Watch: Simple Like That by Malaika

With low slung bass and light vocals, the new single from Malaika is built around contrast.

On Simple Like That, the Dorset-raised, London-based artist brings together elements of grunge instrumentation with a dream-pop aesthetic. Beyond the kind of bass Kim Deal would be happy with, drums punch with the vinegar of a garage rock outfit. In contrast, pillowy soft synths bring a feeling of innocence, as Malaika’s angelic performance floats on the surface. The tension is right there in her performance, the delivery honey-sweet, yet the lyrics simmer with disappointment.

Simple Like That is taken from Malaika’s debut EP, Dye My Hair Dark In The Summer, a release that deals with the reality of becoming an adult, as the artist describes:

‘Dye My Hair Dark In The Summer is an EP that encapsulates the last six months of my life. It’s about being a girl in your 20s and finding the fun in this world despite its hardships.’

Check out Simple Like That below, and listen to the full album on your service of choice here.

In addition to listening in the post, you can find almost all the music BlackPlastic covers on the music player of your choice. Add the dedicated playlist below:

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Watch: Chalk by Antony Szmierek

Opening with a deadpan vocal and a low swagger of bass line, Chalk is the latest release from Antony Szmierek.

Depicting a game of 8-ball, there is a startling, poetic vividness to Szmierek’s description. Small references to a stack of 20ps (that’s twenty pence pieces, to non-Brits) and the line, ‘The chalk’s just there for comfort’ encapsulate perfectly the feeling of dingy pool and snooker halls.

The story telling is combined with a kind of electronic post-punk. Square 808s provide a pulse to Szmierek’s stress-inducing delivery as he says, ‘Everyone can face a crisis, but not everyone can make it home’. Akin to a moment of clarity, cool synths wash the song as our protagonist enters the zone, stating ‘I’m on the edge’. The song pings back into its darker origins, elastic bass bouncing like the balls on the table as he takes his shot.

Overall, Antony Szmierek has created one of the most cinematic yet naturalistic pieces of music I have heard in some time. It’s a thrilling and light stylised experience. Check it out below.

In addition to listening in the post, you can find almost all the music BlackPlastic covers on the music player of your choice. Add the dedicated playlist below:

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Listen: Have I Been Good to You by Ian Cobiella

Opening with a cinematic pulsing bass line that evokes the movies of Tony Scott, LA-based musician Ian Cobiella’s single, Have I Been Good To You, has a pulse quickening magic from the very beginning.

That bass line quickly dissolves, however, giving way to bright piano chords and percussion that takes influence from the artist’s Cuban-Bolivian upbringing. The result is an intimate, sexy tribute, Cobiella’s vocals layered and stumbling gracefully over one another, full of excitement and boy-ish energy. Soft edged processing on elements of those layers creates a playfulness in the delivery. Like a conversation with one’s own emotions, we can hear Cobiella egg himself on, as he embraces his sense of affection.

The overall song comes together as a beautifully frenzied piece, a blur of colour and anticipation that reflects the destabilising loss of perspective that comes from falling for someone. As the song nears its conclusion, there is this brief-yet-wonderful jazz piano moment. It is like a rush of blood to the head, captured in this tiny little vamp.

All of this energy is deliberate, as Ian explains:

‘I wanted to make a song that moves because I want people to dance. The drum groove is built on a salsa clave, a pattern from Cuban music with this constant, almost obsessive forward momentum — which felt right with the lyrics. The song is sexy and manic, and I loved getting there in the writing and recording. This song is meant to feel like a tornado.’

Have I Been Good To You is the first single from Ian Cobiella’s forthcoming debut EP, All I Have To Give. Check it out below.

In addition to listening in the post, you can find almost all the music BlackPlastic covers on the music player of your choice. Add the dedicated playlist below:

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Listen: Prizes by Narium

Opening with something akin to a speed garage rhythm played by a hardcore rock band, Prizes sits with a gritty little dark heart, the centre of attention on a tear-streaked dance floor.

Taking her inspiration from 2010s indie and alt pop, from M83, the 1975, Daughter and Lorde, Narium’s sound is a romanticised take on the mid-digital era of Tumblr. Berlin based, Narium’s sound is deliberately edgy-yet-playful, pulsing bass and electric guitars contrasting with the vulnerability of her vocals.

What Prizes achieves is an aesthetic that accentuates the dramatic, coming of age style it is shooting for. The grimy bass and drums propel a song that resonates with the energy of animated gifs, subtweets, heartbreak, and a veil of aloof shame once it is all done.

Prizes is the second single to be lifted from Narium’s forthcoming debut album, following on from the crisp and dark song Nosebleed.

In addition to listening in the post, you can find almost all the music BlackPlastic covers on the music player of your choice. Add the dedicated playlist below:

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Listen: Put the Fries in the Bag by Nesya

Born in Nebraska and raised the daughter of a preacher, Nesya’s youth was spent hiding her sense of self — an embrace of the gothic — whilst surviving sexual abuse, infidelity, and social isolation. A move to Sacramento at the age of 12 saw her find the alternative and darkwave scenes that felt like they reflected something she felt inside.

Having garnered attention via TikTok, her single Delulu was a breakthrough moment that arrived against the backdrop of the breakdown of Nesya’s abusive marriage and a split for her label. Now with the new label Double Down, formed by Evan Lipschutz in partnership with Virgin Music, Nesya is gearing up for a forthcoming album.

Put the Fries in the Bag is the lead single from that album, and it charts a path through a mixture of dark pop and EBM. Shimmering black synths provide a glossy background for Nesya’s vocals, as hollow bass tones create a robotic-yet-organic aesthetic. Produced by Kill Dave, the song is a deliberate attempt to recast trauma as absurdity:

‘I wrote it in the middle of a messy divorce and betrayal. The song turned that chaos into something fun. It’s proof that the 'dumbest' idea can be the thing that makes you want to dance again—or just eat some fries.’

Deadpan vocals create an acerbic, cutting narrative, as Nesya claims her place as a black alternative artist operating at the rare intersection of post-punk stylings combined with house and R&B sensibilities. The result is bold and infectious.