Dogs are a few injuries shy of resorting to calling up yours truly for their finals run. Give us a bell, Bevo.
RAINBOW CHAN : Work
What’s with all the songs about work in 2016? Thing is, they’re all pretty great. Rainbow Chan’s is no exception. Of course, it’s not going to be on the same level as Riri or Fifth Harmony, but it’s still a banger that punches above its weight. Rainbow Chan keeps on fueling the anticipation for upcoming LP Spacings, following on from pristine singles Nest and Last.
SARAH MARY CHADWICK FEAT. NICO SPICE : Special Time
Released in the lead up to new album Roses Always Die, Sarah Mary Chadwick puts out a non-album meditation collaboration with Nico Spice. A sense of uplift shines through the hushed ambience, clicks of experimentation congealing for something understated and beautiful.
HOUSE OF DAD : Hard Working Man
There’s an uneasy intro on Hard Working Man, the sample stutters to the point of frustration, a sharp synth breathes ominously in the background. There’s great payoff with a tight-knit groove. House Of Dad is the new project from András, again showing his house chops. Hard Working Man garnishes with lounge-y elements, coming together for a tasteful chill composition, flirting with irony.
AIRBOURNE : Breakin’ Outta Hell
Airbourne sound like Airbourne. But this sounds more like Airbourne than previous Airbourne LP Black Dog Barking. That missed the mark with a more turgid energy, but Breakin’ Outta Hell could well be the best Airbourne track yet. It’s all cliché, but it’s cliché done to perfection. It sounds sick, big fuckin’ power chords, up-tempo Phil Rudd style kick-snare, the chorus that shouts the name of the song then has a backing grunt chorus repeating the name of the song. That’s how it should be.
SINGLE OF THE WEEK
SUSS CUNTS : Anaemic Boyfriend
Anaemic Boyfriend barrels along, possessing the canny characteristic of feeling completely in control while feeling like it could fall apart at any second. It doesn’t fall apart. It thrills, it’s funny, it’s serious. There’s a snarl throughout, commanding orders to get outta the way, to “don’t look at me.” It’s a release, one that gets you in with a tractor beam riff. I’m on board.