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18th October, NMF!

This is quite possibly the best new music Friday of 2019 so far, and to accommodate the extra rise in effort this week, we’ll be highlighting a few more exceptional works. With Caroline Polachek dropping one of the best albums of the year, Sasha Sloan releasing her new EP, and Katy Perry returning with another banging pop song… It’s one hell of a week.

CAROLINE POLACHEK / PANG

‘Pang’, the title track from Polachek’s mind-blowing new album, starts simply with a smattering of electronic bleeps before launching its charm offensive. A smack in the face to anyone who swears that electronic pop songs can’t accurately bring the human emotion that real instruments can, ‘Pang’ delicately explores that deep seated feeling in our chests, and might just be one of the strongest songs of the entire year. Beautifully minimal but bursting outwards when it needs to. Danny L Harle’s style continues to evolve in such an epic way that it really does feel like we’re looking at one of the next big producers of our time.

KATY PERRY / HARLEY’S IN HAWAII

Although ‘Never Really Over’ and ‘Small Talk’ occupy similar lanes to material Perry has worked on before, namely taking influence from the monumental Teenage Dream era and its pop sledgehammers, there wasn’t really any kind of expectation as to how ‘Harley’s…’ would sound once it eventually dropped – save for those leaked music video images from months ago. Luckily it’s everything you didn’t expect it to be and more. Following up from Witness album track ‘Tsunami’, it’s a sultry tropico-bop that feels more inspired by Ariana Grande than Perry’s back catalogue. And god damn, does she own it, especially when those last minute ad-libs come soaring through.

LIZ / LAGUNA NIGHTS

Liz clearly sold a part of her soul to some demon somewhere, having featured as a highlight on this very blog several times in the past few weeks, but the music continues to just astound in totally different ways each time. ‘Laguna Nights’ might be her best yet, a nostalgic 00’s floor-banger that wouldn’t sound out of place on a Selena Gomez greatest hits album. It works because of the sheer charisma in her delivery, taking us back on a time-warp to the times it clearly takes inspiration from. For those 4 minutes, you can lost in it, and that only happens with the very best.

L DEVINE / PEACHY KEEN

Had you told me that a song that samples ‘Bette Davis Eyes’ and sounds exactly like Terror Jr. would be Devine’s next release, I’d have spat in your eye. But ‘Peachy Keen’ is exactly that, and she does it so well that there’s almost no doubt that her sound was ever anything but. Smartly, it toys with the sample ever so, leaving the brain to piece together where it has heard it from. This might be Devine’s best effort yet.

SOFI DE LA TORRE / DIMELO

‘Dimelo’, meaning ‘Tell Me’, is one of Sofi’s slowest efforts yet. Still accompanied with her bedroom-style beats, it’s a stunningly intimate ballad that aims right for the heart from the very start. Nobody quite does ballads like Sofi, and that’s in part due to the beautiful delivery every time. It takes charm to blend two tongues together and for that to translate to everyone, regardless of the language they know, and it comes across effortlessly here. The pain and heartbreak practically drip from every word.

SASHA SLOAN / TOO SAD TO CRY

Speaking of heart-slashing lyricism and delivery, Sasha Sloan’s new album comes equipped with one of the most powerful lyrical creations of her entire work so far.

I’m too sad to cry, too high to get up
Don’t even try ’cause I’m scared to fuck up
Don’t like to talk, I just lay in my bed
Don’t even try to go out with my friends
Lied to my doctor, she knew I was faking
Gave me some pills, but I’m too scared to take them
I try and I try, but I’m too sad to cry

I mean, take a look at that right there. There’s an exceptional talent here and a bravery to discuss the hardest of topics as if they were nothing, and it’s much harder than anyone will ever give credit for. The song itself stands right back and lets those lyrics take the spotlight, until Sasha steps forward with some delicious vocals in the second half. It’s just… stunning.

DJ SPOONY, SUGABABES / FLOWERS

If there was any justice in the world, this would be picked up by every radio station around the country and the UK would have no choice but to embrace back one of the greatest home grown girlbands we’ve ever had. Yes, girls, the original Sugababes are finally back, having fought for the name for a number of years. MKS, and the bulging vault of leaked tracks, is DEAD. ‘Flowers’ is the genius first step, fitting so well that you almost forget about the original song itself. Let’s hope there’s MORE to come and SOON.

P!NK, KHALID / HURTS 2B HUMAN (MIDNIGHT KIDS REMIX)

Well I certainly didn’t expect this floundering single to have fresh life breathed into it at this point of the campaign via one of my favourite remixes ever at this point. Not really taking the song apart at all, the song instead injects this wonderful explosion of emotion that sounds like it belonged there all along. Considering the emotional weight of the original song, it’s a real feat how well this manages to slot right in. This is… exactly what remixes are about.

Well there are eight major highlights above, and even then I could keep talking about songs we’ve missed. Highasakite have dropped a Part One EP, and ‘Just a Small Quake’ is monumentally stunning, Allie X has followed up with the delightfully catchy and breezy ‘Rings a Bell’, ORKID‘s ‘CloudsNdrivebys’ features such an infectious synth/trumpet blend that I want in every one of her songs from now on, and Fickle Friends have co-opted the Wii Theme Song (Bolded for impact, yes the Wii theme song) into their new album lead, ‘Amateurs’. It’s one HELL of a week.

Music

October 11th, NMF!

Here are the very best of the best for this weeks NEW MUSIC FRIDAY. Headed by the amazing ‘Talk Deep’, just you wait until you get to number five.

E^ST / TALK DEEP

The best of things fit comfortably, slotting right in between expectation and surprise, in our nostalgic range of taste. ‘TALK DEEP’ knows what you expect from it and isn’t afraid to deliver it with a little squirt of glitter, delivered handily in the form of a triple-punch chorus. With a breakdown that elicits pure nostalgic joy, it’s easily one of the best of the year already. Sometimes music just feels alive, and this is one of them.

BISHOP BRIGGS / JEKYLL & HIDE

In her most recent world tour, well known songstress P!nk proclaimed Briggs’ ‘River’ as a song she would have loved to have recorded. Might she feel a little relieved then considering the clear Funhouse-esque production that accompanies this pounding chorus, its twisted circus vibe peeking through the curtains at every integral moment. Around it is a monstrously addictive track, one which you could actually envision P!nk going on to perform again, that also recalls Halsey’s pop-tinged alternative style. It really is that piano that makes this amazing though, and that last relentless run to the end.

WINONA OAK / LET ME KNOW

‘Let Me Know’ is steeped in influence, from Aplin to Mumford and Sons, but its the contrasting quiet moments that allows this to really sink in. The chorus might be delightfully packed with pounding drums and surging strings, but those little moments where we find Winona’s voice deftly carrying the quiet air – they’re really special. It’s because of them the huge chorus can come careening in, taking your breath away. More moments like this please, Oak!

NILUFER YANYA / H34T RISES

Hilariously we follow one of the largest productions of the week with a Garageband minimalism that works just as well, if not better, than the gargantuan approach. ‘H34T RISES’ brings your typical basement production with some high quality songwriting, proving that sometimes you don’t need all the extras if you have the hooks. And this is packed full of them.

SONDR / SO BLUE

Speaking of nostalgia, there’s always at least one summer song that becomes inexplicably huge simply by sampling something we’ve all connected with in our childhood. In this case it’s the phenomenally underappreciated ‘Blue’ which has been transformed into a glacial BANKS song for the nightclub, somehow losing none of the quirky charm of the original… Sometimes you just can’t predict what’s going to work together.

KATY PERRY / SMALL TALK (LOST KINGS REMIX)

Special bonus status for one of our favourite songs of the year, gifted with several brilliant remixes before her new single release next week. ‘Sweet Talk’ is a fairly simple Puth production, swapping Perry’s usual bellowing for a more subtle approach, but each remix brings that back to the forefront. This remix, in particular, sounds as close to classic 2012 pop music as you’re going to get this year placed in a blender with some quirky electro-dance synths and… it works! Quite honestly the output coming from Perry this year is sensational. Bring on the book!

Whilst you’re here. be sure to also check out:

  • Harry Styles new effort ‘Lights Out’, a short walk from Zayn’s own output, and the fascinatingly sexual music video.
  • MisterWives ‘the end’, the most gorgeous indie film-ending song if there ever was one.
  • Hayley Kiyoko’s fantastically produced ‘Demons’, a nice big quirky step from her usual output.
  • The OTHER ‘Small Talk’ remix by Sofi Tukker, which is so good I kind of wish it was the original song? Can Sofi Tukker do any wrong?
Music

4th October, NMF!

Spooky season has settled in, bringing with it cold wind and montages of latte’s in foggy cafes all around the country. What better way to soundtrack your pumpkin spice than with some brand new pop music?

KACY HILL / MUCH HIGHER

Dreamy storytelling meets the most expansive of synth’s in Kacy Hill’s magnificent ‘Much Higher’. Make sure to give it the time to sink in, headphones and all, because the beating heart behind this is just so encapsulating. Taken from her upcoming album, ‘Is It Selfish If We Talk About Me Again’, it balances around mid-tempo range whilst teasing an explosion that doesn’t hit as you’d expect; instead aiming for the heartstrings, the layered lyricism and pounding drums a war chant before the final bridge brings it all crashing back in. Delightful.

LOREEN / WALK WITH ME

I’ve said it before and I’ll say it again until the world starts to hear it: Loreen is one of the greatest artists we have the privilege of watching evolve. Her journey from Eurovision winner to alternative rocker was exhilarating enough, but after teasing a much darker dance sound and now following it up with this brooding cover, we see yet again that she means to swallow the sound and regurgitate it back whole in her own way. Evoking her past cover, ‘Under Ytan’, it positively pulses along without worrying about conventional structure – and it sounds like floating on a bed of glass into the stars – her vocal another instrument of epic proportions. As always, she is an unrelenting steamroller of confidence and visionary talent.

HIGHASAKITE / CAN I BE FORGIVEN

‘Can I Be Forgiven’ is a song of two halves, and you won’t know unless you give it the time to switch up. Many times we hear bands and artists discuss their intention to switch up their sound without any substance to back that up. We wait for a slow shift, a glacial change of instruments or experimentation. How I wish they’d take a leaf out of this book, with what is the perfect package to showcase an evolution of sound – blending their songwriter folkish roots with an electronic explosion halfway through, quite literally guiding the listener into the new world they intend to create. It’s breathtaking to behold.

KING PRINCESS / HIT THE BACK

We haven’t had a song as good as this so explicitly about anal sex since Troye Sivan sung about his blooming self. The fact that there’s a fantastic little pop song behind it just makes it even more delectable, and the thought of innocent public members singing about letting their lover ‘hit the back’ is pretty iconic. The best thing about this though is that chorus, made even sweeter by the contrast in density between it and the verse. Opening up as a sickly sweet love song, it’s a delicious surprise when the funk-pop chorus swings in with a clenched fist.

ICARUS, RAE MORRIS / DREAMS OF YOU

You’d be forgiven for abandoning this Stockholm Noir-esque dance song before Rae Morris even comes in, but you’d be missing one hell of a gem. Like a classic trance song, it gives itself time to unravel itself around you in waves, unloading a subtle but defiant chorus of synths and Rae’s typical string-like vocals. It’s one hell of a duo, even for someone who has never typically enjoyed Rae Morris, that hits the ground running and doesn’t let up. By the time it hits the four minute mark, the blissful ecstasy of blips and bloops are almost transcendental. It’s almost as though it was built to soundtrack every drug fuelled mind escape, channelling that tunnel of emotions into sound.

October has brought with it a delight of nostalgic epics and some seriously melancholic wonders, so do make sure to give the playlist a quick spin. You won’t regret it.

Music

27th September, NMF!

CECILY / AWAKE

Her Spotify ‘about’ section might be about twenty years too late in that it actively namechecks her as a counter to the ‘Britney’s of the world’ (Someone might want to tell her management that Billie Eilish is the new thing?) but ‘Awake’ is brilliant enough for me to completely disregard that. The Julia Michael’s style verses lead you to believe this is heading one particular way, only for a huge Chvrches chorus to bound in with the most satisfying of stabbing synths. Don’t go, don’t leave! she begs, and honestly I feel like never leaving. What a bloody good song.

ALLIE X / FRESH LAUNDRY

There’s a hidden secret among the deepest pop fans, and her name is Allie X. Constantly releasing the tightest of pop songs, she’s been tapped by Troye Sivan and even ripped off by Taylor Swift, and yet her name continues to be that criminal secret reserved for pop lovers. ‘Fresh Laundry’ isn’t going to change that, and you could argue that if her last effort wasn’t able to do that then it might never happen, but it is the most exciting she’s been in years. The constant state of refinement is astounding in retrospect, ‘Fresh Laundry’ sounding both at place with her almost five year old material and also a hyper-polished version of it, it’s soft and introspective in all the right ways. Opening up her dream-pop to a much warmer palette, it’s understated and frankly brilliant.

KITO, EMPRESS OF / WILD GIRL

Kito’s expressive production skills have started garnering her some mainstream attention, in particular being picked up by BANKS for her amazing lead single ‘Gimme’ this year, but luckily there’s still plenty of talent still in the locker for herself. Teaming up with the criminally underrated Empress Of, ‘Wild Girl’ is a Tove Lo meets BANKS understated banger that I’m desperately hoping is leading to another EP. Whilst it doesn’t quite hit as hard as last years EP, HAANI, the production still bubbles and froths in all the right places.

LIZ, AJA / LOTTERY

00’s nostalgia might be bubbling beneath the mainstream but anyone with their finger on the pulse will realise the wave that is building, with the likes of Slayyyter and LIZ surfing the high tide. ‘Lottery’ is almost entirely early Britney, to the point where you can visibly imagine this fitting on her sophomore or even Blackout. This is an influence Liz has embraced, with her citing Britney, the 00s and the MIA-Nadia Oh as inspiration, and ‘Lottery’ revels in it. We won’t talk about the feature, which almost torpedoes the whole thing, but luckily the chorus shines through.

FLUME, VERA BLUE / RUSHING BACK

Sometimes the best pop music isn’t afraid to get a little abrasive, choosing a sonic palette that screeches a little instead of basking in familiarity. Flume already demonstrated a masterful production touch in his 2019 mixtape, Hi This Is Flume, and the pop singles he’s released around it use similar production choices well whilst maintaining the strength of a melodic pop song throughout. Drafting in songwriting excellence Vera Blue, who herself is moving away from her folk roots to explore a more electronic route, means there’s a big beating heart at the center of this all – her familiar vocal pulling it back in as the production veers wildly. It’s a masterful collaboration of the two.

Also this week:

Franky Wah has recruited Robinson for a really dreamy trance song, ‘Hide’.

Elohim continues to release material that isn’t as good as her debut, but it’s still great in a Tove Styrke kind-of way. ‘Paradise’ is a bop.

Charlotte Lawrence is releasing more ASMR pop with ‘Navy Blue’, a gorgeous ballad that has the tiniest of verses and the biggest chorus.

‘Extra Fries’ by ILIRA is the exact song we need for bulking season, even if it sounds like she’s written it over the backing of every other song of hers?

Music

9th August, NMF!

It’s a special New Music Friday this week, we’ve compiled the very best of the best of every single piece of new music possibly released below:

KATY PERRY / SMALL TALK

I just can’t believe we went from stranger to lovers to strangers in a life-time.

Not content with releasing one of the biggest pop bangers of the past few years with ‘Never Really Over’, Perry has loaded her pop cannon with everything that makes her unique and special and has fired her load over the world. ‘Small Talk’ balances quirky and fun lyricism with crippling relativity, casually describing the awkwardness of remaining civil with someone that once touched your intimate parts. Who can’t possibly relate with that?

KATY PERRY / SMALL TALK

Sometimes a song is so good that it needs to be repeated. Often times that kind of song isn’t an all-out banger, because it’s easy to get tired of something so relentless, but in this case ‘Small Talk’ is the smartest of earworms – infecting your brain with minuscule hooks and zingers like ‘Everybody at the party thinks youre the best since sliced bread. It’s a charm that Katy pulls off well, especially considering the coldness of her last album, and it ultimately adds to the charm of the song.

KATY PERRY / SMALL TALK

Repeating these kind of songs once is never enough. They worm into your head cavity, bouncing around the bone until you’re humming the melody along in the middle of the busy office. So it needs to be put on again, and that bridge you despised at first opens itself up in its stupidly fun glory. Blah, blah, blah! She sings without a single inflection, threatening to careen the song off course at the last moment, only for it to be incorporated into the final crescendo with an assortment of other tricks. It’s stupid, it’s funny, it’s Katy Perry.

CXLOE, GNASH / SICK

Right firstly we’ll ignore the connotations to mental health and sickness, as though it’s something to wish for and attempt to develop in order to have a dramatic life. The song is fantastic, pushing CXLOE to the higher tiers of anonymous Spotify pop girl. It absolutely didn’t need the rap and frankly I’d have given her much more credit to command a song like this alone, but she absolutely dominated it as it is. The way the ‘Fuck me…. up’ drawls out with such character. Amazing.

CASSIE / SIMPLE THINGS

Cassie returns again with a triumphant bedroom-studio atmospheric dreambop. Yes, a lot of words for a simple song but sometimes a song doesn’t have to be throwing the entire kitchen sink at the wall to work. She seems to be dropping these brilliant excerpts of a completely new persona on the regular, but ‘Simple Things’ is the most promising. With tinges of Rihanna mixed with Swede-pop and her own golden touch – it is proof that simple sometimes is exactly what you need.

KATY PERRY / SMALL TALK

Oh what the hell, let’s play it again. Yes, it’s been on repeat 45 times today already but the hit doesn’t stop getting so sweet. This time, I’ll close my eyes and enjoy that subtle guitar pluck imbuing the verses with urgency.

(Apart from Katy, what were your favourites of the week?)

Music

JULY 26th, NMF!

ILIRA / PAY ME BACK!

Don’t lend money that you can’t afford to lose in an old adage that many of us should subscribe to, but still often find ourselves on the wrong side of. How many of us can relate to the shilling of our own finances to fund someone who in shocking news turns out to be the same typical trash most of humanity is made of?

Well if so, may I present ILIRA’s newest anthem dedicated to the rinsing of a man that who takes more than he owes, and yet also recognises her own financial issues. The song is a masterclass in tongue-in-cheek bravado that evokes the recent Eurovision winner ‘Toy’ with its witty lyricism, brash production and shouty vocals. Amazing.

LIZ, SLAYYYTER / DIAMOND IN THE DARK

May I also present to you, and this may come as a shock following a song in which the artist rides a unicorn in a skintight red suit on the artwork, the gayest song of 2019 so far. A typical PC-Music affair of robotic synthpop littered with references to shining diamonds, rhinestones in the air and glittering hearts. Liz also brings in rising internet sensation Slayyyter, and with it her typical Britney 90’s influences also flood in, to create what is one of the most unexpected and frankly excellent songs of the year.

KATY PERRY / NEVER REALLY OVER (SYN COLE REMIX)

Remixes are usually a mixed bag, and typically I wouldn’t invest any inordinate amount in a remix when the original exists right there but ‘Never Really Over’ is the best song of the year (and perhaps the last few years?) and as such I’m appreciating any reworks of it we’re given. The Syn Cole remix turns it right on its head, drawing out the melancholy with trance-esque strings and a stripped back chorus – where instead of Perry, the hidden chants of ‘Never really over!’ take front stage. It’s a brilliant decision that highlights the strength of ‘Never Really Over’ as a song in all of its different forms.

BROOKS, ALIDA / WAITING FOR LOVE

Sometimes all you need on a blisteringly hot week like this is a dance anthem that inspires you to get moving, and ‘Waiting For Love’ is exactly that. Alida delivers the effective and satisfying chipmunk-lite vocal, Brooks delivers the rolling production and drop that hits you in all the right places. Whilst this isn’t going to be steamrolling my best of 2019 list any time soon, it’s finding its way on to every gym playlist I have.

TAYLOR SWIFT / THE ARCHER

Taylor Swift finally sighs her way on to one of our best of the week lists with ‘The Archer’, an 80s inspired revisit of her slower and much more intimate moments. Following ‘ME!’ and ‘You Need to Calm Down’ with this is almost enough to give someone severe whiplash, but it’s not really that much of a surprise considering its another Antanoff co-write. I can’t help but want that reverb to sharpen up as the song plods on, and honestly I don’t think any song needs a Humpty Dumpty reference, but this is a much better blueprint we’re begging for more of on the album. But… with a bit more oomph please, Taylor.

Follow the exclusive playlist for every new release on Friday’s that’s worth listening to:

Music

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.