Hatchie “Sleep”

Hatchie’s “Sleep” is a song so gloriously youthful, it feels ready-made for a big movie montage. In fact, if this glittering, 1980s-inspired jam was used in any of the pivotal musical moments from a Molly Ringwald flick, all of the teen joy might shine even brighter. Even though the Brisbane, Australia band has only released three dream pop singles so far, they’re clearly already experts in making lowkey anthems you want to dance to behind a closed bedroom door.

The conductor of all this emotion is singer Harriette Pilbeam, whose voice is sweet but smarting. The production interplays between bubbly layered vocal lines and unprocessed, deadpan ones, allowing her to sell the song’s melancholy premise—that if love and fun is absent in the waking life, it can feel just as real in a dream—with panache. She sings the kind of lines teens get tattooed on their bodies—“Do you still believe in fate?/That great love still awaits?/Or is it really too late?”—so full of regret and optimism. This is mirrored by her band, who create a backdrop of crisp synth melodies and bright guitar that moves forward like an energetic daydream. Bucking its title, “Sleep” is hardly sleepy; rather it’s the kind of song that is best heard in a convertible speeding down a sunny highway, end credits rolling right behind.

André 3000 “Me&My (To Bury Your Parents)”

On Sunday, at the stroke of midnight in Atlanta, André 3000 unveiled his first two new solo songs in basically forever. Coupled with André’s tender and revealing debut on Instagram, this Mother Day’s surprise made a momentous release feel as intimate as a handmade gift from a family member. One of the songs, “Look Ma No Hands,” is a 17-minute astral-jazz instrumental with James Blake. The other, “Me&My (To Bury Your Parents),” is a piano-led R&B ballad so sparse that it could mistaken for a demo, but it’s no less deep of an odyssey.


Moodymann “Got Me Coming Right Back Now” [ft. Amp Dog Knights]

An innovator, a bon vivant, and an utter enigma, Moodymann is a house music figure unlike any other. Across his 30-year career, the Detroit DJ/producer born Kenny Dixon, Jr. has only allowed himself to be interviewed a handful of times. When he performs, he is loathe to show his face, almost always keeping it masked and obscured. But he’s also the proverbial life of the party, a man who travels with an entourage and serves drinks to the adoring fans in the front rows of shows, where he plays music every bit as weird and fun as he is. And Moodymann’s new song, “Got Me Coming Back Right Now”—the first track from his first (as-yet-untitled) record in four years—filters all that mystery and delight into a sleek and beautiful package.

No fanfare, social media blast, press release, or warning was provided for “Got Me Coming,” which was uploaded onto the Youtube page for Dixon’s label two weeks ago. Some intrepid fans discovered the song and left their thanks in the comments section, but it only really circulated widely this week. This new song more than whets the appetite for new material: It’s a feast of artfully designed, intricately crafted house. Elements in Moodymann’s musical mosaic include a hallucinatory drumline, enveloping synths, revelrous backing vocals, and jazzy rhythms. Each sound shakes, slinks, and slides around the track in mind-bending, choreographed motion, resulting in a groove that just won’t quit. Its a credit to to Dixon that his house never feels rigid or machine-made, always organic and lifelike. But what makes “Got Me Coming” magical is its energy—it’s the kind of house song, in its sheer warmth and funk, makes you feel so good listening to it, relaxed and ready to submit to each note.


Elohim – The Wave

LA favourite and rising star Elohim’s sound seems to be in a constant state of evolution and I love it. After gaining the attention of music blogs with a number of downtempo, Grimes-esque releases throughout 2015/16, Elohim has started creating vibrant dance-pop tunes that bring a smile to your face.

Latest release “The Wave” is a dose of euphoric electro-pop made for filling dance floors. The track is an excellent showcase of Elohim’s versatility, featuring a bouncy melody, booming bass, sparkling synths and Elohim’s gorgeous vocals.

While there still isn’t a heap of information on the classically trained pianist, all you need to know is she is producing some of the most alluring and inventive pop music and it’s only a matter of time before she’s a household name.

Be sure to check out her debut self-titled EP here.