Toronto quartet Alvvays have released the second stunning track from their upcoming sophomore album, following the already released “In Undertow,” which signaled a change in tone from their debut album – quieter, but housing a powerful, potent energy within. “Dreams Tonite” strengthens that theory with its hazy, delicate tone and gentle vocals from frontwoman Molly Rankin, as well as its simple, but emotional narrative. Heartfelt, sincere, and unpretentious, the track slowly and beautifully exudes waves of synth as it plays, the auditory equivalent to a bleeding heart that always seems to want what it can’t have. Rankin wearily asks “who starts a fire just to let it go out” and later, “who builds a wall just to let it fall down” and we can’t help but agree with her. It’s a moment of solidarity for those that seem to alternate between caring and thinking far too much, a ballad for the lovesick and weary.
Antisocialities will be released on September 8th.
photo by Arden Wray
Grizzly Bear have released the video for “Neighbors,” their fourth single from their incredibly anticipated fifth full-length album Painted Ruins. The new track, following the experimental, indulgent “Three Rings,” upbeat, unpredictable “Mourning Sound,” and the Daniel Rossen fronted “Four Cypresses,” sounds the most like the signature Grizzly Bear sound – a little fantastical, a little somber, but mostly addressing something large, deep, and more or less esoteric. Ed Droste’s rich voice hastens with the increasingly chaotic instrumentals throughout the track, communicating an unfortunate narrative that addresses a diminishing sense of individuality and raw nature to make room for something more domesticated.
Painted Ruins will be released on August 18th.
photo by Tom Hines
Edward Quinn and Miller Upchurch, also known as Aussie duo Slum Sociable, have returned with the lo-fi, color-tinged ballad “Don’t Come Back Another 100 Times,” following their previously released stunner “Name Call” as well as their fantastic 2015 EP TQ. The new track takes advantage of its slower, more lethargic tone to fit in layers of decadent synth and hazy vocals, as well as a nostalgic narrative, introspective and wonderfully self-indulgent according to the duo, yet still incredibly malleable and universal.
photo courtesy of artist
Los Angeles based artist Saro has been specializing in dark, jagged electronic R&B for some time now, and his newest single “Eyelids” from his upcoming sophomore EP is no exception. Multi-faceted and exhilarating, the new track features gorgeous, expertly controlled falsetto vocals from Saro, as well as eerie, brooding synth to keep everything grounded. Though the track is about rejection, an essence of romance and intimacy still exists within the chaos and destruction towards the ending, perhaps to remind us that the negative feelings are only temporary.
photo courtesy of artist
Electronic duo Mount Kimbie have announced the release of their new album Love What Survives, the follow up to 2013’s Cold Spring Fault Less Youth. The London duo, made up of Dominic Maker and Kai Campos, have already released two tracks from the album – “Marilyn” ft. Micachu, and the chilling, experimental “We Go Home Together” ft. James Blake. Keeping the stellar collaborations going, the newest tease from the album, “Blue Train Lines,” features King Krule, effortlessly blending his signature sharp, piercing delivery with eerie bouts of guitar. The first half of the track, tortured and distressed, has Krule’s agonizing screams peppered in with the shadows of synth and drums, later blossoming into a powerful, moody guitar beat for the last two minutes.
Love What Survives will be released on September 8th.
photo by Frank Lebon
Cosmo’s Midnight – also known as twin electronic duo Patrick and Cosmo Liney – are finally back with a brand new single, their second of the year following their stunning, synth heavy release “History.” The duo goes a little more old-school with the dance beat of “Mind Off,” featuring sultry vocals from Kudu Blue’s Clementine Douglas. Co-written and produced by Alunageorge’s George Reid, the track sounds even more thoughtfully composed and balanced, the various layers of synth coming in waves of chilled-out energy. Seemingly no talk of a debut album quite yet, but given the boys’ packed year, it just might come out of nowhere – we’ll be ready.
photo by Alex Johnstone
Rhye have returned with two brand new tracks, four years after the duo’s beautiful and gorgeously sensual debut album Woman. “Please” and “Summer Days,” while both unmistakably belonging to the signature Rhye style of deep rooted basslines and Mike Milosh’s breathy, androgynous vocals, they vary in tone, the former an emotional ballad and the latter a lighter, yet more complex track with undertones of psych, jazz, and pop. Though “Summer Days” is the first to sound almost completely uninhibited and carefree in Rhye’s stunning repertoire, you can tell there’s an aura of mystery about them, one that you makes you almost wish you will never fully understand – being within the folds of it remains far too addicting.
Listen to “Please” below. “Summer Days” is now on Spotify and Apple Music.
photo by Dan Monick
Michelle Zauner will return next week with Soft Sounds From Another Planet, her sophomore release as Japanese Breakfast. The first two singles from the album hinted at a more diverse sound with a little bit of everything, appropriately, considering the title, worlds different from her more thematic, jagged and emotional debut Psychopomp. The guitar that begins her newest teaser “Road Head” is soft and haunting at the same time, with ethereal synth effects mingling with Zauner’s piercing vocals. Her vocals are starry-eyed and hopeful, but the lyrics are tinged with desperation and disappointment, still incredibly enticing.
Soft Sounds From Another Planet will be released on July 14th.
photo by Phobymo
Australian indie pop quartet The Jungle Giants released their third album Quiet Ferocity today, and it’s perhaps their best work yet, bursting at the seams with ten stunning tracks of non-stop vitality. The quirk of their past repertoire now has a sharp, jagged side, constantly mixing bright guitar melodies with moody basslines and eccentric synth effects. With every addictive dance track like “Feel The Way I Do,” “On Your Way Down,” and “Waiting For A Sign,” there are tracks like “Bad Dream” that mellow them out, rounding out the album effortlessly. The latter has frontman Sam Hales starting with a deeper tone than usual, which leads to a falsetto tinged, eerie sounding chorus laced with a skilled vocal run that induces goosebumps. It’s slower and moodier than the rest of the album, a come-down that still produces its own specific type of dizzying high.
photo via amplifire music