LNWY Recommends: September’s Best New Music

Laneway Festival’s Dom O’Connor picks out the best tracks of the month – from a mysterious Sydney duo to Lil Uzi Vert’s first single in almost a year.

‘Are You All Good?’

breathe.

The first single from this mysterious new Sydney duo is a cinematic slow-burner with a soulful bend to it. Not quite a bait and switch, ‘Are You All Good?’ seems content to casually burrow its hook further into the listener’s brain, matching a trip-hoppy breakbeat with swirling strings that reach their crescendo in the song’s final chorus.

‘Sincerity Is Scary’

The 1975

It’s easy to write the 1975 off, but you’d be writing off one of modern pop’s most interesting bands, constantly unafraid to fuck with their audience. ‘Sincerity Is Scary’ is another bold left-turn from Matt Healy and his cohorts; his yearning, high voice matched by a choir of voices in the chorus. ‘Sincerity Is Scary’ isn’t just a title, it’s an ethos for Healy’s achingly real explorations of his own psyche within the pop music pantheon. As he continues to release single after single of great pop music, he’s clearly living up to his own lofty standards.

‘Palms’

Body Type

Although Sydney’s Body Type have been exploring new terrains of jangle and twang for more than a year as a band, ‘Palms’ has a noticeable immediacy to it. The vocals in the chorus bounce around like ping-pong balls, the guitars playfully intertwine, while the rhythm section keeps a motorik groove throughout. It’s a playful slice of loveable jangle-pop that’s impossible not to get swept up in.

‘Economy of Freedom’

Yves Tumor

There’s not a bad track on the new Yves Tumor record Safe In The Hands Of Nothing, but ‘Economy of Freedom’ is the most obvious standout: a pummelling soundscape that encompasses several moods and feelings within its five minutes. The synth blasts hit with a force, while the pitch-shifted vocals add to the general sense of unease that permeates proceedings. The song’s second half – where a trappy 808 kicks in – is the perfect counterpoint to the more astral leanings of the first, providing the listener with the type of denouement most musicians can only dream of.

‘Duffman’

Kaiit

Kaiit’s music has an easygoing, breezy lightness to it that belies the obvious musicality present. On ‘Duffman’, her voice is casually lovely, riding over a break-beat and coo-ing harmonies in the chorus. There’s an effortlessness to the brilliance of ‘Duffman’; Kaiit’s voice skirting between rapping and singing like her former tour-mate Syd Bennett. It’s another winning single from Kaiit, who’s gaining fans at a rapid rate in both her native Melbourne and around the country.

‘New Patek'

Lil Uzi Vert

For the rest of his career, ‘XO TOUR Llif3′ will probably follow Lil Uzi Vert. He can’t be angry – it’s the most pure, perfect distillation of his aesthetic. His first single in almost a year, ‘New Patek’ isn’t as immediate but proves that ‘TOUR Llif3’ wasn’t a fluke. Uzi’s pained, high-voiced delivery is in fine form as he spits typically mush-mouthed flexes over a jaunty piano and sub-rattling beats. It’s the first taste of the Eternal Atake project he’s been teasing for a few months now.

‘Some Mutts (Can’t Be Muzzled)’

Amyl and the Sniffers

Melbourne’s most-loved sharpies are back with a relatively hi-fi, hard-edged rave-up with a typically snotty vocal performance from Amy(l) Taylor. The first taste of Amyl’s upcoming debut record, ‘Some Mutts’ positively simmers with a power-chord fuelled rage. It’s an instant shot to the system from one of Melbourne’s most promising bands. It’ll be exciting to see where they can go after miles of touring with labelmates King Gizzard and the Lizard Wizard under their belts.

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