Gorgeous, fragile, floaty ambient from Ulla Straus, taken from her 2019 album Big Room. Simultaneously delicate and powerful: an extremely pleasant way to lose yourself for a few minutes. As Inverted Audio nicely put it in their glowing review, “strictly for the hardcore chillers”.
I love Yves Tumor. Safe In The Hands Of Love kinda passed me by on the first few listens, but after bascially everyone ranked it as one of the best albums of the year I went back to it and now I think it’s a complete masterpiece. This is taken from its upcoming album Heaven To A Tortured Mind, out in April, and it’s fantastic.
Banoffee has previously toured with Taylor Swift and Charli XCX, and her music sits fairly comfortably between the two, although probably a little closer to the latter. Really fantastic production and fun vibes on this, which is taken from her new album Look At Us Now Dad.
This came out back in October as the lead single from Keeley Forsyth’s debut album Debris, but I’ve only just heard it. Her voice is incredible, kinda like a female Nick Cave, portentous and anguished. Brief, but very powerful.
Eerie, dark alt pop from Grimes taken from her new album Miss Anthropocene. Unlike what seemed like pretty much everyone else I wasn’t a massive fan of Art Angles, but have really been enjoying this on the first few listens.
This is from the new Kamaiyah album that landed today. Definitely not one for the family playlist – outrageously explicit but so fun and bangs properly hard. Happy Friday!
Sufjan has made a ‘new age’ (his words, not mine) album with his stepfather which is coming out next month, and this is the lead single. It’s brief but pretty intense: definitely more Age of Adz than Seven Swans. Intrigued to hear the LP.
This is a couple of years old but I only just stumbled upon it. Floaty, evocative synths and lots of industrial clanging. Quite Boards of Canada-esque if you’re into that kind of thing.
We Forgot Love is taken from Nicolas Godin’s solo album Concrete And Glass, and is very reminiscent of his work as one half of Air – not that that’s a bad thing. The album’s a bit of a mixed bag, but this – with a blissfully fragile vocal from Kadhja Bonet – is lovely.
You could probably make a fairly convincing argument that this isn’t really doing anything massively original and is a bit beige. I take this on board, but ultimately it makes me feel warm and happily nostalgic and sometimes that’s just what you need.