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.

Uncategorized

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!

Music

6th September, NMF!

My stomach butterflies are telling me that September is going to prove to be somewhat of a stacked one, what with Charli XCX and Tove Lo both dropping their long awaited albums and plenty of other smaller releases bound to hit us between them. This week is all about the greatest band in the world, MUNA, whose stunning sophomore is already proving to be a delicately queer love letter to pop music. It’s the kind of music we deserve.

That being said, there’s also some really gems that have dropped this week too not from MUNA (although I was tempted to simply place the entire album in our dedicated playlist, it’s that good.)

MUNA / TAKEN

Proving that conceptual songwriting doesn’t have to be without relatibility, ‘Taken’ recalls an infatuation over someone already in a relationship, with Katie bemoaning her own desire to destroy someone else’s life just because they want what they can’t have. The production is smooth like silk: curving and swaying whilst the lyrics jut, particularly with gutting lines like Dad left when I was eleven, Mum said it’s ’cause he couldn’t keep from touching other women. The best lyricism is deceptively simple, almost as though it’s a topic we all recognise and expected to have been used before, but approached in an entirely different way that opens it up in new ways. ‘Taken’ does that, forcing you to sympathise with the one who wants to cause all the destruction because we can all fall in love with destruction sometimes.

OH WONDER / HALLELUJAH

Perhaps we ought to credit Oh Wonder a little for the now infamous Billie Eilish ASMR vocals? If there’s one thing about them that sets them apart from anyone else, it’s the exceptional vocal mixing. ‘Hallelujah’ is a positively stunning duet mixed perfectly, the vocals giving weight to one another, and an anthem of self-love that I really didn’t expect from them. Opening with the trademark minimal piano and whispery vocals, it’s not long before the beat picks up and the enormous chorus comes sweeping in. It’s marvelous.

CAMILA CABELLO / SHAMELESS

Camila is back, immediately following her number one single with a spunky double release. The fact an artist is actually taking the opportunity to relish their momentum in 2019 is a little surprising, let alone releasing two tracks. Once you hear ‘Shameless’ though you’ll understand that the label probably weren’t sure enough about it as a single in all of its BANKS inspired glory. It’s experimental for her, the chorus tore out in place of a hooktastic bridge and floor-shaking drop, but also feels like a decent follow up to ‘Never be the Same’?

SOFI TUKKER / PURPLE HAT

Is there anything more exciting than pop music’s ability to co-opt genres in consistently fresh ways? The way it can fit almost any other genre inside of its skin, evolving as it ingests new inspiration. Sofi Tukker understand this almost better than anyone, with their production constantly evolving as new inspirations find their way into the studio. ‘Purple Hat’, though, is the next step for them: it truly sounds like a cacophony of influences all smashed up into… a Reggaeton-Dance-Pop epic?

JAX JONES, ELLA HENDERSON / THIS IS REAL

Well, I honestly wasn’t sure we’d ever see this track come to light. How fitting that it has reared its head now attached to resident poltergeist Ella Henderson, who hasn’t been seen in years. If you don’t know already ‘This Is Real’ originally featured Selena Gomez (yes) but was seemingly shelved when a brief 10 seconds leaked on to the internet. A damn shame because, as we now know, it’s a pretty timeless house bop. Does it do much to change the wheel? Not really, and dance music doesn’t need to. The thing that makes this special? Ella Henderson’s absolutely stellar delivery, recalling every incredible dance mix vocal from the early 90’s. Those piano stabs and her belting practically transports me to a gypsy fair, spinning my brains out on the rides.

As I said this week is stacked and I could sit here and write about the new Grimes track (a dance inspired bedroom-studio bop), the new Tove Lo and Kylie Minogue feature (yes, they have done a duet!) or even the latest Charli XCX pre-release single. I could write about them, or I could repeat the new MUNA album for the sixth time today. Which is what I’m going to do.

Music

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:

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.

Music

July 12th, NMF!

A big big BIG week this week. We’re talking enough hooks to catch a meal for the whole family. Get your earphones, get comfy… and dig in.

SOFI TUKKER / SWING

One of my highlights of the weak features almost entirely Portuguese lyrics and violent strings set to a dance background. Sofi Tukker have been behind some of the most versatile and exciting dance-pop music in recent memory but ‘Swing’ turns the character up a whole other notch. It’s delightfully addictive, the repeated lyrics cast out like a spell that hooks you right in – and just when it threatens to get too much, those gorgeous strings and a well placed ‘oooooooh’ softens it into pure bliss.

CALL ME LOOP / SELF LOVE

Call Me Loop has ditched the blonde locks and transformed her sound accordingly, switching from the frothy pop hits you’d hear from Rita Ora to a self-help anthem ripped straight from Ace Wilder’s playbook. It’s yet another delivery from Loop that leaves us wondering when she’s going to punch through – it’s positively oozing with character, Georgia’s vocal inflections and speak-sections keep it bouncing along. It doesn’t sound like an obvious hit, but it’s as catchy as the measles. Imagine this on the Melodifestivalen stage with a handful of dancers and coloured ribbons. Perfection!

BANKS / CONTAMINATED

Absolutely without a doubt the highlight of the week, if not one of the highlights of the entire year. While we wait for the album to sink in a little more, ‘Contaminated’ dug its claws in on first listen. It’s that broody, heavily affected ballad that BANKS knows how to deliver – you won’t find much of a deviation from her already perfect formula – but the worldbuilding on display in this song is astounding. Already one of the greatest songwriters out there, ‘Contaminated’ showcases Gillian’s unrivalled ability to present relatable topics in a completely unique, and heartbreaking, way.

THE BAND PERRY / GOOD LIFE

You may know The Band Perry from their fairly extensive country success. If you do, forget all about it. Their first new music in over five years, ‘COORDINATES’ established an entirely new dedication to electronic pop and ‘THE GOOD LIFE’ is the nail in that yeehaw coffin. Astoundingly it sounds as though they have been doing this sound forever, the sharp as nails vocal perfectly complimented by the glacial production. May they never look back.

PVRIS / DEATH OF ME

Like many other bands before them, Paramore being the closest, PVRIS perfected the art of delivering angsty rock music in a palatable pop package. Without sacrificing an ounce of their character, they have consistently delivered exceptional pop songs with that harder edge. ‘Death of Me’ is their best yet – it’s the kind of song we know Halsey would have begged to release. Production wise it is world class (and possibly the best produced song of the year?) with a chorus built to raise arena roofs. Welcome back, PVRIS.