TOP 10 SONGS OF NOVEMBER.

10

"Holdin' On"

Monsta

Even when a genre is on its way out of fashion, in this case the once colossal dubstep genre, truly great cuts will survive the recession, and Monsta's "Holdin' On" is one such cut. Nodding not-so-slying at Alex Clare's Major Lazer-co-produced "Too Close", "Holdin' On" pairs a thunderous growl of a bassline and a startling chipmunk vocal sample with a ravenous male vocal not dissimilar to Mr Clare. What sets Monsta apart from Alex Clare however, is that whilst Alex Clare pulls off the novelty singer/songwriter-produced-by-in-a-dubstep-style act, Monsta makes it sounds like a new genre entirely.

9

"Sex"
The 1975

Indie rock with added, well, sex. Strangely melancholic yet anthemic in a way that even the Killers only manage from time to time, sung by a horny teenager. "We might as well just fuck, she's got a boyfriend anyway" yelps their gorgeous lead singer, and the whole thing has an embarrassed secret guilty pleasure vibe to it. The brilliant "The City", then this... The 1975 have yet to disappoint.

8

"Jump"
Rihanna

Rihanna's "Unapologetic" is on the whole a half crock of underdeveloped, self-servicing shite, BUT there are a few underground tinged delights to be enjoyed, especially the Chase & Status produced pounding electronic burps and sirens that make up the breakdown of "Jump". But Rihanna is not a filler on her own track, her standard but effective come-ons ("if you want it, let's do it, ride it, my pony, my saddle is waiting..." etc) making an effective build-up to the slimy drop.

7

"Insulin"

Crystal Castles

The stripped back but visceral-as-ever III is a slow burning but valuable addition to the band's back catalogue. Whilst not as youthfully punk-spirited as their debut, or as euphoric as their sophomore, this third album's strength lies in its simplicity. The album was recorded without computers, straight onto tape, so the production tricks used on the album are fewer and more straight forward, but this in no way compromises their ability to startle. "Insulin" is the prime example, the album's "Doe Deer", an overdriven bassline eating the rest of the track whole, including the barely audible vocals, ripped apart by the harsh sidechaining. A delightfully raw track.

6

"She"
Laura Mvula

Like a more ethereal Lianne Le Havas, Laura Mvula's husky voice is less embellished than her peer, and more jazzy and free flowing, and "She" has more in common with the eccentric storytelling singer/songwriter genius of Tori Amos. There is a gap in the female singer/songwriter market with her name written clearly on it .

5

"Evil Coast"

The Mary Onettes

There are swathes of jangly dreampop bands that are so set on creating the mood of summer that they forget to write a song good enough to convince us that it's still the sunny season when it's raining outside. Thank god then for bands like The Mary Onettes, whose bittersweet indie lullaby "Evil Coast" is a heartwrenching and gorgeous songscape that matches a sunflecked tastefully textured production with a soaring lead melody.

4

"Dance 4 U"

Charli XCX

The Super Ultra Mixtape could not be cooler if it tried. Dark electropop that's smothered in underground credibility, and "Dance 4 U", with its ultra-hip Trap beats, sultry, aching vocals, and tongue-in-cheek "Justin... Bieber" closing refrain, is a track that puts Charli XCX in line for the potential status of the UK Lana Del Rey. Suggestive, secretive and thoroughly out there, one hopes that her album can mirror the inventiveness of her mixtapes.

3

"Stars"
Roses Gabor
After her sleek guest spot on SBTRKT's album highlight "Pharoahs", Roses Gabor's latest single, produced by UK dance producer Redlight is much darker, and she takes centre stage despite the punishing, gritty production. Redlight cuts and pastes her voice over a gravelly bass synth and industrial sized beat, but Roses has no problem commanding the track when she steps forward.

2

"Play The Game Boy"

A*M*E

Pop songs that don't try to avoid being 'cringeworthy' or 'cheesy' (both words are are cheesier to apply in description than to hear examples of, at any rate) bring the most out of the pop music genre. Specifically, the hooks, the energy and, above all, the sense of fun. A*M*E is a 17 year old UK pop singer, and the song is somewhat brattish, but innocently charming, tongue-in-cheek... everything that resembles a 17 year old girl. It's K-Pop/electropop mould is cutesy, sugary but full of attack, and it's clumsy 'play the game boy' wordplay is endearing, and I'm damned if I'm calling this a 'guilty pleasure'. I don't feel guilty in the slightest.

1

"Ride"

Lana Del Rey

It's a shame that Lana Del Rey's management thought it would be a good idea to extend Born to Die into a Paradise Edition in time for Christmas, instead of waiting a couple of months for some more songs and making Paradise an album in its own right. Because Paradise, and its greatest song and probably Lana's greatest to date, "Ride" is the sound of Lana Del Rey in her element. Born To Die is excellent, an album of the year, but there is not one song that sounds as carefree and autobiographical as Lana sounds on "Ride". It could be the hype surrounding its 10 minute video, with its escapist, pretentious yet somehow beautiful monologues surrounding the song, that makes it seem all the more majestic, but the chills that run down my spine as she utters the opening phrase "I've been down on that open road..." in the very bottom of her range, seem timeless to me.