Marlon Williams eases into the heartbreak
Marlon Williams – ‘Nobody Gets What They Want Anymore (ft. Aldous Harding)’
Marlon Williams and Aldous Harding, two of the most original voices to have emerged from the Southern Hemisphere in recent years, get together here for a beautiful, understated duet.
‘Nobody Gets What They Want Anymore’ comes from Make Way For Love, Williams’ new record, due in February. It was recorded with Noah Georgeson (Joanna Newsom, Devendra Banhart) in his studio in Northern California, and Williams will tour Australia in May in support of it.
'Nobody Gets What They Want Anymore' is a mournful tune – the record is apparently coloured by a recent heartbreak – and the two voices fit together perfectly. This is a delicate and lovely thing.
Moonlover – ‘The Ooiee’
‘The Ooiee’ starts out with the velvety croon of Odelay-era Beck, but ends up introducing more of a garage rock vibe. It rides a slinky bassline and uses a good deal of choppy guitar to keep the pace.
Moonlover, the work of Melbourne musician Quang Dinh, has a full-length due early next year from the Our Golden Friend label.
This a solid track from an exciting Australian act.
The Killers – ‘Run For Cover’
‘Run For Cover’, from Wonderful Wonderful, The Killers’ first album in five years, fits in the continuum of other running-themed tunes from the Great American Songbook (‘Born To Run’, ‘Runnin’ Down A Dream’).
This is reinforced by the fact Brandan Flowers seems to be accentuating, more than ever, the country twang that has always lurked somewhere in his vocal delivery.
'Run For Cover' is a shiny pop number and the chorus is catchy-as-heck. We get big drums, big hopes and dreams, and lyrics like “don’t be afraid of the fear”.
Anatole – ‘Outgrown (ft. Tom Iansek)’
There is so much depth and variety to the samples on ‘Outgrown’, which features vocals from Big Scary frontman Tom Iansek. The texture of the track is a perfect match for Iansek’s voice, which is full of tension and tenderness.
This is smart, subtle production from a young Australian musician set to do big things. (Anatole is the work of Sydney producer Jonathan Baker.) His debut record will be out early next year through Mercury KX.
Francesca Gonzales – ‘Better Person’
‘Better Person’ is the latest track from Melbourne songwriter Francesca Gonzales, who mixes elements of pop, soul and electronica into her work.
Still in her early 20s, she’s been working with Matthew Neighbour (The Avalanches, Matt Corby), who produced and mixed this track, so expect a lot more from her in the next 12 months.
Kult Kyss – ‘I Am One’
This is some deep house from Kult Kyss, a Melbourne duo made up of producer Haxx and vocalist Rromarin. The soul of the track is in the repetition and the fractured lyrics.
Fans of The Knife and Bonobo will find a lot to enjoy here.
Bjork – ‘Blissing Me’
Music lovers around the world are gearing up for the release this week of Utopia, the new record from the queen of experimental pop. It’s been one of the most anticipated of the year.
‘Blissing Me’ is a fresh cut from it and, as we noted last week, is a thing of beauty – spare, lush, and direct.
Bruno Major – ‘Just The Same’
‘Just The Same’ comes from British singer Bruno Major’s A Song For Every Moon project, in which he attempted to write and record a song a month for a year.
It’s a piano-driven ballad of sticking at love against your better judgement, reminiscent of Sam Smith or James Blake.
‘Just The Same’ came together very quickly. “I wrote it at midnight on the 2nd [of] February in my flat with all the lights off, still wearing my duffle coat,” he explained to NME. “All in all, it only took 20 minutes. I recorded it the next day, sent it off to be mixed and took the rest of the month off. Some songs are like gifts, musical emails that arrive in my brain nearly fully formed, and that was one of them.”
Empire Of The Sun – 'On Our Way Home'
This is another piece of danceable pop from the mega-successful Australian act made up of Luke Steele (The Sleepy Jackson) and Nick Littlemore (PNAU).
‘On Our Way Home’ comes from the new EP of the same name, and is built on 80s dance beats, lofty synths and Steele’s soaring vocals.