#POPDAR - Bossy Love, Mercedes, Lea Lea

Bossy Love - Wind Me Up

By chucking her sugary AlunaGeorge-esque vocal over a jittery beat and dubby brass hook, Bossy Love is onto a winner with "Wind Me Up". If the idea of AlunaGeorge collaborating with Major Lazer excites you (as it does me), then Bossy Love WILL be your thing no question.

For Fans Of: AlunaGeorge, Wild Belle, Dirty Projectors





Mercedes - Full Tilt

Mercedes is a young UK rapper with ambitions of a US sound. With the creativity of Azealia Banks and the bite of Angel Haze, the early 90s Beastie Boys rave-vibe of "Full Tilt" could well be Mercedes' very own "212".

For Fans Of: Azealia Banks, Angel Haze, Beastie Boys






Lea Lea - Wonderer
Lea Lea (Pronounced Li Li? Le-ah Le-ah?) brings some East London edge to some ultra-sleek back-to-basics South London dubstep. Her voice is light and husky, bringing to mind Lauryn Hill and perfect for this kind of R&B/dubstep crossover. Benga would kill to work with this girl, and indeed, boost up the bass a bit, and you could be fooled into thinking that "Wonderer" was that very collaboration.

Her self titled debut album is out now.

For Fans Of: Delilah, Katy B, Lauryn Hill

- Joe Copplestone, 16/10/13

Betty Who in Remix-Better-Than-Original Shocker! - Somebody Loves You (FM Attack Remix)

Betty Who is amazing, ok. I want to make it transparently clear that "Somebody Loves You" is the Aussie-cat's pajamas  It doesn't need a remix for it to max out on its potential. In fact it's one of those rare pop songs that radiates an effortless pop perfection that renders 99% of remixes null and void.

Which is why it comes as such a wonderful surprise to find a producer that manages to tap into that 1%. The main reason FM Attack's remix works is because it doesn't stray too far from the nest. "Somebody Loves You" is a 1980s throwback pop nugget, so when FM Attack ushers it into a nu disco extended club mix, the song shrugs its shoulders and takes two steps to the left, and voila! No muss, no fuss.

But whilst "Somebody Loves You" itself represents total, unadulterated love and almost a sickening level of joy, FM Attack's sparkling keys and burbling synth-peggios twist the track subtley into a minor key and, over the course of 6 minutes, allow it to thoughtfully breathe. If the original track is aimed at those already blissfully in love, the FM Attack remix recognises the desperation in the hearts of those still looking.

- Joe Copplestone, 10/10/13

#POPDAR - Sam Sparro, Frank Hamilton & Lucy Spraggan

Sam Sparro - Quantum Physical Volume 1 EP


After flirting with camp chicago house on his underrated Pink Cloud EP, before returning to his disco, soul and funk roots on impressive second album Return To Paradise, new EP Quantum Physical Vol. 1 meets comfortably in the middle. The rolling electropop basslines of "Fascism" are particularly addictive.

FOR FANS OF: Frankmusik, The Presets, Disclosure

Frank Hamilton - Teenage Dirtbag


A surprisingly tender and textured acoustic cover of the teenage rock hit. Frank's voice shivers with meekness in this quintessentially British reinterpretation of the track.

FOR FANS OF: Bombay Bicycle Club, Ben Howard

Lucy Spraggan - Mountains

The X Factor probably think of Lucy as the "one that got away", after she was forced to drop out of the competition due to sickness, a competition she was comfortably leading I might add. Her debut album Join The Club is everything you could for from the intelligent and talented Spraggan, but "Mountains" is its crowning glory. First heard on the X Factor, as a result of a brave choice to sing an original song in the first week of live shows, "Mountains" is touching and inspiring lyrically, and soothing and majestic musically. Few X Factor alumni have needed to X Factor less to succeed; Lucy was the whole package from day 1.

FOR FANS OF:  Haim, Chloe Howl, Kate Nash

- Joe Copplestone, 10/10/13

Campy Remix of the Week - The Saturdays - Disco Love (Wideboys Remix)

As if "Disco Love" wasn't already suitable enough for gay clubs, Wideboys turn the girl's 80s cheese delight into an almighty 'throwing-up-on-the-G-A-Y-dancefloor-at-2am' number, complete with hands in the air glitterphoric chords and a throbbing ab-synth breakdown. It's rather ridiculous, and rather marvelous girls.

The "Disco Love" single is out October 6.

'Late-To-The-Party' Anthem of the Week - Western Disco - The Sun ft. Lura (Black Box Remix)

The biggest problem with Western Disco's "The Sun", remixed for radio by Black Box, is summarized in the top comment of its YouTube video. User usscience muses "Makes me happy! I wish it had started the summer instead of ending it."

Although sometimes a big, euphoric summer track that misses the 'May-August' peak period can redeem itself by converting to an winter club anthem, some songs are just meant to be enjoyed in the sunshine - particularly those that reference the "sun" directly. So whilst this season-specificity means Western Disco's debut single is twice as effective in the summer months, it looses its momentum when there's nothing but grey sky and drizzle outside the window.

Of course, that's not to say the track will be swept under the rug for good. A good deal of our summer hits are slow burners that become big the summer after their release - look at "212" in 2011/12 and "I Love It" in 2012/13. So although Western Disco are left to clean up the party poppers after summer 2013, I've a sneaking suspicion that come May '14, we'll be hearing "The Sun" everywhere.



- Joe Copplestone, 4/10/13

FIRST LISTEN! Miley Cyrus - Bangerz

What with Miley’s drastic abandonment of teen idol-dom, not to mention the one-two KO of her tumblr-happy, nudey, twerky videos for “We Can’t Stop” and “Wrecking Ball”, it seems very few of us are even considering that Bangerz could possibly be any good. But there's something about the personal and shallow nature of the hype surrounding Miley's coming-of-age record that suggests the real surprise of her comeback could lie in the actual music. 

Leaving my judgement and preconception hats on the shelf, I sat down to listen to the iTunes stream of Bangerz. My findings did indeed surprise me, but perhaps not as you might think.

- - - 

“Adore You”
No one could’ve expected this. It is a frankly genius move to open Bangerz with "Adore You". It is far and away the album’s most tender and surprisingly subdued track - a perfectly formed and convincingly delivered ballad, certainly better than anything Demi Lovato’s ever done. Its sheer critic-silencing beauty leaves you totally open to anything that could possibly follow it. Which is conveniently and ironically (and probably purposely)…

“We Can't Stop”
The ultimate grower of the year, slying gaining the repeat plays it needs with the meme-come-to-life video, couple of instantly infamous druggy double-entendres, and by now it's gained it's status as one of the most brilliantly provocative yet laid-back pop tunes of the year. For the little effort the track seems to put in, it somehow manages to deliver something new every time.

“Bangerz” (feat. Britney Spears)
A feisty, very old-school-Britney number, which makes sense considering the pop princess herself makes an appearance. The prominence of relatively unknown producer Mike-Will-Made-It, here and elsewhere on the record, is another clever choice, giving a musically credible edge to Bangerz. Oh, and the title track provides the third almost-subtle drug reference on the album, with “You know I’m on that Miaow". The track doesn’t need it, but it’s cheekily thrown in anyway.

"4x4" (feat. Nelly)
The country stomp should by rights be unbearable, but Miley, having already seemingly pulled out every stop already so far, pulls it off, with her voice revealing its natural country gal twang. The track would be better without Flo-Rida’s dishonorary older brother Nelly, but he seems timid next to the ultra confident Miley. When Nelly’s suddenly bearable, you know something’s going very right.

"My Darlin'"
Although this sub-Wrecking Ball power ballad is the least impressive track so far, it shows off Miley's not unimpressive silky pop voice when she doesn't bounce her ass fat up against some poor awkward soul.

"Wrecking Ball"
The most grandiose track by far, clearly an obvious choice for a single. But without the video (or even with it - for those of us not looking to complain about nudity) the song is like the climax of a West End show with a super-pop production sheen.

"Love Money Party" (feat. Big Sean)
A low-key hip-pop party anthem, and somewhat filler, but Big Sean's playful and relaxed flow suits the album's house party feel.

#GETITRIGHT
Taking a production leaf out of Justin Timberlake's book of modern funk, this is another laid back number. Punctuated once again by another 'say-whaaaaat' lyric, as she rolls "I feel like I've got no panties on" off her tongue, just casually. It's the second track of a slight mid-album dip, but this dip would be a highlight on Selena Gomez's record.

Drive
A surprisingly dated dubstep throb is soon redeemed by a big ol' power ballad beat and a gorgeously understated "you can drop your keys off in the morning" chorus refrain. Like "Wrecking Ball"'s more in-control older sister, but no less emotional because of this.

"FU" (feat. French Montana)
By this point you realise that Bangerz-Miley doesn’t do things by half measures. She’s either entirely chilled, or melodramatic and grandiose. "FU" is another pop goliath that could bless (and I mean *bless*, it’s a stonker) a West End Show. You can picture French Montana donning in a tuxedo, top hat and cane as he lays down his brief rap.

Do My Thang
The clubbiest track so far. Featuring sharp, exciting Trappy production, and a delicious scrunch-face drop, Miley rides this track just as comfortably as she carried Mike-Will-Made-It‘s “23”.

Maybe You’re Right
Another Wreckin’ Ball, this time with an Alicia Keys piano-pop edge.

Someone Else
Like Do My Thang, the track is super slick Trap-Pop that suits Miley’s youthful swagger to a T, boasting one of the most infectious beats on the record. It’s a surprisingly but effective closer, leaving the more-ish taste of Bangerz on your tongue.

- - -

All in all, Bangerz lives up to it's name more accurately than anyone could've predicted. An album called Bangerz could've been a vacuous and appalling record based around a big US record label's idea of what makes a hit. Instead Miley delivers 13 defiantly provocative and almost obnoxiously confident tracks, clearly without a thought towards what her critics are saying. As a result it's humanly flawed, but carefree and seriously good fun.

About halfway through "Maybe You're Right", Miley tries yelling out an ultra high note that she doesn’t quite hit, and even the autotune has a hard time correcting it. But that’s all part of the what makes Miley ‘13 such an engaging pop star - her overconfidence leads to her taking risks that are ridiculous on paper. Her eagerness is charming, and her charm on Bangerz is infectious. 

And enough charm can convince the general public to buy into anything. Miley may have been a (perfectly willing) victim to all sorts of critical and public vitriol after her shamelessly bold rebrand, but once these detractors actually hear what Bangerz has to offer, the massive teddy-bear backpacks and twerking in Miley's past will be all but forgotten. 

...then again, maybe she'll go on to sexualize line-dancing in her next video and open herself up to a whole new wave of disgust. We can only hope.

- Joe Copplestone, 3/10/13

#POPDAR - Hey Ocean! - Make A New Dance Up

Hey Ocean! are a blast of Canadian-indiepop joy, whose album Is reaches us in the UK a few months too late to hit summer, but just in time to keep us cheery throughout Autumn.

With its contagious Two Door bounce, ska-friendly brass and chirpy Haim-esque vocal hooks, "Make A New Dance Up" is far and away the brightest beam-of-sunshine on a still-pretty-sunny album. Dual vocalists Ashleigh and David hiccup their way through a kooky samba chorus, and you can almost hear the dorky grins on their faces.

By next summer, hopefully we'll all have made up our very own dance to take to their shows. Or at the very least, have butchered an existing one.

Their new album Is, um, *is* out now on iTunes.

FOR FANS OF: Two Door Cinema Club, Haim, Best Coast



- Joe Copplestone, 2/10/13

PARTY TRACKS OF THE WEEK! - Lady Gaga, Azealia Banks, Disclosure

LADY GAGA - APPLAUSE (EMPIRE OF THE SUN REMIX)


Although Empire Of The Sun are cheating somewhat by taking their track "Old Flavours", chucking the "Applause" acapella over the top and calling it a "remix", there's no denying the mash-up is genius. Taking the mood down a notch from the Hi-NRG original, to a more groove-led nu disco mould, the Aussie synthpoppers turns the track from hysterical into hypnotic.

AZEALIA BANKS - COUNT CONTESSA


If Lone was the only producer Azealia Banks ever worked with, I would be happy. Her funky, choppy flow and his joyous Balearic house beats combine to make a truly inspiring sound that works wonders for Banks. If "Liquorice" and "Count Contessa" are anything to go by, Lone and Banks are a match made in heaven, or at the very least on a blissful sun-kissed beach.

DISCLOSURE ft. LONDON GRAMMAR - HELP ME LOSE MY MIND (PAUL WOOLFORD REMIX)


Although the track plays the role of 'album comedown' track on Disclosure's Settle, Paul Woolford's jittery chicago house take on "Help Me Lose My Mind" transforms it into an epic early 90s anthem. London Grammar's Hannah Reid sounds even more glorious on an out-and-out house track, and Woolford's confusing flurry of piano chords and bee-sting bass notes certainly helped me to lose my mind.

POPDAR: FKA Twigs - Papi Pacify

I would point out the FKA Twigs was formerly known as Twigs, but as you can see, she beat me to the punch.

Twigs' EP1 was a dark and experimental effort - disturbing and unnerving industrial R&B that still managed to be subtly sexy. Her second EP, helpfully titled EP2, concentrates a little more on that final description, with Twigs' voice breathing and floating over a much warmer trip-hoppy ambience on each track.

But on EP highlight "Papi Pacify", the nearest thing to a radio-friendly track Twigs' has produced to date, she allows herself to be more overtly sexual and as a result delivers the most arresting vocal of her output so far.

The track seductively creeps through it's choppy, sparse verses that do very little to accompany Twigs' light and airy vocal, as she clasps at every note as if gasping for air. "Never tell me no" yelps Twigs breathlessly, begging "tell me I'm the one you want" - it feels like she's unleashing two EPs worth of sexual repression. But the real payoff is the exhilarating drop into Weeknd-territory for the *gasp* chorus (!), where Twigs' gleefully unleashes her catchiest hook to date, as a crushing hip hop beat gyrates against a sexually-charged growl of a bass line.

FKA Twigs' EP2 is available to download now from iTunes.

Official Website.
Official Twitter.

FOR FANS OF: BANKS, The Weeknd, Etta Bond

Party Tracks Of The Week!

KATY PERRY - ROAR (KENNEDY JONES REMIX)

Although we've been raving about it constantly (and raving to it in general) over the last week or so, this almighty Thor-sized remix absolutely deserves an official mention on this week's Party Tracks playlist. There's not really a worthy description of the drop this remix keeps up its sleeve, but suffice it to say, this razor-sharp progressive house remix is one of the best we've heard all year.

LITTLE NIKKI - LITTLE NIKKI SAYS (JONAS LR REMIX)

As much as we'd like to dismiss Little Nikki as another unnecessary Rihanna clone, her UK grime-flecked pop is just too damn infectious. Jonas LR takes the bounce-tastic "Little Nikki Says" and morphs it into something slightly more feral, with eerie and rave-tastic consequences.

JOSH BUTLER - GOT A FEELING (BONTAN & PLEASUREKRAFT REMIX)

Although this is not GiveHouseAChance, even the poppiest of you will find it hard not to bop along to this recent Radio 1 Dance favourite. Like a sexier, more melodic version of Breach's "Jack".

ARTIST SPOTLIGHT/INTERVIEW: Bow Promise

Dagenham's Bow Promise believes in pushing the boundaries of R&B, and she has no plan to start pandering to conventions any time soon. Produced by long-time collaborator Lostchild, an atmospheric electronic London producer with a taste for 80s pads, her debut EP Cactus is a thoroughly intelligent, atmospheric, often experimental take on an over-saturated genre.

Take the title track from her debut EP - an aggressive, rough-around-the-edges R&B/Hip Hop crossover based around a complex and unconventional cactus metaphor. Bow informs me "The chorus actually came from a Whatsapp status that read something like "you can't sow your heart with someone who doesn't want to water it and then say "but it's rooted in fertile soil!" - she takes this musing almost word for word in the chorus of "Cactus", and these kind of philosophical complexities are rife in Bow Promise's writing.

"It's about me yearning for someone's love and becoming unapproachable and alone as a result," she clarifies. And it seems like this distrust of men is also rife in her writing: "I've had situations where I've not only doubted that a guy might be able to hold down a relationship with me, but I doubted that they were even interested in me in the first place. This kind of distrust led me to "Cactus", which is kind of saying "see, I told you you'd leave!"

And it's not just her lyrics that are complex. Her vocal melodies are often unexpected and sometimes even brave. Lostchild provides her, rather cruelly, with a icy, sharp hip hop beat on "Cactus", that would quite easily, and more conventionally, suit a rapper. However, Ms Promise rises to the challenge and throws feisty, acrobatic melodies over the top that catch the ear and demand the attention, much like the attention she demands from her lover in the song itself.

Even on the other two considerably tamer tracks on the EP, her melodies can't sit still, and she's not one to repeat a melody twice in the same song. And this isn't some unnecessary melisma - these are meticulous, delicately written melodies that reflect the rollercoaster of ideas inside the mind of Bow Promise.

If the song "Cactus" showcases her fierce and intelligent side, the remaining tracks on the EP showcase a vulnerability in her persona, and a secretly intense desire for a human connection. "I've been using one relationship as a muse and exploring it with my music" Bow reveals, and the smooth, soulful 90s R&B of "More" certainly explores polar emotions to the EP's title track. Over seductive yet organic slow jam beats, Promise laments that she's "more than a touch and more than a body to take" in a vulnerable form that couldn't at all be perceived from her unapproachable and aggressive character on "Cactus".

"I wrote my first song when I was in year 10 at school" Bow tells me, and the last 12 years of writing and listening about her experiences seem to have all stuck with her. "When I'm going through something that's monumental to me, whether it's good or bad, I have to write about it. Even if I've moved away from that chapter, I can still tap into how I felt at the time to write. That's what happened with more - the chorus and half the verse were 2-3 years old." The manner in which Bow Promise switches effortlessly between vocal deliveries betrays her experience and maturity. Whilst her husky voice barks and bites on "Cactus", her wispy R&B falsetto slides down like vanilla ice cream on "More".

Bow Promise succinctly describes her sound as "atmospheric, experimental R&B", and although that may not give away a hell of a lot, there really is no other way to describe the duet with her producer (and artist in his own right) Lostchild, "Fall To Earth". Lostchild's epic and melancholic chorus is contrasted by an airy, bubbly verse that Promise delivers so effortlessly and lightly it threatens to float away entirely. The track is less chorus driven than the other two, but it's an existential vibe that suggests more experimentation in future material.

And indeed, Bow hints at a more emotional journey ahead of her. "The sounds (of my upcoming material) will be similar to all that you hear with the Cactus EP," she begins, "but some of the tracks will be more sentimental as I begin to step away from the relationship and delve a bit deeper into myself, as I started to do on "Fall To Earth" - There's a lot of expression of faith, hope and facing your fears."

Speaking of faith and hope, I'm told the name Bow Promise refers to "the promise of a pot of gold at the end of a rainbow". Having had many setbacks in her past career, both personal and professional, the quality and emotional depth of the Cactus EP suggests that her pot of gold may be closer than she thinks.

You can download her Cactus EP for free from her Official Website.

Follow her Twitter and Facebook accounts below for the latest details on gigs and new material.

Follow @BowPromise on Twitter.

'Like' Bow Promise on Facebook.

- Joe Copplestone, 12/09/13

POPDAR: Active Child - Subtle (ft. Mikky Ekko)

Active Child, the king of white boy R&B, has never really given the uptempo thing a chance before - why would he? Similarly sensitive and loosely urban male acts such as The Weeknd and How To Dress Well were flying high when he released his forlorn debut You Are All I See, and his powerful falsetto-led anti-anthems were a calling card given out almost exclusively by him. 

But on latest single "Subtle", Active Child jumps ship from to a distinctly more dancefloor-friendly vessel and the risk pays off, revealing a whole new area of talent from the melodramatic singer/songwriter.

"Subtle" isn't a word you would have ever associated with Active Child, and even less with the song he eventually names as such. He adopts a surprisingly sparse yet colourful 80s electropop backdrop and suddenly you can drawn distinct lines between Active Child's own voice and that of 80s icon Jimmy Somerville. And when the Blade Runner-esque brass synths drop the 80s transformation is complete. Mikky Ekko's Prince-flecked feature spot manages to add another level of the era to sharpen up proceedings.

"Subtle" is taken from Active Child's upcoming Rapor EP, due for release on October 22.

FOR FANS OF: Goldroom, Tensnake

PARTY TRACKS OF THE WEEK! (FREE DOWNLOADS)- Neon Jungle, Icona Pop & Ellie Goulding.

NEON JUNGLE - TROUBLE (SHAROQUE REMIX)

This remix isn't so much looking for trouble as looking for the dancefloor. Rebellious girlband upstarts Neon Jungle's latest single "Trouble" gets a retro funky house remix that transports it from bedroom to Miami Beach, driven by an irresistible piano hook. 

Sharoque has made high octane dance remixes of a number of pop hits over the last year, including particularly euphoric mixes of Misha B and Little Mix - Check out his SoundCloud.

ICONA POP - GIRLFRIEND (CHAINSMOKERS REMIX)

"Girlfriend" is already a speeding down a highway song, but NY duo Chainsmokers take it one step further so don't be surprised if your car takes off during playback. It's got a gorgeous progressive house build-up and a heart-stopping drop that will rattle your bones. And your girlfriend's.

Chainsmokers have torn apart tunes by Fenech Soler and Phoenix too  - Check out their SoundCloud.

ELLIE GOULDING - BURN (DRIFTA REMIX)

As catchy as "Burn" is, it's plodding dancehall rhythm encourages more of a sway than a full on gleeful body contortion. So it's just as well that London producer Drifta acted on the potential that we all saw, to turn it into a full on rave anthem. The Drum & Bass throb suits the track so well, and given Goulding's recent fondness for the genre, Drifta's remix could almost be an original - download it for FREE from the SoundCloud widget above.

Drifta always kills it with his bootleg remixes, and his solo material is must-hear material for any commercial Drum & Bass fan  - Check out his SoundCloud.

MIXTAPE REVIEW - Etta Bond x Raf Riley - Meds

Click the cover above to download Meds for FREE.

Part of Etta Bond and Raf Riley's appeal as a double act lies in their ability to put their own spin on current underground trends. The duo don't so much think outside the box, as think inside the box from the outside.

On their first mixtape, Emergency Room, they took on dubstep. The duo revived the dying genre with Etta's alarmingly blunt songwriting and Raf's brutal yet melodic mix of dubstep with trip-hop and hip hop. Tracks like "Boring Bitches" and "Ask Me To Stay" were instantly timeless, and have outlived the dubstep craze. On follow up mixtape Meds, the two have set their sights on several current crazes, including Deep House, Modern R&B and Trap.

If Emergency Room felt more like Etta's mixtape, Raf makes his presence a lot more known on Meds. Whilst on Emergency Room he largely stuck with a (nevertheless effective) formula of chainsaw synths, colossal kicks and even bigger snares, on Meds he throws caution and commerciality to the wind. With the rise of "weird" producers such as Diplo and Hudson Mohawke, it's a delight that this gives wind for ultra-creative producers such as Raf Riley to let loose with ideas they perhaps couldn't have got away with before.

And let loose he does - Etta even tones down the big hooks in favour of more ponderous melodies to make room for Raf's crazy productions. The result is chicago house pianos over Trap beats and warm pads on the woozy "Fanbabe", a mesh of funky, electro and deep house on the addictive "1 More Time" (surely an underground hit waiting to happen), and schizophrenic 80s synths over a beat straight from Janet Jackson's Rhythm Nation on "Big Girl's Vogue".

Not to discredit Etta's contribution to Meds at all. Etta may let Raf show off more this time round, but she's subtely matched his progressive production with a shift in lyrical concept. Whilst Etta's lyrics on Emergency Room were based in gritty reality - relationships falling apart ("Ask Me To Stay"), making out on the tube ("One Way On A Train") and, notoriously, beastly hangovers ("Resolve") - on Meds she delves head first into fantasy. Etta's previously cynical and angry characters are now blinded by their fantasies - the lovesick obsessive uber-fan on "Fanbabe", a girl sharing her wild sexual dreams on "Me First" or the girl in love who thinks she can separate love and sex in "1 More Time".

Another reason Etta and Raf are a genius double act is the way they bounce off each other. Both their presences are always felt equally - Etta never seems like a mere feature singer, and Raf never feels like an anonymous producer. There's a reason the duo haven't thought of a separate name for their collaboration - they want to support each other as solo artists as well. And it's clear they never need to compromise either's vision. This means if Etta wants to conversationally talk-rap loudly one of Raf's sickest basslines, he'll let her. If Raf wants to loop Etta saying "wobbles" whilst throwing a rock'n'roll piano solo over the top, she'll let him (That's from "Big Girl's Vogue" by the way, I'm not making it up.)

Their anything goes approach to making music is what makes them one of the most interesting underground acts in the UK today. Check out their live performance for LiteSwitch TV below to witness the duo's chemistry.

FOR FANS OF: Diplo, Elli Ingram, Katy B

@EttaBond

@TheRealRafRiley

- Joe Copplestone

5/09/13

POPDAR - Rizzle Kicks, The 1975 & MØ

Tracks of the week this week come from Brighton party-rap duo Rizzle Kicks, Danish anti-princess of dark-pop MØ and Cheshire's main purveyors of angst rock and sticky electropop, The 1975.

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"Skip to the Good Bit"
RIZZLE KICKS
Taken from Roaring 20s

After a fairly tame lead single from "Roaring 20s", the follow up is a lot more fun. With horns echoing "Down With The Trumpets", trippy hip hop beats and an irresistably groovy piano bassline, it surprises me the duo didn't just "skip to the good bit" and release this first.

No clip of the track online just yet, so check out this live footage from their gig at Alton Towers.

"888 XX"

MØ

Taken from forthcoming EP

After the gritty dirt-pop of last single "Waste of Time", Danish alt-pop singer MØ brings weird-hop refixer Diplo on board to give her distinct sound an urban edge. His clean trappy beats and Miami Bass production flourishes (such as a distinctly HudMo brass section) allow MØ to let out her inner swagger.

"Girls"

THE 1975

Taken from The 1975

If you thought weed-anthem "Chocolate" was the happy-clappy pop single of the album, the liquorice sweet "Girls" could still trump it. Like the long lost missing track from The Breakfast Club soundtrack, the track's 80s pop/rock vibe is infectious, with guitars chirping like birds over the synth pitter patter in the background. Probably the most straight up guilty pleasure pop song of the album, it gives us just about everything a 1975 fan could want up-front.

Top 5 Tracks of August 2013.

5 - LADY GAGA - APPLAUSE

Although she cited a "pop emergency" for an excuse to release "Applause" earlier, we already know Gaga is an impatient popstress - let us not forget her rush releasing "Born This Way" in 2011. However, unlike that massively underwhelming comeback, "Applause" is surprisingly immediate. It suffers from all the usual immovable Gaga-isms - terrible annunciation, shameless european dance synths and a bizarre hammer house of horror vocal - but you can't argue with a chorus like this. The "A-R-T-P-O-P" hook at the end is brilliant too. "Applause" is definitely the right side of Gaga.

4 - THE SATURDAYS - DISCO LOVE
As successful as The Saturdays have been, they do have a tendency to release music as personality-less as their brand. Every song feels like it could be a debut single for any flash in the pan girl-group. It looks like they're trying to shake this anonymity by finding their "thing". However with new singles "Gentleman" and now "Disco Love", they seem to be settling on being the new Girls Aloud - quirky lyrics and genre-hopping. "Gentleman" was the a step too far down novelty lane, but "Disco Love" is surprisingly uplifting. And when you don't flinch at "it's Donna Summer all year long", you know they're onto something. 

3 - LUKE FINCHER - NO RESPONSE

It's quite a feat standing out from the hoards of soulful male singers from the US and UK - but Fincher has something special. The 17 year old blows them all out of the water in one incredible performance on "No Response". Over reverb-drenched Weeknd-esque R&B synths, Fincher hits notes with an effortless confidence and strength. Every tasteful melismatic flick and achingly tender note shimmers and captivates. And he absolutely kills the falsetto climax in the heart-stopping chorus.

2 - ICONA POP - GIRLFRIEND
Although almost identical to "I Love It", with any luck "Girlfriend" will be as big as their breakthrough hit. The key to the girl's success is their lack of glamour and ego, and this makes the simplicity and commerciality of their anthemic dancepop go from potentially tedious to charming, tongue-in-cheek and 'feel-good' in the most infectious sense. Even the track's most obvious sexually ambiguous undertones can be forgiven.

1 - TENSNAKE FT. FIORA - 58BPM
Finally released in its glorious 5 minute form, "58bpm" is a sensual slice of 80s soul heard through the future bass kaleidoscope... at 58 beats per minute. And it's the ultimate comedown anthem - perfect to soundtrack a reluctant end to the sunniest, most joyous summer in memory. The track is so daringly slow (indeed that's the main feature) that is seems suspended in mid-air, as a single warm chord lingers tentatively above a lurching beat, as Fiora's vocals seem to melt as the chorus hits. Sadly destined to be underrated, the track is nevertheless the most creative and spellbinding piece of music Tensnake has created to date.

Luke Fincher - No Response

Brighton teen Luke Fincher is a star. He may not know it yet, but there are certain levels of talent that are so fully formed from a young age that it would be almost impossible for them not to be discovered.

Fincher is technically an R&B singer, and it's quite a feat standing out from the hoards of soulful male singers from the US and UK - but Fincher has something special. 

The scene is saturated with over-emoting mid 20s/30s faux-soul crooners, who use melisma like they use oxygen and take any opportunity to dive in and out of falsetto like they're bobbing for apples. But here we have 17 year old, unknown Luke, who blows them all out of the water in one incredible performance on his self-penned song "No Response".

The track begins like a particularly depressing Weeknd number, with standard reverb-drenched synth chords bouncing gentley off each other. But any initial assumptions are soon banished when Fincher starts to sing. Because Fincher sings low, like really low, and then he sings high, like really high - and never once is it unnecessary. He hits notes with an effortless confidence, strength, and beauty, and every tasteful melismatic flick and achingly tender note shimmers and captivates. There are at least twice as many years maturity in his voice as Luke himself has been alive.

As a songwriter, Luke clearly understands his own voice perfectly. When he needs to draw you in, he reels off lyrics in a rapid stream of consciousness, and when we need to be wowed, he absolutely kills the falsetto climax in the heart-stopping chorus.

The thoroughly deserving Fincher has a chance to win a slot on Brighton music festival Shakedown's Main Stage on September 28th, and all you have to do to ensure he reaches the final is to click "like" on the SoundCloud link below before Friday 30th August. Check out his YouTube for further proof of his talent.

FOR FANS OF: Frank Ocean, The Weeknd, Jamie Woon

Tensnake - 58bpm (feat. Fiora)

Tensnake may have made a name for himself with his classic balearic house anthem "Coma Cat", as well as the old school 90s dance of "Mainline", but the German producer is far from your run of the mill European dance producer. Anyone who heard the haunting downtempo electronica of his Little Dragon "Ritual Union" remix knows this, and anyone who hears "58bpm" will realize this too.

A one-minute-twelve-second clip of "58bpm" has been circulating the internet since May - a sensual slice of 80s soul heard through the future bass kaleidoscope... at 58 beats per minute. Frustratingly short but revealing just enough to showcase just how gorgeous the track is, it makes sense as to why Tensnake has made us wait for the full 5 minute clip, now available on iTunes.

Because it's the ultimate comedown anthem - perfect to soundtrack a reluctant end to the sunniest, most joyous summer in memory. The track is so daringly slow (indeed that's the main feature) that it seems suspended in mid-air, as a single warm chord lingers tentatively above a lurching beat, as vocals seem to melt as the chorus hits.

Regular collaborator Fiora carries the beautiful vocal humbly without pretense, and what could be a flat-out sexual delivery becomes somewhat bittersweet and melancholic. Sadly destined to be underrated, the track is nevertheless the most creative and spellbinding piece of music Tensnake has created to date.

FOR FANS OF: Goldroom, Active Child, Royksopp

Lisa Lewis - How We Do Things

There was absolutely no denying the husky, seductive voice of London soul singer Lisa Lewis from her jazzy first demos. However, the trippy, vibey Soul/R&B of new song "How We Do Things" is undeniably her calling, and has "breakout track" written all over it. 

Much like the subtler moments on Jessie Ware's debut record, "How We Do Things" is unafraid to drift off on its sexy, underwater groove because Lewis's powerful, bluesy voice commands the attention. She has the knack of making even the slightest change in projection sound magnificent. Effortless is a term frequently used with singers, but rarely accurate. In the case of Lisa Lewis, it's entirely appropriate.

FOR FANS OF: Jessie Ware, BANKS, Delilah