Author Archive

Danny L Harle

“In My Dreams”

danny l harle

Every comment under the sun’s been made towards PC Music this year, but if there’s one defining quality of their songs—and it is a quality—it’s that they make the human heart out to be some lesser force when compared to a machine. It’s like the bleeping frenzy of a robot is mocking the senses when Hannah Diamond declares “I don’t want to be an MP3,” or even when she compares the breaking down of a relationship to a forgotten “Attachment.”

Danny L Harle is different. “In My Dreams”—coupled with visuals of a flock of seagulls swarming grey skies—feels like the most human strand to emerge from this distinctly machine-led project. Vocals are still pitched to meet the chipmunk swarm that PC specializes in, but there’s a tenderness and a heart to this song. It’s the sound of a hard drive discovering it has feelings, not just 250GB of space. It’s Spike Jonze’s Siri-like creature in Her beginning to discover emotion. If PC Music is to carry on developing instead of being a distant mirage from a fucked-up 2014, “In My Dreams” is leading the way in progressing.

Fake Laugh

"Wouldn't Bother"


Kamran Khan’s Fake Laugh project is pretty much unmatched in the woozy, UK-based romantic stakes. On his latest EP Freely, he coos and cuddles up with sunny-side-up notions for 15 dreamy minutes. Each song was recorded this summer, amidst surprise heatwaves and the muggiest conditions this side of the 21st century. Maybe the heat’s gone to his head, because on “Wouldn’t Bother” his typically upbeat musings take a severe emotional turn.

Freely is available now as a 100-edition cassette.

Rough Year

"Never Been Here"

rough year

Aching electronica in its purest form, “Never Been Here” takes one step out the door, sees the world’s ugly truths in plain view, before heading back in. It’s a cold-hearted introduction from Rough Year, an anonymous Philadelphia-based producer who mimics Burial’s ability to paint pictures and tell stories through a fragmented, echo-drenched vocal or, in this case, a batch of trap beats and buzzsaw synths. Despite being instrumental, “Never Been Here” feels like a difficult story to tell, like a process of pained searching has resulted in this.

California Carpool

"only u"

isaac ide

Isaac Ide’s not a perfectly taught guitarist. He spends most of his time drumming in another band, Morning Smoke. But when he picks up his chosen instrument for California Carpool, things take liftoff. It’s a lot like Zachary Cole Smith from DIIV’s technique of letting high-bending notes do the talking. There’s an exploration of space and a big energy-oriented dictation. This isn’t about chords of fancy patterns to write down by tab—this is about a song deciding its own course. With “only u”—the pick of Ide’s Beach Dreams demos—this project lands on something special.


"Body on the Bones"

cancer band 2048x1365 simon birk

Back in early 2013, loved-up nights had a new soundtrack. Rhye solved every bout of sexual awkwardness this side of the decade—people got it on to the soundtrack of two LA musicians making distinctly genre-bending soul music. Their successors appear to have arrived, although they come bearing an unlikely name: Cancer. This Danish pair know how to splice up the conscience. They stir and steam up at any given moment, and “Body on the Bones”—their second track to date—dives straight into intimacy.

Cambio Sun

"Weight of the World"

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“Weight of the World” is the second track from Dalston, London producer Charlie Tait, a.k.a. Cambio Sun, and it’s one that creeps up on the conscience. Initially it comes out like something that might’ve risen out from the basement of local haunt The Shacklewell Arms, the venue above which Tait resides. Ghostly and fragmented, its parts are hand-picked from completely different worlds. Reverb-struck guitars are summer playlist ready, but a thick fog of motionless synths runs against that. Tait’s falsetto isn’t a far cry from Justin Vernon‘s either, and when these strange alien fragments decide to link arms around midway through the track, something remarkable happens. “Weight of the World” isn’t deliberately obscure before it opens up, but the goldmine it reveals for a chorus is something worth holding out for.

Kero Kero Bonito

"Kero Kero Bonito"

kero kero bonito

When new London act Kero Kero Bonito spit truths about being “fresh,” they’re not messing around. A newly produced take from a mixtape released earlier this year is a fine introduction to their break-the-mold take on pop. Inherently forward-thinking and bustling with new ideas, this is a culture-clashing, ultra-daring opening gambit. Like a video game soundtrack come to life, the brilliance of “Kero Kero Bonito” is the way it mixes trivial things (“soda” and “spaghetti”), with real life grim details (“gun crime”). Every single word is blasted out with the same unhinged enthusiasm, joyful and carefree. Twisted pop music like this can be filed right next to PC Music in representing the sound of the future.

The Bedroom

"The Big Up"

bedroom graveyard

Shuffling pads and enough samples to render The Avalanches’ return pretty much pointless, the debut EP—The Graveyard of Ambition—from South London producer The Bedroom is as enlivened as they come. It’s a multi-angled beast of a release, bringing together tropical guitar lines and grandiose sax in opener “The Big Up,” and the kind of toneless, playful exercise in “Birthday Cake” that’d usually wind up in a Micachu and the Shapes release. This debut EP is loaded with ambition, and there’s a frustrated, bored-as-hell undertone to it all that gives it such fervor.

The Soft


thesoft icaria

It’s difficult to pinpoint where exactly The Soft are going. A group now based in South London, they began by making pensive songs comprised mostly of electronics, but also relying on guitars. They’d range from gentle giants to great looming beasts. Eventually they found a temporary home on Ceremony and recorded the Uncanny Valley EP, a vastly underrated collection of songs that employed distant vocals to boost already colossal beings, shape-forming tracks that exist to guide the way. Some numbers recalled a more scatterbrained Gold Panda, while others linked up with the cacophony of Walls.

New single “Icaria” is another curveball altogether. Percussive to the extreme and more streamlined than anything they’ve done before, it’s also a darker, more thudding piece. It could have been made by a band completely unrelated to The Soft of last year. But that’s the thing: These guys are very young, learning their craft and discovering the endless, exciting swathes of electronic music just like any casual listener might. First they found the fringes, now they’re stampeding through the thick of it. It won’t be long before they forge formidable territory of their own.