THIS week marked the return of two indie giants in Tame Impala and Haim sent the world wide web crazy with their respective new tracks. From international giants to fast-rising local heroes to brand new faces, we’ve got nine new entries for you to get acquainted with in this week’s New Music Radar. Check them out below.

Fabric Bear ‘Comfort Zone’

A track we were delighted to premiere here on TENEMENT TV only yesterday, Edinburgh’s Fabric Bear have added ‘Comfort Zone’ to their catalogue of heady, highly addictive guitar tunes. Showcasing their songwriting chops once again, the track is not so much a heady tale of blossoming romance as it is a playful take on the trials and tribulations of falling for the wrong person. And while previous tracks have balanced the lustrous sounds of alternative rock with raw, gritty guitars and catchy choruses, the band dive headfirst into the realm of classic pop this time around, bringing their versatility to the fore once again. A slick, infectious slice of fuzzy indie-pop that demands play after play, there’s something almost nostalgic about its summery vibes and swooning melodies.

Tame Impala ‘It Might Be Time’

Following last week’s confirmation that Tame Impala will be bringing out a new album in 2020, the band unveiled a brand new song on Monday aswell as the record’s hotly anticipated release date. Recorded in both Los Angeles and Kevin Parker’s hometown of Freemantle, Australia, ‘The Slow Rush’ will feature 12 tracks and will be officially released on 14th February, 2020. Meanwhile, our latest preview of what’s to come has certainly set the world wide web alight. Combining his signature modern psychedelic sound with propulsive rhythms and screeching, siren-like guitar lines, ‘It Might Be Time’ is a dense and driving return from the group which deals with ageing and the inevitable passage of time.

Haim ‘Now I’m In It’

Haim preceded their new single with a series of emotional tweets from lead vocalist Danielle in which she likened the “chaotic” track to her”mind when spiralling” and falling into a depressive state. Much like the minimalistic ‘Summer Girl’ which arrived earlier this year, ‘Now I’m In It’ marks another sonic shift for the group as the singer exorcises her pain against a backdrop of dancefloor-friendly synths and a throbbing bassline. One that could be filed under the “sad banger” category, the lyrics depict her fear of losing herself as she expresses herself candidly against a dense electro-pop production. More Haimy than ‘Summer Girl’, a gentle sense of reassurance builds as the track reaches its cathartic finale in one of the band’s most candid moments to date. There’s no news of a third album yet but with two tracks out this year, it can’t be long before it arrives.

Pillow Queens ‘Brothers’

Pillow Queens, a Dublin-based queer indie-punk band, certainly pull on the heartstrings on their latest offering ‘Brothers’. Building up anticipation ahead of their debut album release in 2020, the track is a moving tribute to the men in their lives, an expression of shared grief and intense love and a reminder to hold dear the moments you share with those close to you. Featuring some of their most open-hearted lyrics to date, ‘Brothers’ also displays the band’s growing songwriting maturity, preferring to hold back in favour of a more melodic and gently anthemic approach. Sure to seize the hearts of all those who come across it, it’s a shift that pays off in spades.

HYYTS ‘eepee’ 

Glasgow fast-risers HYYTS have topped off a massive breakthrough year with the release of their debut ‘eepee’. Steadily building a strong reputation thanks to their unique brand of pop, the duo draw on influences as far-reaching as Scissor Scisters, Frank Ocean, George Michael, 90s hip-hop and The 1975, often combining bubblegum pop choruses, falsetto vocals, a swathe of synths and quirky electronics to great effect. Their debut EP is undoubtedly their biggest statement to date, a five-track triumph that is testament to their versatility and their unique alt-pop vision. Brimming with colour and laced with potent melody, ‘eepee’ ranges from the soaring and emotionally intense ‘Bullet’  to shimmering disco-tinged ‘Heaven’ to the gorgeous, stripped-back ‘DWY’.

Slotface ‘S.U.C.C.E.S.S’

Norwegian pop-punk outfit Slotface have been a regular feature on New Music Radar for some time and this week they announced the release of their second album ‘Sorry for the Late Reply’. The announcement came with the arrival of an explosive new track that finds singer Hayley Shea at her most defiant. ‘Why be good enough when you can be the damn best?’ she sings over a barrage of squealing guitars and grooving rhythms. “‘S.U.C.C.E.S.S.’ is an attempt at being tongue in cheek about how we’re always pushing ourselves to be harder, better, faster, stronger” she says.

Connor Fyfe ‘Don’t’ 

At just 13 years of age, Connor Fyfe is undoubtedly the youngest artist to have ever featured on New Music Radar but his debut single is all the evidence we need that his talents can’t be ignored. Having already played the likes of King Tut’s, The Barrowlands and numerous Scottish festivals, the young singer-songwriter has emerged from the studio with ‘Don’t’; a driving piece of indie-rock that possesses the stadium-sized ambition of Catfish & the Bottlemen and the traditional songwriting flare of many of his bygone heroes. Led by his gritty, emotive vocal and driven by a combination of strident guitars and soaring choruses, it may be rough around the edges but it’s a confident and ambitious start from the remarkably young artist.

Bohemian Monk Machine ‘Tpot Studio Sessions’

Hailing from Perth, Bohemian Monk Machine may be a relatively unknown prospect around these parts but we believe it’ll only be a matter of time before they make their presence known once and for all. With an aim of “bringing funk to the main stage”, the band are breathing new life into a distinctively vintage sound, bringing the kind of vital, relentless energy to their music that is reminiscent of the genre’s forebears. Making their first foray into the studio, the two tracks put out this week ‘Monk Magic’ and ‘Folding Money’ not only display their outstanding musicianship and masterful control of rhythm, they also demonstrate their incredible versatility – the first fun, exuberant and deliriously funky and the second slick and remarkably smooth. Listening to this Perth outfit is like being transported to the 1960s but seeing their show live in the flesh is something altogether entirely.

Edwin Organ ‘Panning’ 

Throughout 2019, the enigmatic Edwin Organ has been casually drip-feeding us with new material from his series of ‘Men’ EPs, a collection he has used to take a closer look at men and masculinity through a signature whirl of woozy, angular pop. His latest instalment ‘Panning’ explores the difficulties men have embracing and giving affection via alluring vocals, fidgety rhythms and quirky guitar parts. Glossy and inventive in production, it’s another effortlessly cool and dreamy outing from an artist who continues to assert his identity with every innovative release.