July 17th, NMF!


‘Care’ is everything you’ll need for this heatwave-rocked summer, its delicious indie melody a perfect vibe for throwing down your car windows and throttling towards the beach. Of course, it might be worth jumping on Street View and taking yourself there digitally to avoid the mass of people also making the move to the sands, but we have to take joy where we can find it now. Luckily ‘Care’ is going to take you there whether you want it to or not.


It’s really hard to imagine Ellie’s label being pitched with some of the songs on the album and still deciding she had to go away and work on commercially vanilla singles that won’t even make it into the main body of work. Despite the complete state of a rollout for the album, Goulding comes along and proves once again why she’s still a guiding British star. ‘How Deep is Too Deep’ is more Delirium than Bright Lights, but the flourishing production and her eye for a brilliant chorus makes it one of her best. And let’s be honest, she can write these brooding, scolding anthems with her eyes closed now. Try the entire album, it’s a wonder.


Whispery pop girls on Spotify need all they can to bring themselves out of the blur and showcase what they can bring. Yaeger has a way to go to step out of that upcoming Swedish popster lens, despite having a handful of really interesting and brilliant singles to her name already, but ‘Catch Me If You Can’ is an exciting step forward towards her own spotlight. That slinky opening synth is divine and almost steals the song itself, but the real gem of this is that Tove Lo/Lolo Zouai coolness oozing through everything like nitrogen.


Speaking of all those anonymous Spotify girls, here comes one of the best of them. CXLOE has been dropping so many damn bangers that it’s hard not to get frustrated to see an album rocking the charts, but luckily she still pulls in the streams. ’12 Steps’ continues in the steps of her previous three singles – being complete utter stompers that fullbred-label artists would die for – and yet like all the best singles it feels like it manages to be just a bit greater than the last. If the next one can top this, I’ll eat my hat.


Troye Sivan’s greatest strength is knowing exactly how his music and voice ought to sound, even at the behest of those that may want something more full-bodied with typical pop production (Looking at Petras here). ‘Easy’ then is one of his best, a beautifully subtle piece of bedroom pop that gives him total space and control to glide around the sparse beat like he’s haunting our dreams. It doesn’t sound like a hit, and that’s what’s so GREAT about it. Whilst Bloom was a very good indulgent fantasy moment, it seemed to position Sivan’s bedroom style as though it was a Teenage Dream. Not everything can be, and that’s okay.

AND THAT’S THE HIGHLIGHTS of a very strong week, let me know if there’s anything you found that screams highlight and let me know if you’re dropping anything in the future to come!

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)

June 28th, NMF!


Seven years since she last gifted us with the masterpiece pop album Veritas, in which Agnes subverted all expectation and delivered one of the strongest pop albums of the decade; she’s back… and she’s done it again. There’s still an undeniable thread here, you’ll be expecting a European-style SMASH and that’s what you’ll get – but this dual release presents her yet again at the forefront of exciting and ever-changing pop music. ‘Limelight’ is the safer of the two: a typical Agnes mega-smash with enormous chorus fed through a dance filter. ‘I Trance’ is the delicious experiment: a Kylie-esque exploration of dance. What a woman.


‘Rituals’ is future pop to its core, evoking Kate Boy’s aggressive ‘One’ with its heavy synths and moody atmosphere. As with KB, the production is just one sparkly part of the package – the vocals being just as important in their world building. It’s the kind of sound I want more mainstream acts to co-opt and integrate their own sound, like when Katy Perry released ‘E.T’.


Kim Petras’ problematic existence has been easiest to deny when her music occupied a relatively anonymous and fairly-good-but-not-amazing territory. ‘Icy’, part of her new album Clarity, may mark the end of that. Whilst still tied to Luke, and thus sounding like something you’d find The Weeknd releasing, it’s easily the best thing she’s put her name to yet. A fitting vocal for the subject material, where often she can sound slightly trill, it works perfectly to showcase the coldness she’s singing about.


Queens of emotion, MUNA have followed their alt-banger ‘Number One Fan’ with a much more familiar ballad dedicated to obsessional stalking and unrequited love. Katie’s vocals will forever be the highlight, transforming what might be simple lyricism into heartbreaking odes of pain. It’s something they mastered with their debut, so definitely reassuring to see it return so well here.


Marlene and Ji helmed the best song of 2018 last year, Ear Candy, and have since teamed up to become production duo extraordinaire’s Pure Shores. ‘Rushing’ is their first release together, giving us a great first glimpse into the dance-pop they hopefully intend to keep on releasing. If there’s anyone that understands how to make a light and breezy pop song with enough substance to pierce your skull, it’s Marlene and Ji.

This might be the most packed week in recent memory… On top of the above highlights, we have new songs from Ellie Goulding, Sasha Sloan, Julia Michaels, George Maple, Jada, Iggy Azalea, Sofia Karlberg and even MORE. Make sure to follow our dedicated playlist to keep up with the best of the best!

April 12th, NMF!


“‘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!


“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.


“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.


“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.


“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.


“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.


“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:

March 1st, NMF!


“These things don’t happen to anybody like you”

There’s a special place in musical heaven for songs that manage to tread a fine line between soft depression and gentle bliss. There’s a special place for songs that can appeal to you when you’re feeling lost and when you’re feeling on top of the world. ‘You Seemed So Happy’ is one of those songs.

About as lightweight as a song could possibly be, it’s about as heavy as a Dido single but it packs just as much of a punch as half of the incredible MUNA album. It just knows the exact kind of song it wants to be, but also revels in the dreamlike haze it casts over with those cloudlike vocals and guitar strings. It’s like somebody crushed Bleachers and Imogen Heap in one handheld blender and spun the dust out the car window driving down the coast. Positively gorgeous.


“I don’t wanna care and I’ll die with no regrets.”

Krewella have been making a living recently picking up where The Veronicas left off, but with their club friendly spin applied each time. Masters of EDM, they’ve dropped enough songs in the past year to fill an entire album – each one better than the last. ‘No Regrets’ continues the tradition.

‘No Regrets’ doesn’t try to reinvent the wheel, it’s a cliche every songwriter approaches at some point. There’s a bombastic delivery to their vocals that gives this the edge, as if they truly don’t give a fuck about dying early, and an underlying melody that bursts through from start to finish.

Also the vocal buried beneath it all at the very beginning is a beautiful little touch.


“What I like about you is you know who you are, what you like about me is I know who I’m not.”

MARINA has never her aspirations for pop stardom a secret, basing an entire album and persona on the pursuit of the American dream, but ‘Handmade Heaven’ had me worried that she’d let go of that drive and settled into her own niche once more. ‘Superstar’ is the slap around the face I needed.

It’s ‘Power and Control’ dragged kicking and screaming into 2019 and melancholy bathed in love, it’s the sound of falling so hard for someone that you can’t quite catch your breath. Lykke Li taught us not to be afraid of artists embracing modern production, and there’s something about Marina’s voice that soars effortlessly as the production steps back. It’s nice to be excited about Marina again.


“The only good thing you can do to me now is shut the fuck up and get the fuck out.”

‘Shut the Fuck Up’ isn’t quite as brash as the title suggests; its production is something you’d have stumbled into in 2016, the chorus actually quite soft in contrast to the sentiment. What is brimming with character though is Bergan herself, with what may actually be the best vocal delivery of the year so far. Is that a thing? I never really considered it a thing until I heard just how good she sounds in the verses.

Sometimes we shouldn’t be afraid to bask in the past a little, so if you need me I’ll be in my room dancing to this 2016 Melodifestivalen Ace Wilder-esque bop.


“And I’m still in love with the idea of loving you”


Ask any Ellie Goulding fan and you’ll find that her career has been in an odd sort of crisis since the last album. Originally providing us with witty and naturally British folk-pop, she soon became the next big thing and for better or worse polished down her edges. We’ve been understandably confused about what Ellie Goulding’s sound really is, as she progressively devolved into an Americanised popstar.

That’s not to say the songs weren’t great, it just seemed as though the heart was shielded behind many other layers. ‘Flux’ however approaches you with blood on its sleeve, no layers left. It’s difficult to judge such an emotionally heavy song in such a short time span, but it sure is fascinating to see an artist dedicate themselves to opening up like this.


“It’s a lonely feeling waving you goodbye.”

Releasing a debut album isn’t easy in our modern climate. It’s difficult to know what labels want an artist to achieve before they can successfully drop their finished works, and most artists will drop a majority of the album before its release to capitalise on interest. Sigrid has had a rocky delivery, but her album is on the way.

‘Sight of You’ isn’t the career defining single that ‘Strangers’ was, but we have to recognise the graft it has taken to get her to this point. Her prior singles, like ‘Strangers’, ‘Plot Twist’, ‘Don’t Kill My Vibe’ pointed to somebody fearless with an entirely new sound that was ready to dominate the airwaves. ‘Sight of You’ doesn’t try to keep up with that, but it does put Sigrid back on the map with a brilliantly written and hook-laden chorus.

That’s the top picks of the week! Are there any you found that aren’t on the list? Make sure to comment and follow the Spotify playlist to keep up with the best new tracks every Friday.

February 22nd, NMF!


“I found some roses to show you, growing wild through the floor.”

Am I about to admit a soundtrack song for the Moomin’s is one of 2019’s very best so far? No other artist has soundtracked the evolution of pop music quite like MØ, and her incredible second album ‘Forever Neverland’ showcased her unrivalled approach to quirky yet responsive melodies. It’s SO hard not to get excited when an artist consistently switches up their entire production style, keeping it uniquely them while giving you something fresh.

‘Theme Song’ delivers like a smooth tonic, the chorus unravelling like a dream and giving way to an ethereal saxophone riff. As she chronicles in the lyrics, it perfects the feeling of wanderlust: that rare childhood feeling of wandering the streets and pointing out cracks in the pavement. It’s nostalgic and melancholic, a love story to memories gone. Not only is it an absolute wonder on its own, it’s a bloody soundtrack song!!! Imagine what else MØ has lying around. God.


“Walk me home in the dead of night, I can’t be alone with all that’s on my mind.”

The Hot AC queen returns far sooner than anyone expected, and as usual she has delivered us with an expertly polished lead single. Much as usual with rock music, P!nk has taken to refining her sound throughout the many years of her career instead of necessarily reinventing it. What it results in are these uplifting pop bangers that drop all pretence, knowing exactly what they are and who they’re made for.

Stepping on the path ‘Beautiful Trauma’ set out, ‘Walk Me Home’ takes P!nk further out into folk-pop territory. The Mumford and Imagine Dragons influences are instantly apparent, but it’s a soundscape that works well for what will inevitably be screamed out into arenas throughout the summer. Looking back over the twenty years since she first arrived on the scene, the sheer scale of her discography is miraculous. If ‘Walk Me Home’ is anything to go by, her upcoming album is going to be a gem within it.


“I still remember when you gave me life.”

The perfect week for every soundtrack lover out there, Ellie Goulding passes one of her biggest songs in recent memory to the ‘Fighting With My Family’ team. It’s surprising to see considering her real lead single, ‘Flux’, is out next week but this is the same artist that repackages each album, or delivers a 20 track masterpiece like Delirium.

‘Do You Remember’ picks up where Ellie left, sounding like a true sister to ‘Something In the Way You Move’. It’s easy to see why she’d pass it to a soundtrack, but that doesn’t make it any less of a sledgehammer. While not convincing any haters any time soon, it’s going to please any Goulding fan that is sat waiting for her new campaign to really start.


“I’m performing a warning.”

Sometimes comparisons are inevitable: ignoring the obvious influences is far too difficult upon first impression. An impression can either overpower a song, or work to its advantage. ‘Don’t Blink’ invokes Julia Michaels with its bubbly production and brilliant switch-up-chorus, and Blithe’s sensual vocal brings tinges of Selena Gomez and Diana Vickers – the collaboration of the two makes the song positively shine.

Absolutely bursting with character, any wandering thoughts you had at the start will be swept away by the brain-melting chorus by the end.


Bülow has quietly been establishing her own quiet and moody aesthetic, positioning herself in much the same realm as Billie Eilish, by dropping consistent Imogen Heap-meets-Grimes-does-trap tracks that showcase an artist with a very clear vision of their songwriting skill.

‘Sweet Little Lies’ is immediately recognisable and easy to swallow, with the chorus possessing one of the most obvious and delectable melodies of the year so far. The sonic shifts of Bülow would threaten to give any fan whiplash, but it’s just another string to her bow; never pulling back far enough to stretch, the same delicate songwriter approach comes piercing through before anything else.


“Spill me your mind and I’ll spill you the fruits.”

I’m going out on a limb here and ready to bet you won’t find a song with better production this year than this right here. It takes me far away to the darkest corners of the club, hidden whistles and ‘oohs’ creeping through the crowd of bodies. It’s hard for me to argue with any bassline like this, but the real special moment is how RAYE contorts the melody at her sudden arrival: the equivalent of spotting your crush on the other side of the dancefloor – your vision captivated.

She’s the supporting actress that steals the show, delivering a vocal so charismatic that you’re left desperately hitting that repeat button. Incredible.

Those are our top picks of the week, but the fun doesn’t stop there! There’s plenty more tunes on our dedicated Spotify playlist right here:

Make sure to drop your own discoveries!