Raye’s new album ‘THIS MUSIC MAY CONTAIN HOPE.’
Huge, expansive, bonkers and brilliant - a seventeen track, 73 minute concept album that pings between flapper jazz, Hans Zimmer orchestration, Fred Again-adjacent club bangers and a duet with Al Green, and somehow it holds together through sheer force of personality. Until four years ago Raye was essentially a session singer; now she’s the kind of artist who texts Hans Zimmer a voice note and ends up with a symphony.
Fcukers new album ‘Ö’
The Brooklyn duo’s debut compellingly scrambles every reference point they can get their hands on - electroclash, Copenhagen experimental pop, garage, hyperpop - through a production team that somehow spans Dylan Brady of 100 Gecs and a Grammy winner who works with Taylor Swift. It shouldn’t cohere, but it does.
Venbee’s new single ‘Not My Day’
A Mike Skinner-esque narrative over something that’s charmingly euphoric in a way that makes her sound like she’s having the worst day and the best time simultaneously; Venbee has been building to this kind of track for a while, and here it is.
Ray Laurél’s new album ‘Music For Lovers’
East London’s most slept-on voice - a sublime falsetto draped over a genuinely eclectic screw-face blend of funk, R&B, soul and new wave that sounds like nothing else around right now. Gorgeous.
Model/Actriz’s new EP ‘Swan Songs’
Three tracks of glowering NYC art-punk that arrived as a surprise drop: ‘Glassman’ is a four-on-the-floor industrial banger about fancying someone; ‘Thank You By Dido’ is an eerie ballad and not a cover of ‘Thank You’ by Dido; and ‘Majesty’ is a slow-burner about achieving your dreams while feeling alienated. That title might be ominous but they’re heading to Coachella next month, so they’re probably fine.