The Time Out mixtape

The week's best new music, fresh every Friday



Add +

Listen to the Time Out mixtape: our weekly round-up of our favourite new tracks, mixes and music videos. Check out the hottest new music here, and come back each Friday for more.

Angel Haze – 'Echelon (It's My Way)'

When we interviewed Angel Haze back in May, she told us that she sleeps in a $10,000 Versace dalmatian-print fur coat, and said that it was hard to say who was the most famous person in her phone book – 'They're all really famous!' It's ludicrous – or it would be if she didn't have the music to back up the excess. 'Echelon' is the storming first single from her debut album, 'Dirty Gold', and it's one of the freshest, most immediate hip hop singles we've heard in ages. A retro electro beat (check the SNES-style sound effects on the fade) meets Haze's precise flow, then the whole thing switches up into a celestial chorus with Haze harmonising underneath her own snappy bars. Like she says: 'Alert the fucking masses – let them know it's coming.' Just one hitch: there's still no release date set for 'Dirty Gold'. Even so, if we were Azealia Banks we'd be pretty freaked out right now.

Temple Songs – I Can't Look After You

It'd be easy to confuse this Mancunian band with Temples, the Kettering four-piece who have put out a couple of sparkling psychedelic pop seven-inches on Heavenly Records. In fact, Temple Songs and Temples have actually played on the same bill on at least one occasion, and in a blind test you could definitely be forgiven for mixing the two up. Here are two steps to avoid this psych-pop faux pas. 1) Temples are very young, have big hair and wear retro clothes; Temple Songs are quite young, have fairly normal hair and wear fairly normal clothes. 2. While both bands tap into the jangly, Byrds-y side of ’60s psych, Temple Songs are trashier, fuzzier and way more lo-fi. It's not a big difference, but it's crucial to their sound: 'I Can't Look After You' could almost be something from the lunatic mind of US retro-rock kingpin Ty Segall, and that's no bad thing in our little red book.

Gareth Malone Choir – 'Guillotine'

Gareth Malone is an OBE and the best-known choirmaster in the country, but that isn't enough for him: as part of his ongoing mission to get every single man, woman and child in the British Isles singing at all times, he's put together a choir of 18-to-25-year-olds and is putting out a new album called 'Voices'. This is the first track we've heard from it, and, bizarrely, it's a version of 'Guillotine' by the violent and heavy Californian avant-rap crew Death Grips. That's the only surprising thing here, though: despite some voice manipulation and general production jiggery-pokery, Malone and his group have made something ugly and thrilling into something pretty and… meh. It's hardly 'a new style and sound-world for choirs' – in fact, it's no more avant-garde than some of Benjamin Britten's weirder stuff. That said, it's nice enough to be worth four minutes of your time. What other tracks will Malone's choir take on? Throbbing Gristle? Merzbow? Angerfist? We'll have to wait and see…

Courtney Barnett – 'Avant Gardener'

'I guess the neighbours must think we run a meth lab… We should amend that.' Yep, we know what you mean. This track by Melbourne-based songwriter Courtney Barnett is a mish-mash of folk and Jefferson Airplane-style psychedelic rock, but the point is some really good story telling. The story goes like this: it's a mundane Monday and an unemployed girl tries to half-heartedly try her hand at gardening, but suffers a panic attack before she’s managed to plant the first seeds: 'The paramedic thinks I'm clever 'cause I play guitar… I think she's clever 'cause she stops people dying.' Whilst the words sound like something Jarvis Cocker could have written on a lazy, sunny afternoon, the slow meandering rhythm of the guitar is straight out of ’60s California. Click here to listen.

Los Campesinos! – 'What Death Leaves Behind'

Dear Los Campesinos!,

What happened? You were always the sly, shy, twee, slightly nerdy indie-pop boy in the corner. You even had a song called 'Knee Deep at ATP', for Morrissey's sake! I mean, we knew you had a melodic streak: 'We Throw Parties, You Throw Knives' got stuck in all our heads for about six months back in 2007 – and we could always tell you were aiming for something big, but… wow. We never knew that one day you'd be pumping out the kind of slick, chest-thumping, air-punching, shout-along indie rock that has made Arcade Fire one of the biggest alternative acts in the world. So how did this come about? Did you get a taste for the high life when 'You, Me, Dancing' got used in a beer ad? Or was the departure of founding member Ellen Waddell last year the final straw for the old Campesinos? Actually, don't even bother telling us. Shame we have to wait until October 29 for the album – we're sure it'll be worth it – but 'What Death Leaves Behind' is brilliant. We love it. And thanks for making it available to download for free.

Yours un-twee-ly,
Time Out Music

Users say


Read our latest music features and interviews

Interview: Billy Corgan

As Smashing Pumpkins return with an excellent new album, we ask what’s on Billy’s mind

Manic Street Preachers: then and now

Blackwood’s finest are playing their 1994 album ‘The Holy Bible’ in full. Here’s what’s changed since its release

Interview: Kasabian

After recently including a rude message about Londoners in their stage show, Tom and Serge explain themselves

The best new music of 2014: George The Poet

Young wordsmith George Mpanga joins our rolling guide to the best new acts around

Interview: Mary J Blige

The queen of R&B flew half way around the world to record her new album with London’s brightest young musicians

Interview: The National

‘Sometimes I forget I have the same job as Madonna.’ Matt Berninger looks back on 18 months of touring

Interview: Lorde

‘I don’t look good smiling, so I don’t smile.’ Lorde has been 2014’s most exciting enigma. We talk to the teen queen who’s saved pop from itself

Interview: Kiesza

Pop needed a heroine who could sing, dance and handle a rifle. We speak to the sharp-shooting Canadian who answered that call