Music

December 6th, NMF!

Steamrolling right into Mariah Carey season, we have secured some broadly weird but faintly brilliant highlights for you. Forget the tinsel, dodge the baubles, it’s all about New Music Friday. A safe space from the sentimental drivel, I promise.

ELLEY DUHE / NATURE

Duhe’s experimental nature provides a constant excitement at the sight of her name. ‘Nature’ is not going to be what you expect, but it’s going to hit all the right buttons anyway. It’s a little Halsey, a little folksy, a little dancey, all these things you think wouldn’t go together at all, and it’s undeniable.

THE CHAINSMOKERS, AMY SHARK / THE REAPER

Here’s another mash of completely contrasting elements, working well again. You may already know Amy Shark for her sharp-as-nails songwriting skill and her work with Antanoff, and if you do you’ll know how out of the blue this collab feels. The Chainsmokers are as hit and miss as you can get, but when they get it right, and they get the right artist too, it’s a real hit. This doesn’t feel like a classic, but it does feel more interesting than anything they’ve done in years.

NF / PAID MY DUES

Okay, so you’re probably not going to be here for rap music. It’s a divisive genre. ‘Paid My Dues’, however, is quite simply brilliant. NF has been quietly carving a very impressive career, his clear rapping talent punching through every song, and ‘Paid My Dues’ shows exactly why. This isn’t the pop leaning chart-hitter complete with delicate melodic segments, of which he often releases, it’s a spitfire labyrinth of words that sets him up quite clearly as the Eminem prodigy.

KREWELLA, NUCLEYA / GOOD ON YOU

‘Good On You’ packages Krewella’s Pakistani heritage into their well-developed blueprint in an effort to deliver a timewarp into a much simpler dancefloor past. Palatable dance music with a bit of bite is their aesthetic, and at this point it’s exactly what we’ve come to want from them, but it’s a welcome cultural touch that gives it a little bit more dimension than usual.

TEYANA TAYLOR / WE GOT LOVE

Teyana’s ‘We Got Love’ is her spunkiest output yet, a dancefloor anthem that aims for the same heights of Lizzo’s ‘Truth Hurts’ and evokes Janelle Monae’s Prince-lite epics. And I could totally see it making it for the same reasons. In fact it’s so good that I can barely imagine a world in which this doesn’t take off.

BODIN / SOMEBODY

Yes, he’s Scandinavian. It’s CHVRCHES goes to Melodifestivalen, a pure sugar rush with the exact dreamy synths you’d expect and a chorus better than you expected. Excuse me while I go binge on this like glazed donuts.

Music

November 29th, NMF!

Compared to recent weeks, we have a weaker effort to sift through this time. Luckily there are a few gems in the rough for our highlights as we head towards the close of the year. Check them out:

ASHS / PARANOID

You may already know ASHS as Alyssa Reid, having had brief success in 2011 with ‘Alone Again’. Initially intended to be somewhat of a side project, Alyssa has decided to put ASHS at the forefront and… well, it’s a good job because quite honestly the songs are brilliant. ‘Paranoid’ is a breath of fresh air, it’s Terror Jr meets So Below with a more grounded touch, an absolutely infectious epic. At the heart of it is a stunning R&B ballad with an equally gorgeous melody, but its the production that builds on that created world. An absolute win from every angle.

CAPULETS / SWEET ENOUGH

It’s going to take a lot to rebuild Xenomania’s lost legacy, and unfortunately their excessive pop touch hasn’t been quite the same since the era of Girls Aloud, but every now and then there’s another snap of genius. ‘Sweet Enough’ is brilliant because it actually focuses in their typically sporadic style, culminating in a classic Eurythmics styled epic dragged into the 21st century. There’s still a lot of air in the system, and it’s crying out for a fuller vocal, but the production deserves the commendation because we need more of this Xenomania.

DEVON BALDWIN / FIRE

Devon should already be on your radar, especially considering I push her at every opportunity. Already delivering an EP worth of masterfully produced mid-tempos in 2019, ‘Fire’ picks up where she left off in a much warmer capacity. Her icy production and ethereal vocal is trademark at this point, and in that regard ‘Fire’ delivers everything you need from a Devon song; atmospheric production that only amplifies the breathtaking delivery in front of it.

MALOU PRYTZ / IF IT AIN’T LOVE

Taking inspiration from The Saturdays, this time with correct grammar, Malou provides the bubblegum you need to get you through the week. Though the delivery gives you a sharpness the likes of Carly Rae usually trade for a genre-trade wisp, the production is exactly as bouncy as you need it to be. Designed to be cranked out of the car window, this is a welcome splash of sugar in a pretty sour week.

PETE TONG, HER-O, ZARA LARSSON / WITH EVERY HEARTBEAT

Well, would you look at this. A cover of one of the greatest songs of all time is a highlight of the week, but just as much for its own reasons. Zara Larsson fits the role of Robyn to a T, delivering a heartbreakingly good vocal, and there’s even a full orchestra version on the album too. This is a song that never ages, never tires and ultimately anyone could toy with and still have a great result, but there really is something to be said about how much emotion this still manages to translate and pull through. Now I’m craving a remix with Zara leading!

We’ve uncovered a massive 28 highlights this week, which can all be found below in our Eyes On NMF Playlist, so do check it out for any that you might have missed and give it a follow. That way you’ll never miss a great song!

Music

15th November, NMF!

What a stellar week. Something about the cold of winter imbues the subtlest of melodies with melancholy, and I’m here for it. BUT don’t fear, there’s also a few classic bops here to keep you warm too.

BILLIE EILISH / EVERYTHING I WANTED

You would be forgiven for assuming this is going to be more of what took Billie to the top, namely the bravado filled stomper that is ‘Bad Guy’, but you’ll be taken aback when you see it’s much more akin to her delicately devastating moments like ‘Lovely’ and ‘I Love You’. There’s a deep melancholy to the delivery and lyricism, admitting dreaming about her own suicide, even with the uplifting chorus. It’s a masterclass in less-is-more with captivating flourishes in the production, underlining what is a gorgeous ballad with a proper beating heart. Lovely.

LIZ / INTUITION

I’m almost aghast at just how much influence Liz is prepared to instill through her recent output, each one sounding further placed in time than the last, and ‘Intuition’ is just… well, it’s spellbinding. Quite honestly I’m prepared for her to not receive the acclaim she deserves but for this sound to slowly creep its way into the mainstream anyway. Ride that wave, Liz. We’ll remember you at the fore-front with Rina.

HAYLEY KIYOKO / L.O.V.E. ME

Another song that relishes in a classic sound this week is the toe-tapping ‘L.O.V.E Me’, sounding like a lost boy-band classic number one. It’s easily one of Kiyoko’s best efforts yet and also probably her most immediate, packed full of incredible hooks that, I’m hoping, will draw in listeners from everywhere and every age. It’s the kind of song you can imagine Little Mix snapping up with a heartbeat, but Kiyoko is center stage and imbuing it with everything it needs.

GRIFF / SOUND OF YOUR VOICE

Who knew one of the best songs of the week would invoke such strong memories of Super Mario in me? It’s those delicious little vocal snippets, the production sounded like some sort of Gameboy Advance jingle. It’s addictive enough as it is, then you’ve got such a great vocal delivery and one of the best choruses of the year so far. By the end of the three minutes I’m practically bouncing on the ball of my feet like Mario bopping his head into a question block.

ELLEY DUHE / GOOD DIE YOUNG

Elley Duhe has been my one to watch for a while, and I’m a total sucker for any moody and brooding bass-synth driven mid-tempo as it is, so how lucky am I that Elley has produced something that practically perfects that? Nobody quite sings like Elley, some gorgeous blend of Ellie Goulding and Sia, and she uses it to great effect with haunting belts and ad-libs. It also helps that this reminds me of So Below’s recent output, perfect for the dark and rainy nights, and I’m already making another playlist just for that now.

Music

September 20th, NMF!

SASHA SLOAN / SMILING WHEN I DIE

Understated intimacy is so hard to do well, especially concerning songwriting. It’s ever too easy to create something that hits like a sledgehammer but there’s a real talent in balancing on the line between it, knowing when to hold back and when to let the words and melody do the talking. ‘smiling when i die’ might just be Sloan’s best work yet because not only is it immaculately produced but it is also poised to obliterate with powerful lyricism. Sloan’s secret weapon may be exposed to all now, her adaptive skill in refining depression and anxiety into relatable couplets, and with big artists like P!nk recruiting her for their own design but ‘smiling…’ helps showcase a whole new side to that songwriting style – one of delicate contrast amongst the honesty.

TOVE LO / STAY OVER

Vagina Queen Tove Lo has dropped her understated latest album, Sunshine Kitty, and despite not really feeling most of the promo tracks it really only takes one listen to understand what she’s trying to achieve and one more to realise she pulls it off perfectly. ‘Stay Over’ is the most instant of them all, with her wistfully persuading a broken lover that staying in her arms for the night is the best decision he could make. As usual with Lo’s immaculate storytelling, she isn’t afraid to play the bad guy. Disregarding his actual need to repair for the sake of her own whim is a questionable feeling, but we’ve all been there. We all believe we could be the saviour, or that our love will be all-encapsulating enough to repair any present damage, and ‘Stay Over’ captures that perfectly with its dark and melancholic bedroom-pop style.

GEORGIA / NEVER LET YOU GO

Already making waves with the wild and nostalgic 80s banger, ‘About Work the Dancefloor’, Georgia seems perfectly poised to take the mantle as next big rising UK starlet. Though taking a different path to ‘About…’, ‘Never Let You Go’ still revels in its influences, sounding like an artist that has spent years building the confidence to release these epic reminiscent bangers. The greatest asset to them all so far is how well the production plays alongside the melody, the voice as important as the instrument, but there’s a real driving force in the middle of it that sounds so palatable and ready for any radio station to pick up right now.

CAROLINE POLACHEK / SO HOT YOU’RE HURTING MY FEELINGS

  1. Take Sara Bareilles, Imogen Heap and HAIM and place them in the blender, spice appropriately.
  2. Sprinkle with a slight pinch of sexual confidence and a hefty amount of mutual attraction.
  3. Toss in razor sharp lyrics and a tongue planted firmly in cheek.
  4. Blend, though not enough to make it too serious.
  5. Pour into two bowls, serve alone in a quiet room lit by candlelight alone with the sound of your cats in the window.

What a fucking song.

Stick with me every week, around this time, for the very best of the week. Also this week look out for:

Cyn is back with her new EP Mood Swing and ‘I Can’t Believe’ is wonderfully weird and certifiably incredible… after thirty seconds.

Lauv has released the same song again but if you like him, you’ll love it. Quiet and lovely, it’s called ‘Feelings’.

The new Sofi Tukker EP contains one of their most subtly brilliant songs yet, ‘Ringless’.

Bebe Rhexa has repurposed Xtina’s ‘Beautiful’ into a feminist power anthem for Maleficent 2 called ‘You Can’t Stop the Girl’.

Mabel and Tiesto have a hit in their hands (SURELY) with the bizarrely structured ‘God is a Dancer’ which is great but not as good as ‘God is a Woman’ or ‘God is a DJ’.

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

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

June 28th, NMF!

AGNES / LIMELIGHT, I TRANCE

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.

KULT KYSS / RITUALS

‘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 / ICY

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.

MUNA / WHO

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.

PURE SHORES / RUSHING

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!