Lion Babe

Lion Babe – ‘Wonder Woman’

‘Jump Hi’ acted as an exciting introduction into Lion Babe’s music no doubt helped by the star-quality of its Childish Gambino feature but the duo’s latest single ‘Wonder Woman’ which premiered as Annie Mac’s hottest record in the world blows that away well and truly.

A guy called Pharrell Williams – aka ‘that dude who sang that song about being rather joyful’ -produced the track and like most things he touches it’s a densely layered pop gem. ‘Wonder Woman’ seems more three-dimensional than its predecessor with a grooving shuffle of a beat, vocals filling every space and Jillian Hervey showcases her range moreso as she dances over the track. Expect big things from this two.

James Barlow @BassOddity

Nils Frahm – ‘Wall’

In the build up to the ‘Nils Frahm Has Lost His Mind’ tour, the German composer has done something relatively sane amongst the ridiculous, unofficial holidays (fucking Talk like a Pirate Day) and declared March 29th as “Piano Day”.

Why? Nils Frahm says “because it doesn’t hurt to celebrate the piano and everything around it.” As good a reason as any – he’s also released a track to accompany Piano Day, entitled ‘Wall’.

It’s dark, brooding and shows a completely different side to the piano heard on Nils Frahm’s previous tracks like ‘Went Missing’. The majesty of an instrument once used by the likes of Brahms, Chopin and Rachmaninov definitely deserves celebration and it only makes sense for one of the most innovative pianists today to champion it.

Nathan Butler @PeakFiDem

Years & Years – ‘Worship’

Years & Years are apparently incapable of putting out anything other than glorious pop smashes as they continue to rise rapidly. ‘Worship’ is no different as it builds from a combination of minimal handclaps and rolling bass before diving into a euphoric rush of a chorus which stands as one of their strongest yet. The prechorus even contains some pitch-shifted vocals that possibly hint at the trio taking influence from FKA Twigs’ accomplished debut, a trait that will likely carry over to their own imminent first album Communion.

The song allows more space than some of their more house-inflected singles but that doesn’t make it any less capable of latching itself around you.

James Barlow @BassOddity

Death Grips – ‘I Break Mirrors With My Face in the United States’

Remember when Kid Rock said that rap rock was gay? Not only was that a terrible and distasteful way of him expressing his hatred for a genre that he basically invented more or less, but he was also wrong. First of all, rap rock is pretty much the straightest genre there is, combining two of the most macho genres into one monstrosity of a flaccid genre with mostly disgusting results. Second of all, Death Grips kind of just made a rap rock record with Jenny Death and it rules.

Suck it Kid Rock.

Joe Price @BackwoodsAltar

Death Cab For Cutie – ‘Little Wanderer’

Death Cab For Cutie’s smooth melding of subtle electronics and their delicate guitar-based sound continues on ‘Little Wanderer’ – another endlessly charming nugget from Ben Gibbard and co.

In this latest sample of their upcoming Kintsugi record Gibbard yearns for the return of his lover above modest instrumentation so as to not detract from the story. While it doesn’t really finish far from where it originally left off, as we hear the protagonist sing ‘I hope we always feel the same, when our eyes meet past security, we embrace in the baggage claim’ its just nice to hear Mr. Gibbard writing a happy ending for a change.

James Barlow @BassOddity

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