News Tracks: Mac DeMarco, Kevin Devine, And More

This week DIY has been rather inspired by Katy Perry’s obscene gold-plated lorry that she karted round America to announce her new album. ‘Prism’ style, we decided to drive round a collection van ourself, making pit stops by our writers, and asking them to chuck their best track recommendations in the back. Well, sadly we actually don’t have a DIY lorry, let alone a blinged-out metallic one. In reality we just asked our writers really really nicely. But still, the top tracks tips we got in this week are gold-plated brilliance anyway. Have a read below for Mac De Marco, Daedelus, a new project from Smith Western’s keyboard guy, and much much more.

Oneohtrix Point Never - Problem Areas

Daniel Lopatin is one of those producers who’s just hard to pin down, the only common theme across his music is overwhelmingly gleeful experimentation. Whether it’s the outstanding drone revitalisation found on ‘Returnal’ or the beautiful contextualisations of long forgotten television adverts on ‘Replica’, there’s a unique quality to his ever changing sound. As the first single from the upcoming ‘R Plus Seven’, ‘Problem Areas’ represents yet another shift for Lopatin - this time repurposing crass sounds into something strangely elegant. Midi horns, bizarre vocal samples and chunky bass make up most of the track, slowly building before being interrupted by a gorgeously ethereal ambient interlude - it’s got all the character and production techniques Lopatin is known for, but the sounds he’s using are considerably different. As far as post-modernism goes, Lopatin’s in a league of his own.(Joe Price)

Mac DeMarco - Young Blood

Mac DeMarco has everything. He is constantly happy, he is funny, he is in love and he is a master at making off-kilter slacker pop. Mac recently settled down to watch the movie Young Blood whilst devouring some Pepperoni Pizza, and for dessert he churned out a new tune. What a hero. The Swayze inspired number, appropriately called ‘Young Blood’, is his contribution to Adult Swim’s summer singles series, and it’s a whole load of fun as it takes a freaky turn like his debut release ‘Rock & Roll Nightclub’. Behind the lo-fi chimes, Mac’s vocals are super sleazy, and at the mid-point he offers a rather wonderful impersonation of a hockey commentator. Is there anything that this Canadian with a toothy grin can’t do? (Samuel Cornforth)

Kevin Devine - Private First Class

After a ridonkulously successful Kickstarter - K Dev hit his $50,000 goal within 36 hours, or something silly like that, and ended up with more than $114,000 pledged - ‘Private First Class’ is the first song to surface from the two albums Devine promised to record. This short, sharp, fist-to-the-face of a track hails from ‘Bubblegum’, the Jesse Lacey-produced rock record (as opposed to the Rob Schnapf-produced solo record, ‘Bulldozer’). It is stunningly effective in whetting the appetite ahead of the double release this autumn. Streamed to coincide with the verdict in whistleblower Bradley Manning’s trial, ‘Private First Class’ showcases Devine’s fine rapier wit and satirical activism. Musically, it’s just as bolshy, laced with discordant licks and grumbling riffs. Given the huge show of support ahead of ‘Bubblegum’ and ‘Bulldozer’, it’s no surprise ‘Private First Class’ captures K Dev in his most comfortable and confident form in years. (Hugh Morris)

Daedelus - Paradiddle

Daedalus, from whom Alfred Darlington derives his name, is a fairly famous bloke. He was the clever mythological so-and-so who built the labyrinth to contain that nasty ol’ Minotaur, and he also cobbled together a pair or wings for his flighty son Icaurus (the wings melted in the sun, and someone thwarted the whole intricate trap with a bit of string, but roll with the general idea for a minute.) Daedelus – switching of ‘a’ for ‘e’ – is creating some legendary music too, and the wonderfully named ‘Paradiddle’ is structured around winding passages. It navigates every confusing twist and turn beautifully, like a ball of thread unfurling in a maze, perhaps. Despite erratically leaping synth melodies and jumpy fidgeting synths that ache to fly to sunny heights, ‘Paradiddle’ feels settled and uncluttered. The upcoming record, due 17th September, is full of promise. (El Hunt)

Touching Voids - Untied

Ziyad Asrar is one cool dude. Not only does he fill on keyboard duties for Smith Westerns, but he also helms the awesome Touching Voids, alongside his childhood friends Malcolm Brown and Julien Ehrlich (Smith Westerns drummer and former Unknown Mortal Orchestra drummer). After hinting at something truly special earlier this year with the two debut tracks ‘Like Dust’ and ‘Syrup’, they have delivered another pearler, ‘Untied’. A condensed and sedated sister of their Chicago pals signature sound, Asrar’s vocals are nonchalantly whispered as if he is in a daze, whilst drowsy drums meander along with delicate guitars drudging by their side. At times it may sound frail and resigned, but there is always the underlying feel of comfort carefully wrapped in every single note. In the case of Touching Voids, less means more, as this refined sound is the crème de la crème.(Samuel Cornforth)

The Preatures - Is This How You Feel?

Having spent a few good years away from their music, and with their online footprint swept off the face of the Internet, Sydney’s The Preatures are back with a new track ‘Is This How You Feel?’ Having made a clear withdrawal from their darker, gloomy sound of a few years ago. Now channeling the staccato vocals and breathy harmonies of Haim and, by extension, Fleetwood Mac, the band are directed toward a more contemporary sound. ‘Is This How You Feel?’ is good pop music, laced with intricate guitar riffs, soft synths and a catchy little chorus to top the whole thing off. (Elliot Ramsey)

Dead Girlfriends - On Fraternity

When James Brooks, who has been performing under moniker Elite Gymnastics, released a four track EP seemingly out of nowhere as Dead Girlfriends, naturally it sparked conversation. In particular, the song ‘On Fraternity’; accompanied by a video featuring straight-faced Brooks playing a Nintendo DS in front of a wave loop. The serene setting however, is accompanied by a song that’s abrasive, controversial but at the same, strangely beautiful. Screeching noise builds up throughout the track in between a twinkling melody, as Brooks drags out every last syllable, as if every word carries its own significance. The issue of sexual assault is one that is incredibly sensitive and Brooks handling it well from a male perspective is a breath of fresh air. “It’s like you have to wear black in places like this,” Brooks comments. It may be a controversial song but it’s also an important one, raising awareness and not making light of its subject. (Aurora Mitchell)

Rain Maze - Swords

Rain Maze is the name that Amol Prabhu goes under when making the guitar-driven, synth-washed bedroom demos that he does so well. ‘Swords’ is his only track online so far but in the space of the three minute tune, the ears of listeners are treated to various different guitar riffs, hushed vocals and a general sense of both uplifting optimism in the instrumental and an apparent shyness in the vocals. The sound of ‘Swords’ is the sound of an artist finding his voice and realising that he can shred on the guitar. (Jack Parker)

Minks - Margot

Back in 2011, Minks were a bit like the ugly duckling with their gloomy and doomy indie jangles, but returning with their second album, ‘Tides End’, it is clear that they have blossomed in to a beautiful swan. This fairy tale transformation was unveiled a few months back, as Sonny Kilfoyle and co gifted us a double whammy (‘Painted Indian’ and ‘Everything’s Fine’) that showed the Brooklynites embracing summery synth pop. ‘Margot’ follows suits nicely from these two, it is has the sun’s rays beating through its massively catchy hooks, and Kilfoyle’s vocals are as cool as they come. The main refrain goes ‘I have been dreaming of the west coast” and despite it being a bit clichéd, we couldn’t think of a better place to bask in these melodies full of warmth. (Samuel Cornforth)

FKA Twigs - Water Me

There are thousands of ways an artist can convey emotion in their music, but sometimes the best approach is when they give it their all and present it with as little as possible. Working with Yeezus collaborator Arca, FKA Twigs’ first single from her upcoming Young Turks debut is a gorgeous display of frailty and intimacy, despite its minimalistic qualities - the emotion is amplified thanks to Arca’s beautifully chambered production. The production isn’t the only thing carrying the sepulchral ‘Water Me’ - channeling equal parts Massive Attack and Björk, Twigs’ sullen vocals express copious emotion, despite using so few words. A perfect example of the less is more mentality, ‘Water Me’ not only singles out Twigs as one of the more interesting artists working within the ghostly R&B revival, but also solidifies Arca as a definite producer of the year candidate. (Joe Price)

Deaf Club - Lines And Limits

‘Lines And Limits’ has an organic and effortlessness that runs through to its core. It feels like the musical representation of a time lapsed film scene segue, where the protagonist moves in real time whilst the world around speeds on by. As the vocal and drums sit upfront, the lyrics are allowed to hit home delicately but directly; with the guitars gently weaving Texas Post-Rock overtones and a bass driving and keeping everything together. This is a track that doesn’t appear to adhere to any strict guidelines, in contrast to its title. Deaf Club release their ‘Take in Colour’ EP via Kissability on 5th August. (Joe Dickinson)

F.O.E.S - Ruin Lies In The Bow and the Sword

If it’s stadium-sized (or Ocean-sized) alternative rock that you’re after this week, you won’t be able to beat Liverpool’s F.O.E.S. - a shortening of the more verbose Fall Of Every Sparrow. A bold claim based on a single track, perhaps, but they are probably the best new heavy rock act in the North West. Drawn from a scattering of excellent and criminally underrated local outfits, the foursome make a cinematic racket that blends post-rock nous with classic Siamese Dream-era Pumpkins and a rhythm section that’s got the same drive as Deftones on White Pony. After a couple of choice alt-rock verses and choruses, they round ‘Ruin Lies…’ off with rock-solid riffs and first-album Oceansize atmospherics. If all of those comparisons make it sound too good to be true, then click play and believe. (Alex Lynham)

Listen to F.O.E.S trackhere