26th June, NMF!

Let’s start off with a question – apparently that’s a real commitment to site engagement. This month has had its fair share of difficult moments with shining gems throughout, though for the most part it hasn’t hit quite like the start of the year. I considered turning these into monthly rounds of hidden gems, so let me know if you would digest music highlight much better that way. With that out of the way, let’s settle into this week’s jewels.


An old adage goes that certain voices are so good they could ‘sing the phonebook’ and you’d still get swept away by them. That quality is always present with Leon, her thick emotion a gorgeous fit for her steady and stable pop songs. ‘And It Breaks My Heart’ shows an artist that just gets the music they want to make, the melodies they enjoy, the lyricism that strikes. The vocal takes this where you need it to go, but it’s those sweeping Del Rey strings that makes it so grandiose. Seriously, give us an album.


After an age of waiting, Ware’s album dedicated to sensual dance has finally dropped. The title track, seen above, is the epitome of those lust-tinged beats and classic Ware touch. Positively dripping with sex appeal and reverb, it’s hard not to imagine her a siren, cooing out into the waves. And we’re pulled right in.


Considering the actual state of 2020’s summer, it’s certainly a brave choice of Violet Days to embrace the title – ‘This year’s summer, everything will change’ Hansson sings breezily, and there’s no denying that. With the harrowing shadow of lockdown in her sights, what we actually get is a beautifully bright departure from her usually murkier output. There’s a lot of this out right now, immediately recalling Dagny, Call Me Loop, Carly Rae, Katy Perry – but something about that driving guitar riff and that second half of the chorus really sets this out as a highlight.


I always find it interesting when certain prolific titles get reused simply because the immediate thought is always those much bigger songs. Here we have Grace Davies going head to head with No Doubt and Gwen herself, though instead with a Sia-esque anthemic exploration in authority and self-love. Out of all of the emerging girls right now, Davies seems like the one to watch in terms of buzz. ‘Just a Girl’ might not play any unique cards, its driving kicks and harmonious chorus immediately familiar to any slight pop connoisseur, but amongst the more lightweight offerings of the week, it really has a chance to shine.


The distinction between ‘eras’ is ever blurring, especially when it comes to smaller acts that can afford to release tracks more recently without the expectation of an album (or they’re held in purgatory hell until they’re allowed to release one). Since her surprisingly brilliant EP ‘Junk’ last year, Carlie has put out a series of songs that have each racked up a few million streams each, and the latest is a beautiful introspective moment that would usually be reserved for an album closer. It’s moments like this when I can’t help but celebrate how streaming has changed music because it allows these quieter moments their own time to shine. And it is gorgeous. Dedicated to the destruction caused by drugs to her life, it’s all about that guitar, melody and voice, and it’s giving us a window into Hanson’s artistry that you might never get with curated lead singles.

As always, the Spotify playlist is updated weekly whether a highlight post goes up or not, so make sure to give it a follow HERE!

22nd May, New Music Friday!

Hey, we’re back. Make sure you’re following the Spotify playlist which is always updated weekly so you don’t miss out the highlights! Quarantine life be damned, we’re getting a highlight post out this week because it’s a crazy one. Last week was dominated by ‘Daisies’ really, this one is… well it’s a little spread of excellence.


It was almost inevitably going to be the big highlight of the week, with two of pops biggest artists coming together in a celebration of letting go of your sorrows and dancing the tears away. Of course, the stakes were high, but this hybrid house-pop dance banger manages to pull it off by bringing in that wistful Ariana vocal with those beloved Born This Way melodies. The result is something that feels exciting and fresh for Gaga, and seeing as the album is out in A WEEK it couldn’t have come a moment too soon.


Another heavy hitter this week in Call Me Loop, albeit on a different height of popstars like Ariana and Gaga. What we have here though is a contender for the years best of list, a ‘Runaway With Me’ style frothy pop song that feels simultaneously lightweight and melodically packed. Loop’s songwriting skills continue to be painfully underrated, something we still hope ‘React’ will help to rectify, and that’s never more obvious here than the gorgeous middle-8, a lovely intimate moment that recalls the older songs of hers. It’s no secret that there’s a huge Call Me Loop stan here, so there’s bias, but this feels like the closest she has been to breaking through with a song since ‘Give ‘N’ Take’ and ‘Love the Lie’.


It’s been a weird few years for Ellie, hasn’t it? Admittedly we’ve afforded her more space than most, having opened up about the mental damage her last campaign did, but there’s been a real disconnect with her material since (most likely the labels behest). ‘Power’ is the first step to fixing that. Easily her best song in years but also, most importantly, alive with confidence and that typical Goulding heart that’s been strangely absent since ‘Figure 8’. The keen of hearing will notice the ‘Be the One’ interpolation, but the chorus is so fantastic that it really doesn’t matter after a few listens.


Alice Chater wasn’t built for indie success. In her videos, her production credits, her general appeal, it’s painfully obvious that Chater is one of the greats in waiting. Strangely that can sometimes hold one back, a cry against authenticity, and we’ve seen brief flits with apparent success yet no real fruition of it. ‘Two of Us’, with that in mind, feels like a real curtain-jerking moment of open vulnerability. Though not rocking the boat by any means, there’s something different about this release for her that feels so alive and exciting. Her delicate but gorgeous delivery takes this above and beyond, with a closer dedication to the melody and lyrical content than production, which is usually the case for Chater. It’s gorgeous, and hopefully the start of an album!


What a damn week for music. In fact, there’s a potentially damning similarity between the highlights this week. All are dreamlike, whispery synth pop (which is apparently to my taste so…). Dagny is, like Call Me Loop above, a master at this. ‘Paris’ is arguably her best song yet, a real slowdown of that sugar-sweet formula of hers. The result is a gorgeous, sultry slice of pop music that relishes in her typical blueprint while showing us the other side of Dagny. There’s an EP to this too, Strangers/Lovers, which is the best of the week. If you’re looking for perfectly polished pop, there’s your bag.

Remember to keep your eyes on (!) the dedicated New Music playlist, where the highlights always continue. Every week. For you. (Apparently there’s an embedding issue so there won’t be a pretty graphic, but here’s the link)

24th April, New Music Friday!

This week demands an update. Last week might not have been brilliant but god, it more than makes it up here.


‘Gimme a Minute’ takes roughly 52 to cross into excellent territory by dropping some Kanye kicks, but the surprises don’t stop there. The way this evolves into their best song minute by minute. The taste, the power, the talent.


Whilst the original isn’t really anything to fawn over, the remix does wonders in pulling out this anthemic, dreamy chorus and whacking the pop production up there to suit it. An absolute charmer of a song.


The 1975 are at their best when they drop the pretentiousness and just… make good songs. ‘If You’re Too Shy…’ isn’t reinventing the wheel but that’s exactly what I need. That delightful 80s cheese that only they can bring. It’s fantastic.


It’s been fourteen years since Evanescence dropped their best album, The Open Door, and finally it looks like they’re revisiting the sonically experimental landscape it occupied. ‘Wasted on You’ is the best culmination of everything Evanescence have done before in years, with Amy Lee sounding better than everything and the stereotypical heavy chorus being accompanied with Lee’s slower moments. This one is an earworm, folks.


Yungblud is an acquired taste, I know that, but give ‘Weird!’ a chance because it’s a belter. Particularly suited to the 1975 release, ‘Weird!’ is easily Yungblud’s smoothest track yet, giving hints of 5SOS meets Lily Allen meets classic emo-pop. Totally gorgeous.


Marlene is pop musics best kept secret. After taking time out to produce releases for her and Ji Nilsson project Pure Shores, Marlene comes rocketing back with something so quintessentially her for the summer. Something about Marlene screams summer – the wistful production, the delicate melodies, the soft vocal. There’s never a better time for a double Marlene release, so make sure to check out ‘Without You’ too!

Make sure you’re following the Spotify playlist to keep up with weekly highlights away from this blog!

10th April, New Music Friday!

This past week has involved little more than the new Empress Of album. Have you listened to it? You really should, it’s a masterclass in production and quirk. As for this week, god we have some right bangers. Last week is old news, let’s get going.


You should know by now that Charlotte OC has a fantastic voice, one of my favourites out there right now. But the best thing is she knows exactly when to use that gusto and when to hold back. Her greatest strength are these incredibly subtle hooks that quietly worm their way into the brain. There’s always time for a big ‘Into You’ banger, but ‘Falling for You’ is going to last a lifetime because of that subtlety.


Imagine a world in which Katy Perry snapped this up as the real followup to ‘Never Really Over’? Easily the best thing Kiesza has put out since ‘All of the Feelings’, which actually only came out a few weeks ago… Needless to say, this dreamy 80s euphoria suits her from the ground to the heaven and it deserves all the success ‘Hideaway’ once earned.


First of all, do not listen to this on cheap iPhone earphones if you do not want tinnitus. Secondly, can we accept now that Charli XCX might be the perfect pop star? She certainly is for our quarantining. ‘forever’ was thrown together at light speed, which makes it even more incredible. Truthfully the production is just a sly bit too much at the verses but that chorus might be her best in years.


Can’t come to the phone right now, just being transported into outer space because of those opening pads. Zara Larsson meets Lorde meets Robyn brilliance. Name a better inspiration trio, I’ll wait.


Every now and then a fantastic openly queer love song comes along and I realise how little of them actually find themselves being pushed amidst the endless releases. That actually makes them feel more special for now, because god this hit me as I sit here desperately missing my own boy right now. It feels so good to hear it sometimes.

PLENTY more this week to dive into, get your teeth wet here:

New Music Friday: February 27th!

Ms. Lipa has crash landed her epic dance-pop album a week earlier than expected so I forgive you if you can’t bring yourself to listen to anything else, but for those who might still want the other highlights (Of which there are plenty)… let’s go!


The Dua album is brilliant. It’s brilliant smushed together and it’s brilliant picked apart. ‘Cool’ is one of the best, it’s dreamy production a perfect match for her. Also if we’re being honest it’s that opening that makes this so masterful.


Little Mix’s performance ability has often been at odds with their musical output, veering from fantastic pop to doo-wop nots. ‘Break Up Song’ couldn’t have dropped at a better time considering how similar it is to Dua’s sleek retro leanings. Time will tell whether that will be this singles detriment, but as it is this is one of their absolute best bangers.


The world continues to sleep on Gabrielle Aplin, one of our strongest songwriters. ‘My Mistake’ is originally a heartbreaking sledgehammer of a ballad but god damn, it has one hell of a chorus. Aplin has smartly took it and put a proper donk on it and… it slaps.


Here’s another one that really slaps. I couldn’t really tell you what Isa’s shtick is anymore but this is the kind of song Selena Gomez would pick up and turn in to hit with relatively little effort.


One way to get yourself into these musical highlights is to surprise. Is there anything better than a good pop surprise? ‘Overwhelmed’ starts as a Julia Michaels song and switches gears pretty instantly into a brooding epic. The two actually work really well together, really showcasing that feeling of sudden overwhelming emotion. Synths are God’s work.

New Music Friday: February 20th!

Covid may have brought the shutters down on our lives, forcing us into mass quarantine, but that’s not going to stop us from seeking out the best of the best weekly new music. Here’s a special bumper edition, mostly because the music this week is so bloody good, that will make your weekend seem a little less claustrophobic.


You should know Liz by now. She’s damn bloody good at this nostalgic pop thing. Though not satisfied, clearly, because she’s teamed up with Maor Levi to make ‘Cloudbusting’, one of the best songs on her album, into a classic trance anthem truly reminiscent of classics like ‘I Turn to You’. God damn it, this is good.


A slow burner here, but one that practically causes a wildfire by the time the third minute starts to roll around. Well technically this doesn’t hit three minutes, but I can’t play it without replaying so it kind of is. Troye Sivan is apparently loading some new song up our way but unfortunately for him, ‘Scorton’s Creek’ does everything I’ve been looking for him to come back with and frankly it’s stunning. Bloom who?


Marian Hill has always been one of those acts you turn to for deeply satisfying production value, kind of like BANKS, but honestly ‘eat u alive’ trumps everything they’ve done previously. The garage meets jazz vibe is an additive, and just wait until you get to the little question-answer section at the end. Masterful.


Actual gasps in the room when the chorus to this one kicks in. It’s a very good year for songs called ‘Healing’, isn’t it? I can’t help but imagine the absolute lengths this could have gone on the charts had Grace Carter snatched it up already, but then Arlissa would have had to give it up, and who would give a song like this up?


Sometimes you find an artist and fall totally for their tone and approach but you just know they’ve got the shining diamond of a track yet to come. WENS has had some damn good songs come along so far but this… this is the one. Gorgeously subtle, quite honestly the melodies here are world class. Get this girl in writing teams around the globe NOW.


Could absolutely anybody else get away with a cover version of a song that simply repeats ‘I’m coming!’? The Queen of the Clouds is BACK.


Another male vocal here, which may not be to your taste, but give it a shot because it’s a silky smooth slinky tune with a real Snow Patrol but good singalong chorus to it.


Fleur has talent pouring out of every orifice, that much is clear, but I was worried ‘Favourite Thing’ would be a bit of a fluke on the album, out now. Luckily, whilst it is the biggest thing there, it absolutely isn’t. ‘Mine’ is a career highlight of hers, an absolute earworm.

New Music Friday: February 13th!


What year is it again? RedOne alone takes me back at least ten years, but Desmond Child having a hand in this and resident classic-pop-girl Max as well? Luckily this is an absolute blast. Tinged with Abba, this is everything Ava Max should have been doing following the sudden success of ‘Sweet but Psycho’.


Ellie’s upcoming album, if it ever sees the light of day, will apparently balance the trap leaning collaborations with her authentic songwriting self by splitting the album directly in two and showcasing both. ‘Worry About Me’ is more of what you’d come to expect from Ellie and doesn’t even attempt to spin the wheel, but it’s a solid affair filled with some nice little Ellie touches (operatic cooing, the gritty THIS and THAT hidden away, cahoo-ha-hool) and a pretty great feature from blackbear.


‘Healing’ was already one of the best songs of the year, so I wasn’t exactly expecting a remix to have much to add. Sometimes I love being wrong. Redfield manages to keep that wistful emotion throughout but suddenly it’s instilled with such a brooding and addictive energy that I might never play the original again!


Well, the new Koven album is currently encapsulating my entire life. A proper collision of pop music and dance, which is one of the best couplings ever really, with an absolutely faultless opening in ‘Worlds Collide’. If you’re into this D&B meets Dubstep meets pop banger, be sure to check out the entire album asap.


I suppose sometimes an artist not breaking through keeps them hungry for it, knowing each release is important to their entire career prospects. Fletcher still feels hungry, despite having quite a few songs under her name now. ‘Forever’ might just be her best yet – a gorgeous and intimate mid-tempo with a total sugar rush of a chorus. And the best part? She clearly has even better to come still.

Do make sure to check out the playlist, updating every Friday! There’s plenty of songs that didn’t quite make it into the highlights but might have done in any other week. At least check out that Koven album!

New Music Friday: February 28th!


What else is there to say about this totally new, never been heard before banger? Quite honestly when Gaga fires on all cylinders, there’s nothing like it. ‘Stupid Love’ might just be the best thing she’s put out since Born This Way and it marks a return to the sleeker off-kilter ARTPOP Gaga we’ve all missed since Bradley Cooper got a hold of her. Welcome back PopGa, we’ve missed you.


Charlotte OC was behind one of 2018’s best songs, the subtly brilliant ‘Satellite’ and then the similarly brilliant ‘Boyfriend’ and ‘Better Off On My Own’ landed in 2019 and there was momentary hope that a bloody good album was on the horizon. It never came and we’re in 2020. ‘Freedom’ is her best in a while, an instantly charming power-in-belief anthem that, as Charlotte OC songs tend to do, will worm into your brain and find a home in there. We might be burned but that hope for an album is still there.


Aggression can be so fucking cool, can’t it? LPX gets that, and ‘New Mood’ is dedicated entirely to the vibe. With abrasive guitars, Kate Nash speak-swearing, a throat-achingly screamed chorus, it’s a literal catharsis.


I haven’t been this surprised by a song in quite a while, and speechless too. ‘WKND’ manages to make me feel things that I can’t even voice so I’ll just list them; Classic. Pop. Madonna. Borderline. Britney Spears. KPop. PCMusic. Sega MegaDrive. Dreamcast. Amazing.


Now ‘WKND’ has decimated by brain cells with its time travelling ways, ‘Mind Control’ helps cement me back in reality. And it’s a sticky dancefloor at 11PM with a Bacardi Coke in my hand. Camden Cox is one to watch if you haven’t been already because basically amazing songs seem to flock around her in the form of her own and collaborations. Gorgeous dance music made for the club and the gym floor, with vocals that keep the emotion pounding through. What’s not to like?

What were your highlights of the week?

New Music Friday: February 21st!

Quite possibly the strongest New Music Friday in months. Whittling this one down to five highlights was hard y’all, and I’m pretty sure in any other week others would be near the top. As it stands, the highlights are complete best of 2020 contenders.


Burns has gone out of her way to express her scandi-pop influence with that quintessential British charm, and honestly, she’s not way off the mark. ‘Hello’ basically picks up where Cher Lloyd once picked up with an absolutely stunning melody. However, it’s that little whiney synth that makes this a standout. Truly a masterstroke.


Often I wonder just how much impact Charli XCX has had on pop music considering her somewhat lack of chart success in contrast to her consistent status in pop music. Then I hear songs like ‘Gone’ and I can practically feel her bleeding through. ‘Gone’ is strong enough on its own merits, yet another stunner from Gracey, but that Charli-esque GONE GONE GOWAN is the one.


I wonder if I’ll ever stop featuring Call Me Loop on this blog? Considering her consistency, I wouldn’t bet on it. Keeping with her delicious pop appeal, ‘Downhill…’ doesn’t try to change the formula, but it does continue to show another side to her – just as she did with The Pussycat Dolls’ ‘React’ – that keeps me constantly looking forward to whatever she puts out next.


At this point Bergan’s name is becoming a stamp of approval. Anything she features on just bounds with character, drips with cool. ‘Outta My Head’ would be in every gym around the country if there was any justice, and easily has one of the best ‘da da da’ sections since Kylie.


Okay, so I did say this was a strong week, and this was where it got hard. Ultimately the return of Purity Ring deserves an entry every time. Atmospheric electro-pop is chronically underappreciated but somehow they’ve always managed to maintain a cult like status. ‘Stardew’ goes on to prove why – there’s always heartbreaking emotion behind the fizzing production.

New Music Friday: 7th February!

Well it’s gay christmas because one look at the playlist and you will see Agnes, Dagny, The Pussycat Dolls, Tove Lo, Aly & AJ, Halsey, Marina… all in one week! Let’s dive right in.


Dagny is a songwriting genius, it’s why Katy Perry looked to her to create the greatest song of all time, ‘Never Really Over’. ‘Come Over’ picks up where she left off – that sublime sugar sweet pop music and relentlessness that she just seems to excel at. I really, really, really need her in the studio with Perry right now.


There aren’t many artists around that have had as interesting careers as Agnes, who already dropped an amazing EP out of the blue last year. Ditching the experimental 80s vibe of the EP, ‘Goodlife’ turns to STRINGS, and god she sounds gorgeous on it.


It’s finally here. Though the wait was certainly worth it for that saucy music video, wow. Penned by the shining talent Call Me Loop, ‘React’ finds PCD crash landing into 2020 with a contemporary ‘Buttons’ of sorts. It’s sexy, it’s smooth, it’s a total rush.


Admittedly Cyn’s output has veered between sounds so much that I never know what she’s going to do with each release, but even with that I couldn’t have expected ‘Lonely Gun’. Taken from the Birds of Prey soundtrack, it is a total RACKET and is all the better for it. A KT Tunstall-style banger with horns, Cyn certainly couldn’t make herself any louder.


Ina is another artist that continuously surprises with the breadth of her releases. Whilst a respected songwriter already, she has had little success on her own terms, and though she’s dropped a few casual appeals to success, for the most part she’s able to experiment and play her own games because of it. ‘Pale Horses’ is one of her best yet; an initially bonkers drum beat soon gives way to an enormous chorus bolstered with strings.

SO there were our highlights of the week but as always more can be found in our dedicated New Music Friday playlist below!