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Knock knock, we have a fresh delivery of our favourite releases this week for your listening pleasure. 


By Ayden Measham-Pywell

Trust, at just under five and a half minutes long, is an ambitious return for Sophie Lowe. Having largely disappeared from the scene after the release of her beautiful EP 2 this is the return we’ve been waiting for. It’s not flashy, it’s not controversial. It’s a prime example of a masterful piece doing everything it set out to do. The track, a moment in the post breakup period, paints a visceral image of self recognition. It encapsulates the brilliance of Lowe’s vocal ability, with a minimalist style of production allowing the words and tone to shine. 


By Michelle He

I’m never sure what they mean when they say it’s a ‘demo’ because it looks as fully formed as they come, with their trademark acoustic Southern twang and the kind of picture perfect percussion line. If anything, it’s brasher and bolder than the debut LP, leaning closer to a wheaty, sun-dappled indie rock than the folk-rock line they used to straddle. It strikes a delicate balance between reflection and golden summer days, pausing for lofi vocals to take the spotlight, before breaking back out the instruments. 



By Michelle He

Chloe Kaul’s ethereal voice leads in this final single before their long awaited album, 3 years since their critically acclaimed Cusp EP, drops. Gentle, glassy synths layered like a sea green trifle complete this gently danceable track, the bread and butter of Kllo’s modus operandi, while being lyrically more complex than some of their past singles. Dissolve is a winner, and it avoids the glitchy vocal samples they’ve used before for an elegant piece of pure electronica. Expect great things from this pair – for all the gentle dance tunes they make, they’re electronica heavyweights in the making.


By Michelle He

Since scoring the Josh Pyke partnership, she’s been biding her time, but the low rumble of Slow Mover has been worth waiting for. With a husky, twinkling voice and a hint of Alexandra Savior’s twang, this song reminds me ostensibly of the Maccabees, even though she looks nothing like the indie London boy band, the richness of her voice and bold melody and lyricism has purpose branded all over it. Keep an eye out for this songstress on a mission. 


By Ayden Measham-Pywell

In the instrumental style of classic indie rock, The Breeders have created something remarkably fun with Wait in the Car. It’s a little scuzzy, and a very bit catchy, with a chirpy little undertone running through the track. The clip definitely isn’t one for tired eyes, flitting through messy designs, but that is almost where the track stands out. It’s uncanny energy is perfect for pulling your mind back to the music, waking you up and giving you that little burst of energy needed to keep things going. 


By Ayden Measham-Pywell

Cool is the not quite quirky kind of indie rock that is all too memorable. The lyrics are easy to handle, thanks to Georgia June‘s near spoken word style of vocalisation. But most of all, they are relatable. The tale of swooning over the attention of someone who’s not that great for you is a bit of a cliche, being in pop culture for as long as long can be. June does it with a level of character and skill though, her story feels close to unique, and the song is written and played well enough to be enjoyed. It’s not the most original track to be released this week, but it’s one that is likely to be remembered by those who give it a chance.