HAIKU SALUT
ETCH AND ETCH DEEP How Does It Feel To Be Loved? // July 31st We have a tendency to place instrumental music into two camps: classical (or thereabouts) or gloomy (or thereabouts). What's so refreshing about Haiku Salut's magical new record Etch and Etch Deep - is just how all-encompassing the whole thing feels. Across its ten tracks, the record weaves in and out of varying genres with sumptuous ease; rising from minimal, glitchy pop songs into moments of distinct and awe-inspiring grandiosity. Unburdened by the need to give any of the tracks a human voice, the music simply unravels. From stunning, organic pastures to its more electronic-led parameters, Etch and Etch Deep is a refreshingly vague document, and the most compelling soundtrack for dreams and dreamers alike. Tom Johnson
BLEACHERS STRANGE DESIRE Columbia Records // July 6th It’s likely that anyone who finds themselves listening to Bleachers will have first arrived at Jack Antonoff’s efforts with Steel Train and fun. Some Nights, fun.’s latest album was a slick slice of infectious pop, due in no small part to Antonoff’s appreciation for melody and impressive chops. Strange Desire occupies the same sugary pop-sphere but lacks the charm, and the tunes. ‘I wanna get better’ and ‘Rollercoaster’ are the stand-out tracks here, deftly balancing nostalgia and progressive pop vibes, and while there is a spark to each track (the cool groove of ‘Take Me Away’, the colourful pop of ‘Like a River Run’) the overall experience feels hollow. And the less said about the collaboration with Yoko Ono, the better. Grant Bailey
GWENNO
Y DYDD OLAF Heavenly Recordings // July 24th While Muse sit around in tinfoil hats, muttering furiously about UAVs, the former Pipette has quietly created the best concept record of the decade so far. Inspired by Owain Owain’s 1976 sci-fi novel of the same name, Y Dydd Olaf is sung entirely in Welsh – with the exception of Cornish-language closer ‘Amser’ – and sets critiques of technology, patriarchy and state-approved propaganda to silver-suited Kraut-pop, sprinkled with ray gun synth effects and warm vocal harmonies. In keeping with the 70s source material, Saunders’ dystopian vision feels purposely retro, but beneath its dreamy veneer is pin-sharp songwriting, skilfully executed. A world away from those heavy-handed conspiracy theorists, Gwenno relies on language and layering to deliver subtlety and depth, and it means her political messages will permeate stealthily. Gemma Samways LiS 33