London-via-Australia singer Josef Salvat, who’s “This Life”” is one of the best tracks of 2013 thusfar, releases new track “Hustler”. While not as hit you square on the forehead immediate as “This Life”, the piano-driven dark pop of “Hustler” is no less powerful and affecting. Dear, Josef, we need more music ASAP; thx, B3SCI.
Josef Salvat 
(Facebook)
Rating 8.3
The French dance legends hook up with two equally legendary producers Pharrell & Nile Rodgers for the cinematic disco of “Get Lucky”. Fitted with references modern and classic, the track ably transcends any tired disco (nu or otherwise) forms and succeeds as much as it innovates. Expect to hear “Get Lucky” on heavy repeat well into the summer.
Daft Punk 
(Facebook)
Rating 8.4
Doin it right, again, producer Koreless this time remixes “Late Night” from Foals. Dreamy and aquatic, this arrangement is sure to make that weekly playlist. Check it out.
Koreless 
: (Soundcloud) (Myspace) (Facebook)
Foals 
(Official)
Rating: 8.5
Poliça’s debut Give You The Ghost scored highly in the lists last year (check it out) so it’s pleasing to see that they’re back so soon with a new single, featuring fellow Gayngs member Justin Vernon (Bon Iver). “Tiff” hasn’t lost any of Polica’s intriguing spacey synth-scapes, and Justin Vernon’s soothing vocals meld effortlessly with Channy Leaneagh’s to form a somewhat pleasant gloopyness – and if space-gloop doesn’t quite sound like a good thing on paper? That’s understanding, but have a good listen anyway… By Nathan Hetherington
Poliça 
(iTunes)
Rating 8.5
Well there are some perks for sitting out Coachella. XL Records backed, Jai Paul has released a 16 track album. His second single “Jasmine,” initially set the internet ablaze with a smooth voice and unique sound. All the information available to know on Jai Paul, besides what was stated earlier, is that “… is a British songwriter and record producer from Rayners Lane, United Kingdom.” A highlight from the album is “Track 2.” The heavy use of Indian drums and sounds is up front, and the choppy chord progression is slowing turning into Jai Paul’s MO. This may turn out to be one the better releases of the year, so go out and get it. By Brian Litwin
Jai Paul (Bandcamp)
Rating: 8
Besides a mutual appreciation for the 216 (which always helps), “Reverse” from newcomers SomeKindaWonderful has seeped into our skin. A pop track at it’s core, lush and melodic orchestration help lend the soulful timbre to a next-level raspy-croon from frontman Jordy Towers. Add some promiscuity induced lyrics for dramatic effect and you’ve got a press-repeat worthy jam. Sample “Reverse” below.
SomeKindaWonderful 
(Soundcloud)
Rating 8.3
Girl this is our sorry for 2009. Finnish duo Shine 2009 pull from a disparate yet unique and engaging pool of influences for new synth pop/opera-sample track “Eurozone”. Thanks Best Fit.
Shine 2009 
(Facebook)
Rating 8.5
Manchester’s The 1975 have been a topic in many new music conversations this past year. Now the band follow up their much lauded SXSW saga with a new and definitive take on “The City,” the lead track (and demo) from their debut Facedown EP release from summer 2012. We recently caught up with frontman Matt Healy to discuss the new recording from their upcoming (to be named) fourth EP which drops May 20th. We also discussed a bit about their debut album, affinity for vintage gear, their first SXSW experience and more. Sample “The City” and check out our conversation with the band below.
B3SCI: What was the band’s motivation behind creating this new and definitive version of your track, “The City”? How would you best describe this extension to the demo version that initially kicked off the Facedown EP?
The 1975: Well we recorded this version for our album shortly after we did the Sex EP. I supposed we just wanted it to be something we were a bit more proud of sonically – whilst maintaining the elements of the demo that made it special. We weren’t planning on releasing this version of “The City” before the album – but after “Chocolate” came out there was such an acceleration in our popularity and peoples awareness of our name. It kinda made us sit back and want to take our time a bit. We feel that “The City,” as a song, says a lot about who we are both musically, personally and sonically and we didn’t want to miss our opportunity to get that message out to as many people as possible. We want to people to hear it now, as apposed to later, it’s a very important track for us.
B3SCI: There seemed a strategic and thought-out nature to your trilogy of EP releases. If this version of “The City” was always brewing somewhere in the masterplan, what specific role will it play on the forthcoming May 20th EP release?
The 1975: We were always planning on putting out three EPs, but I never really thought of them as a trilogy – nothing is ever really set in stone in our ‘world’, so we kinda just let them evolve naturally. I don’t really know what role the next EP plays other than to give people another set of tracks that will help them understand a little more about who we are. We thought it would be interesting writing another record around “The City” seeing as that’s how we had approached the Facedown EP. A lot has happened in the 8 months since we released that EP, so I suppose it’s just a reflection of where we’re at now. Currently I am feeling calm and humble.
B3SCI: Is there a name for this new EP yet? We must say that the working title, EP 4 has something charming to it…
The 1975: There is no name as of yet. But it’s funny you should say that…
B3SCI: We caught at least 4 of your gigs during SXSW this past March. Like many in Austin… we couldnt get enough. How would you rate this, your initial experience in America, and given all the hype about performing in the States, how do you perceive the reaction/experience?
The 1975: Thank you very much. I think seeing that our music had transcended to somewhere so unfamiliar – that was the highlight for us. We genuinely didn’t expect to see that. Our shows sold out nearly every night – we couldn’t quite get our head around how that actually worked. It really makes you understand the power of the internet. We love America anyway. It was so surreal and rewarding every second. It made us realise how much everything has changed since last year. Our album is very inspired by American cinema and pop culture, so it felt right playing some of our new songs out there.
B3SCI: With all of your running about in Austin, did The 1975 get the chance to catch any artists that either impressed you, or surpassed your expectations?
The 1975: We only got to see Haerts and we totally loved them. SXSW was absolutely mental. We did 11 shows in 5 days. We didn’t even get time to sleep. It’s an interesting place at SXSW, Austin is a kind of liberal utopia in the middle of the desert.
B3SCI: Gotta compliment the band’s obvious appreciation for vintage gear. What year is your black Stratocaster, does it have a name or a story worth sharing? How about that Fender Mustang?
The 1975: Well my Strat is actually a reissue unfortunately and not that old. But my Mustang (my love) is 1965′. I love that guitar to bits. I picked it up in LA like 2 years ago. We all love classic vintage gear. When we recorded the album our snobbery was terrible. If anything looked remotely new or easy to decipher it was tossed aside. We like manipulating the best of both worlds – analogue vs digital. There was a nice, compromised balance of valve replacements and software updates.
B3SCI: The band’s live technique and guitar work alone surpassed anything we’ve seen from a new pop band in years. How vital are the intricate countermelodies and parts that comprise The 1975? Tell us a little about rehearsal, what level of experimentation is involved, and at what point does a part in a song ‘just feel right’?
The 1975: Well I don’t really talk about the writing process very much, not to be perceived as enigmatic or cool, it’s simply one of the only things we have left that’s just for us. But our music is built up of syncopated loops and hooks, both vocally and musically. Rhythm is paramount – and everything is treated the same way. Rhythm and flow precedes all melody; from the vocals, to the guitars, everything. I think that’s because that’s what gets us exited the most. Groove, that’s what it’s all about for us. It doesn’t necessarily have to be clever or ‘bangin’ to get us excited, I think it’s just that our history of consuming music is so embedded in American black music. We take a lot of influence from house music also. It’s playing with the ideas of ‘lifts’ and ‘drops’. Minimal house for example exploits repetition in order to create a rewarding sense of pay-off. You can just as easily create a lift by taking something away or simply repeating it; we like that idea, it’s something we like to play with.
B3SCI: Is there a debut album still on the horizon for The 1975 in 2013?
The 1975: Yes there is, it is coming out at the end of the summer.
Rating 8.7
New production authority, Ghost Loft, aka Danny Choi, recently dropped his latest track, “So High”. Other than sounding strikingly like it’s title, “So High” breathes expansive nostalgia from classic R&B and pop ballads (U2 we’re looking at you). Sample “So High” below and pick it up on the forthcoming Kitusne America 2 compilation which drops at the end of April.
Ghost Loft (Facebook)
Rating 8.3
Following up her first single “Wolves”, Valentina releases another noteworthy track called “Ladders”. Taken from her Wolves EP, set to be released April 29th, her vocals take center stage once again. Unlike the gradual build of the Kwes-produced “Wolves”, “Ladders” has a consistent dream-like trance feel with a soaring chorus. The Ben Esser-produced track is making its ways around the internet and for good reason. By Brian Litwin
Valentina (Facebook)
Rating 8.2
Almost every college has a fund to bring music talent to their school and to entertain the student body at large. USC’s student run radio station put on it’s annual KXSC Fest this past weekend, boasting some serious names from the indiesphere. Last year’s festival included Starfucker and Nosaj Thing (pretty awesome), and this year, Chelsea Wolfe and Dan Deacon were mashed together, making this one of the oddest/greatest bill pairings I have ever experienced.
If there was a consistent theme of any sort that Saturday night, it was that both Chelcea Wolfe and Dan Deacon are not normal humans. For example, take Chelsea Wolfe, a stunningly beautiful, black hair, pale faced Los Angeles native that plays extraordinarily dark folk music. Performing tracks from her 2011 release Apokalypsis and 2012’s Unknown Rooms: A Collection of Acoustic Songs, Chelsea wowed the student body with her unique dissonance and foreboding tones.
Dan Deacon’s live set followed, and the experience was basically the absolute opposite of the prior. Deacon took stage – and by stage, I mean his small table with a buffet of pedals and gadgets, next to a not working light rig with a skull that lights up during different cues in his set. As weird as shit got, in typical Dan Deacon fashion, it was all about the track performances and the artist’s interactions that made this show so entertaining. Dan’s 2012 hyped release, America, has recently been one of the more talked about albums, and frankly, it is a well crafted electronic production. Deacon’s vibes were everywhere. He had students running around in a circle, high-fiving each other. He also invited everyone to download the Dan Deacon app and use it during a song, creating a crowd sourced light show, which was just brilliant. The whole experience was original and everyone, even the security guard standing next to me, was in awe.
Dan’s look is not one of a rock star or some sort of label pushed pretty face that echoes a team of writers. His look is that of his music; odd, unabashed and completely unique. I can say, for the countless shows I have been to in my short time alive, that this may have been one of the most entertaining I have ever witnessed. Please do yourselves a favor and see Dan Deacon live. Review By Brian Litwin
KXSC (Official)
London band Still Corners announced second LP Strange Pleasures last month. First single “Berlin Lovers” indicated perhaps a more synth-laden, compact direction for LP #2. New track “All I Know”, while in structure follows on from that first indication, takes a even darker and decidedly more nocturnal direction. Built on the simple mechanic of a spare drum figure & hushed percussive guitar; “All I Know” is primed for car stereo listening; late night, streets of the empty city cruising. That we can definitely dig and we can definitely get into Still Corners new sound. Strange Pleasures is due May 7th on Sub Pop.
Still Corners (Facebook)
Rating 8.2
