Music

October 11th, NMF!

Here are the very best of the best for this weeks NEW MUSIC FRIDAY. Headed by the amazing ‘Talk Deep’, just you wait until you get to number five.

E^ST / TALK DEEP

The best of things fit comfortably, slotting right in between expectation and surprise, in our nostalgic range of taste. ‘TALK DEEP’ knows what you expect from it and isn’t afraid to deliver it with a little squirt of glitter, delivered handily in the form of a triple-punch chorus. With a breakdown that elicits pure nostalgic joy, it’s easily one of the best of the year already. Sometimes music just feels alive, and this is one of them.

BISHOP BRIGGS / JEKYLL & HIDE

In her most recent world tour, well known songstress P!nk proclaimed Briggs’ ‘River’ as a song she would have loved to have recorded. Might she feel a little relieved then considering the clear Funhouse-esque production that accompanies this pounding chorus, its twisted circus vibe peeking through the curtains at every integral moment. Around it is a monstrously addictive track, one which you could actually envision P!nk going on to perform again, that also recalls Halsey’s pop-tinged alternative style. It really is that piano that makes this amazing though, and that last relentless run to the end.

WINONA OAK / LET ME KNOW

‘Let Me Know’ is steeped in influence, from Aplin to Mumford and Sons, but its the contrasting quiet moments that allows this to really sink in. The chorus might be delightfully packed with pounding drums and surging strings, but those little moments where we find Winona’s voice deftly carrying the quiet air – they’re really special. It’s because of them the huge chorus can come careening in, taking your breath away. More moments like this please, Oak!

NILUFER YANYA / H34T RISES

Hilariously we follow one of the largest productions of the week with a Garageband minimalism that works just as well, if not better, than the gargantuan approach. ‘H34T RISES’ brings your typical basement production with some high quality songwriting, proving that sometimes you don’t need all the extras if you have the hooks. And this is packed full of them.

SONDR / SO BLUE

Speaking of nostalgia, there’s always at least one summer song that becomes inexplicably huge simply by sampling something we’ve all connected with in our childhood. In this case it’s the phenomenally underappreciated ‘Blue’ which has been transformed into a glacial BANKS song for the nightclub, somehow losing none of the quirky charm of the original… Sometimes you just can’t predict what’s going to work together.

KATY PERRY / SMALL TALK (LOST KINGS REMIX)

Special bonus status for one of our favourite songs of the year, gifted with several brilliant remixes before her new single release next week. ‘Sweet Talk’ is a fairly simple Puth production, swapping Perry’s usual bellowing for a more subtle approach, but each remix brings that back to the forefront. This remix, in particular, sounds as close to classic 2012 pop music as you’re going to get this year placed in a blender with some quirky electro-dance synths and… it works! Quite honestly the output coming from Perry this year is sensational. Bring on the book!

Whilst you’re here. be sure to also check out:

  • Harry Styles new effort ‘Lights Out’, a short walk from Zayn’s own output, and the fascinatingly sexual music video.
  • MisterWives ‘the end’, the most gorgeous indie film-ending song if there ever was one.
  • Hayley Kiyoko’s fantastically produced ‘Demons’, a nice big quirky step from her usual output.
  • The OTHER ‘Small Talk’ remix by Sofi Tukker, which is so good I kind of wish it was the original song? Can Sofi Tukker do any wrong?
Music

4th October, NMF!

Spooky season has settled in, bringing with it cold wind and montages of latte’s in foggy cafes all around the country. What better way to soundtrack your pumpkin spice than with some brand new pop music?

KACY HILL / MUCH HIGHER

Dreamy storytelling meets the most expansive of synth’s in Kacy Hill’s magnificent ‘Much Higher’. Make sure to give it the time to sink in, headphones and all, because the beating heart behind this is just so encapsulating. Taken from her upcoming album, ‘Is It Selfish If We Talk About Me Again’, it balances around mid-tempo range whilst teasing an explosion that doesn’t hit as you’d expect; instead aiming for the heartstrings, the layered lyricism and pounding drums a war chant before the final bridge brings it all crashing back in. Delightful.

LOREEN / WALK WITH ME

I’ve said it before and I’ll say it again until the world starts to hear it: Loreen is one of the greatest artists we have the privilege of watching evolve. Her journey from Eurovision winner to alternative rocker was exhilarating enough, but after teasing a much darker dance sound and now following it up with this brooding cover, we see yet again that she means to swallow the sound and regurgitate it back whole in her own way. Evoking her past cover, ‘Under Ytan’, it positively pulses along without worrying about conventional structure – and it sounds like floating on a bed of glass into the stars – her vocal another instrument of epic proportions. As always, she is an unrelenting steamroller of confidence and visionary talent.

HIGHASAKITE / CAN I BE FORGIVEN

‘Can I Be Forgiven’ is a song of two halves, and you won’t know unless you give it the time to switch up. Many times we hear bands and artists discuss their intention to switch up their sound without any substance to back that up. We wait for a slow shift, a glacial change of instruments or experimentation. How I wish they’d take a leaf out of this book, with what is the perfect package to showcase an evolution of sound – blending their songwriter folkish roots with an electronic explosion halfway through, quite literally guiding the listener into the new world they intend to create. It’s breathtaking to behold.

KING PRINCESS / HIT THE BACK

We haven’t had a song as good as this so explicitly about anal sex since Troye Sivan sung about his blooming self. The fact that there’s a fantastic little pop song behind it just makes it even more delectable, and the thought of innocent public members singing about letting their lover ‘hit the back’ is pretty iconic. The best thing about this though is that chorus, made even sweeter by the contrast in density between it and the verse. Opening up as a sickly sweet love song, it’s a delicious surprise when the funk-pop chorus swings in with a clenched fist.

ICARUS, RAE MORRIS / DREAMS OF YOU

You’d be forgiven for abandoning this Stockholm Noir-esque dance song before Rae Morris even comes in, but you’d be missing one hell of a gem. Like a classic trance song, it gives itself time to unravel itself around you in waves, unloading a subtle but defiant chorus of synths and Rae’s typical string-like vocals. It’s one hell of a duo, even for someone who has never typically enjoyed Rae Morris, that hits the ground running and doesn’t let up. By the time it hits the four minute mark, the blissful ecstasy of blips and bloops are almost transcendental. It’s almost as though it was built to soundtrack every drug fuelled mind escape, channelling that tunnel of emotions into sound.

October has brought with it a delight of nostalgic epics and some seriously melancholic wonders, so do make sure to give the playlist a quick spin. You won’t regret it.

Music

27th September, NMF!

CECILY / AWAKE

Her Spotify ‘about’ section might be about twenty years too late in that it actively namechecks her as a counter to the ‘Britney’s of the world’ (Someone might want to tell her management that Billie Eilish is the new thing?) but ‘Awake’ is brilliant enough for me to completely disregard that. The Julia Michael’s style verses lead you to believe this is heading one particular way, only for a huge Chvrches chorus to bound in with the most satisfying of stabbing synths. Don’t go, don’t leave! she begs, and honestly I feel like never leaving. What a bloody good song.

ALLIE X / FRESH LAUNDRY

There’s a hidden secret among the deepest pop fans, and her name is Allie X. Constantly releasing the tightest of pop songs, she’s been tapped by Troye Sivan and even ripped off by Taylor Swift, and yet her name continues to be that criminal secret reserved for pop lovers. ‘Fresh Laundry’ isn’t going to change that, and you could argue that if her last effort wasn’t able to do that then it might never happen, but it is the most exciting she’s been in years. The constant state of refinement is astounding in retrospect, ‘Fresh Laundry’ sounding both at place with her almost five year old material and also a hyper-polished version of it, it’s soft and introspective in all the right ways. Opening up her dream-pop to a much warmer palette, it’s understated and frankly brilliant.

KITO, EMPRESS OF / WILD GIRL

Kito’s expressive production skills have started garnering her some mainstream attention, in particular being picked up by BANKS for her amazing lead single ‘Gimme’ this year, but luckily there’s still plenty of talent still in the locker for herself. Teaming up with the criminally underrated Empress Of, ‘Wild Girl’ is a Tove Lo meets BANKS understated banger that I’m desperately hoping is leading to another EP. Whilst it doesn’t quite hit as hard as last years EP, HAANI, the production still bubbles and froths in all the right places.

LIZ, AJA / LOTTERY

00’s nostalgia might be bubbling beneath the mainstream but anyone with their finger on the pulse will realise the wave that is building, with the likes of Slayyyter and LIZ surfing the high tide. ‘Lottery’ is almost entirely early Britney, to the point where you can visibly imagine this fitting on her sophomore or even Blackout. This is an influence Liz has embraced, with her citing Britney, the 00s and the MIA-Nadia Oh as inspiration, and ‘Lottery’ revels in it. We won’t talk about the feature, which almost torpedoes the whole thing, but luckily the chorus shines through.

FLUME, VERA BLUE / RUSHING BACK

Sometimes the best pop music isn’t afraid to get a little abrasive, choosing a sonic palette that screeches a little instead of basking in familiarity. Flume already demonstrated a masterful production touch in his 2019 mixtape, Hi This Is Flume, and the pop singles he’s released around it use similar production choices well whilst maintaining the strength of a melodic pop song throughout. Drafting in songwriting excellence Vera Blue, who herself is moving away from her folk roots to explore a more electronic route, means there’s a big beating heart at the center of this all – her familiar vocal pulling it back in as the production veers wildly. It’s a masterful collaboration of the two.

Also this week:

Franky Wah has recruited Robinson for a really dreamy trance song, ‘Hide’.

Elohim continues to release material that isn’t as good as her debut, but it’s still great in a Tove Styrke kind-of way. ‘Paradise’ is a bop.

Charlotte Lawrence is releasing more ASMR pop with ‘Navy Blue’, a gorgeous ballad that has the tiniest of verses and the biggest chorus.

‘Extra Fries’ by ILIRA is the exact song we need for bulking season, even if it sounds like she’s written it over the backing of every other song of hers?

Music

September 20th, NMF!

SASHA SLOAN / SMILING WHEN I DIE

Understated intimacy is so hard to do well, especially concerning songwriting. It’s ever too easy to create something that hits like a sledgehammer but there’s a real talent in balancing on the line between it, knowing when to hold back and when to let the words and melody do the talking. ‘smiling when i die’ might just be Sloan’s best work yet because not only is it immaculately produced but it is also poised to obliterate with powerful lyricism. Sloan’s secret weapon may be exposed to all now, her adaptive skill in refining depression and anxiety into relatable couplets, and with big artists like P!nk recruiting her for their own design but ‘smiling…’ helps showcase a whole new side to that songwriting style – one of delicate contrast amongst the honesty.

TOVE LO / STAY OVER

Vagina Queen Tove Lo has dropped her understated latest album, Sunshine Kitty, and despite not really feeling most of the promo tracks it really only takes one listen to understand what she’s trying to achieve and one more to realise she pulls it off perfectly. ‘Stay Over’ is the most instant of them all, with her wistfully persuading a broken lover that staying in her arms for the night is the best decision he could make. As usual with Lo’s immaculate storytelling, she isn’t afraid to play the bad guy. Disregarding his actual need to repair for the sake of her own whim is a questionable feeling, but we’ve all been there. We all believe we could be the saviour, or that our love will be all-encapsulating enough to repair any present damage, and ‘Stay Over’ captures that perfectly with its dark and melancholic bedroom-pop style.

GEORGIA / NEVER LET YOU GO

Already making waves with the wild and nostalgic 80s banger, ‘About Work the Dancefloor’, Georgia seems perfectly poised to take the mantle as next big rising UK starlet. Though taking a different path to ‘About…’, ‘Never Let You Go’ still revels in its influences, sounding like an artist that has spent years building the confidence to release these epic reminiscent bangers. The greatest asset to them all so far is how well the production plays alongside the melody, the voice as important as the instrument, but there’s a real driving force in the middle of it that sounds so palatable and ready for any radio station to pick up right now.

CAROLINE POLACHEK / SO HOT YOU’RE HURTING MY FEELINGS

  1. Take Sara Bareilles, Imogen Heap and HAIM and place them in the blender, spice appropriately.
  2. Sprinkle with a slight pinch of sexual confidence and a hefty amount of mutual attraction.
  3. Toss in razor sharp lyrics and a tongue planted firmly in cheek.
  4. Blend, though not enough to make it too serious.
  5. Pour into two bowls, serve alone in a quiet room lit by candlelight alone with the sound of your cats in the window.

What a fucking song.

Stick with me every week, around this time, for the very best of the week. Also this week look out for:

Cyn is back with her new EP Mood Swing and ‘I Can’t Believe’ is wonderfully weird and certifiably incredible… after thirty seconds.

Lauv has released the same song again but if you like him, you’ll love it. Quiet and lovely, it’s called ‘Feelings’.

The new Sofi Tukker EP contains one of their most subtly brilliant songs yet, ‘Ringless’.

Bebe Rhexa has repurposed Xtina’s ‘Beautiful’ into a feminist power anthem for Maleficent 2 called ‘You Can’t Stop the Girl’.

Mabel and Tiesto have a hit in their hands (SURELY) with the bizarrely structured ‘God is a Dancer’ which is great but not as good as ‘God is a Woman’ or ‘God is a DJ’.

Music

6th September, NMF!

My stomach butterflies are telling me that September is going to prove to be somewhat of a stacked one, what with Charli XCX and Tove Lo both dropping their long awaited albums and plenty of other smaller releases bound to hit us between them. This week is all about the greatest band in the world, MUNA, whose stunning sophomore is already proving to be a delicately queer love letter to pop music. It’s the kind of music we deserve.

That being said, there’s also some really gems that have dropped this week too not from MUNA (although I was tempted to simply place the entire album in our dedicated playlist, it’s that good.)

MUNA / TAKEN

Proving that conceptual songwriting doesn’t have to be without relatibility, ‘Taken’ recalls an infatuation over someone already in a relationship, with Katie bemoaning her own desire to destroy someone else’s life just because they want what they can’t have. The production is smooth like silk: curving and swaying whilst the lyrics jut, particularly with gutting lines like Dad left when I was eleven, Mum said it’s ’cause he couldn’t keep from touching other women. The best lyricism is deceptively simple, almost as though it’s a topic we all recognise and expected to have been used before, but approached in an entirely different way that opens it up in new ways. ‘Taken’ does that, forcing you to sympathise with the one who wants to cause all the destruction because we can all fall in love with destruction sometimes.

OH WONDER / HALLELUJAH

Perhaps we ought to credit Oh Wonder a little for the now infamous Billie Eilish ASMR vocals? If there’s one thing about them that sets them apart from anyone else, it’s the exceptional vocal mixing. ‘Hallelujah’ is a positively stunning duet mixed perfectly, the vocals giving weight to one another, and an anthem of self-love that I really didn’t expect from them. Opening with the trademark minimal piano and whispery vocals, it’s not long before the beat picks up and the enormous chorus comes sweeping in. It’s marvelous.

CAMILA CABELLO / SHAMELESS

Camila is back, immediately following her number one single with a spunky double release. The fact an artist is actually taking the opportunity to relish their momentum in 2019 is a little surprising, let alone releasing two tracks. Once you hear ‘Shameless’ though you’ll understand that the label probably weren’t sure enough about it as a single in all of its BANKS inspired glory. It’s experimental for her, the chorus tore out in place of a hooktastic bridge and floor-shaking drop, but also feels like a decent follow up to ‘Never be the Same’?

SOFI TUKKER / PURPLE HAT

Is there anything more exciting than pop music’s ability to co-opt genres in consistently fresh ways? The way it can fit almost any other genre inside of its skin, evolving as it ingests new inspiration. Sofi Tukker understand this almost better than anyone, with their production constantly evolving as new inspirations find their way into the studio. ‘Purple Hat’, though, is the next step for them: it truly sounds like a cacophony of influences all smashed up into… a Reggaeton-Dance-Pop epic?

JAX JONES, ELLA HENDERSON / THIS IS REAL

Well, I honestly wasn’t sure we’d ever see this track come to light. How fitting that it has reared its head now attached to resident poltergeist Ella Henderson, who hasn’t been seen in years. If you don’t know already ‘This Is Real’ originally featured Selena Gomez (yes) but was seemingly shelved when a brief 10 seconds leaked on to the internet. A damn shame because, as we now know, it’s a pretty timeless house bop. Does it do much to change the wheel? Not really, and dance music doesn’t need to. The thing that makes this special? Ella Henderson’s absolutely stellar delivery, recalling every incredible dance mix vocal from the early 90’s. Those piano stabs and her belting practically transports me to a gypsy fair, spinning my brains out on the rides.

As I said this week is stacked and I could sit here and write about the new Grimes track (a dance inspired bedroom-studio bop), the new Tove Lo and Kylie Minogue feature (yes, they have done a duet!) or even the latest Charli XCX pre-release single. I could write about them, or I could repeat the new MUNA album for the sixth time today. Which is what I’m going to do.

Music

30th August, NMF!

August is coming to a close as we head closer and closer to spooky season, which means the big heavy hitters will be coming pretty soon to release their new albums. For now, buckle up and listen to these incredible highlights of the week:

LIZ / BTR 2GTHR

LIZ seems to have lit a rocket beneath her feet as I haven’t noticed material skyrocket in quality like this in quite some time. Despite a plethora of synth-girls attempting this type of style right now, most notably Slayyyter who featured in Liz’s latest single, ‘BTR 2GTHR’ manages to eclipse them by bathing in the influence of 90s dance/trance. It’s a fantastic and quirky release that evokes classic dance music just as much as it does contemporary pop, and god damn I haven’t been as excited about pop music as this makes me feel.

CHARLI XCX, HAIM / WARM

Speaking of quirky synthstress, Charli XCX is continuing her album rollout by teaming up with summer girl’s HAIM for the deliciously balanced ‘Warm’. Introducing a much needed warmness in Charli’s typically icy cold production, ‘Warm’ is one hell of an earworm – slowly etching itself into your cold skull with each chorus. And that’s before HAIM even show face, which actually ends up overshadowing Charli herself with their smooth as silk harmonies.

EA KAYA / BACK OF YOUR HEAD

Zara Larsson has seemingly fallen foul to the sophomore curse, inevitably shelving her album release in the guise of ‘wanting better material’. If it’s better Zara Larsson material you’re looking for, ‘Back of Your Head’ is right here. Entirely self-written, ‘Back…’ is stunningly mature with a melody to die for, an enthusiastic empowerment anthem for the cold nights. One thing is for sure, this song will be bouncing around the back of my head for the rest of the week.

TONES AND I / THE KIDS ARE COMING

There’s no escaping Billie Eilish right now, even if it’s not Billie herself. ‘The Kids Are Coming’ might be the closest not-Billie-Billie song I’ve ever heard, but crushed together with a touch of Eurovision charm and ludicrousness. Designed to be listened to with earphones, don’t give it your first listen without them – each little production choice popping in like poltergeists in the background, it’s absolutely undeniable in both its pretentiousness and charm.

LANA DEL REY / NORMAN FUCKING ROTHWELL

Everyone will have an opinion on once reigning hipster queen Lana Del Rey, and over the years her material has shifted around in both inspiration and emotional weight. ‘Norman fucking Rothwell’ is the best thing she has possibly released since her first album, an evocative and powerful ballad that doesn’t revolutionize who Lana is but truly feels like the peak of everything she has worked on so far. It really does feel like everything led to this song, and it really is a masterclass in the much sought after bluesy vibe she typically gets assigned to. With warm strings, an exuberant vocal and a crippling melody throughout… there’s really not much else to say about this other than… wow.

make sure you give our dedicated playlist a little spin this week too, as there are plenty of other amazing songs that dropped this week, from Alphabeat to Post Malone, that deserve your attention.

Music

23rd August, NMF!

SO BELOW / CLEAR

So Below has had somewhat of a miraculous 2019 so far, ‘Clear’ being the third release in a row that successfully melds her dream-pop into a terribly exciting package of gorgeous lyricism and roof-raising choruses. She’s always been able to translate a effervescent melancholy but ‘Clear’ really feels like something else; it’s getting lost in the ocean of emotion, the thunderstorm rolling past, and the rubble left behind. By the time it finally comes to finish, the whole world has changed. It really is that good.

5SOS / TEETH

Behind the slight whiff of pretentiousness, ‘Teeth’ marks 5SOS’s embrace into a harsher alternative rock more than ever; if ‘Youngblood’ was the walk then ‘Teeth’ is the run, in fact immediately hitting a sprint. It’s not hard to imagine a world in which the likes of Charlie Puth, Ed Sheeran and Shawn Mendes try to replicate this sound but it feels like 5SOS beat them all to the punch. Between a Billie Eilish-esque bassline and some damn addictive hooks, I think we’re witnessing the new trend wave begin to stir?

POPPY / CONCRETE

Anything I write here cannot prepare you for this song. ‘Concrete’ is the sound of the zombie apocalypse colliding with the cutest of Japanese anime, it’s pure aggression and metal mixed with Queen and J-Pop, it’s monumentally bat-shit from start to finish and IT WORKS. Despite switching gears at blistering speeds, every shift only adds more to the power of the song. And at the heart of it is this cutesy enigma: Poppy. This is… quite simply the oddest but most brilliant song I’ve heard in months? Don’t even get me started on the closing Paramore outro. Incredible.

TAYLOR SWIFT / THE MAN

It would be easy for me to pretend that the Taylor Swift album doesn’t exist, especially after it followed a four-punch of some of the worst pop singles I’ve ever experienced, but it’s actually not that bad nor is it anything like what the singles that preceded it suggest. ‘The Man’ isn’t perfect but it’s probably the best that the album offers, it’s lyrically smart with something to say and above all it’s an undeniable pop song. Why on earth the label and Swift did not lead the album with this will be a question on my lips for a lifetime, but for now I’ll settle with this being the next single PLEASE.

ROTHWELL / FOLLOW WHEN YOU’RE DANCING

‘Follow When You’re Dancing’ is the retro 80’s banger that you absolutely needed following the past four songs. Easily the best thing Rothwell has put her name to yet, it’s a cacophony of bouncing synths and cooing ad-libs, culminating in a soulful and spirited Robyn-esque dance bop with a chorus so HUGE it instantly recalls ‘Teenage Dream’ and spending summers with tunes blaring into the smoggy heat from the car. Do I have any idea what the title means? Absolutely not, and I do not care.

BONUS GOODNESS
MURA MASA, CLAIRO / I DON’T THINK I CAN DO THIS AGAIN

Clairo is having a bit of a breakout moment right now which makes ‘I Don’t…’s release right now even more miraculous for the Summer. Fresh and delightful, it’s the complex summer banger we absolutely needed right now. Because really the best summer bangers aren’t one-note happiness, they are nostalgia, tears and fresh sweat.

EYES ON NEW MUSIC PLAYLIST: