LNWY Recommends: November’s Best New Music

Missy Scheinberg and Dom O’Connor – from the Laneway offices in New York and Sydney, respectively – team up for the best tracks of the month.

'My Lady’s On Fire'

Ty Segall

After 10 years as garage rock’s enfant terrible, Ty Segall’s most-recent singles have been some of the most sincere and folk-affected of his career. ‘My Lady’s On Fire’ continues this streak, piling on gorgeous harmonies, acoustic guitars and horns to back Segall’s pretty, whole-hearted tenor. The psych and glam flourishes haven’t left – his shredding guitar interjections remain the stuff of T.Rex-ian ecstasy, but the closing, Destroyer-esque saxophone solo smacks of an artist maturing, stripping away the layers of fuzz pedals and taking his early, preternatural skill for songwriting even further. – Dom

'Didya Think'


Earlier this year and seemingly out of nowhere, Nashville four-piece Arlie came out of the gates with debut single ‘Big Fat Mouth’, a massive earworm indie-pop jam. And it wasn’t a fluke. The newly Atlantic signed band’s second single ‘Didya Think’ is yet another sticky songwriting smash that manages to tread the line between indie and pop a la Portugal. The Man’s ‘Feel It Still’. – Missy


Greenwave Beth

Greenwave Beth (and Flowertruck) singer Charles Rushforth has one of the most distinctive voices in Sydney music: a mixture of David Byrne’s full-throated appeal and a blunt, enunciated ocker charm. The sparse, minimal electronics of ‘Make Up’ has the same kind of infectious syncopation that animated the finest Suicide songs, the robotic backing colliding perfectly with the emotional, pained delivery.‘Make Up’ crescendos with plinking synths, drum rolls and Rushforth yelling over a cacophony of his own harmonies, building into a manic wide-scale ending using the song’s nominal few elements. – Dom


Common Holly

The entirety of Common Holly’s recent debut record Playing House is the sonic equivalent of sitting by the fireplace, wrapped up in a cozy blanket. While the world is never short of singer-songwriters, Brigitte Naggar’s self-described “dark folk” solo project is quite different. On album highlight ‘Nothing’, her layered, ethereal vocals sit atop minimal instrumentation that relies on space just as much as what’s being played. It’s easy to see why Stereogum named her among their Best New Bands Of 2017. – Missy

'360' (prod. by Zach Villere)


Saba burst into the hip-hop consciousness like a lot of other Chicago rappers, featuring on Chance the Rapper’s Acid Rap and Colouring Book. Since then, he’s continued to refine his hyper-active, playful flow and harness it in larger doses. On the stand-alone Adult Swim Single ‘360’, Saba sounds like a mix of early Joey Bada$$ and DRAM’s sing-songier qualities. He sounds lively over a light, skipping beat supplied by Louisiana producer Zack Villere, the two finding common-ground in a similarly casual and unpretentious aesthetic. – Dom

'Animah' (feat. Hodgy & Midnight Mutants)


It’s been nearly five years since his full-length debut Twirligig, so it’s beyond exciting that Sydney-via-South Africa’s Jonti has finally returned with follow-up Tokorats, released earlier this month on the legendary Stones Throw Records and Future Classic labels. On ‘Animahs’, the former The Avalanches touring member (and collaborator) seamlessly blends hip-hop beats, his signature dream pop vocals, and verses from Odd Future MC Hodgy for an album highlight.  – Missy



The sparkling guitars that open ‘Sure’ immediately engross the listener in the song’s shimmering, expansive and cinematic scope. The dreamy, hazy feel of ‘Sure’ is further magnified by Harriette Pilbeam’s warm, inviting voice, adding to the song’s wall-of-sound instrumentation and washy, textured production. There’s an effortless understanding of pop songcraft on display here that would feel impressive from a long-standing career artist, let alone one on their second single. – Dom

'I Hope To Be Around'

Men I Trust

From Winston Surfshirt’s debut Sponge Cake to Jungle’s imminent comeback, sleek and funky production feels like the winning combination of 2017. But Montreal’s Men I Trust manages to stand out from the pack based on the stellar combo of frontwoman Emma Bernache’s glossy vocals and the trio’s dancefloor-ready shimmering production that lies somewhere between Yumi Zouma and Parcels. – Missy

'Real Thing'


Turnstile’s pummelling, sludgy version of hardcore is miles away from the conventional sound of the genre, and yet they’ve grown into well-respected stalwarts over numerous EPs and one full-length, 2016’s Nonstop Feeling. ‘Real Thing’ doesn’t exactly groove, but the creeping drums and limber guitar riffs create a tension within the song that’s accentuated by Brendan Yates’ witheringly angry vocals. ‘Real Thing’ hybridises the levity and directness of hardcore with the wallop and punch of modern production. It comes out sounding both all the heavier and more forthright for it. – Dom

'My Body’s Changing'

Press Club

Between Ceres, Cable Ties, and Slowly Slowly, the emerging rock scene in Melbourne seems to be thriving this year. And with a mere two songs to their name, Brunswick four-piece Press Club have seemingly risen to the top of that list with their raucous release ‘My Body’s Changing’. It’s full of blazing power chords and frontwoman Natalie Foster’s defiant vocals. – Missy

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