KHUSHI gets playful and Clarence Clarity makes a mess


K H U S H I is a young, London-based singer-songwriter who might be set to become one of 2013’s biggest revelations. Heavily influenced by his own favourite bands, K H U S H I sounds a bit like the love-child of The National and Alt-J: as melancholic and rich as the former, and as playful and original as the latter. With most of the world missed out on Alt-J up until their album actually came out, it seems like destiny that the blogosphere (and maybe radio, too) will be all over K H U S H I. He’s got the tunes to back up all the buzz, though, with “Magpie” and “You Say” rising a head above the rest. “Hella catchy tunes that are blissfully rhythmic with simple yet captivating melodies” say Skeletory. His sense for rhythm and pop are remarkable, and he masterfully throws in a touch of melancholy to soften his sound. One to keep a close eye on…

Deptford Goth

Deptford Goth make music for the broken- and lonely-hearted among us, something that’s not so unusual these days. We recently referred to a study on these pages that demonstrated that pop music is sounding slower and sadder than ever when we introduced Mikky Ekko, and here’s yet another example of this new pop music tendency. Deptford Goth is a DIY-artist from London who is causing quite a stir with his emotional, dark-yet-bright “pop” music (please note the inverted commas). In the video for his latest single “UNION”, the singer wanders through the woods with some colourful balloons that starkly contrast the sad tone of the song, while simultaneously making you realise just how pretty the song is. It’s hard to dislike Deptford Goth’s music, even if you’re a generally happy person. 

Clarence Clarity

Sometimes it’s nice when music sounds a bit of a mess – not just any old mess, but mess with coherence, if you get my drift. Mysterious producer Clarence Clarity has nailed it with his speaker-destroying sound, two minutes and fourthy-three seconds of distorted beats and guitars and some other stuff. Abeano call it “a grinding, intense, frenetic 2-and-a-bit minutes of chopped, pitched vocals and a bewildering array of synths and percussions” (), but even they have a hard time identifying everything that’s been squeezed into these three minutes. Comes with found footage video that’s as frighteningly f*cked up as the song itself.