20 Tracks You Need To Hear This Week (28/5/2014)

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20 Tracks You Need To Hear This Week (28/5/2014)


20 Tracks You Need To Hear This Week (28/5/2014)
White Lung – Face Down
Vancouver DIY stalwarts White Lung have made a name for themselves with the kind of organ-churning punk that was musically too good and lyrically too smart to stay holed up in a basement. Although this is arguably the most subdued track on their forthcoming third album, it’s still a riot of break-screech guitars and palpitation-inducing drum drills with a rallying fuck you to “the dumb” who “don’t make a sound”.

Jenny Stevens, Deputy News Editor

Jack White – Just One Drink
A stressy, stompy little teaser from Jack White’s new LP ‘Lazaretto’, ‘Just One Drink’ comes on like Bowie’s ‘Suffragette City’ or the Velvet Underground’s ‘I’m Waiting For The Man’ given a honky-tonk makeover in a Nashville barbers. Chugging guitars meet flouncy piano while Jack howls “You drink water, I drink gasoline/One of us is happy, one of us is mean”. Well, slugging Castrol GTX will have a habit of making you cranky, Jack…

Ben Hewitt, writer

Banks – Drowning
LA singer Banks’ undulating, R&B doused electronics and melancholic soul might have set her up so far as the effortlessly cool female counterpart to The Weeknd, but ‘Drowning’ shows Banks to be just as emotionally fallible as the rest of us mere mortals. “From the girl who made you soup and tied your shoes when you were hurting/You were not deserving,” she intones with just the right balance of frailty and fight. Drowning? Not so much any more.

Lisa Wright, writer

Klaxons – Invisible Forces
”You make me feel real,” chant Klaxons over piano house stabs on ‘Invisible Forces’. It’s one of the tracks on imminent third album ‘Love Frequency’ that harks back the most to their ‘Myths Of The Near Future’ days, Jamie Reynolds and James Righton’s falsetto harmonies practically glowing neon over euphoric slabs of rave-ready pop that’ll have you feeling as up for life as the pills adorning their album artwork.

Rhian Daly, Assistant Reviews Editor

Juce – (H)ours

With the ink still drying on their recently signed major label deal, London trio Juce calmly deliver another bona fide pop smash from their increasingly impressive arsenal. Positioned somewhere between ‘Random Access Memories’ disco smoothness and Jessie Ware’s more soulful moments, ‘(H)ours’ works mainly as a vehicle for lead singer Chalin’s Sade-esque vocals and to suggest Juce are most definitely a band worth getting excited about.

David Renshaw, News Reporter

 – Where No One Goes

Sigur Rós’s baroque rock choirboy likes these dragon movies. Having contributed ‘Sticks And Stones’ to the 2010 original, Jónsi’s back with the theme to How To Train Your Dragon 2 and it’s an ecstatic technicolour rush to match the images. There are grand brassy dropouts to let you catch your breath, but otherwise this is a clattering gallop of typically soaring vocals and dashing strings and flutes that sounds – shockingly enough – like it’s flying. Whoosh.

Matthew Horton, writer

Jess Glynne – Right Here
The 24-year-old’s already had two Number Ones this year with Clean Bandit and Route 94, featuring on respective hits ‘Rather Be’ and ‘My Love’. Now it’s time for her debut single proper. Produced by Gorgon City, and harking back to old school ’80s soulful house, it’s the sort of gentle banger that would’ve been at home on Katy B’s first album and suggests Glynne won’t need any more guest spots to make a name for herself.

Andy Welch, writer

Wayne Coyne and Miley Cyrus – Lucy In The Sky With Diamonds
Wayne Coyne and Miley Cyrus have everything and nothing in common. One is the frontman of the most populist ‘out there’ psych bands of the past 30 years, the other a Disney popette turned princess of internet controversy. Yet at the core of both lies one consistent mantra: to not give a single fuck. ‘Lucy In The Sky With Diamonds’ – a harpsichord-led melody about acid-tainted summertimes – has never made less sense than when delivered by the pair in matching tinsel capes before a televised audience of millions. It’s exactly the sort of combination you’d need LSD to dream up.

Miley Cyrus from Manchester Arena ~ 2014… by HumanSlinky
Eve Barlow, Deputy Editor

Rae Morris ft Fryars – Cold
Blackpooler Rae Morris’ soaring atmospherics drift over the same spacious, bare landscape terraformed by the xx, also home to London Grammar et al. Yet the humanity of Morris’ soft, Ellie Gouldingish voice, previously showcased on Bombay Bicycle Club’s ‘Luna’ and here deliciously tempered by Fryar’s wounded soulfulness, paired with the crisp, smart production of Ariel Rechtsaid (Charli XCX, Vampire Weekend and Sky Ferreira) lift it into an altogether grander stratosphere than your average glossy moper.

Emily Mackay, writer

Morrissey – Istanbul
Within 20 seconds a mother has died, but ‘Istanbul’ certainly isn’t all Moz business as usual. Languid Bond synths, Eastern guitar fripperies and ominous crashes seep across this eerie tale of a father hunting down his lost son amongst the street gangs and hookers of the Turkish capital, Morrissey cast as the glowering Liam Neeson in his own personal [i]Taken[/i]. It all ends tragically of course – “I lean into a box of pine/Identify the kid as mine” – but bodes well for the onset of ‘World Peace…’.


Mark Beaumont, writer

Mongol Horde – Make Way

Announcing their debut album only a week ahead of its release – which
means the self-titled LP is out now, folks – Mongol Horde’s first taster track was this furious slab of cider-drenched Camden gutter thrash about Genghis Khan. “Watch your fucking step”, spits frontman Frank Turner, returning gleefully to his raging rock roots. Destined to make anyone who’s fond of the ‘Tape Deck Heart’ man’s acoustic-driven love songs run for this hills.

Leonie Cooper, writer

Slow Club – Suffering You, Suffering Me
Its become a mainstay of live shows since it’s introduction in 2013, but ‘Suffering You, Suffering Me’ still sounds every bit the ballad to break black hearts on record. That is, at least, until the sombre chords – recalling The Beatles’ ‘Sun King’ – make way for an updraft of stamping brass and sailing strings. Rebecca Taylor’s smooth vocal coos are the jewel in the crown, and with this track Slow Club affirm that forthcoming third album ‘Complete Surrender’ need take no prisoners. 

James Balmont, writer

Die Antwoord – Pitbull Terrier
Die Antwoord’s new single will trigger your gag reflex. Its electronics sound like something Crystal Castles might produce were they imprisoned in a sewer and force-fed bad drugs. Ninja’s rabid grunt and Yolandi’s babyish coo are equally horrible. Predictably, the South African rappers have made a disgusting video to match. Wearing a terrifying prosthetic mask, Ninja is far too convincing as a bloodthirsty, sex-crazed dog. “I’m an animal”, he snarls. You said it, Ninja.

Ben Homewood, writer

Jurassic 5 – The Way We Do It
Just when you thought Jurassic 5 were content with pottering through their reunion relying simply on backpacker nostalgia, they calmly reveal perhaps one of their finest cuts. Based around a sample lifted from The White Stripes’ almost a decade old ‘My Doorbell’, they’ve been sitting on the giddy ‘The Way We Do It’ – which features posthumous production from Heavy D, who died in 2011 – since recording 2006’s ‘Feedback’. Here’s hoping they pull this one out of their JanSport during their upcoming UK shows.


Leonie Cooper, writer

Tom Vek – Broke
Organ stabs, Middle-Eastern riffs and retro-future robot sounds open the new track from Tom Vek’s third album ‘Luck’. ‘Broke’ sees him expanding his views on the state of modern humanity from “We’re just animals in the jungle,” on previous track ‘Sherman (Animals in the Jungle)’ to, “We lie to get ahead.” But which is it, Tom? A glorious chorus of ragged percussion should take your mind off the big things while Vek figures it all out. 

Hazel Sheffield, writer

Adult Jazz – Spook
Leeds’ Adult Jazz only announced themselves to the world late last year with debut track ‘Springful’, a five-minute trip through the experimental oddness of Alt-J.  Their second single ‘Spook’ continues that creativity with a nine-minute extravaganza. Instead of adopting synth glitches and electronic wizardry, though, the band opt for more pastoral instruments, trumpets mimicking singer Harry Burgess’ vocal melody between stutters of silence before everything’s ramped up to a clattering crescendo.

Rhian Daly, Assistant Reviews Editor

Darlia – Dear Diary

Those grungey ex-toilet cleaners Darlia have gone where most upcoming indie bands wouldn’t dare to go. They’ve penned an unashamedly hook-filled pop hit, making a bold departure from their heavy, raucous rock of ‘Candyman’ and ‘Queen Of Hearts’ even before they’ve released an album. It’s kinda cheesy, kinda great, totally immediate and, like everything they’ve released so far, beats with addictive emotion.

Lucy Jones, Deputy Editor, NME.COM

Lil Wayne – D’usse
Your boy Weezy has been saying some alarming things in the run up to the release of ‘Tha Carter V’, most notably that it’s going to be his final album. A marketing ploy? Perhaps not. He sounds intensely emotional on this Lee Majors-produced track from the record, shouting out the deceased and saying, “Everybody in the building, well, I left that bitch like Elvis.” A stellar track that reminds you how good Lil Wayne can be, and how much he’d be missed.

Phil Hebblethwaite, writer

Kasabian – Stevie
Where comeback single ‘Eez-Eh’ was a Kasabian-meets-Black Grape knockabout, ‘Stevie’ – premiered on //Later… With Jools Holland// last week – is a more heads-down, frowns-on taster of the Leicester group’s imminent ’48:13′ album. There’s rolling bass, stings of brass and snarled lyrics that hint at Hendrix: “Stevie, where you going with that gun? Who you wanna shoot down? Who you trying to kill?” Stevie wonderful.

Dan Stubbs, News Editor

Parquet Courts – Instant Disassembly
Barring ‘Stoned And Starving’, ‘Instant Disassembly’ is probably Parquet Court’s most grandiose moment yet. It’s the polar opposite from the first tune though – a slow, driving riff piercing the track from start to finish as Andrew Savage laments pretty much everything that lies in front of him. “Don’t beseech me for the answers you seek,” he drawls at one point, struggling to even finish the sentence. It’s not lazy though: in fact, being so drawn out has rarely sounded so compelling.

Matt Wilkinson, New Music Editor