The best (and worst) new singles this week: Drugdealer, Not A Boys Name and more

Fat White Family takes out this week's top spot.

Single of the Week

Fat White Family ft. Baxter Dury

Tastes Good  With The Money (Domino)

Fat White Family are a self-consciously disruptive alt-indie gang, but the UK band’s songwriting has gradually gained more focus. ‘Tastes Good With The Money’ isn’t a slick and cohesive MOR number, but it leans closer to Avalon than Damaged. The chorus hook burrows in and stays with you the rest of the day, even if the lyrical substance is somewhat obscure. The band finds a sympathetic match in louche mockney storyteller Baxter Dury, whose spoken verse provides relief from FWF’s reverb-drenched preference.

Drugdealer ft. Weyes Blood

Honey (Mexican Summer/Rocket)

Songwriter/producers whose records are dominated by guest vocalists tend to operate in the realms of electronic music, hip hop or jazz. Drugdealer fits the former description, but his penchant is for ‘60s paisley pop and early ‘70s folk rock. Weyes Blood’s Natalie Mering appeared on two standout cuts from 2016’s The End Of Comedy and the collaborative synergy continues with ‘Honey’, an elegant and somewhat wistful slice of psych-folk. The guitar solo nods to George Harrison while Mering’s gliding lead vocal injects gravitas.

Not A Boys Name

Cut It Off (Island)

Not A Boys Name returns with the bass-driven and confident indie pop song, ‘Cut It Off’. The production preserves only the essential elements; the structure likewise isn’t engaged in trickery. There’s resemblance to Bowie’s early-‘80s chart aspirations and a clean funk jangle akin to Around the World in a Day-era Prince. Lyrically, Dave Jenkins Jr. dips his toes in some raw subject matter, but the immediacy of the chorus hook buffers any resounding sense of woe. 

Peggy Gou

Starry Night (Gudu Records)

Flirting with nostalgia is a fine line. Peggy Gou invokes ‘90s club sounds – dry bright piano and easy to get around drum programming – on the two-chord house number ‘Starry Night’. She mightn’t be eyeing off a slot on Top of the Pops, but that’s not to say it doesn’t sound like Spiller. Nonetheless, the South Korea-via-Berlin producer is skilled enough to make it feel like it’s just what we needed.