The date of this week’s Seven Plays might implicate that this is a Valentines edition. Lucky for you (and me) my stomach isn’t quite sturdy enough for that, so instead it’s the usual unusual mix of genres, styles and stages in careers. If you enjoy the tracks, I’d love to hear what you think, so just hit me up on my Twitter  or heckle me in the street. I’m bizarrely indifferent to which.

Check out the full playlist here or scroll on down for the breakdown…


Yes I’ve already included Izzie Anson in a Seven Plays. No I don’t really care, because when a song sounds like ‘Storms’ does, it deserves to be in any list that’ll have it. Between the effortless soulful sultriness of her voice and the gorgeous arrangement, ‘Storms’ speaks of experience far beyond her years. The initial revelation before the very House of Cards trumpet section that “now I know why storms named after man” provides an enigmatic explanation of the sobriety of the song; something’s gone firmly array but, in my callous way, when pain’s turned into poetry like this, I’m almost thankful that the pain’s there. Izzie, ‘Storms’ is stunning.

Follow Izzie on Twitter here



Firstly, I love their name. Lucid Dreamboys is genius. Secondly, I love this song, and the reasons are almost as difficult to pin down as why I love the name. I think maybe to both, the answer might be the utter dichotomy of it. ‘Hey, Johnny Boy’, taken from the Just Another Nostalgic Mess EP is sheer scuzzy, post-apocalyptic dead-eyed rock (I mean that in a great way), but it’s got the sneaky presence of seem really considered strings in the background and one of the most simple and delightfully catchy hooks I’ve heard in a long time. It’s straight up Fat White Family, and when has that ever been a bad thing?

Find Lucid Dreamboys’ EP right here


Remarkably polished with the bite of a beast and the substance to fill one up, The Fallen State’s ‘Nova’ is Rock done right. Knowing exactly where to ease it down to the sentimental so that the choruses can pack even more of a balance knocking punch, this five-piece have created the sort of anthemic rock ready to sell out shows and soundtrack that super dramatic post-breakup scene in some massive future tv show. It’s intense, it’s gut-wrenching, it may actually have achieved being as cathartic to listen to as it undoubtedly was to record and at the point of writing this, was #6 on the iTunes Rock Chart. If ‘Nova’s just their first offering of 2017, then I for one cannot wait to see what else The Fallen State have to offer.

Keep up with everything The Fallen State on their website here

Find The Fallen State on Twitter here


I’m not usually one to go in for a remix, but Justin Novak has for some time now been an exception to that rule. Previously working under the name Den5ity, Novak’s been known to us for a while now as one of the most incredibly consistent and prolific artists on our roster. Having been uncharacteristically quiet for the past few months, I don’t think I’d realised how desolate the dance side of things had sounded without his reliably polished uploads. Then, lo and behold, along comes his Ayer remix, and all was once again right with the world. Pulsating with unabashed joy and a delicate touch rarely scene in dance tracks, let alone remixes, ‘My Hands’ is A-game Novak. What a jam.

Keep up to date with all things Justin Novak on his Facebook

Find Justin on Twitter here

K-LANTA –  Waste A Little Time 

In all honesty, this one took me a little while to get into. On first listen, the opening sounded a little too Club Tropicana on a synth binge for my taste. I thought it might be cheesy. I thought so, until I got to the chorus and quickly realised that I was essentially just being sour and cynical and fun-hating. ‘Waste A Little Time’ is one of the cheekiest alt-pop romps I’ve heard in a long time (although admittedly, finding tracks with that exact description’s somewhat rare). The warping synths and funky bass which slide around in the back gel amazingly with the rhythm guitar in the front and the wonderfully overt swagger of the lead vocals (not forgetting those backing vocals: how they get so high I do not know). The whole thing sounds like that Eric Prydz video if it were moustachioed men gyrating instead, or maybe an edgy roller-disco commercial. Turns out, that’s kinda my thing. Excuse me whilst I purchase all of the leg-warmers.

Find K-Lanta on Twitter here 

Check out their Soundcloud here


Offtrack describe themselves as a Hip Hop collective influenced by underground artists like Odd Future and MF Doom. This is accurate, but only to a point. Honestly, they’re actually really underselling themselves. As well as having all of the straight speaking, unaffected lyrical mastery of Odd Future, they’ve also got the multi-genre grasp of the brilliant Young Fathers, shown when the track takes an almost Stone Roses turn as the rap turns to really rather lovely vocals. A sprawling odyssey, ‘Ambient Joy’, while not yet radio ready (we tend to avoid using the word “cunnilingus” on air), shows exactly how much potential Offtrack have. Clue: it’s a lot.

Check out Offtrack’s Youtube channel here

Have a gander at their ReverbNation here


This track is of such ridiculous quality that I wouldn’t be at all surprised if someone grabbed me tomorrow and said “lol you’re an idiot, that was a Weeknd track”. IamKeyNotes’ vocals are as smooth as the man who seems to monopolise soft S&M film soundtracks (you know the ones I’m talking about), while the deep swell and remission of the production provides the bedroom eyes vibes which the IAmKeyNotes original misses out on. TQ12 have grown enormously over the time that I’ve known of them, and on ‘Rain Man’ they’ve pulled all of that together to take a really good track and make it into a nuanced, considered, super saucy and easily chart-topping one.

Follow TQ12 on Twitter here 

Check out their Soundcloud here

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