touch,” goes the refrain, over a jangle of reverberating guitars and a subtle bed of bass. Under any other guise, she’d sound crude, but even “I tried my best to destroy you,” sounds like an act of pure innocence when its pouring from those lips.

Hayley Avron, writer

Radkey – Digging The Grave

Lots of bands claim not to play by the rules, but Faith No More really did do whatever they pleased (just check out their funk-sleaze version of The Commodores’ ‘Easy’). The brothers Radkey pay homage by covering 1995 single ‘Digging the Grave’. It stays fairly faithful while squeezing the throttle a touch harder. They rock hard, Faith No More rock hard, but stick this on and you, most of all you, dear reader, will rock hard too.

Kevin EG Perry, writer

Thee Oh Sees – Penetrating Eye

Pick any of Thee Oh Sees’ umpteen albums and you’ll rarely find them sounding polite, but it’s rarer still that they’re heavy. ‘Penetrating Eye’ is like being whacked in the face with a particularly exhilarating medicine ball – it has downtuned proto-metal riffs that last for days and luridly psychedelic soloing, leavened by a cheeky “la-la-la” refrain. An album, ‘Drop’, follows, after which they’ve pledged to disband for the foreseeable future. Fingers crossed they’re the band who cried wolf.

Noel Gardner, writer

Trash Talk and Flatbush Zombies – 97.92

Bay area hardcore band Trash Talk made clear their love of hip-hop by releasing a superb mixtape back in 2012, touring with Spaceghostpurrp and signing to Odd Future Records. This track finds them collaborating with Brooklyn’s Flatbush Zombies and manages to avoid all the many and varied pitfalls and miscalculations of rap-metal from years gone by. Produced by Trash Talk and featuring lyrics/vocal by the Zombies, it’s understated, moody and seriously bass-heavy. Also, no guitar, thankfully.

Phil Hebblethwaite, writer

DZ Deathrays – Gina Works At Hearts

Thundering in with a dirty buzz-guitar riff that feels like a grisly mix of Anthrax and Dananananaykroyd, Brisbane duo DZ Deathrays’ ‘Gina Works At Hearts’ is a familiar thrash-a-long but has its sweeter moments: some friendly chimes on the chorus and a few Weezer-esque “ooh-ee”s. “She doesn’t want your money/But she’ll take it – yeah!” yelps Shane Parsons, making robbery sound like the most romantic thing on Earth. Gina’s worked his heart too.

Matthew Horton, writer

EMA – So Blonde

New album ‘Future’s Void’ promises deep-seated themes of technology’s impact on human interaction; but on ‘So Blonde,’ Erika M Anderson remains the lo-fi tattered-jean-wearing grunge kid next door. Like the best stuff on 2011’s Past Life Martyred Saints, ‘So Blonde’ is both a forthright slab of noise and a deftly melodic pop song; Anderson’s sneering vocal maintains a hint of saccharine, while an acoustic guitar undercuts the maelstrom above it. If the future’s void, the present sounds mighty.

Simon Jay Catling, writer

White Hinterland – Baby

‘Kairos’, Casey Dienel’s last album as White Hinterland, is a survivor of The Great Chillwave Glut Of 2010, a crystalline take on The xx’s spooked intimacy. But ‘Baby’ – the title track of her new LP, out March 31 – is its polar opposite: full of bold gospel vocals somewhere between Julianna Barwick and Beyoncé. “My shyness was an act to make you feel secure,” she seethes at a cheating lover, before unleashing 2014’s finest chorus so far.

Laura Snapes, Features Editor

Telegram – Rule Number One

Coming on like a particularly lurid Syd Barrett fronting The Undertones, ‘Rule Number One’ is a rambunctious psychedelic punk blast clad in a paisley print lurex shirt that wants nothing more than to sidle up to you on the dancefloor of your nearest mod all-nighter and offer to buy you a pint of snakebite before attempting to get busy by the bins. You’d be a damn fool to turn it down.

Leonie Cooper, writer

Ramona Lisa – Arcadia

We’ve all wondered at one point or another what ‘Walking In The Air’ from The Snowman might sound like if it was played on graveyard church bells and Exorcist hell-synths by the witch out of The Conjuring. It took Caroline Polachek from Chairlift, under her solo Ramona Lisa guise, to actually bother to make it though, and it turns out, unsurprisingly perhaps, that it’s fucking terrifying. Thankfully Polachek eases our waking nightmare towards the end with some spectral choral wafting akin to 4AD mood-ballad collective This Mortal Coil.

Mark Beaumont, writer

Juce – Call You Out

The ’90s R&B revival has been bubbling under in the UK’s hipster enclaves for some time now, but London’s Juce – a trio consisting of Georgia, Chalin and Cherish (no surnames supplied) – are the first band to do it with a charming lack of irony. Applying the Dev Hynes template for expansive, bass-driven pop, the track kicks into a soaring soulful chorus. It’ll have you dusting off your TLC CDs in no time.

Dan Stubbs, News Editor


In which New York rapper Khalif Diouf possibly references his previous accusation that Macklemore ripped off his 2012 single ‘Wut’ to create the monster novelty hit ‘Thrift Shop’. “Checky, gully, puff puff pass / smoke real slow, drive real fast / you know how we do, Macklemore say ‘oooh’” he goes, over a trademark popping-bubbles beat. Mystery abounds, though, because the way he pronounces “Macklemore” sounds a bit like “make ‘em all”. Someone needs to interview this man immediately.

Tom Howard, Reviews Editor

ALX – Beautiful Criminal

If there’s one question plaguing the universe right now – apart from why everyone’s still banging on about Pharrell’s hat – it’s where the flamin’ heck is Jai Paul? Because frankly, if he doesn’t reappear soon then bedroom pretenders like 22-year-old ALX from Scotland will steal his thunder. This debut track – deliciously artful, full of allure, dark hearted – has all the glistening hooks of a song like Frank Ocean’s ‘Swim Good’. And we all saw where that took Frank.

Greg Cochrane, Editor, NME.com

Mac DeMarco – Let My Baby Stay

The latest track to emerge from forthcoming third album ‘Salad Days’, ‘Let My Baby Stay’ finds Mac DeMarco at his most stripped-back and confessional. A sweet and simple acoustic guitar ode to his love, couplets such as “Far as I can tell she’s happy/ Living with her Maccy” are delivered with such doe-eyed sincerity that they manage to avoid slipping into PDA awkwardness. Oh Mac, you old charmer.

Lisa Wright, writer

Schoolboy Q – Blind Threats ft Raekwon

Former South Central gang member Quincy Matthew Hanley may have left his violent former life behind, but it catches up with him on the soul-purging ‘Blind Threats’. “We will never make it out alive/Shit, we livin’ to die/Oxymoron,” he rasps over a slowed, sad jazz beat, before being joined by Raekwon – one of the many rap A-listers (Kendrick Lamar, Tyler The Creator) who poke their heads in on the LA man’s debut album. Chilling.

Al Horner, Assistant Editor, NME.com