CAMDEN COX / UNDER THE WATER
Camden’s run of perfectly blended dance-pop equipped with huge trumpet bass continues with what might be her best yet, ‘Under the Water’. Part of what makes Cox so great in this is how, much like Emma Hewitt in her trance song appearances, her vocal manages to pierce the typical production with serious emotional heft. The best dance songs tug the heartstrings, whether lyrically or melodically, and ‘Under the Water’ does exactly that. It’s the sound of sinking into yourself, but making it bang.
COBRAH / DIP N DRIP
If there’s one person on this week’s highlight that deserves mainstream acclaim, it’s Cobrah. Think Poppy’s embrace of the heavy metal K-pop sound but instead of heavy guitar and screaming, it’s an infectious bassline and drumbeat. Plus, there’s something so effortlessly sexy about the whole thing. It’s positively dripping.
GLADES / DANCING IN THE MIRROR
Why their recent efforts have not quite clicked in the way their older material did is a bit out of my reach, because ‘Dancing in the Mirror’ shows a band filled with confidence. It’s all about that extreme phaser-soaked bridge and the swagger it carries, the filthy underlying bass leaving you totally unprepared for the sweetness of the chorus – as traditional Glades as you can get.
CONAN GRAY / OVERDRIVE
‘Overdrive’ isn’t winning points for originality, in fact you can kind of tick the Weeknd boxes as it goes along but for an artist that is pretty huge on Spotify they are yet to make that big commercial mark… ‘Overdrive’ feels as much an attempt at that as the epic ‘Wish You Were Sober’ was. Conan feels built for stardom but hopefully we can push through these kind of semi-ape hits on the way! Still, a banger is a banger.
LENII / WHITE LIE
Perhaps this isn’t the most original of weeks, and I’m not entirely sure we have the next big thing here (just yet at least) but sometimes cosplay can be just as fun as the main act itself… ask Natalia Kills and Ava Max. ‘White Lie’ has Billie Eilish stamped all over it, most notably in that smirk you can practically see in her delivery, but quite honestly that chorus and ‘Haven’t spoke to God in a while’ might be up there with much of what Eilish has done already. There’s also the open admission to people calling her Tones & I in the middle of the song. But don’t turn your nose up at something that seems inspired, you never know where they might end up. The promise is absolutely there.
Make sure to keep up with the weekly highlights in our dedicated NMF playlist below: