News Tracks: Peace, Merchandise, Just Friends & More

Hello everyone and a very happy Friday,

The DIY writers have put their collective heads together, had a squabble, had a tiff. It took some fine-tuning and discipline of steel, but finally they whittled it down to the top tracks to come out this week. It’s the handpicked premiership of new releases, if you like. With words on each track bigging up the selection’s technical aptitude, special skills, and an accompanying place to listen, this is more exciting than Robot Wars!

Peace – World Pleasure

Peace are onto something special. Not even past the first anniversary of their debut, they’ve just released ‘World Pleasure’, the first cut from their second album. Frankly, it’s groovier than a crinkled crisp shakin’ its thang to an old James Brown record, equipped with a bassline so downright funky it makes Chic look like they’re doing ambient drone. Kicking off with a infectiously staccato beat, it’s soon injected with a Harrison Koisser rap that’s bizarrely somewhere in between Wham!’s ‘Young Guns’ and Blondie’s ‘Rapture’, before evolving into a fiendishly large slice of funk-indie. It all builds-up to a gigantic Primal Scream inspired ending, oozing a sweet nectar of orchestral strings, brass and warped guitar. Weighing in at nearly six and a half minutes, it’s a monster of a track; and a stark change from the swooning indie of last year’s ‘In Love’. But, as different as it may be, the only logical response to Koisser’s slurred request of ‘if you’re happy, raise your hand’ is to link up in an ocean of sweaty mitts aloft in the air. (Kyle MacNeill)

Merchandise - Figured Out

With every Merchandise song of late, there’s been an increasing flirtation with big, showy melodies, arena-ready claims. The Florida group - now signed to 4AD - edge up closer to stardom like a couple of loved-up puppies shift next to each other on a park bench. ‘Figured Out’ - for all its bold claims - is still very much Merchandise, Smiths comparisons persisting but not overwhelmingly so. Carson Cox sounds freer than ever; free to think big, that’s for sure. The fact that this has been quietly sent out into the big wide world (it appears on a split LP for Record Store Day) gives the hint that this might only be the beginning of Merchandise’s stratospheric future. (Jamie Milton)

Antwon – Rain Song

Antwon isn’t like other rappers - sure he likes to talk about the ladies, but it’s how he presents his overall package that feels fresh. Surrounded by ethereal and almost gothic landscapes, his love of women is flirtatious, playful, and quite charming. ‘Rain Song’ sounds like the future of the rap, despite being so heavily influenced by the past of numerous other arts. Resurrecting super-

underground legend Lil’ Ugly Mane from his eternal slumber, ‘Rain Song’ analyses the negative effects that outside sources can have on the inside. From the power an infatuation can have on a man, to the crushing anxiety that unwillingly froths from within, it’s a suitably morose re-entry into the thick mess of mist that comprises Antwon’s world. (Joe Price)

Just Friends - Don’t Tell Me

This is the second time that Nico Jaar and Sasha Spielberg have combined forces as Just Friends. Previously, they linked up to cover Leonard Cohen’s ‘Avalanche’. Jaar’s obsession with space hasn’t peaked any further since that last track. ‘Don’t Tell Me’ is indeed a more busied electronic work. The emphasis is on repetition, from looped acoustics to Spielberg’s single line. Again, it’s a seriously fruitful partnership these two have struck up. (Jamie Milton)

New Palace Talkies – Dizzy

New Palace Talkies is the chosen moniker of Bristol-based musician and producer Tom Stevens, who produces intricate, textural pop music somewhere between Wild Beasts’ creeping falsetto and Avi Buffalo’s sparse, folksy instrumentation. Latest track ‘Dizzy’ is no exception; a complex track blending wavering croons, skittering drum clacks and drowned guitar chords which was written, recorded and produced in a bedroom. Predominantly a one-man-band, but incorporating ‘a sort of revolving door of people’, (in fully- fledged live mode, NPT transforms into a 7 piece ensemble, complete with brass band) we’re excited to hear what this interesting collective has in store for the rest of 2014. (Laura Eley)

Rae Morris – Do You Even Know?

Rae Morris’ haunting vocals are supported by a slightly different soundtrack in her latest release; framed by an array of minimalist electronic instruments replacing her piano. She makes the sometimes daunting leap of taking influence from other diverse genres, and it appear effortless. ‘Do You Even Know?’ is a contrast to the rest of her ever increasing repertoire, but she still manages to convey the distinct level of personal connection that is present in all her music. Although minimalist in its arrangement, there are some lovely subtle nuances that shine through, giving a steady rise in energy and only releasing a straight rhythm right at the last moment. This leaves the listener only one option – hitting replay. Stunningly performed and beautifully mixed, it only takes a couple listens to spot that this could quickly become a live favorite among Rae’s fans. (Joe Dickinson)

James Fauntleroy – Children of the Love

With writing credentials that span from an amorous Drake song about girls who love Beyonce to a behemoth ballad with the Queen B herself, James Fauntleroy’s role as one of the industry’s most revered ghostwriters may potentially make his transition into the limelight a smoother process than most. ‘Children Of The Love’ is but one of a triad of mysterious new songs released by the impressionable crooner this week, capitalising on his tantalizing R&B vocal style by keeping instrumentation at a bare minimum. With few touch-ups in terms of production - bar the insertion of a captivating chain of vocal harmonies at the track’s peak - it’s an unfiltered glance at one of pop’s most secretive vocal prodigies. (Joshua Pauley)

Nick Mulvey – Meet Me There

Let’s get the obvious comparison out the way immediately - yes, Nick Mulvey sounds very much like a British Jack Johnson. To simply label him with this tag, though, would be doing a disservice to a musician who has started to attract deserved attention after the relative success of previous single ‘Cucurcucu’. ‘Meet Me There’ is the lead single of his debut LP, ‘First Mind’, due out in May; a delicately strung guitar leading into a softly sung vocal and a drum beat which does its very best to give the vocals all the attention. It is in many ways, what I deem to be the musical equivalent of receiving a cuddle from Elbow’s Guy Garvey-you know it is going to be warm and soft and that you’ll want more-and that is what this song provides in spades. I imagine this will get a lot of radio airplay and so it should. After whetting the public’s appetite with the D.H Lawrence sampling gem of ‘Cucurcucu’, he has treated us to this early springtime delight. Big things await this talented folk troubadour. (Joe Sweeting)