Best New Songs: Bartees Strange, Viagra Boys, The Smile and more

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To Dough Music, we listen to so many new songs every day, we barely have time to listen to each other. Still, every week we can rock it, we’re taking stock of the best tracks from the previous seven days, delivering a weekly playlist of our favorites. Check out this week’s best new songs below.

Another Michael has shared his first new single of 2022, “Water Pressure”, now available on Run for Cover Records. The release follows the Philadelphia-based band’s acclaimed debut album. New Music and Big Popwho Dough hailed as one of the best debut albums of 2021. “Water Pressure” is a beautiful acoustic guitar tune that radiates gratitude and acceptance, focusing on those fleeting little moments where everything feels to the right. “One thing’s for sure, I’m lucky / This is who I’m gonna be,” Michael Doherty begins, harmonizing beautifully with Alenni Davis over their cheerful chords and Nick Sebastiano’s steady bass. “I’m just burning CDs for my friends / Ice my broken heart again,” Doherty and Davis sing as the song goes through its heartfelt ups and downs, soaking up every twinkle of joy while still wondering, “Why do good times sneak up on me?” —Scott Russell


Blunt Bits: “BWFW”

Toronto musician Caitlin Woelfle-O’Brien is gearing up for the release of her current music project, Blunt Chunks’ self-titled EP (out May 6 via Telephone Explosion), and has shared a second preview with new single “BWFW.” . The follow-up to first single “Natural Actors,” which harnesses a more abrasive early 2000s pop-punk-inspired sound than its predecessor, arrives with a visualizer. Where “Natural Actors” adopted soft piano and angelic vocals joining the chorus, handling the story of its meltdown with grace, Woelfle-O’Brien isn’t afraid to get messier in the best way on ” BWFW”. “When I’m with you / I’m alone,” she asserts on the chorus, wondering where her relationship with her significant other can go from here and concluding that it probably won’t work with aggressive, grungy support. . “Am I going backwards or forwards with you?” she finally asks in the song’s bridge, giving the song its title acronym and rethinking its next move over an onslaught of crashing cymbals and fuzzy guitars that feel fit for the world’s soundtrack. collapsing. —Elise Soutar


François du Délire: “Mirrors”

Luxembourgish musician Jana Bahrich (aka Francis of Delirium) has released a trio of EPs over the past two years, sharing the 2020s All Changes and 2021 wade before announcing the last installment of the EP trilogy, The Funhouse, last September. Following the gradual release of the EP’s other songs, “All Love”, “Come Out and Play” and the title track, today (April 27) saw her complete both the EP and the trilogy by sharing its finale The Funhouse track, opening “Mirrors”. Following in the doom footsteps of the EP’s other tracks, “Mirrors” relies on a quiet, strong intensity that pairs well with the uncertain angst it expresses in the lyrics. “Covered in dust / And coughing in spite / I can’t look at myself in the mirror / I wish you weren’t here,” Bahrich sings on the chorus, letting his voice remain breathy to allow the moaning, bathed guitars to feedback to carry the emotional weight of the song. —Elise Soutar


Danish post-punkers Iceage clearly aren’t just hanging out seek shelter in 2022. They also revisited a 2018 cut of Beyond, “All garbage on the outskirts.” The propelling drums edge closer and closer to a satisfying climax as the track’s brooding atmosphere sheds its defenses with each passing second. Elias Bender Rønnenfelt lets go of his monotony in the chorus with a soft croon, and layers of vocal harmonies, drums and soft synths breathe new life into the track. Iceage is a testament to the never-ending process of making music, and with fresh insights, they breathe new life into those hidden gems tucked away in the bottom of the drawer. —Jade Gomez


Kelly Lee Owens: “One”

Last month, Kelly Lee Owens announced that she would be releasing what she calls her “eighth album” (which will really be her third, if we’re counting) LP.8 today April 29 (via Smalltown Supersound). She first shared singles “Sonic 8” and “Olga” with the announcement, and now she’s shared a third single, “One.” What the duo created together brought together a multitude of influences, including Enya, Throbbing Gristle and Celtic mysticism, to express the full range of emotions one can feel about an uncertain time like the one in which we live. live. That wide range is on display in the previews we’ve received, with “One” feeling like a slightly more upbeat expression of self-confidence compared to the closer “Sonic 8″‘s warning appeal. The track distinguishes between pretty and eerie, letting blurry ambient noise in and out of shaky synths and booming drum machine patterns, delivering an all-consuming layer of sound that remains constant as Owens’ multiple vocals blend in and out. move on its sound filled with static electricity. call for hope. —Elise Soutar


Quelle Chris is rap’s best-kept secret, and the rapper and producer from Detroit to New York is gearing up to release DEATHFAME (May 13, Mello Music Group). “The Sky Is Blue Because The Sunset Is Red” enlists frequent collaborator Chris Keys alongside cold king Knxwledge to set the stage for some of the game’s brightest lyricism. Muffled, disjointed vocal samples are peppered throughout the lo-fi piano loop as Quelle trades bars with Pink Siifu and Moruf as they form their own bonds with each other and reflect on mortality. It’s another addition to Quelle’s recurring themes of life, death and beautifully tragic freefall into uncertainty. —Jade Gomez


New York band Tchotchke, consisting of Anastasia Sanchez (drums, vocals), Eva Chambers (bass, vocals) and Emily Tooraen (guitar, vocals), have just announced their self-titled debut album, which will arrive July 15 via Tchotchke Records. Its debut single, “Don’t Hang Up on Me,” is a fun, edgy throwback to the 70s (think Queen’s virtuoso guitars wailing in the background and Sparks’ theatrical falsetto going up and down the scale) that exudes enough energy to seduce even the toughest skeptics. “I heard your voice but I missed the bell / Now I can only focus on one thing,” the band sings, letting their voices tumble over every little instrumental flourish you might miss if you let your attention wane for even a second. Although it passes itself off as a poppy sugar rush, there are so many clever details and twists in “Don’t Hang Up on Me” that it will inspire you to choose new things with each inevitable re-listening. . —Elise Soutar


Philadelphia-based singer-songwriter Sam Ray released his first new music as Teen Suicide in the better part of a decade, the six-plus-minute “coyote (2015-2021)” via Run for Cover Records. “coyote (2015-2021)” is a singular entry point into the music of Teen Suicide, a dreamlike ride through atmospheric indie rock, soothing ambient sonic and electronic collage, and intimate folk-pop – as always, Ray refuses to hold a posture for long, bringing vital creative energy to some of his most elegant instrumentation to date. Foregrounding acoustic guitar over drums that roll like hills, Ray and co-producer Sean Mercer incorporate serene piano, horns (by Max Kuzmya) and electronic accents, along with idyllic audio clips (like what sounds like to a family singing “Happy Birthday”. Only five minutes later, the true form of the track is revealed, with Ray singing evocatively over acoustic strums: he conjures up images of a “coyote lying dead/looks like the dog of the family” and an “apple tree in the garden / the sweetest thing I have seen from afar” that is full of death and new life. —Scott Russell


They Hate Change hail from Tampa Bay, and this thrilling rap/production duo have been on Dough‘s been on the radar for some time now for their cross-genre influences coming through in the most creative and interesting ways. For their next album Finally, New (May 13, Jagjaguwar), they share their latest single “Some Days I Hate My Voice”. Aided by the New Jersey producer’s titmouse, They Hate Change floats over hypnotic, watery synths as Vonne ponders their gender identity. It opens with a sigh, setting the stage for Vonne to reflect on the malleability of gender presentation and what visibility means. Despite being compared to other genre-nonconforming musicians and receiving sidelong glances, Vonne’s spitfire bars encompass everything from annoyance to pride, ultimately taking pride in the endless possibilities of the experience. human. —Jade Gomez


One of the most innovative UK dance producers of the 2010s, Totally Enormous Extinct Dinosaurs have started releasing their first album since 2012 Difficulty. Due to label issues, TEED does not own the album. 2022 When the lights go out is a recovery of his sound as he turns a new page. “Crosswalk” is a nostalgic trip down memory lane, evoking the kind of carefree, nostalgic snapshots of everyday life and love that make TEED’s music so special. His earnestness flaunts full view on oscillating synths and electronic drums, and this new chapter allows him to wear his heart on his sleeve and control his own future once and for all. —Jade Gomez


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