Disclosure had two new tracks out this week, 'Tondo' and 'Ecstasy'BATISTESAFONT/WIKICOMMONS

This week I really enjoyed Yves Tumor’s latest single, Gospel for a New Century, a psychedelia-tinged rock song. Moments of chaotic grandeur are interpolated by sequences which march forward with blaring horns and a sturdy bassline. I can’t quite think who the vocals remind me of, but the song has the something of the Madchester spirit, and is another brilliant exhibition of the American musician’s mastery of multiple genres.

Unexpectedly, I’ve really enjoyed Aitch’s most recent offering – a freestyle called MICE which has the Mancunian rapper doing his thing over a slightly unusual beat which includes flute trills and a fun hi-hat rhythm. It’s more of a demonstration of his abilities than most of his previous tracks – he switches his flow up a little more and he’s enjoyable to listen to, even if the lyrics aren’t exceptionally sophisticated.

Aitch’s most recent offering – a freestyle called MICE which has the Mancunian rapper doing his thing over a slightly unusual beat which includes flute trills and a fun hi-hat rhythm

Dragonball Durag, Thundercat’s new spacey funk number, pays homage in spades to 70s-era Bootsy Collins. The vocals remain solely in the higher register, overlaying a track whose leisurely pace doesn’t detract from its intrinsic soulfulness. The Los Angeles bass virtuoso’s song feels like a sophisticated interlude – it’s clearly been carefully crafted with a deft, if light, touch. 

Definitely worth a listen are the two tracks Disclosure released this week. Tondo is the better one, a house track featuring Cameroonian artist Eko Roosevelt. Consisting of a deliriously funky disco bassline and chanting vocal samples, this sounds like an anthem for the summer. Ecstasy is also quite a fun, if standard, mid-tempo house track with an infusion of soul and a thudding kick drum that drives the track forward.


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After an anxiety-inducing intro that feels like launching into warp speed, Bald! is a track that has all the trademarks of a classic Jpegmafia formula that his cult-like following have come to expect – a chopped trap beat, confident rapping, playful switch-ups of flow. There’s an evolved soundscape here with a more pared-back instrumental, rasping static and chiming synths like those on his most recent album All My Heroes are Cornballs. Definitely one of his more compelling, experimental tracks and probably something I’d listen to even without his vocals.

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