Dream-pop extraordinaire Hatchie has been stunning the world over the last 12 months with sparkling singles ‘Try’, ‘Sure’ and ‘Sugar & Spice’. ‘Sleep’ is the latest cut from Harriette Pilbeams’ dazing project, forming one fifth of her debut EP. And with each song placing expectation on the next, this latest release is a healthy addition to a considerably strong body of work, particularly from a newcomer.
The anthemic ‘Sleep’ is buoyed by irresistible guitar lines above dreamy, dazzling synths – a constant feature of Hatchie’s lush compositions. Pilbeams says “‘Sleep’ is about feeling frustrated with someone who can't communicate their feelings. In this song I'm trying to coax someone into talking to me by any means necessary, even if it means visiting me in dreams.”
Sydney trio DMA’S released their highly anticipated sophomore record For Now on Friday. Although it wasn’t one of the four singles, ‘The End’ is the best of the collection.
‘The End’ is the most electronic-infused song on For Now, with producer Kim Moyes (The Presets) fingerprints all over it. When news broke that Moyes would be producing the follow-up to the critically acclaimed debut, Hill’s End, eyebrows were raised.
But the electronic undercurrent of the track provides a different take on the heartfelt ballads DMA’S are renowned for manufacturing. ‘The End’ is The Presets/DMA’S hybrid that the music world didn’t know it needed.
Indie rockers Middle Kids are on the rise, in large part due to their performance on Jimmy Kimmel Live. ‘Bought It’ is the third single from the band’s debut album, Lost Friends, and it’s yet another driving guitar anthem.
The Sydney-siders say ‘Bought It’ is “a song for the weird nights where you’re looking for something but got no idea what. It hopes to bring you into its atmosphere and let you linger in it long after the song has finished.”
Just as previous singles ‘Mistake’ and ‘On My Knees’, ‘Bought It’ has a strange sense of familiarity, drawing you into its warm, comforting arms.
Nothing but smooth vibes from The Internet on their return track, ‘Roll (Burbank Funk)’. Channelling their inner roller-skate funk, the California collective switch up from their Grammy-nominated album Ego Death to take a minimalist approach on ‘Roll’.
Guitarist Steve Lacy assumes lead vocals on ‘Roll’, while usual band leader Syd takes a backseat. But the true front-runner of the track is bassist Patrick Paige II, who lays down some seriously groovy lines.
It’s a departure from the suave RnB of Ego Death, setting up an interesting trail for future releases.
The London producer is back and setting tongues wagging with the latest single from his much hyped 2018 album, Rejuvenate. White is perhaps best known for cutting abstract hip hop tracks for American rapper and long time collaborator, Danny Brown, but ‘Returning’ has the multi-instrumentalist taking a serious musical departure from the genre. The track is a stunning combination of layered electric guitar riffs over soft, ambient vocals and polyrhythmic drum patterns. Simplicity and subtlety is key within the aggregation of ‘Returning’. Vocals aren’t introduced until a little over the first minute mark nor drums until the second, allowing the track to breath as it builds. And the affect, mesmerizing.
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