Tyler, The Creator’s new album ‘Don’t Tap The Glass’
Tyler doesn’t wait for the news cycle and neither will we. ‘Don’t Tap The Glass’ is a high-gloss, club-laced fever dream: a 30-minute sprint that slinks, shimmers and slaps. Gone are the orchestral sweeps of ‘Call Me If You Get Lost’ – here, Tyler’s painting with slicker, poppier colours: Miami bass, early-2000s Neptunes bounce and some truly deranged hooks. Is ‘Sugar On My Tongue’ a nod to Talking Heads?
It’s playful, impulsive, low on filler and packed with energy.
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Billie Marten’s new album ‘Dog Eared’
The corners are curled and the pages are worn, Billie Marten’s ‘Dog Eared’ feels like a long-held letter pulled from the drawer. Her fifth album takes a hazy stroll through late-70s singer-songwriter softness: Fender Rhodes, brushed drums and the gentle static of tape hiss.
It’s less folk, more jazz-folk, with echoes of Laura Nyro, Vashti Bunyan and Judee Sill in its framing. But this isn’t just retro window-dressing. Marten’s voice – soft, precise and emotionally unguarded – grounds everything in the now. It’s a record for lying on the floor with the windows open.
Just For Fun’s new single ‘Catch Me If You Can’
It starts like a warning: a burst of feedback, warped and eerie, then a thump of a beat that doesn’t so much drop as emerge from the gloom. Co-produced with Chris Ryan (of NewDad and Just Mustard fame), ‘Catch Me If You Can’ is an indie-pop slow-burner that slips between confession and chaos.It’s drunk-text pop.
TTSSFU’s new single ‘Call U Back’
Bristol’s finest post-punk surrealists return with a slice of hyper-emotional pop noise. Sinewy guitars and detuned synths underscore an almost bratty vocal that balances deadpan delivery with desperate pleading. It’s weirdly catchy and utterly uncompromising.
FKA twig’s new single ‘Perfectly’
The first taste of her forthcoming expanded album ‘Deluxua’, ‘Perfectly’ finds twigs stepping further onto the dancefloor. Co-produced with Koreless and Batu, it’s all elastic 2-step rhythms and featherlight vocal – playful, precise and a world away from the brooding tension of ‘Magdalene’. There’s still vulnerability here, but it’s more dancefloor than dreamscape.
