Tracks: Los Campesinos!, MØ, And More.

DIY writers pick their favourite tracks of the last seven days.

Another week, another slew of new tracks tumbling towards you with more speed than a wheel of tasty Double Gloucester at the Cheese Rolling Championships. It could be a bit overwhelming, no?

Luckily, DIY’s stellar crew of wordsmiths have kept their ears alert. With more variety than the best cheese board in the land and more crunch than a cracker, we’ve picked out an almighty selection of music for your enjoyment.

Matthew E White - Hot Hot Hot

Matthew E White’s 2012 debut album ‘Big Inner’ was one of last years under the radar gems. Now, the album is being given a well-deserved reissue with a new five song EP entitled ‘Big Inner: Outer Face Edition.’ Trailing the rather oddly titled new companion EP is the deep psych funk symphony of ‘Hot Hot Hot.’ The track is in keeping with the supremely sensual alluring sound of ‘Big Inner’ but here the grandeur is ramped up even further over the course of it’s glorious 7 minutes. White’s sonorous rich baritone voice provides the foundation for a loping bass groove, subtly soaring string swells and a grinding fuzzy bass climax. The song becomes something of a contemporary gospel track as the backing chorus of female voices behind him sing the key lyric of “Ain’t nothing healing like the human touch”. The whole thing is a wondrous mesmerising sonic journey. (Martyn Young)

Danny Brown - ODB

If there’s one dude you can always count on in the hip-hop game to make things a little weird again, it’s Danny Brown. Continually shooting from the left field, the Detroit howler of an MC is once again dodging hooks and current trends, with easily the most unique voice in hip-hop today. The crooked space-age boom bap found on the first single from the upcoming album ‘OLD’, is essentially perfect for Danny. Featuring his typically clever braggadocio based wordplay and over the top sexual content, the thing that makes ‘ODB’ so great isn’t necessarily the words he’s saying, but how he’s saying it. Danny oozes character, he’s the type of crazy guy your parents warned you to stay away from - but it’s getting increasingly hard to do so when he’s once again proving that he’s what hip-hop needs right now. (Joe Price)

MØ - XXX 88

Chess Club signing MØ is not-so-quietly taking the world of ice-cold super-refreshing pop music by storm, and this latest Diplo produced track continues an unbroken chain of excellent teasers for Ørsted’s forthcoming EP. It’s propelled by synthy trumpet lines that sound like they’re being played on a Toys R’ Us keyboard, and in complete contrast, MØ is positively sultry. If you gave a village silver band an album by The Knife for inspiration, painted all the tubas and trombones rainbow colours, and then gave them a gig at a Scandinavian street party hosted by Diplo, the resulting music might sound a bit like ‘XXX 88’. (El Hunt)

Throwing Muses - Sleepwalking 1

When you think of the key defining bands of 1980’s independent music Boston’s critically acclaimed but largely commercially unsuccessful Throwing Muses are often forgotten. However, the trio led by enigmatic front woman Kristen Hersh played a pivotal role in the rush of forward thinking indie rock that characterised the early independent scenes’ golden era with their run of albums released on 4AD. The band has lain dormant for 10 years though as Hersh has focused on her writing. ‘Purgatory/Paradise’ is their first new recording since 2003’s self titled album and it continuous a literary theme as it is packaged and released as a book containing 32 new songs as well as writing and artwork. ’Sleepwalking 1’ is the first track to be revealed and it bristles with all the ragged heart on sleeve aggression that the band is famed for. The guitars have a satisfying crunch while Hersh’s voice is as caustic as ever, “Maybe, I’m not as clean as you think,” she sings mysteriously. It’s as if they’ve never been away. (Martyn Young)

Los Campesinos!- What Death Leaves Behind

One of Los Camps’ main draws has always been their insane grasp of lyricism. They’re able to write lines that can sound both bitter and tinged with hope, somehow, and in ‘What Death Leaves Behind’, the razor-sharp sword of cynical wit is out. ‘I was the first mashed drunk at the first remission/ You were my shallow grave,’ goes the opening line, hurtling from comedy, to tragedy, to sadness in a sentence. That’s skilled tautology right there. The sugar sweet harmonies are still here, the hyper-active synths are whirling round the steep walls of the penny machine. Yet this also sounds like the most polished production we’ve heard from Los Campesinos!. We’ll be watching to see where they go next on ‘No Blues’. (El Hunt)

Eyes In Istanbull - Warm Dark Places

Birmingham’s Eyes In Istanbull may of accidentally written the introvert-anthem of 2013. ‘Warm Dark Places’ encapsulates all the feelings that swim around our minds at least once or twice in our lives. Those times when you just want to curl up in bed with the curtains stapled shut and the heating cranked up. I don’t recommend doing so though, especially if Eyes In Istanbull are playing live somewhere. Get outside and see them in a sweaty, dim venue instead of curling up in a sweaty, dim bedroom. Their EP is out soon too. Reasons to be cheerful indeed! (Jack Parker)

Cheatahs- Cut The Grass

Cheatahs are like a chameleon. Instead of changing colours, though, they shift between 90’s rock influences. So far there has been a little bit of Dinosaur Jr, My Bloody Valentine, Ride, Stone Roses and Sonic Youth channelled into their brilliants songs, as well as their own distinct spotted stamp. Their latest single ‘Cut The Grass’ may be their biggest and best to date. Unlike their slow shoegaze waltz ‘Fall’, this song sees them combine soaring synths with walls of noise guitars in the same frantic tempo of last year’s ‘Sans EP’, and it sounds massive. What colour do you reckon they will change to next? (Samuel Cornforth)