Aux’s June Release Roundup

As we approach the height of Summer, here are some singles, albums and EP’s that have caught our attention during June.  

Paolo Nutini - Acid Eyes

Paolo Nutini is back from his prolonged hiatus to the delight of fans, and it’s clear that he has been busy trying out various styles in this time. Amongst the 5 new songs put out so far, the Scottish singer/songwriter doesn’t appear to stick to a set formula. ‘Through The Echoes’ is the most typically melancholic Paolo song of the bunch, while ‘Lose It’ sees him head in a darker direction with slight elements of new wave/post-punk. ‘Acid Eyes’ is a sombre affair which crescendos into an atmospheric close. Following these releases so far, the full album can be expected to be quite an unpredictable affair.

Angel Olsen - Big Time

Angel Olsen's new album ‘Big Time’ was written and recorded during a significantly turbulent period for the St Louis artist. Having sadly lost both of her parents recently, Olsen appears to use the music to alleviate herself as an artist amidst these events. While the country blues style adopted is a well walked path, the delivery is more openly aware from Olsen, as past releases have displayed themes of isolation and of being an outsider looking in.

Veps - UFO

Veps’ most recent single sees the addition of an ominous synth into their garage-pop instrumentals. Still yet to release an album, the exciting four-piece continue to showcase their ear for a pop melody in ‘UFO’ with the help of Oslo songwriter/producer Matias Tellez.

Gorillaz - Cracker Island

Damon Albarn has once again opened his phonebook and enlisted the help of esteemed jazz/hip hop bassist Thundercat on his latest release, ‘Cracker Island’. It’s a dance driven track that combines a peculiar mix of styles, but this is entirely expected of Gorillaz and Albarn, who is never one to shy away from experimentation.

Noya Rao - Still

Noya Rao are a collective of Leeds based musicians that make a unique blend of jazz, soul and electronica. They were founded by producer Tom Henry, who enlisted vocalist Olivia Battacharjee, bassist Jim Wiltshire and drummer Matt Davies to the project; and ‘Still’ off of their most recent EP is the perfect track for a hazy summer day. (If you own a hammock, get in it before playing.)

Horsegirl - Anti-Glory

Chicago’s Horsegirl revels in a style of atmospheric indie which gives a good insight into the guitar music coming out of the city. The new track ‘Anti-Glory’ showcases a wide variety of influences from over the years, which is likely furthered by the input of long standing Dinosaur Jr and Sonic Youth producer, Steve Agnello.

Lupe Fiasco - Drill Music In Zion

Renowned rapper Lupe Fiasco has provided what is arguably his best album in years with ‘Drill Music In Zion’, as he appears to have let go of his commercially swayed scrutiny to make way for free flowing spontaneity. The album was apparently written and recorded in just three days over lounge jazz loops which sees Lupe, who hasn’t lost his touch for a clever metaphor, at his most comfortable since his noughties success.

The Osees - Perm Act

Legendary Garage Punk outfit The Osees' most recent track is ‘Perm Act’, which they have released off the back of a seemingly endless tour as they catch up on a backlog of dates from Covid. Their output very rarely drops below 160 BPM, and their trademark relentless energy is no different in this one.

Black Midi - Eat Men Eat

Black Midi’s latest release is a concoction of discord and apparent structural randomness - which is somewhat expectant of the noise-rock enthusiasts. Incredible musicians in their own right, they push their creativity boundaries to their limits with every release, and while it isn’t quite something you’d put on at a family party (or maybe you would?) they continue to celebrate the limitlessness of creativity in music.  

Soccer Mommy - Shotgun

Soccer Mommy is the fast growing project of Zurich born, Nashville based artist Sophie Allison who combines a sentimental pop style with alternative rock. ‘Shotgun’ is a standout track from latest album ‘Sometimes, Forever’, beginning with an immediately gripping bassline which cuts through like a buzzsaw ahead of the vocals.