LNWY Recommends: June’s Best New Music

Laneway Festival’s Dom O’Connor picks out the best tracks of the month – from a typically hard-hitting return from Freddie Gibbs top the latest from the South London scene that produced Shame.


Freddie Gibbs

Indiana’s finest is back with a typically hard-hitting mixtape and an incredible promo video to boot. ‘Automatic’ is the mixtape’s finest moment, Freddie riding a thudding boom-bap beat with the utmost confidence. He sounds invigorated on ‘Automatic’, a fine showcase for his superlative flow and technique. It’s good to have him back, and as a taster for his long-rumoured next collaboration with Madlib, a fantastic whetting of the appetite for new music.


Annie Hamilton

‘Fade’ runs the whole gamut of emotions, in slightly over three minutes. The initial transition from the achingly-fragile intro to the shoegazey textures of the rest of the song is a perfect bait-and-switch, the contrasting sections illuminated by the swirling guitars and Hamilton’s voice rising in time with them. ‘Fade’ is undeniably cinematic in sections, but it’s also matched by its conciseness – it peaks just as many songs would only begin to get going; an auteur’s trick to always leave the audience wanting more.

‘Drop The Bomb’


Between the MF Doom feature and the sample-heavy instrumentation, you’d be forgiven for thinking ‘Drop The Bomb’ was a new Avalanches track. Instead, it’s the first single of a new collaboration between Klaxons honcho Jamie Reynolds and Gorillaz sideman Jeff Wootton. ‘Drop The Bomb’ sits in that perfect middle ground between eerie and cosmic, utilising the most focused Doom verse in years for an immediately gratifying slice of lo-fi hip-hop.



The latest out of a particularly fertile South London scene (think Shame, Goat Girl), Sorry are the most willingly-discordant of the bunch. ‘Showgirl’ simmers with a barely-contained uneasiness, off-kilters guitar lines twirling around singer Asha Lorenz’s breathy delivery. The seedy, restrained sense of menace draws the listener in and refuses to let up.


Christopher Port

Enigmatic Melbourne producer Christopher Port’s new track DTF is an unashamed dance floor-filler. Ignoring his previous penchant for melodic beauty, ‘DTF’ goes straight for the jugular, marrying chopped vocal samples and busy hi-hats. The synths blasts hit with a force, and the synchronisation between them and the hi-hats are a thing of beauty, an example of Port’s skill as both a producer and an arranger.



A whirling misnomer of a track with several parts in motion, ‘Luciday’ has the dense, dissonant production of a Oneohtrix Point Never song alongside the sweetness of a Postal Service melody. There’s a craft in the song’s many layers, and e4444e’s ocker, Australian-accented vocals only accentuate the blunt appeal and immense likeability of ‘Luciday’.

‘Danny Nedelko’


An ode to frontman Joe Talbot’s best friend and immigrants everywhere, ‘Danny Nedelko’ is the sound of a band taking their anger at nationalistic undertones and turning it into a positive, life-affirming sentiment. The rhythm section in ‘Danny Nedelko’ bridles along with fury, before a joyous football-chant chorus contrasts the two sections wonderfully. From the Pavement reference in the second verse to the best in-song spelling since ‘Hollaback Girl’ of a bridge, ‘Danny Nedelko’ is Idles’s crowning achievement as a band so far.

‘Future Me Hates Me’

The Beths

Charmingly scuzzy, ‘Future Me Hates Me’ has unbridled enthusiasm in droves, from the annoyingly-catchy guitar line to Liz Stokes’s downbeat, slacker vocal delivery. The songwriting on ‘Future Me Hates Me’ is deceptively impressive – exceedingly casual on first listen, but remaining perma-stuck in this writer’s brain since then.

More Playlists

Something Else