Listen Tracks: Justice x Tame Impala, Jade Bird x Mura Masa, Empress Of x MUNA and more

With both having such immediately recognisable signature sounds, ‘One Night/All Night’, one of two tracks shared by Justice alongside announcing new album ‘Hyperdrama’, was either going to be the sum of its parts or a confusing mess. Thankfully the track, a team-up with the seemingly ubiquitous Tame Impala, is the former, the pulsating bassline that introduces the song possessing all the familiar dancefloor draw of the French pop juggernauts alongside the dreamy swirl of the Aussie polymath. It all leads to an exciting reintroduction for Justice, and increased curiosity as to what - or who - Kevin Parker will turn his musical hand to next. (Emma Swann)

With her usual output influened by folk and Americana, a collaboration with Mura Masa is not necessarily something fans would expect from Jade Bird. On 'Burn The Hard Drive', her vocals sit snugly alongside the track's subtle rhythm section, weaving through the layers to Mura Masa’s own familiar sound. It offers a different glimpse to the singer-songwriter but one that works well, and perhaps a shift in direction for her next record; one that fans should be excited by. This is a gorgeous track that brings out the best from both. (Christopher Connor)

To follow 2023’s Rina Sawayama collaboration, ‘Kiss Me’, the third release from Empress Of's upcoming fourth record ‘For Your Consideration’, ‘What’s Love’ sees her double down on the queer pop alchemists by buddying up with alt-pop heroes MUNA. Here, the assembled group yearns for the the rapturous and ruinous nature of love: an ode to both artists’ favoured muse and the transformation it brings. ‘What’s Love’ captures all the starry-eyed, glittery, dreamy and breezy synths of both artists to paint heartbreak as a welcome wound, all while teasing a creatively diverse new pop project. (Otis Robinson)

Energetic and with a clear electronic shift, Cavetown's latest is an exciting contrast to the more acoustic moments on his 2022 album, ‘worm food’. Synth interlaces with punchy drumbeats as a clean opening transitions into grungy indie-pop. Ethereal vocal harmonies seamlessly pair with '00s angst: “I wanna see you in your element,” he sings in this upbeat exploration of infatuation and hint at a new creative era. (Charlotte Grimwade)

‘Default Parody’ is Drahla’s first offering from their forthcoming album ‘angeltape’, the follow-up to 2019 debut 'Useless Coordinates'. It sees the outfit stretching their limits further. Harmoniously inharmonious, the track sees feverish guitars battling it out against manic sax lines. But the band come out on top, spitting metallic blood over its wonky pulse. ‘angeltape’ is shaping up to be a promising return. (Mia Smith)

Compared to much of last year’s ‘i care so much that i don’t care at all’, ‘huh’ might share a titular disinterest, but anyone expecting the dizzy pop heights of glaive’s debut might well be disappointed here. The hook - a breathy “huh, huh, huh” - takes a minute to click, while the distorted bass fizzes expectantly. There is a payoff, the song crashing into life towards the end, but in a subtle way. It’s a grower, for sure. (Elle Barton)

Released a decade after its recording as one of a handful of extras on MØ’s deluxe anniversary reissue of debut ‘No Mythologies to Follow’, ‘Fake Chanel’ isn’t just an infectious bop, it’s a mini time capsule into pre-hyperpop alternative pop. A perfectly formed track that didn’t quite have the oomph its sonic siblings which made the record did, its deliberately rough-around-the-edges vibe and minimalist arrangement sit almost in direct contrast to what, just a few years on, MØ’s peers would ensure was everywhere. Not a hidden hit, exactly, but charming all the same. (Jessie Brown)

Matt Maltese harbours the power to bring on weepiness no matter what he’s singing. This time it’s a cover of Sixpence None The Richer’s ‘Kiss Me’; the '90s track spun into something even more delicate with Matt's usual melancholy jangle and vocal charm. Covers can be a hard thing to get right, but Matt transforms the hit with a good sprinkling of warm keys and shiny harmonies. The result is gorgeously wistful and whimsical, primed for streaming sync spots. (Mia Smith)

Departing from the more post-punk-esque sounds Nadine Shah may best be known for, ‘Greatest Dancer’ embararks towards more ethereal soundscapes; it's an electronic synth-charged, gothic disco ballad. Gloriously brooding, the latest from next month's 'Filthy Underneath' is nothing short of enchanting, wondrously shamanic and entrancing, with some tribalistic drums, all soaked in Nadine's otherworldly vocals, that feel like they’re plucked from the heavenly plains themselves. (Brad Sked)

Tags: Cavetown, Drahla, Empress Of, glaive, Jade Bird, Justice, Manchester Orchestra, Matt Maltese, Militarie Gun, MØ, MUNA, Mura Masa, Nadine Shah, Tame Impala, Listen, Features, Tracks