Electric Feels: Our fave new electronic tunes this week

A new Flume EP. A new Amateur Dance EP. A new Lewis Cancut EP. It’s been a massive week for Australian electronic, and as we head into December it’s only going to get bigger. In addition to those longer releases listed above, this week also gifted us a collaboration between two of Australia’s biggest rising stars, Commandeur and Yeo, plus new singles and remixes by ZEKE, Young Franco and Nina Las Vegas. With Sydney now bustling with electronic talent for this year’s Electronic Music Conference (check out our full guide HERE) there seems to be no better time of year to showcase electronic talent, so here’s the best electronic singles of the week – from Australia and beyond.

Abraham Tilbury - California

Back in June we were treated to Morphine, a Justin Vernon-esque track by Melbourne-based producer Abraham Tilbury. His new track California is just as packed full of these blissed-out sounds, combining his comforting, Nick Murphy-esque vocals with a moody, lush production that wails and cries across its three-minute duration. The track can only be simply described as beautiful, something that Tilbury says stems from a long few months exploring sampling and production techniques for his new work. “California highlights that change comes from within.” he says about the track. “I wrote the lyrics around a year ago, and after moving and being around less live instruments I explored excessive production and sampling techniques that would help California flourish from its bare form.”

Lanks - April feat. Airling

Lanks has always been one of those artists with the ability to blow us away, no matter what style of music he attempts. This year has seen the Melbourne multi-instrumentalist go from strength to strength, shaking things up with two remarkable singles – Golden Age and Holla. His new single, the Airling-featuring April, sees the producer return to his more mellowed-out sound, balancing echoing piano work with emotion-ingrained vocals, which are joined by Airling’s light vocal relief not far into the track. Taken from his third EP Viet Rose (which is bloody good, by the way), April is one of those tracks that doesn’t exactly build or fall, but instead just drives along, with rays of brilliance sparkling throughout the track and his simplistic, yet effectively-captivating sound.

Left. - Midnight

This year has been a relatively quiet one for Sydney electronic duo Left., with the team taking a minute to have a breather after 2015’s massive rise. That being said, they still managed to deliver an empowering new single earlier this year, something they’ve just followed up with another, more up-beat and care-free single entitled Midnight. Taking on a club-ready sound with undertones of UK garage and house, Midnight blends catchy vocal work with a percussion-driven beat that pulses with punchy synth and funky bass melodies. It’s quite a shake up from some of their more recent work, with a more relaxed and uncomplicated sound that I think Left. could really harness to make 2017 just as big as their break-out year.

San Holo - Light

San Holo has always been a producer all about those big, synth-dominated bangers, especially with this year’s championing Still Looking. Yet, between running his own label and touring the world, he’s still been able to re-think his now well-known sound and attempt something a little more pop-leaning, a transition that could only lead to great things. His new single Light is the first attempt at this, slowly creeping into this new territory by incorporating ear-worming vocal melodies above his signature walls of synth that, despite being done many times now, still manages to sound really fresh and exciting. The single arrives through his own bitbird label, which I low-key think will be one of the biggest in 2017’s electronic world – with singles, tours and so much more in the works.

Point Point - Power

Point Point have always been one of my favourite acts around, taking hold of a saturated synth-driven future-bass sound and incorporating their own amazing French touch to it. One of my favourite tracks from the trio was F + F, an orchestral re-do of Kanye West’s Flashing Lights that dazzled with its orchestral synth build up and funky touch. That being said however, I think the trio might have just topped it with another Kanye remix – this time taking on his chanting single Power for another simply amazing remix. The remix is Point Point at their best, glitching up an over-done future-bass sound to keep it sounding fresh and new, especially when paired with some stellar vocal pitching and little, toying melodies that seep through the dominating synth. Now, can we talk about sorting out an Australian live debut?