Whenever I feel like Disclosure are slightly overrated, they come out with another true banger that just cements their reputation as one of the best and understandably most popular deep house acts today. What's great about "The Mechanism" is the fact this song is the epitome of a collaboration, and doesn't feel one-sided whatsoever. Disclosure with their signature buildup and production skills and Friend Within with his beastly bass drop and ability to turn anything completely on its head both make this one of the best collaborations in quite a while.
I've been a big fan of Glass Animals since their Glass Animals EP and their first effort this year is another sign that this is a serious band to look out for. I can't help but compare them to Alt-J with their original style and trip-hopesque beats, there's something truly compelling about this band and I don't see them doing anything but getting bigger and better. "Gooey" is drenched in a sort of sonic goo, with a hazy layer of harmonious voices and odd sounds here and there. I really can't pinpoint many influences on this band, reinforcing their image as one of the most distinctive acts out there at the moment.
I first heard this on a Jamie XX mix and it's stuck with me ever since. With over layered James Blake like vocals that gives the song a swooshing kind of feel played to a beatless rhythm that has this driving power to it. What's interesting about this song is that it doesn't seem to go anywhere but it simultaneously does. It's experimental without jeopardising the position of the listener, abstract enough so don't you have to force yourself to like it. William Arcane definitely has a lot of potential and is an artist who I feel will surprise his audience time and again.
Whilst extracts of this song have been lingering around the internet for some time, an official version of Leon Vynehall's "Time" only came out a few days for Will Saul's DJ Kicks session. This song reinforces his reputation as one of the most formidable producers out there. Quite a laid back feel to a house song, it's lively enough for it to not be considered background music but with a sort of understated quality to it that makes it quite powerful. A really fitting title, hopefully more of the same will come from this incredible artist.
Possessing one of the most incredible voices out there, Kelela certainly has a bright future. Similarly to Tirzah, she's bringing more depth to a genre that seemed outdated and stuck in a rut. The beat is reminiscent of Jai Paul and its minimal quality is a perfect way to demonstrate her amazing voice. Giving her room to explore her full range, it's also a great addition to her rather sultry lyrics, giving the song a very sexual feel to it, but without appearing lascivious. A song that always make me shudder when it first comes on, she's an artist you have to see live.
I've always preferred Black Lips over the Black Keys. They're rowdier, louder and more brash, and whilst their latest album sees more polished qualities to it, it still retains an authentically raw sound. "Boys In The Wood" is exactly that. It's a whiskey and drug fuelled rampage with a riotous chorus soundtracked to an abrasive horn section. This is rock music without the glamour or the bullshit. One for the small sweaty clubs rather than the big stadiums.
Furthering their sonic palette from their previous album, "Biggy" is just one of the many songs from Warpaint to show this. Eery and swampy, it has an air of mystery to it, with gentle symbals, a mesmerising bass line and haunting vocals, it's definitely not as loud as their previous efforts. It's a definite reminder that they had the likes of Flood and Nigel Goodrich on this album to help them with their sound. My favourite from their last album, the song's productions and movements are just stunning, reminding you why Warpaint have been so regularly celebrated.
The Horrors // So Now You Know
The Horrors have really come a long way since 2007's Strange House. Luminous expands on the sound of Skying with "So Now You Know" the cream of the crop. Similarly to "Still Life" it's got quite a Simple Minds feel to it but with their own personal touches. Layered synths, strange but powerful guitar effects and Farris Badwan's distinctive and almost deadpan vocals give it that signature sound. Whilst this is probably not their magnum opus, it's still a great song and an indication that they're so close to reaching that point.
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