News Tracks: Parquet Courts, Foals, Smith Westerns And More

It’s Friday and spring is sprung (kind of, there was one sunny day), which can only mean one thing; it’s time that our lovely writers and radio presenters fill your earlobes with their favourite tracks of the week. And they’re a descerning bunch this lot, only the very best would they let us bring to you. So without any further ado, we present… this week’s Tracks.

Parquet Courts – Smart Aleck Kid

New York outfit Parquet Courts’ new track is over before it’s even begun. By the time you’ve wrapped your ears around the rambunctious B-side to infectious single ‘Borrowed Time’, you’re hitting play again. At just over a minute, there are a heck of a lot of lyrics packed in – most of which are hard to decipher apart from the repeated screams of “I’m a smart aleck kid.” It’s a lot less laboured over than those on their latest record and slightly more nonsensical, with the request of “Banana would be good.” More direct and less melodic than its a-side, while still channelling that muffled-but-noisy sound that brings to mind The Men, and permeated ‘Light Up Gold’. Parquet Courts are able to cram in a lot to their songs without the result ending up messy and this, this is a perfect example of that. (Aurora Mitchell)

Smith Westerns - Varsity

Smith Westerns somewhat reinvented themselves with their last album ‘Dye It Blonde’. The lo-fi noise that ringed out loud on their debut was replaced with dreamy glam pop that shoved the youngsters into the limelight. On the first listen of new track ‘Varsity’, it seems they have stuck to what they know and do so well. It’s instantly ace, with its sugary sweet vocals and glossy chords. However, after closer inspection the true brilliance is revealed. The dreamy surges of synths are layered with a feeling of optimism. Cullen’s charming delivery of ‘oohs’ makes your heart race and knees weak, you suddenly feel woozy like the sensation of falling in love for the first time. Just as quickly as it began, it’s all over and you are left with lovesick emptiness that will get you reaching for the repeat button. The progression Smith Westerns might not be instantly obvious but this is - by miles - the most complete pop song they have produced. (Samuel Cornforth)

Sad Day For Puppets – Cold Hand

While it may not have been the critical or commercial success on the scale of their 90s records, Smashing Pumpkins’ expansive, shoegazey, quasi-industrial final* double album ‘Machina’ retains a cult following. Listening to the new track from Swedish dream-poppers Sad Day For Puppets, one wonders if this record hasn’t hit their listening pile since fuzz-tacular last album ‘Pale Silver & Shiny Gold’. There’s still their trademark take on a mashup between Ride and Dinosaur Jr, capped by Anna Eklund’s bittersweet vocals, but the gentle chorus on the lead guitar line and spectral synth lines bear a striking resemblance to ‘Let Me Give The World To You’ from Machina II. Not that this is a bad thing; it’s an interesting change from the sometimes frantic pace of their two albums, and surely will pique the curiosity of fans already waiting on the release of new LP ‘Come Closer’ in May. (Alex Lynham)

*Let’s not count the new stuff.

Foals - Bluebird

How many bands there are in this world that could take a bell metronome and turn it into something as beautiful as ‘Bluebird’? Recorded at Safehouse Studio in Oxford and taken from ‘Holy Fire’; the CCTV style video transforms you into a fly on the wall, witnessing that unique moment in the rehearsal room when a band fades from casual conversation into an incredible piece of music with effortless ease. And the song itself oozes honesty. From the clock at the top of the camera counting down the inevitable seconds as they tick past, the simple yet stunning arrangement that swells and moves around itself perfectly – and even the slightly audible squeak of a drum stool. Perhaps a doff of the cap to poet Charles Bukowski – with the guitar tone, gentle transient of the palm mute and soft vocals; it certainly matches the melancholy theme of his poem by the same name, at least. (Joe Dickinson - @DickinsonSound)

Rustie – Slasherr

It may only be the start of March and the sun’s not sure whether it’s coming or going yet, but this one is perfect for summer. With the inevitable imminent influx of mainstream club-hits, along with Disclosure, TNGHT and others, it’s bound to provide an antidote with a fresh take on dance music this summer. Showcasing the maximalism that was present on 2011’s ‘Glass Swords’, whilst this is a more accomplished version of that sound – it’s still undoubtedly Rustie. The dizzying, hypnotic synths that are the centerpiece of ‘Slasherr’ are accompanied by tinny stomps and recurring vocal samples that hint that he’s been spending a lot of time with Hudson Mohawke and co. Whilst the retool of ‘After Light’ with Aluna from AlunaGeorge may have seemed hard to one-up, he may well have done it here. (Aurora Mitchell)

Danny Brown - #HottestMC

It’s a hip-hop truism that rappers are generally at their most thrilling when they’re at their angriest. Danny Brown has had his hackles raised by an MTV ‘Hottest MC’ list in which he is conspicuously absent, ‘#HottestMC’ is his brilliant response which renders any future list not featuring his name utterly irrelevant.

The primitive beat produced by Harry Fraud finds Brown at his most devastatingly unhinged as he proclaims his own greatness. He’s not concerned with merely dissing his peers though, he’s operating at an entirely different level. As the track builds to its climax, he exclaims that God himself is in awe of his powers: “When I reach my fate and I’m standing at the gates, know that God’ll be proud saying ‘Daniel you was great.” (Martyn Young)

Milk Music - Cruising With God

After a nice bit of scuzzy 90s sounding rock in the same vein of Dinosaur Jr? Or anything that makes you want to pack it all in and go join a band, play in a shed and use your middle finger liberally? Say hi to Milk Music. Frontman Alex does speak of classic songwriters and pays far more homage to his musical inspirations than the style of music first leads to. This is not just a bunch of musicians playing instruments, it’s a carefully prepared rock out with a nod to the greats. (Elise Cobain – Alive And Amplified)

Ciara - Body Party

The propensity to release numerous singles ahead of an album’s release is a phenomenon peculiarly unique to US RnB. ’Body Party’ is the third single taken from Ciara’s forthcoming album ’One Woman Army’ but that should not serve as in indication of its quality. It’s an absolute beauty. Producer du jour Mike Will Made It liberally lifts the beat from Ghost Town DJ’s RnB classic ‘My Boo’ and subtly twists and warps it allowing her to deliver a supremely sensual vocal over the top exclaiming her love for rapper Future who also co-wrote the song. It’s a perfectly pitched and expertly realised slow jam and a nice blend between traditional and progressive. (Martyn Young)

New Carnival – ‘Let Me Shake’

‘Let Me Shake’ is the reason why New Carnival are called New Carnival. You’ll soon find yourself repeating their name too, because this tune is a big one. It’s got that brand-spanking new feel to it and what’s more; it’s got more frolicking bounce than a Brazilian street fiesta. These boys may have just made the next indie-disco-banger of 2013. It requests that you let them shake but the bass line also invites you to shake along with them. (Jack Parker)