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JUCE deliver their first big fist pump moment with new jam Burning Up, a self-proclaimed summer tune on which the London trio fasten the pace once more. By the time the chorus kicks in you’re already thinking of a good choreography to go with the one for (H)ours, but even if you just set your body loose without control you’re destined to shake it up. These girls do it so well, and we’ve got the feeling they’re only getting started.

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It’s clear on debut single Waves that London twin brother duo Formation grew up in a musical family: the press releases describe it as “a mix of Dinosaur L, classic 99 Records release (ESG / Liquid Liquid) and an early DFA 12 inch” which is pretty on point. It’s subtle disco with a timeless approach to the genre, focussing on the melody and atmosphere rather than the punch to the dance floor. The carefully thought through simplicity showcases its strongest point and finds a way into your head almost instantly.

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If you’re looking for pretty much perfect hot Thursday vibes, look no further than this post, as the Australian-born and LA-bred Tiaan delivers exactly that. It’s in particular her latest track Devils Touch that brings an ageless Aaliyah x Sade vibe to the floor, even though her debut EP confirms this girl’s got it (grind away to Dive Deep, folks). Her voice heats up things like it’s a brand new boiler doing overwork, with some help from a hellasexy production. It all feels a bit like really fine sex.

LANY reveal a picture of their backs (which doesn’t say much apart from the fact they’re three guys that like All Stars and black clothes) as well as more music, following up on Walk Away and Hot Lights. The then Phil Collins and Prince comparison is far off, with the trio reaching for a more slick kind of contemporary pop on proper debut release Acyronyms. ILYSB and BRB sit back to back, with the boys singing praises to the one they love amidst of a glacy synth production on the former and crying themselves to sleep for that very same reason on the latter.

Future kiwi&b star Thomston yet another truly fine (and free!) 5-track EP on his road to fame far beyond the NZ-borders. If anything, the 17-year old shows quite the progression on this new release: his breathy, rather joyful pop has taken a dark, brooding turn. On the Argonaut EP, Thomston transcends from his own life and tells stories like how drinking coffee is a personal marker for becoming an adult (Caffeine) and how a group of misfit friends question their doomed friendship (Motley Crew).

Grimes set the internet on fire a few weeks back with the news she wrote a song for Rihanna which was refused; today she literally breaks that internet with that exact same song as she’s releasing it as her first single off her forthcoming new record. Go is her first attempt at really big pop (which we’re likely to hear more of now she’s signed with Roc Nation for management): it’s part typically Grimes geekery, part big budget breakdown party. After all she’s been through it’s long time friend Blood Diamonds she worked closely with on Go, which is of course something to be admired. She’s playing with the big girls now, and Go is just the start of it all. (pic by Tonje Thilesen)

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If Charli XCX, Jessie Ware and Benzel (Benny Blanco & Two Inch Punch) tweet about a new artist almost simultaneously, you know there’s a) money involved (read as: major label (read as: Atlantic)) b) someone pushing all the right buttons and c) a probably pretty damn great song to be heard. We’re absolutely sure of c) as Ryn Weaver really delivers quite something with OctaHate, the debut from the LA/NY singer. OctaHate is typically DN-pop (that should be a genre) that can easily be filed next to all mentioned artists. The production (apparently courtesy of Cashmere Cat, Benny Blanco and Michael Angelakos (Passion Pit)) is busy, yet through these 78 layers of this and that her voice stands strong.

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While we’re still in total awe after the FKA Twigs x Dazed days madness, the London “avant-pop auteur” mesmerizes with the first single off her forthcoming LP1, the forceful Two Weeks. FKA produced it all herself (rumor had it Clams Casino did, but he told us he didn’t), self-providing the kind of luxurious stuttering beats she so pleasantly bathes in. It’s her richest track to date, surrounding herself with far more layers of things happening than before: it’s still that sultry voice that makes your body close in though. It comes with a video directed by the mighty Nabil Elderkin which sees the temptress reliving Cleopatra’s finest moment.

BEA brings out that hypnotic voice of her once more for Breadwinner follow-up Safe Ground: this time around it explores a wider vocal range, with the Amsterdam-based chanteuse sounding surprisingly warm for once.  Along with the lingering beat she creates a safe haven, even though she claims “it’s never what you needed” - Safe Ground is exactly what we needed, as it confirms BEA is set to claim some territory in this lush pop playground.

French Cuban twins Ibeyi lift you to higher spirits on debut offering Oya, one side of the sisters’ AA-sided debut single on XL, with production courtesy of none other than Richard Russell himself. With the ghostly production riding strong on looped vocals, the sisters enchant with one simple lyric being repeated like a mantra throughout almost the entire song: take me higher. If this doesn’t lift your spirit, literally nothing will.

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