John Preston kicks off the week with his favourite seven tracks of the moment.
Baby Queen, ‘You Shaped Hole’
It’s hard to keep up with Baby Queen; the fear is that something will be missed such is the rate that she drops these miraculous three-minute shots of pop euphoria. I think I might have said this before, but this one is definitely my favourite so far.
Caroline Polachek, ‘Bunny Is a Rider’
The fact that ‘Bunny Is a Rider’ somehow manages to be one of Caroline Polachek’s best releases to date is somewhat remarkable considering the use of not only a whistle sample but one of a baby crying. Smooth as silk and dangerously, wonderfully contagious – this is summer-time perfection.
BAYNK and Tinashe, ‘Esther’
I can’t keep featuring Tinashe in this list (but do check out the airy deliciousness of ‘Bounce’ if you haven’t already!). So I thought I’d get around it by recommending the new BAYNK single ‘Esther’, which happens to feature Tinashe. A great groove, and an effortless seasonal jam.
Cakes Da Killa, Proper Villains ‘Lite Work’
The rapper returns with another EP that blends his love for the harder end of house music – when elements were being added which would later become the hallmarks of rave and techno – with his own queer tomfoolery. Hilarious but seriously committed, like all good things.
Chvrches, ‘Good Girls’
When Chvrches last released an album two years ago there was disappointment that both their proven bite and song-writing abilities had been lost to super sleek, big-named production. ‘Good Girls’ suggests that this is now firmly in the past with its savage takedowns and Lauren Mayberry’s crystalline delivery.
Xenia Rubinos, ‘Working All the Time’
Xenia Rubinos has been pushing barriers sonically for the majority of her career. Her output over the last couple of years has focussed more on the electro-dance element of her eclectic sound. ‘Working All the Time’ is crazed and outlandishly frantic but retains Rubinos’ ear for a solid melody.
Azealia Banks, ‘Fuck Him All Night’
Just when you think you’ve heard the last of her, Azealia Banks returns with another stone-cold banger. Against a dry and flinty, four-to-the-floor backbeat, Banks lets her mouth run wild and then some. The clubs are open again and this seems tailor made to celebrate the return of dance floor filth.