Another week goes by and the world is going one way, or the other, or both at the same time – we’re seeking temporary refuge in music because as Sterling Void so aptly puts it “I hope it’s gonna be alright ‘cause the music plays forever”. Here’s what’s been keeping us on the level this week – enjoy.

Los Angeles based Ninth Child instantly beguiled us with Virgo. It has a very hypnotic quality and really draws you in to its rhythmic and moody soundscapes. The track triggers comparisons with some of the more esoteric moments of The XX but with added attitude; or maybe Austra with some darker musical overtones. Regardless though, Virgo is very much its own unique sound and we love it.

Lavish by uah is something very different – the third track on the Only One EP; it’s a slightly upbeat electronic vocal track with hints of Air and the white boy soul stylings of James Blake. There’s very much a classy vibe going on here, utilising some retro sounds yet making the track sound fresh and modern. We’re intrigued by the cover for the vinyl release – a gigapixel photomontage of London at night, broken up in to 100 unique fragments which will be used on the first 100 copies of the EP.

Monstercat artist Notaker has dropped his third release with them: Shimmer has a very cinematic feel to it, building slowly from a chilled spacey opening into the launch of a synth and drum driven track which brings to mind artists as diverse as Hans Zimmer and Carpenter Brut. If a track can be uptempo as well as ambient, then Shimmer is it!

Wasteland is the debut from Seersha: a singer, songwriter and producer from Atlanta, Georgia. Until recently, she was writing country songs for hire in Nashville, but is now finding her own musical path as a solo artist. It’s a brooding synth number – atmospheric and heartfelt, with hints of respected artists like Susanne Sundfør and Robyn. It has a classy electronic feel that I’d associate more with Sweden than the southern States (that’s a good thing by the way). Wasteland is the first single from her self-titled EP which is due for release via Fox Nose Records in May.

The first thing that strikes you about Never Enough is Emilie’s vocals – she has an amazing voice, rich and breathy in it’s tones. Her vocals combined with the layered synths and percussion evoke a melancholic, alternative pop sound that isn’t afraid to tackle difficult subjects. Never Enough sees Emilie sing about greed, and its effects on us and the world around us. Depot Records have discovered a real gem here.

On a very different emotional level is We Dance from Crush Club  the kind of track you can only imagine coming from New York with its mix of funk, Latin, classic house and more. It has a very work hard, play hard, live for the weekend and the safety of the club feel to it – you’ll know what that means if you’ve experienced it yourself. The piano riff hooked me instantly and to paraphrase the song, when you’re asking the DJ to play your song one more time, this should be the track you ask for. It’s messages of positivity in adversity and of sticking together mean We Dance is a club anthem in the making.

Desert Rose by Rousseau is a slice of emotional dark pop that has a powerful ethereal and reflective quality to it. It’s a cinematic ballad that really grabs you on the first listen. Rousseau’s previous release has garnered a lot of attention in her native New Zealand and Desert Rose, with its blend of pop and romance, is sure to help her gain a higher profile elsewhere.

Brooklyn based indie electronic artist Peakssound harnesses the vocals of Suzy Shinn on Actor to create a really fresh sound. With loops, skittering drum patterns and rumbling bass sounds aplenty, this is a brooding song that really envelops the listener. There’s a real beauty about it that allows it to get under your skin, despite being quite chaotic musically.

Raising the tempo and the temperature is the amazing Chibi-Tech with Tense Max Beam. This track is genre melting mix of lo-fi 8bit tech, bass, trap and the general aural madness that you’d expect from such an accomplished videogame musician and audio designer. Tense Max Beam is best heard loud with the bass setting on max.

Finishing us off this week is Waiting For the Stars by Vitalic. Featuring the vocals of David Shaw, it’s a futuristic disco number; almost bordering on futurepop with its sci-fi influenced lyrics and pounding bass line. The track is from his recently released album Voyager, and if you like powersynth and the aforementioned futurepop then you will love this.

See you next time!