Music

May 17th, the best of NMF!

Here are our top five of this weeks NEW MUSIC FRIDAY:

SOFI DE LA TORRE / ESTAMOS MAL

Sofi has often spoke about the influence her Spanish origin has had on her music, though this will be her first official release not in English, but that isn’t to the detriment to the song. ‘Estamos Mal’ showcases Sofi’s unrivalled ability to craft melancholic and introspective songs with an urban edge, the sheer pain and heartbreak drifts through even before you translate the lyrics. ‘We are not well, we are wrong’ she chants again and again from the heart. It’s the most open and exciting she has felt in years.

ISA / CONVERSATION

Spotify is a crowded place for the pop girls of today, each one seemingly drawing from the same pool of inspiration; most are blonde, have artwork that slightly covers their face and don’t stretch too far from the synth-pop template. ‘Conversation’ doesn’t break the wheel, its verses are pretty standard fare, but it does do the smart thing where it matters – the chorus is a gorgeous nugget of a hook. If you’re going to give us something, give us a good chorus.

GRACEY / IF YOU LOVED ME

Gracey’s ‘Different Things’ made a fair few waves with its minimalist vocoder-heavy approach, in hindsight the track was the perfect introduction to a new artist. ‘If You Loved Me’ dials the pop-song knobs up considerably, with a chorus as instant as anything on either of Lorde’s albums. Cut from a similar cloth but much more accessible, it’s so refreshing to see smart decisions like this.

KAT DELUNA / LAST NIGHT IN MIAMI

Listen this deserves to be here because it’s an enormous bop that segues really well with ‘If You Loved Me’ (If you don’t believe me, try it and get back to me). ‘Last Night in Miami’ isn’t going to rocket Kat Deluna back into the charts any time soon, it’s basically the lead single J-Lo has been trying to secure for the last few years, but I’m not going to turn my nose up at a 2010’s club bop like this and neither should you.+

CHARLI XCX, LIZZO / BLAME IT ON YOUR LOVE

Admittedly this took a few listens for me to get over the fact we’d already heard this in the form of ‘Track 10’, but it’s a great change of pace for Charli while also sounding perfect to her sound. Outside of the mixtapes, her music hasn’t necessarily lent itself to their PC-Music inspired standard. ‘Blame It On Your Love’ sounds like the best chance for Charli to get a hit as ever, especially considering she’s added the current big thing Lizzo to the track. Her verse exists to give us respite before the last thirty seconds obliterate our skulls.

This week, make sure you also check out:

Mark Ronson, YEBBA with ‘Don’t Leave Me Lonely’. His album really is going to be one of the most exciting of the year isn’t it?

Janice ‘Hearts Will Bleed’ introduces a new sound for her, the chorus is as big as ever.

Four of Diamonds ‘Walk Away’ is the best girl band single I’ve heard in years. More All Saints than Little Mix, it’s a fantastic ballad.

Hatchie ‘Obsessed’ is her best song yet and should soundtrack every Netflix teen drama from now on please. Absolutely stunning.

Carly Rae Jepsen ‘Real Love’ is the best thing from her new album, but it’s all very similar. If you like it, check out the album!

Uncategorized

May 10th, NMF!

Another great week on our hands, here are our absolute favourite tunes of the week:

GRACE CARTER / DON’T HURT LIKE IT USED TO

Grace Carter is the next British starlet that knows their way around a weighty ballad, each one emotional sledgehammers of character that evoke Emeli Sande and Adele but with a much more nuanced and pained outlook. ‘Don’t Hurt Like It Used To’ stuns from the first key, her characteristically huge voice keeping up with the equally big production. Her previous single ‘Heal Me’ was a revelation, and this very much feels like the dark sister track to that.

R3HAB, JULIE BERGAN / DON’T GIVE UP ON ME NOW

‘Don’t Give Up On Me Now’ continues Julie Bergan’s reign as 21st century dance queen, as she rises to the occasion for yet another banger of a dance track. It’s a pretty simple dance song, but Bergan as a pop star continues to enamor in her quest for world success.

AVICII, AGNES, VARGAS & LAGOLA / TOUGH LOVE

Posthumous releases are difficult to listen to, especially if you have a deep connection to the artist in question. Avicii left behind a short but rich legacy, his presence revolutionizing both dance and pop music around the globe. ‘Tough Love’ might not be as polished as his older material, but it’s boundless in effort and is the clear sound of an artist continuing to absorb inspirations. It’s difficult not to imagine Agnes taking this to Eurovision, its clear Europe sound a perfect fit to the infamous stage.

TEAMWORK, NINA NESBITT, AJ MITCHELL / AFTERHOURS

Firstly let’s acknowledge the fact Nina Nesbitt released the best album of the year so far to relatively quiet success. ‘Afterhours’ is a departure from anything on the album, more akin to the generic Chainsmokers-style hits that are all over Spotify right now. Nina elevates this with her presence, her icy vocal the highlight – and she deserves the streams.

CXLOE / LOW BLOW

‘Low Blow’ is CXLOE’s best song yet, positively bouncing as the production relentlessly rolls on. Typically when you’re starting out you need to have a song that either bleeds enough character for people to stop and notice you, or you need a damn good song that hits you on the very first play. For what this lacks in the former, it perfectly captures in the latter.

CARLY RAE JEPSEN / TOO MUCH

With one week away from the release of her new album, Dedicated, Carly has finally decided to drop a fantastic pop song. Drawing inspiration from Swifty’s ‘Delicate’, ‘Too Much’ sparkles with a new and exciting energy that only she can bring. It’s tender but sexual, sweet but daring, and we can finally start to get excited about the album.

Be sure to keep an eye on our dedicated playlists for new releases every single week!

Music

May 3rd, NMF!

This New Music Friday is brought to you on a Saturday, mostly because humans have not yet developed the ability to survive without sleeping and my body sporadically decided that it needed to collapse and sleep for an extended period of time. Luckily for us, great music is a continuous certainty:

THE MIDNIGHT / AMERICA ONLINE

The Midnight have, in my mind, established themselves as absolute production royalty. For a while now they’ve been dropping consistently evocative and excellently produced tracks like ‘America Online’ that successfully blend video-game synths, Deadmau5-esque house music and a brief time-trip back 30 years. Now that isn’t necessarily a perspective that hasn’t been tapped out by the masses, but ‘America Online’ is a perfect example of why they’re doing it so well – their amalgamation of sounds manages to summon so many nostalgic memories, it’s like I’ve literally been sucked into a Nintendo 64.

LUNA SHADOWS / lowercase

Luna Shadows takes aim at bisexuals everywhere that refuse to conform to typical grammar rules. Luna Shadows occupies a space somewhere between So Below, BANKS and Cappa – that defiant and epic production coupled with a great pop sensibility and a characteristically pointed vocal. ‘lowercase’ is one of those terribly exciting first singles that comes out of nowhere sometimes and shows an artist is ready to tell you something. What also helps is that the chorus is just as huge as the amount of character on display.

BANKS / GIMME

In a completely unsurprising move, BANKS has recruited the phenomenal Kito on the first step to her third album. Now anyone that listened to Kito’s latest EP will understand why that is so unsurprising, as not only was the material’s influence clear as day but it managed to elevate what was once unique to Banks’ production entirely. ‘Gimme’ is crisp, dark and an instant hitter – immediately sounding like a classic Banks song whilst also introducing some very welcome dance elements. At the heart of it we still have that clawing, sexual Banks song – Gillian’s characteristic vocal as angsty and powerful as ever despite some difficulty making out the words themselves. It’s a masterstroke pairing and the best thing she has released in years.

MOLLY HAMMAR / WORDS

Put simply, ‘Words’ is just a simple and very, very good pop song. Not necessarily delivering anything different, but with a chorus and a bass-line that would sound good blaring from every radio around the country. It should surprise absolutely nobody to know that she’s another Scandinavian talent, the production bringing to mind Janice and Sabina Ddumba, it’s just yet another example of Stockholm producing the damn goods.

BILLIE / PILLOW TALK

Billie continues to fascinate me with each new release; her music is the opposite of timeless, each one the equivalent of a time machine for the mind. ‘Pillow Talk’ is no different, from the GBA synths to the distant vocal and trance-lite bridge. At the center of it all is an artist that perfectly understands that voice and image, creating these little time warp bops.

FRAWLEY / HARD BOY

Imagine having the balls to sample ‘Teenage Dirtbag’ for your debut single? Deciding to strip down what may be one of the most recognisable choruses of all time for your own? If not commendable then it’s unfortunately stupid. Whether it succeeds or not is not for me to say, but I did feel compelled to list it due to the above – I want to know what people think. Is it a great way to kick yourself off or… the worst way ever?

There’s PLENTY more this week that I’ll briefly get into:

Ina Wroldsen has returned with ‘Body Parts’, a somewhat Sia-by-numbers ballad of self-empowerment.

Mags has dropped a new EP, conversations I’ve had with myself, of which ‘play it cool’ is the best. It’s really good at establishing more of who she is than who she is trying to be. Give it a listen.

Iggy Azalea is back with ‘Started’, another “I’m rich, b*tch” anthem that deserves credit again because the music video shows someone who is so completely dedicated to their craft despite the success it receives.

Shawn Mendes is back with the simple but cute ‘If I Can’t Have You’ with a music video all about trying to muster up the energy to go to the gym. His albums are where the great material is, so we’re excited.

Check out Froyo with ‘Blue’ if you’re into classic Busted punk-pop.

And as always there is plenty more to be found on the below playlists WEEKLY:

Music, Uncategorized

April 26th, NMF!

P!nk is hurting, queer talent is thriving and Marina Diamandis is terrified of love – it’s new music Friday. Let’s get into it:

P!NK / HAPPY

P!nk teams up with the ever-impressive Sasha Sloan to create what may be her most brutally honest song since ‘Family Portrait’. It’s the sound of a mother, a lover, a pop star twenty years into their career, looking back on a life filled with anxiety and doubt. Sasha’s razor sharp lyricism is the perfect compliment to Moore’s terrifyingly tender vocals, but it doesn’t shy away from the hooks in delivering its message. If there’s any justice in the world, this needs to be enormous.

BETTA LEMME / PLAY

This would be the Queerest song you’ll hear today, had Dorian Electra not also released this week (see below). ‘Play’ is abrasive and absolutely bonkers, its main melody one of those instantly recognizable samples that makes you question why it hasn’t been sampled before, and its absolutely undeniable. Produced by Danny L Harle, it’s Aqua reborn for the thirsty pop fans. Did anyone ask for it? Who cares. I la la la la la love it.

SAM CREIGHTON / SMILE

‘Smile’ is just as fascinated with looking into the past as ‘Play’, though revels more in the inspiration than direct replication. You won’t realise at first; the song sounds like almost every other Spotify song by Astrid S, Tove Styrke, Orchid, Kiiara (I could go on), but the chorus is a masterful sledgehammer of 00s R&B dedicated to shutting down the sleazy mass of masculinity. “Tell me to smile, I dare you” – she practically begs, oozing with cool.

DORIAN ELECTRA / FLAMBOYANT

Queer talent often has to infiltrate a system by conforming before our own talent is recognized, and even then we can find our heterosexual counterparts commandeering our efforts as if they were always their own. Dorian Electra is an enigma that would inevitably frustrate the modern pop game, and ‘Flamboyant’ is a fantastic reclamation of a word that has been used against feminine queer men for years, but the true charm of it is how it balances on such a tight string of modern and fascinating production; twisting an obvious dark-club bop with a 90’s soundboard and a totally out-of-place but perfect piano riff – it’s a masterpiece in masquerading.

TERROR JR / LOVED BY YOU

‘Loved By You’ is the sound of Terror Jr carving out their niche for success, losing some of the jagged edges that made them so interesting in the process. It’s still brilliant enough to include here, and it’s easy to get lost in the relentless production and sweet vocal, but without their typical depth and running to a short 2:20, I’m left craving more.

MARINA / BELIEVE IN LOVE

Love + Fear campaign drama aside, Marina’s first album in four years had arrived with a dull thud. Skip immediately to the second side, to find the stunning tracks like ‘Believe In Love’. Admittedly it would appear Marina’s once quirky production and lyricism has been sandblasted away, but nobody quite delivers the quiet bliss of disassociation like Marina at her best. ‘Believe In Love’ is the sound of your mind floating away, caught in melodies and fears drifting by, it should have been the blueprint for the entire album.

FLETCHER / IF YOU’RE GONNA LIE

Red Hot Chilli Peppers’ ‘Under the Bridge’ continues to inspire some damn good pop music, the trend continues with ‘If You’re Gonna Lie’ – if Fletcher isn’t sued for stealing the guitar riff then I’m looking damn forward to the album this is taken from.

This incredible week doesn’t stop here, check out my playlists below for MORE MORE MORE of the week:

Music

19th April, NMF!

This week I am devastatingly ill, so cannot deal with anything less than perfect. Luckily for me, and us, this is one of the best weeks so far. Deliciously lush production inbound:

DINAH JANE / PASS ME BY

It’s been a while since Fifth Harmony went their separate ways, with Camilla Cabello capitalising almost immediately to resounding success. Unfortunately, as usual, the remaining girls have had to work beneath her shadow with each release. Luckily ‘Pass Me By’ is one of the strongest girl-group-member-goes-solo singles I’ve ever heard. It’s sultry, sexy and sleek – her vocals drenching the production like oil. It’s just one of part of a fantastic little ‘tringle’ EP. Check it out.

JADE BIRD / SIDE EFFECTS

Consistent and excellently crafted folk-pop at its best. That’s what Jade Bird does to a T – don’t expect any less. With a vocal that manages to flit between tenderness and crunchy aggression, ‘Side Effects’ is her most instant song yet. With a Nerina Pallot mega-hit melody, warm Lissie-esque production. It’s summer in a sweet 3 minutes.

OLIVIA NELSON / NO ANSWER

Rihanna is arguably one of the most influential artists of our time, and she absolutely does not get enough credit for that. ‘No Answer’ sounds like it could slot right into the last three Rihanna albums – a perfect showcase of world-building and rich, bassy production. Olivia’s delicate and stunning vocal working in contrast to provide something really special.

TALLSAINT / HARD LOVE

I’ll admit I actually gasped when the song started. Sometimes you hear something and think ‘Holy shit, they’ve got balls’, and the way ‘Hard Love’ crashes immediately into this electro-rock K-Pop like chorus without any warning is so stellar. Reminding me immediately of Rina Sawayama’s ‘Alterlife’, this is pop music as its most exciting. I didn’t know Tallsaint before 2019, but she’s making sure I don’t leave without her name on my lips.

AU/RA / ASSASSIN

You’ll know AU/RA from her viral hit ‘Panic Room’ a few years back. She was snapped up by her label immediately, followed by bragging that they knew she’d be at the top of the game eventually. It’s hard to hear ‘Assassin’… and argue with that? Absolutely brilliant production, just weird enough for her to stand out and memorable symbolism painted through out. It’s basically ‘Ready For It…’ but with actual heart.

LOLO ZOUAI / CAFFEINE

Check out Lolo’s new album High Highs to Low Lows as soon as you have the time to do so, because you’ll find crisp as spring grass tracks like this in abundance. It’s the next step for pop music – trap leaning melody based minimal glory. The perfect music for summer.

EMILY VAUGHN / BITCH

Emily Vaughn has already delivered some incredible singles this year, showcasing an artist that isn’t afraid to try some new sounds and establish herself as someone that deserves to be listened to. ‘Bitch’ is an amalgamation of sounds and trends you wouldn’t expect to work together, sounding like some incredible Fifth Harmony/Tove Lo remix, and it’s her strength as an artist that brings it all together. The production absolutely soars, but the entire time it’s Emily we’re thinking of. Incredible.

Music

April 12th, NMF!

P!NK, CASH CASH / CAN WE PRETEND

“‘Cause honestly reality, it bores me.”

During the release of Beautiful Trauma, P!nk lamented about recording too many songs for the album and having to shelve a majority in favor of its typical, Adult-Contemporary sound. Hurts 2B Human has to be approached with this context; an outlier to her typical discography, released at her commercial peak because it can be. ‘Can We Pretend’ was clearly inspired by the phenomenal ‘What About Us’ remix that surprisingly bothered the iTunes charts, and comes equipped with their trademark production and drop. It would have been gorgeous to hear the original song before the remix, but it’s nice to see P!nk trying something completely different. And it bops!

ELLIE GOULDING / SIXTEEN

“We held on with the best intent, just two kids who kicked it on MSN.”

Ellie Goulding utilised the now infamous vocal chop breakdown way before it was popularised, with the anthemic ‘Anything Could Happen’, and ‘Sixteen’ feels like a swift return mixed with Rita Ora’s ‘Anywhere’. The weighty and surprisingly fresh lyricism helps give it the edge, but it’s Ellie’s typical vocal that infuses it with some much-needed emotion. A tight balance between nostalgia and grief, ‘Sixteen’ only makes the mysterious upcoming album even more interesting.


SEEB, HIGHASAKITE / FREE TO GO

“Did it occur to you that I could be gone from you?”

Seeb is a name we haven’t heard from in a while, right? Luckily he’s recruited one of our current favourites, Highasakite, for a stunning slice of dreamy dance-pop. Great dance music knows how to translate emotion without excessive lyricism, and ‘Free to Go’ really doesn’t have to say much to translate its emotional weight; as the vocals soar and squeak, the synths feel just like the freedom being called out for. It’s dance music at its best.

HANNAH JANE LEWIS / NOT YOURS NEVER WAS

“Can’t remember but I think I kissed you first.”

If you can see past Hannah Jane Lewis having possibly the worst artist name of current times, you’ll actually find one of the most consistent pop artists of the past few years. ‘Not Yours Never Was’ heads her self-titled EP, and is a perfect introduction into HJL’s full-hearted pop sound. Like Ava Max, Betty Who, Nova Miller, Rita Ora – it’s a great heap of perfectly scooped, creamy and delicious vanilla ice cream.

MARK RONSON, LYKKE LI / LATE NIGHT FEELINGS

“I lay in silence, but silence talks.”

In a masterstroke of genius, Mark Ronson has recruited so sad, so sexy Lykke Li for the title track of his upcoming album. Her fragile and fragmented delivery is a perfect match for his self-described ‘retro sad banger’ approach. It gets particularly good at the end (of course) when the song slows right down, before slowly speeding right up – like a heartbeat gaining pace.

HEY VIOLET / BETTER BY MYSELF

“Maybe it’s the way you used me. Watered down my love, abused me…”

‘Better By Myself’ is a departure of sorts for Hey Violet, but it brings them closer in line with After Laughter-era Paramore. It’s a more complex and encapsulating sound, one that slowly unfolds as the three minutes tick over. A subtle earworm, it cleverly introduces new elements throughout before unveiling a positively dominating final chorus. If this is the sound they’re pursuing now, count. us. in.

NOW, NOW / ENDA

“I might hate myself in the morning, but I’d do it anyway.”

Now, Now are one of the greatest bands on the planet right now. If you haven’t already heard of them, you’re missing out and absolutely have to set aside time to do so now. Their sound pivoting around a HAIM-like folk-pop and a much sparser electronic vibe, ‘Enda’ twists the dial entirely to the latter. Listen, you’ll either love or despise this; it’s minimalistic and sparse with a noisy and abrasive ending, translating a melodramatic anguish as slow as they possibly can. It’s overwhelming and dark, an experimental introduction into what seems to be a much heavier approach to songwriting, one that we think shows the band is continuing to evolve. AND THAT’S SO EXCITING.

Follow our dedicated playlists for ALL the best music:

Music

April 5th, NMF!

ISLE OF YOU / HOLD TIGHT

“What if we burn out?”

Isle of You consistently deliver perfectly polished pop songs that recall both The Veronicas and classic Disney-pop. It’s a sound that is being given a new lease of life as much darker, minimal beats continue to dominate pop music. ‘Hold Tight’ is a dreamy three and a half minutes, with gorgeous ‘Pure Shores’-lite harmonies and one of the best closing minutes of the year. It’s easy enough to imagine clinging in the arms of your lover as those synths relentlessly whir.

CYN / TERRIBLE IDEAS

“You say the craziest things before we touch.”

Katy Perry’s protege, Cyn, returns with bombastic rock-infused anthem to deep and unrelenting lust. Make sure you give this at least three plays, because it isn’t built to be understood on the first play. Off-kilter synths, heavy riffs and a delicate vocal beneath it all – it instantly reminds me of Rina Sawayama’s ‘Alterlife’, both being songs that revel in creating a whole other world in song form: every piece of production meticulously portraying her sexual feelings. It’s the sexiest song of 2019 so far.

JENS / BEFORE YOU LET ME DOWN

“You don’t look at me the same way.”

jens helps to fill the huge Shawn Mendes sized hole of 2019 so far with the stunningly simply ‘Before You Let Me Down’, a fairly obvious guitar led white-boy love-meets-tragedy mid-tempo. Firstly, the crystal clear guitar and that crisp vocal is like fresh water after a long night of hooking. Secondly, it does that amazing key change equivalent of introducing a whole new melody/pre-chorus in the closing moments. With a tiny 2:24 time-span – it’s short, sticky and sweet.

SAVOIR ADORE / IT’S GONNA BE ALRIGHT

“Nothing’s quite what we had in mind.”

The opening moments of the song might have you believe this is a Crystal Castles song, but it doesn’t take long for Savoir Adore to introduce their trademark warmth. ‘It’s Gonna Be Alright’ is positively encapsulating, the Chvrches-style production bubbling away as the vocals stretch and glide around the harshness.

GIA WOODS / KEEP ON COMING

“Do you want to undress me? Fuck me with your eyes?”

‘Keep On Coming’ revels in its sexual presentation, presenting the exciting and suspenseful introduction of a new friend in its starkest form. It delivers everything you need in a sex positive anthem; slow, pounding bass; coy and evocative lyricism; a deliberate vocal delivery. At times a little obvious, it almost sounds ready built to be sung along by crowds of people at tour venues across the world, but hearing a mass audience singing ‘Keep on coming…’ would be fairly revolutionary.

LOREN GRAY / OPTIONS

“They only want attention so I drown them out.”

At the age of sixteen, Loren has no right creating such fully formed and brilliant pop music like this yet. Admittedly the production carries most of the weight, her fairly atypical delivery giving it the opportunity to bite, but there are moments of wonder that really makes me excited for her future. Particularly the way that chorus crashes in with a thud – that’s the sign of a producer that understands the power of a great chorus. Also the best part of the song is the absolutely delicious “I drown them oooooout” coo. Gorgeous.

There’s plenty more to the week to be found on MY PLAYLIST FOLLOW IT updated every single Friday!