Tove Styrke – ‘Ego’
When we went down to see Tove Styrke last year we weren’t blown away by the material that she performed. Maybe it was the pints of cider we’d had, or generally being unobservant, but if she did play ‘Ego’ we apologise. Basically, ‘Ego’ is completely and utterly brilliant. There are tropical beats and bouncy synths, with a stellar, memorable chorus where Tove sings: “I wanna hold ya but you’re untouchable, too cool, caught up in your ego.” With her new album Kiddo slated for a spring release, we couldn’t be more excited about Tove Styrke right now. Absolutely amazing.
Erica Gibson – ‘Out Of My Mind’
If you’re familiar with the work of Frou Frou (and early Imogen Heap), then you’re bound to love Erica Gibson’s ‘Out Of My Mind’. Glitching electronics, and sparkling synths cascade throughout the track, as the unconventional pre-chorus leads to bouncy chorus. While it may seem carefree on first listen, the song’s themes of self-doubt and internal dissection will even resonate with those who consider themselves well balanced.
All We Are – ‘Stone’
There’s something calming about ‘Stone’, All We Are’s ode to loneliness. Whether it’s the wistful vocals and wide production, the light pitter-patter of drums or the creeping build throughout, the track has a mesmerising quality. And while the song’s psychedelic cadence might seem to go on a bit (the song sits at over five minutes), it almost seems justified by the glacial pace. This is one to lose yourself in.
Alex Winston – ‘We Got Nothing’
Alex Winston’s ‘We Get Nothing’ sounds like one of those songs that Kylie should have recorded back in 2001; with its hook filled chorus and subtle verses, it would have made a great Fever album track. But, to give Alex credit, there’s a complexity to the song’s melody and structure that puts the track slight left of centre. What’s more, the chorus is properly big (as all choruses should be), and really delivers.
Kali Uchis – ‘Lottery’
Like us, don’t be fooled by the opening bar of ‘Lottery’ – it isn’t an ode to Jessica Simpson’s ‘Public Affair’. Instead it’s the latest track from Colombian singer Kali Uchis. Channeling a 60s sound, ‘Lottery’ is the sonic equivalent of the sun reflecting off the waves of a choppy shoreline. That is, there’s glistening production and hazy percussion, with Uchis’ voice channeling a, dare I say it, Frank-era Amy Winehouse. Let this song shake off your winter blues and transport you to the beach.
Petite Meller – ‘Baby Love’
Petite Meller’s aesthetic is an interesting one, sitting somewhere between a doll and a fashion forward schoolgirl. Her music also falls somewhere between the ordinary and the alternative. However, ‘Baby Love’ is her most accessible track so far. Full of house-y pianos, bongos and a chorus so euphoric you might never come down from it, the song is a joy to listen to. If you’re feeling down, slightly blue or just fed up by winter, pop this song on and get transported to a better place, one where you can, as Petite says, you can dance the pain away.
Allie X – ‘Catch’
Allie X manifesto is to explore the age of the Internet and technology with her music, something that’s exemplified by her visuals. Exploring the Internet’s love affair with gifs, each scene appears to be just two changing images. However, for ‘Catch’ it seems the budget has been increased, with Allie now singing the songs interspersed between two images. To understand it, it’s something that needs to be watch, but it’s most definitely worthwhile. Yet, unlike her previous efforts, ‘Catch’ lacks the punchy choruses that she’s become known for. That’s not to say that it doesn’t have merits; the song’s electronic production is something of a marvel. Let’s hope Allie X can keep up her knack for arresting visuals and, well, catchy pop songs, as we’re sure excited about what’s to come.
The Weekend – ‘Earned It’
Taken from the Fifty Shades Of Grey soundtrack, ‘Earned it’ is probably The Weekend’s most melodic, listenable and above board song to date. That’s not to say that the Canadian singer hasn’t expressed his overt, and sometimes creepy, need for sex to the video (WHICH IS VERY NSFW), which sees dancers strung up like pork joints in a butcher and dancers wearing nothing more than bottomless pants and nipple tassels. But then again, this is for the soundtrack for a film about BDSM, so we can’t say we’re surprised. Regardless, the song has an ominousness to it that’s equally scary and enjoyable, taking the film’s themes and applying it to music. We can’t stop going back for just one more listen…
bre\akup – ‘Bubble’
We know little about bre\akup (who shall now be referred to as Breakup because come on…) other than they’re comprised of Julia Spada and Ludvig Parment and they hail from Sweden. All of this mystery sort of fits with ‘Bubble’ and it’s experimental sound. There appears to be an almost lack of production, like a lot of nu-R&B, but it’s feet are firmly set in pop’s melodic tendencies. Basically, we’re not quite sure what to make of it all, but we really like the melody, and for us that’s quite enough.
Emile Haynie – Wait For Life ft. Lana Del Rey
Emile Haynie worked with Lana Del Rey on Born To Die, so it’s no shocker that he’s called on Del Rey to appear on his debut album We Fall. Unsurprisingly, the song sounds like much of Del Rey’s debut, especially the Paradise Edition. Californian twangs are matched with mournful strings, and Del Rey’s hauntingly affected vocals sit perfectly amongst the swirl of the production. Just lovely.