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. Sötvattentårar 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