LNWY Recommends: April’s Best New Music

Dom O’Connor picks out the best music of the month – from a chillwave throwback to a Kanye collaborator, plus some elegant art-pop from Vampire Weekend.


Jermango Dreaming

‘Breeze’ by Sydney musician Jermango Dreaming exists as a cross-pollination of genre; an insistent, rolling disco beat meeting halcyon synths of electronica and vocals cribbed from late-Noughties chillwave heroes like Washed Out and Toro y Moi. It builds in a measured, leisurely way, adding elements and continuing to grow and expand. It’s a pitch-perfect approximation of the type of song you’d hear on Hipster Runoff in 2009.

‘Unbearably White’

Vampire Weekend

I can’t believe an artist hasn’t used ‘Unbearably White’ as a title before. This elegant art-pop number fits neatly in the VW canon as an update on the doomed couple at the centre of ‘Hannah Hunt’, where Ezra Koenig’s more twee tendencies were tempered by an encroaching sadness. ‘Unbearably White’ doesn’t go for the jugular though, content instead to work around its premise and showcase a welcome subtlety in the song’s arrangement and lyrics.

‘Koruna and Lime’

Injury Reserve

Arizona trio Injury Reserve have been making consistently great, left-field hip-hop for the past five years. ‘Koruna and Lime’ features a noisy, synthetic sounding beat for the trio to flex over. They deride fans asking for “spazz-rap” and reference Czech currency in equal measure. ‘Koruna and Lime’ doesn’t overstay its welcome either, with some classical A-Trak scratching in its outro. Between their upcoming debut Australian tour and a collaboration with Amine. It feels like they’re in a moment right now.

‘Ghost Poke’


A scuzzy, maximalist slice of indie rock, ‘Ghost Poke’ evokes the spectre of Alvvays in its echoey, half-there vocals and the layers of dreamy synths that underpin the entire song. It’s not quite a left-turn for the Newcastle-based Tilly Murphy, but more of a refinement of the songcraft that’s been on display since her self-titled Bandcamp debut. On the frantic ‘Ghost Poke’, she takes a step through the fuzz and into indie-rock glory.

‘Tastes Good With Money’

The Fat White Family

South London’s sleaziest band of brothers are back, and ‘Tastes Good With Money’ saunters in on the back of a rolling bassline and Lias Saoudi’s expressive, too-cool-for-school singing. As successful as several Fat White acolytes have been over the past five years – Idles and Shame to name a few – there’s still nothing as satisfying as the real thing.


070 Shake

Since her star-making turn on Kanye West’s ‘Ghost Town’, 070 Shake has made consistently interesting (and often strange) moves with her own music. ‘Morrow’ makes liberal use of a rough-shod bassline to accentuate Shake’s expressive vocals and ever-changing flow. It’s a melodic delight, shedding the emo-trap leanings of her previous work for a laser-guided pop focus and a bulletproof chorus.

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