Shrem’s Hunted and Gathered March Songs

April 5, 2015 – Culture, Sound
  1. “HOLY BUBBLES” – ZHALA

I continue to be in awe with this Kurdish/Swedish singer and “Holy Bubbles” may actually be Zhala’s best track yet. Announcing the release of the artist’s debut album dropping via Robyn’s label “Konichiwa Records” May 25th, “Holy Bubbles” is a fierce wall of synths fuelled by her distinctive vocal acrobatics, the mandatory euro-trash elements and Oriental echoes of Bollywood. As mighty as M.I.A.’s “Jimmy”! Exquisite melodies like this do not happen very often.


 

  1. “EXPLOITATION” – RÓISÍN MURPHY

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The first official single from La Murphy’s “Hairless Toys” is a sublime, daring excursion into her more experimental side. The wondrously unexpected “Exploitation” delivers one of Róisín Murphy’s most memorable, unique and mellifluous solo efforts to date. It’s another astonishing, this time sensually half-whispered, vocal performance with productional wizardry right from the musical top shelf. The epic album version is almost 10 minutes long!


 

  1. “LOVE SONGS” – SHAUN J. WRIGHT & ALINKA

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This exciting, sleekly produced slice of underground house is an irresistible invitation to vogue and your shiniest dancefloor moment in your local ball-room on a Saturday night. Hypnotic, seductive and inescapable! A stellar production from Dj Alinka and Hercules & Love Affair’s ex-vocalist Shaun J. Wright. Chicago’s finest!


 

  1. “2SHY” – SHURA4

We’re back in time to the golden age of 80’s ballads with this one. Shura, the latest addition to Electric Picnic line-up this year, delivers a sweet, understated down-tempo synth-pop moment, a charmingly retro follow-up to her highly appraised debut single “Indecision”. This is the sound of the Future 80’s.


 

  1. “A COWARD’S CONFESSION” – THOMAS GAIST

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Thomas Gaist, previously known as Thom Catt, is one of the most unique artists to emerge from the ever-expanding “Sound Of Copenhagen” label. “A Coward’s Confession” is really difficult to describe. Beautifully eerie, the song combines retro and future with its unpredictable mélange of old-fashioned “crooner style” vocal harmonies, unpredictable melody twists and productional curiosities. Building up from just a few sublime bleeps, the song finishes with a whole multi-layered wall of sound of electronic finesse. It fascinates and thrills me to come across music redefining eclecticism and denying any genre-classification just like Thomas Gaist’s surprising “A Cowards Confessions”. It would fit fantastically well into the new Twin Peaks’ soundtrack next year.