FRIDAY ROUNDUP: This Week’s Best New Music (13/05/16)

13 May 2016

feat. MØ, Fake Laugh, Metronomy, Trudy and the Romance and Nicholas Allbrook


It's Friday! Rejoice! And what better way to welcome in the weekend than with five tasty morsels of delicious new music? Here are five of this week's best new tracks from five new acts who are delighting us in equal but entirely different ways. Dig in...


We're only about four days into anything resembling summer, but MØ's already dropped what's inevitably going to be the omnipresent banger of the season. From the slight Balearic feel to the vague whiff of Biebs' 'Sorry' to the lyrics about never wanting the joy to end, 'Final Song' is a perfectly executed pop hit with enough cheeky Scandi charm to ensure it's far from radio fodder. Next stop, the Roundhouse - which she'll headline on October 22nd. Hurrah!



Fake Laugh leader Kamran Khan may have cut his teeth on the indie circuit having spent time playing guitar for Oscar, but 'Nothing But Good' is a pure pop gem. Fizzing with effervescent synths straight out of a 50s high school flick, it's a giddy earworm with just the right dash of doe-eyed sadness. Grab your prom date and slow dance them close.



Oh happy day! It's the first taster from Metronomy's new record and it is - obviously - very, very good. Pitched somewhere between the wonky synths of sophomore effort 'Nights Out' and the downbeat disco of standout single 'She Wants', 'Old Skool' is brilliantly odd - a chanty thing full of playground rhymes and featuring about four notes, it lashes them all with some 90s scratching (courtesy of Beastie Boys' Mixmaster Mike no less) and some big ol' warped drones that sound like you're being sucked into a space ship. God bless Joe Mount, and all who sail around him.



Trudy may have been forced to add a suffix to their name to avoid any nasty legal action, but it couldn't be a more appropriate one for their self-described "mutant 50s pop". All shoulder shimmying guitars and lyrics about "wanting to be your guy", 'He Sings' is wryly, knowingly wholesome, cut through with singer Oliver Taylor's fluttering, raspy croon - the kind of vocal that sounds as though its bursting with the weight of its own emotion. Trudy & The Romance might do sweet as pie pop on the surface, but they're giving a cheeky wink and having it off with the boss' wife round the back.



Nick Allbrook's 'day job' involves covering himself in glitter and cavorting around the stage as frontman of Pond - the eccentric cousins to Tame Impala's expansive psych. It's no surprise then, that Allbrook's free time is spent creating something potentially even odder. 'A Fool There Was' is a bit like a monologue of a nervous breakdown set to The Velvet Underground's 'Heroin'. "I don't want to go to Americaaaaa," Allbrook howls over dischordant guitar scratches that should be uncomfortable but are just kind of... great?



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