26th March, NMF!

BEABADOOBEE / LAST DAY ON EARTH

Historically the best part of all songs is the last minute, when every hook and melody comes to a crescendo with an emotional blitz of ad-libs and general kitchen sink amazingness. Quite smartly then, Beabadoobee’s new song sounds like that last minute for a healthy four minutes instead. It’s so great when an Artist clearly knows who they are and what they should sound like.

LIL NAS X / MONTERO (CALL ME BY YOUR NAME)

The art of the music video collides with the art of being gay. With a song that’s been teased for months on end, Lil Nas knew that something else needed to happen for this to hit the way it should… that it is the giant stripper pole to Hell and bottoming for Satan. It’s really quite something, and luckily the song is best-of-the-year kind of good too. It’s a delicious melody, and it plays twice in a row, so what’s not to love?

LOREEN / SOTVATTENTARAR

Firstly if you’ve never dabbled in non-English music, your life hasn’t been lived. SötvattentĂ„rar marks something of another relaunch for Loreen, who has been at odds with her spellbinding potential for years now, with a soft return to the smooth-Swede-pop of her debut and initial Eurovision appeal. Loreen is the greatest pop star on Earth, let’s get that out of the way, and whatever she needs to do to get back on top needs to be accepted. This is melodic bliss, stunning delivery and sultry smooth delicateness. Get into it.

BECKY HILL / LAST TIME

Hill holds what might be Britain’s most curious popstar narrative, her voice a figurehead to a multitude of enormous dance bangers and nothing for her own solo attempts – which would be understandable if we didn’t regularly champion the blandest of personalities and voices at any given time… and Becky Hill is as bland as a restaurant grade Korma. ‘Last Time’ is everything you’d expect from a Becky Hill feature but it’s her name alone this time, let’s see what the radio and public does here. It’s over to them, don’t fuck it up.

THE KNOCKS, MALLRAT / R U HIGH

Katy Perry certainly didn’t invent the anthemic 80s power-chord fuelled chorus, but she sure did define it. ‘R U HIGH’ is, in simplest terms, a dreamy Teenage Dream Cash-Cash remix torn right from the early 10s. Whilst it maybe could have done with a few extra words here and there (what is with that trend right now?) that chorus really is undeniable, and that pulsing line beneath it keeps everything thick, creamy and warm.

EVANESCENCE / BLIND BELIEF

Admittedly Evanescence has found themselves as somewhat of a divisive band, so I questioned whether to include it here at all due to my clear bias… however ‘Blind Belief’ really is not only the strongest Evanescence song in years, but also the melodic highlight of this weeks NMF. You’ll either be into poprock or not, but that chorus made me post…

Blind belief, are you afraid to see
That our fathers were wrong?
We hold the key to redemption
Let icons fall

Feb 5th, NMF!

One of the highlights this week is the best song of the year so far. It’s a packed week, but the one diamond… *chefs kiss* Get into it.

THE MIDNIGHT / NEON MEDUSA

Quietly pushing their 80s-Arcade sound to the max, The Midnight take their biggest leap yet. A trance-inducing banger of absolutely epic proportions. Basically every other 80s inspired production can take a bow and leave now this has arrived because it’s peaked. I’m basically frothing at the mouth imagining the wave of pop stars that could take this and run with it… Katy Perry belting over these absolutely frigid synths and wild guitar? Make it happen, Lord.

ZARA LARSSON / NEED SOMEONE

Amongst the wreckage of Larsson’s lost legacy comes one of her best songs yet, ‘Need Someone’. That recognisable blend of frothy piano, curvy bass and melodic chorus… it’s astounding that literally anything else from this stretched out era was released over this. Similar to ‘Ruin My Life’ it sounds exactly like you’d expect Zara Larsson to sound now and yet still doesn’t sound boring? It’s a gorgeous bubbly little cheesecake of wonder.

LIZA OWEN / JOSIE

Any other week would have this as the runaway gold star amongst the highlights – the Weeknd synths and sultry chorus a perfect match for that subtle country sworl of a vocal. It’s always amazing when a song can chug along slowly and still hook as much as a 150bpm banger, and it’s the sea shanty-esque chorus which does most of the work. Simply brilliant.

METTE / PETRIFIED

Debut singles are always a difficult one. As much as first impressions count, it needs to be enough to hit the ground running. Mette hits the ground with a full damn sprint – the video and song both something deep established acts still don’t put out. The ground work has been put in for Mette, that much is clear, and the chorus almost threatens to shift into inspired-by-BANKS territory, but those intimately delivered verses that contrast with it brings it into its own little world. And the video! Lord, the video. A star.

GIRLHOUSE / LOADED GUN

Undoubtedly the warmest song of the entire week here, an extremely MUNA-esque drive through imposter syndrome. If you look a little deeper than the (gorgeous!) sonic palette, you’ll find razor sharp lyricism that contrasts deeply with the warmth at hand.

feelings turned to blisters
turned to callus on a broken thumb
debated getting stitches
but i do this for adrenaline


Just look at that verse. Look at it. It’s poetry.

4th December, NMF!

A rather quiet and sombre week for releases this time around as we sweep into the colder months. Get yourself a cup of coffee and tuck into these delights.

Flawes | Reverie

FLAWES / WHAT’S A BOY TO DO

Gorgeous British pop trio Flawes dropped their first album, Highlights, moments before the pandemic descended. A shame then that their potential seemed wrenched for a moment. ‘What’s a Boy to Do’ works to reject that, taken from a whole new EP that keeps things winding nicely. ‘What’s a Boy to Do’ is just brilliant from start to finish – that typical silky melody that has helped many a Brit-gang find success before. It’s hard not to hear this Coldplay meets CHVRCHES anthem appealing.

Kill That Beat, Kult Kyss

KULT KYSS / KILL THAT BEAT

Meet Little Boots and Grimes in the middle of an acid-wrecked dancefloor, half a glass of Vodka-Coke in one hand and a stranger in the other. That’s ‘Kill That Beat’: a gym ready banger that’s all about the trance-inducing production. Dance music really can take you away, can’t it?

FOLEY / SO PERSONAL

Something about a crisp and unfiltered guitar riff gets me real in the mood for chilling in the sunlight, alas it’s freezing outside and Winter is creeping in. ‘So Personal’ is a terrific montage of R&B meets Katy-Perry melodic heaven, particularly shifting gears and exploding in the last minute into an almost entirely different song. Think Foxes does ‘Harley’s In Hawaii’ and you’re halfway there.

Rina Sawayama - SAWAYAMA (Deluxe) Lyrics and Tracklist | Genius

RINA SAWAYAMA / WE OUT HERE

For better or worse, Sawayama wears her influences on her sleeve. The recent album, which has just received a Deluxe Edition, dips wider than the original immaculate RINA EP but those 90s influences will always be integral to Rina as an artist. ‘We Out Here’ is a love letter to key shifts, a chanted chorus and those huge Max Martin chorus’ and, as on that damn good EP, Rina wears it perfectly.

Evanescence Yeah Right

EVANESCENCE / YEAH RIGHT

At some point we’re sure to hear when the actual album is coming out, right? At this point, ‘Yeah Right’ serves as the fourth promotional single with no release date in sight and we’re beginning to feel parched. ‘Yeah Right’ opens as far from traditional Evanescence as you could expect, bringing those Open Door influences flooding back once again, only for the chorus to descend into typically brooding and stretched grunge chorus glory, but it’s those damn verses that keep the song afloat. Delivered in such a way that you can almost hear the smile on her face, ‘Yeah Right’ isn’t going to win any non-fans of Evanescence over, but it’s damn fun hearing the band continue to experiment.

14th August, NMF!

MILEY CYRUS / MIDNIGHT SKY

‘Midnight Sky’ might just be the best Miley Cyrus song ever, and that’s a big feat for someone with such an eclectic back catalogue. Between this, the Ronson collab and her last two singles, Cyrus is really establishing herself as a tour-de-force when it comes to these gritty disco-pop bangers.

EVANESCENCE / USE MY VOICE

You won’t find too many people talking about Evanescence nowadays compared to their bigger days, but ‘Use My Voice’ is an important rallying cry from a female fronted rock band still pushing on 20+ years. Quite unlike anything they’ve done before, it’s an instant roof-raising anthem that you just know they were dying to perform live.

OFF BLOOM / WHAT WE DO

Christ, I love me some good off-kilter music production. Here we have a mutilated country-bedroom-pop riot that is just so charming from start to finish. Understandably a lot of people might be turned off by the quirkiness and the short length, but this is also the exact quirky Britney Spears album track that stans would outwardly champion for single status.

GIA WOODS / INTO IT

Slinky delicious melodies abound, ‘INTO IT’ is all about that god damn chorus. God, there’s something about songs that know they have a killer hook and they just revolve around it. The way her voice glides from high to low on ‘I shouldn’t do it but I’m into it’ send shivers down my spine.

SO BELOW / FEAR

If you’ve already been into So Below, you’ll adore this. Glacial understated pop music that just bubbles and bursts with this dark underlying bass, here we have a study about how fucking stupid ageism in the music industry is. With those trademark stretched vocals and a pulsing electronic synth that rips through right at the end, it’s a damn blinder with a message – the best kind of music.

CMP / MULHOLLAND

For every established artist, there’s the little guy trying to burst through. And that’s why I started this blog, to keep an eye on new and upcoming music regardless of where it’s placed on the New Music Friday Spotify playlists. ‘Mulholland’ is the title track from CMP’s new album, which is due out soon, and it’s that blissful indie soundtrack song I usually feature on here anyway. It’s a good one!

That’s the highlights for the week! At least give the Miley song a spin, it’s such a corker. As with CMP above, hit up my socials if you have a new song and you would like me to take a listen!