Our favourite tracks of last month: May 17

Each month, us writers at TMB get together and put together a post to share our favourite tracks that were released in the previous month. Here is our latest selection of tracks!

Pumarosa – The Witch
(chosen by Daisy Summerfield)

A number of May releases will be topping the end of year “Best Album” lists – but the debut from London’s Pumarosa was undoubtedly one of the hottest. The six engrossing minutes of The Witch’s title-track sees the five-piece at their most haunting yet, with Isabel Munoz-Newsom’s otherworldly vocals channelling some serious Kate Bush vibes.

 

ALASKALASKA – Bitter Winter
(chosen by James Hughes)

If you’re a fan of Dirty Projectors then you’re gonna love this track. As Elli said in her review of the track “You might need to put your seatbelt on for the rollercoaster of melody lead vocalist Lucinda takes us on, her standout tone cutting through anything in its path”.

One of my favourite tracks this year, let alone last month.

 

LCD Soundsystem – call the police
(chosen by Jake Crossland)

They’re back. They’re back! THEY’RE BACK! They’re really and truly back – and they still bang, to boot. I’ve been waiting for this track for 6 years, and I’ll be listening to it on a loop for the next 6. James Murphy, you’re my hero.

 

 

Warsaw Radio – Still Have You To Hold
(chosen by Chris Graham)

Channelling big folk-pop moments reminiscing Frank Turner, while throwing in inspirations of Wilco and Fleetwood Mac, ‘Still Have You to Hold’ is a bold mix of the relevant and the retro. The latest single from the Brighton-five piece Warsaw Radio, sees the group sweeten together personal lyrics with compelling string arrangements in an adventurous 4 minutes.

 

Kero Kero Bonito – Fish Bowl (Frankie Cosmos Remix)
(chosen by Joe Horsman)

Frankie Cosmos’ cutesy vocal remix of “Fish Bowl”, an album cut from PC Music/J-Pop amalgamation Kero Kero Bonito’s 2016 album Bonito Generation, is about as instantly gratifying as it gets. Greta Kline simply adds in her own vocals and introduces some dishy little guitar lines over the original track. It’s short, simple and glistening in sugary pop-gloss.

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