Chocolates are half-price, ‘boy done good’ facebook statuses have been put away for another year and we have a short but ever-so-sweet playlist for your listening pleasure. What’s not to love about February 15th?

Bloom Twins – Nothing Ever Changes (acoustic)

Chapter 1 of the dark pop duo’s upcoming EP ‘Winter’s Tales’ proves that the Ukrainian identical twins are in tune with one another more than ever with their sharp vocal layering softened by dreamy, high-reaching harmonies.

Mortimer Jackson – The Trigger

With all the confidence of 90’s ‘Mad Fer It’ Britpop, Jackson gains momentum with his fourth single since stepping out into his solo career with strutting riffs and a beat brimming with bravado.

Videocean – Genes

Those who often have Alt-J or Foals blaring out their speakers are likely to soon be jamming to this low-fi offering due to it’s swirling, pulsing synths and vocals which seem to dig deep beneath the skin.

Glass Peaks – Misery

Inspired by the Stephen King novel/the film adaption, Misery is a huge sonic soundscaped track that fans of Foals and White Lies will find themselves nodding their heads to until — hopefully it won’t leave them to go all Annie Wilkes on the band.

ALMA – Summer

It seems a bit too early to get excited for complaining about it being too hot or day drinking more than usual, but this chilled, sun-kissed ode to a time of year when “we’re all better humans” from ALMA is enough to keep us going.

The King’s Parade – Mad

Sparse, Americana-influenced verses lead into a chorus delivered with gusto from gravel-throat vocals and carried by the blues in another fine release from the rising London four-piece.

Club Kuru – Cherry Bloom

Psychedelia in its most chilled form from the London duo, with echoes of Parisian experimentalism, swirls of Nancy & Lee, and just a touch of Temples, or Tame Impala.

Miles Kane – Coup De Grace (CamelPhat Remix)

The title track from his third solo album, and a live highlight from live dates, Miles Kane’s Coup De Grace is smattered with electronics and beats from Grammy nominated producers CamelPhat, while Kane’s rock ‘n’ roll vocal and guitar riffs remain.

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