13th September, NMF!

NINA NESBITT / BLACK & BLUE

Nina Nesbitt is re-releasing her brilliant album as an acoustic bundle with three new songs, one of which is this intimate but catchy ode to self-abuse. Essentially another take on her song ‘The Best You Had’ but with a driving beat, much like the rest of her material the power in this is its simplicity and her vocal delivery translating a weighty amount of the emotion. It’s subtle in all the right ways, like all the best mid-tempos are, and is the exact Autumnal song I need right now.

CHARLIE PUTH / MOTHER

Sometimes the best songs come at you from nowhere, and despite Puth’s production talents being tapped by various artists now it looks as though Puth still has enough inspiration for himself. ‘Mother’ positions him as the male Eilish, complete with the warmest of plunky basses, by painting himself as the bad guy in the back of his car with his lover. Much like ‘Attention’ it’s basically just a left-field pop banger that sounds like an enormous hit before it’s even hit the ground running.

CHARLI XCX / SILVER CROSS

The Atlantic Queen of Pop Charli XCX drops her new album today, following approximately 400 promotional singles, but luckily she saved one of the best songs for the day of release. ‘Silver Cross’ doesn’t depart too much from Pop2 or Number 1 Angel, its thick bassline and reedy strings right at home in her typical sonic palette, but there’s a melodic confidence here that reminds me of True Romance all over again. Her ability to translate emotion into icy cold instrumentals is commendable, and there’s a special mention needed here for the incredible bridge. I’m glad that the best song on the album is a Charli solo track.

ROBINSON / DON’T SAY

Robinson has been on the cusp of breaking through with numerous songs clocking up the millions of streams online, and ‘Don’t Stay’ is definitely her most commercial release yet. Without sacrificing any of her acquired charm so far, it dabbles in Sigrid-esque synths but with an enormous Maggie Rogers chorus. Basically any album with this and ‘Karma’ on is an album I need delivered to my door right NOW.

HALSEY / GRAVEYARD

‘Nightmare’, Halsey’s political dedication to scream-pop, has been sanctimoniously dumped from her upcoming album. In its place is this much more melancholic, softly pastel epic. Clearly inspired by her number one hit ‘Without You’, it is a song entirely committed to substance over style – the substance being a really, really strong melody. I’d follow you to the grave is a fairly familiar melodramatic sentiment that feels apt for this dark princess of pop, and luckily the instrumental swells and bleeps in all the right places, meaning this is actually one of her warmest releases yet despite the dark sentiment.

Also:

+ Awfully titled budding artist SONIA dropped a gorgeous mid-tempo called ‘Joyride’.
+ Ella Henderson finally came out of the shadows to release a Julia Michaels song.
+ Miley Cyrus and Lana Del Rey team up with Ariana Grande in an effort to spice up one of her shelved songs, and they’re the best part of ‘Don’t Call Me Angel’.
+ Meghan Trainor is back with a little bit of a cringefest but it’s actually good?
+ Gabrielle Aplin is shouting quirky Japanese words in her song about pottery!

16th August, NMF!

MUNA / STAYAWAY

‘Stayaway’ has been out for just over 12 hours and I’m already positive that it is going to end up in my top five of the year, if not the top 2. The sophomore slump is a real issue for many artists, and considering MUNA’s debut album showed itself to be one of the most impassioned and well constructed debuts in the last ten years, the pressure really was on to not only recreate that but to elevate it. ‘Stayaway’ is the kind of song careers revolve around, melodically a masterpiece and lyrically devastating, it’s hard not to find something new to love with each listen. That’s if you can stop repeating the gloriously powerful pre-chorus. If this was the 00s, I’d have the lyrics plastered all over every single online profile I inhabited.

Leaving you was easy, now I’ve got to do what’s hardI’ve got to stay away.

MILEY CYRUS / SLIDE AWAY

Authenticity is a much sought after thing that simply cannot be fabricated and shows itself at the sparsest of moments, like Demi Lovato releasing the heartbreaking ‘Sober’ before her publicised relapse or Ariana Grande referencing her exes shortly after Malcom’s death, Miley channels her recent split with long-term-flame Liam in the devastating ‘Slide Away’ – a song about recognising the two worlds both of you inhabit have shifted so far away that they are now unreachable. Considering Miley’s career has been filled with a plethora of characters, it is simply remarkable to see her peel away the layers and present something so visceral. We haven’t seen this since the raw, and incredible, Dead Petz… experiment – which really felt like the real Miley Cyrus shining through. Hopefully between this and ‘Mother’s Daughter’, she’s more ready than ever to occupy that character completely.

PVRIS / HALLUCINATIONS

The best thing about ‘Hallucinations’ is how it manages to subvert the typical PVRIS formula by blending their enormous, effect-soaked choruses with a surprisingly intimate production. Considering how well they do LOUD it’s simply delicious to hear Lyndsey’s vocals given the space, with only strings and a slight beat accompanying her. Of course, that doesn’t stop the ceiling-crushing chorus from fitting right in to place when you least expect it. With hints of BANKS and Florence, this era really feels like PVRIS taking the next big step for their artistry.

NORMANI / MOTIVATION

Everybody I know has been, rightfully, freaking out about Normani’s sudden reintroduction (mostly because of the star quality on display in the marvelously nostalgic music video). ‘Motivation’ needed a few plays from me before it sunk its claws in but it’s so god damn exciting to see such a huge pop culture moment being made from a debuting solo artist. There’s been a lot of swing for Normani over the past year and it seems like it’s allowing her to hit the ground running. Though that’s not to discredit her, as her charisma and confidence is pouring out of every ounce of the song. She knows this is it, and it sounds like it.

And if you don’t get it yet, just watch the video. You will.

HYPHEN HYPHEN / TAKE MY HAND

‘Take My Hand’ truly reveals its cards at the three minute mark, a cathartic implosion after several minutes of atmospheric teasing. Whilst this won’t be for everyone, and at times it sounds like the soundtrack to some buzzy and dark Netflix series, it’s a momentous release that sounds unlike anything else released this year. Between gasps for breath, bass that sounds like it’s going to burst open the speakers and their trademark chant-like vocals, this is the closest you’ll come to an out of body experience this year.

This week was simply fantastic, and there’s a whole bunch of other songs that could have made our highlights on any other week. Make sure to check them out and let us know what your highlights would have been:

July 19th, NMF!

Here are the best five tracks of this wonderful New Music Friday:

SAM SMITH / HOW DO YOU SLEEP?

Did I really expect a Sam Smith song to be my favourite of the week? When typically his songs would be reserved for insomnia drenched nights, ‘How Do You Sleep?’ is an exciting evolution of a newly expressive artist. The video, which is great, is an overt celebration of his queerness and I can’t help but be ecstatic watching Sam’s slow revelation that his queerness does not need to be hidden anymore. What’s best is that, even if this does have a high pitched trap-drop, this doesn’t sound a single step out of place? It’s effortlessly cool, an utter slow jam that we think is going to be huge.

SOFI DE LA TORRE / PERO NO

‘Pero No’ follows ‘Estamos Mal’ in reestablishing Sofi with her Spanish roots, continuing to showcase her exceptional songwriting skill in her native tongue. Now I’m not a fluent speaker, but that doesn’t stop me positively soaking in everything here – it’s succulent and warm, a melancholic and yet blissful summer bop thanks to her typical emotionally charged vocals. Again this is Sofi excelling at what she knows and is very good at.

CHARLOTTE LAWRENCE / WHY DO YOU LOVE ME?

With Billie Eilish on the way to being the next big thing, it was only a matter of time before someone starting to draw inspiration from her very unique sound. ‘Why Do You Love Me’ is going to be the first of many, and it’s so similar to something Billie would put out that it’s almost disturbing. The ASMR vocals, the plinky bass, the slightly demented chorus – it’s ALL here. I almost admire the sheer change in sound to this from everything before to be honest!

CHLOE MK / DAVID BOWIE

Immediately the title evokes Gaga and 80s driven pop music, and luckily the sonic build of the song does little to subvert that. Chloe has seemingly came from almost nowhere with perfectly crafted 00’s pop songs that remind me of the golden days of Gaga and the collection of stars, such as Natalia Kills, that followed her meteoric rise. ‘David Bowie’ is subtle and immaculate, doubling as a love song and a tragedy, and immediately sets Chloe apart from the other girls on the scene right now with its dedication and coolness. In a world of Ava Max’s, be a Chloe MK.

CHARLI XCX, CHRISTINE AND THE QUEENS / GONE

Consider this a somewhat muted celebration of the new Charli XCX song, because we all know the type of electro-pop that she is capable of by now and unfortunately ‘Gone’ brings little new to the table. Nothing necessarily wrong with that, but I have heard Charli XCX do this song a few times before and for that it loses an initial spark. WITH that aside, it’s a hook driven distillment of everything Charli has come to represent, and Christine stops in for a quick vocal too. I’d never noticed how similar they could sound before, but it’s certainly obvious here.

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!