After the otherworldly vibes of Mt. Wolf's last single "Life Size Ghosts", it would have been very easy to assume the band got lucky with that track. Lots of bands immerse gentle folk instrumentation with a tinkerbell voice and a shimmering electronic coat, and although most of this music flatlines uncommunicative and uneventful, every now and again a truly gorgeous tune pokes its head out, and "Life Size Ghosts" was definitely one of those. Yet many bands of this nature find it hard to keep from pulling their head back into their shell, and failing to follow with anything else as memorable.
"Hypolight", however, showcases an altogether more confident size to the group. It's just as ethereal and ticks all the same genre-standard boxes, but whilst many a band in this vein seem content to sing to us from the distance, hoping the all-encompassing reverb carries on the message, when singer Kate Sproule deliriously sings "put another light out", she's standing face to face with you. You can hear life to her voice, a beating heart, and (has hell frozen over?) nuances! And character! It's a vocal performance that could potentially give them the same break and hype that similarly-expressive-exception-to-the-atmo-folk-band rule London Grammar have deservedly enjoyed.
As pianos and guitars mingle in the background, its a joy to hear a voice soar above the musical tapestry, rather than be content to be just another instrument. More steps in this direction, and Mt. Wolf are real contenders.
FOR FANS OF: London Grammar, Bat For Lashes, Mazzy Star
Showing posts with label bat for lashes. Show all posts
Showing posts with label bat for lashes. Show all posts
Wednesday, 10 April 2013
Monday, 29 October 2012
TOP 10 SONGS OF OCTOBER.
10
"Your Body"
Christina Aguilera
"...Indeed, it's an obnoxious club anthem, with a chorus ripped straight from Katy Perry's "Teenage Dream", but it's jam packed with (other) hooks, has some top notch yelping from Christina, and is no doubt aeons ahead of the dull "Not Myself Tonight"..."
READ MY REVIEW OF "YOUR BODY" HERE.
9
"I Know You Care"
Ellie Goulding
After all the chirpy synthpop anthems on Lights, it was inevitable that Halcyon would be the "difficult" second album. And indeed it is, and it's a hard record to warm to. Despite a misleadingly uplifting and familiar-sounding single, "Anything Could Happen", on Halcyon as a whole, the butterfly-winged voice of Ms Goulding is no longer accompanied by chopped-up folky guitars and crisp poppy beats. Instead we've got dubsteppy beats, thick walls of electronic sound, and reverb heavy soundscapes. It's not a bad record at all, and it fact it does retain just enough personable character and melody to allow for a little maturity and emotional self-indulgence.
However, one song aside from "ACH" is instantly likeable on the album, and that's the piano ballad "I Know You Care". It's new ground for Ellie in many ways. The only other acoustic number of note in her back catalogue is "Your Song", which was twee and light, sickly in a way, like a Britain's Got Talent entry. "I Know You Care" however, with its gentle piano bobbing up and down like a buoy on a calm sea, showcases a surprisingly restrained vocal from Ellie, one that allows meaning behind the words to resonate. For the first time, the fragility in Ellie's lyrics and voice are really allowed to shine.
8
"22"
Taylor Swift
"...closer to Avril Lavigne pop than to the country anthems of yore, but the hooks are irresistible, the chorus is insanely moreish, and Taylor's voice is twangy and gutsy, and it's quite simply the perfect song for her."
READ MY REVIEW OF "22" HERE.
7
"Thinking About You" (feat. Ayah Marar)
Calvin Harris
Fans of older Calvin Harris material frequently turn their noses up at his newer, more profitable, commercial direction. However, the fact is, this transition from solo artist>producer to producer>solo artist makes his tracks much more tuneful and song-focused than his new-found peers Guetta and Swedish House Mafia. On album highlight "Thinking About You". Credible upcoming pop singer Ayah Marar provides a housey vocal that suits Harris' ibiza-friendly chord sequences perfectly, and the whole track is a perfect meeting of 2004 house and 2012 dance. Say what you like about Harris, but to his credit, he never completely abandons his roots.
6
"The Raver"
Ayah Marar
From feature to focus, Ayah Marar has an underground credibility with a voice to conquer the charts. "The Raver" is the best of both worlds. Like DJ Fresh's "Hot Right Now" but much, much later at night after a lot of drinks and whatever else, "The Raver" breakbeats its way into oblivion and Marar's voice is sexy and sultry as it effortlessly rides the raging beat. A truly invigorating crossover track that could well set in motion a real drum & bass revival in the charts, one that DJ Fresh has been very much alone in instigating thus far.
5
"Talk Through The Night"
Dog is Dead
Indiepop is nauseatingly oversaturated in 2012, you can't move without tripping over an Alt-J or an Of Monsters and Men. However, the good thing about an increased output is that the likelihood of coming across a brilliant tune is tenfold. "Talk Through The Night" is everything an indie anthem should be: youthful, exuberant, nostalgic and, above all, irritatingly catchy. Yet Dog is Dead manage all of this and still manage to be endearing and likeable. Maybe there is hope for indie yet.
4
"Oh Yeah"
Bat For Lashes
A lady who can seemingly do know wrong, Bat For Lashes aka singer/songwriter Natasha Khan, takes a more anthemic, 80s-tinged approach to her wistful, haunting pop on long-awaited third record The Haunted Man, and "Oh Yeah" embodies all its best qualities. Khan's voice is delirious and fluttering as ever, almost lustful as she cries "here am I, looking for a lover to climb inside", and the pivotal synth hook is punchy and striking in a bold step into new sound territory. If Khan had only hinted at anthemic before, it's clear she is warming up more and more to the idea.
3
"The Mother We Share"
CHVRCHES
If Purity Ring cheered up and stopping singing about sternums and teeth clicking they might sound as glorious as scottish electropop act CHVRCHES do on "The Mother We Share". Musically majestic with pop-perfect hooks and a gorgeous melody, this track really shines in its lyrics. Describing a dying relationship, bound together by "the mother we share", the message is gorgeous and poignant. A pop song that can be perfectly pitched lyrically and musically whilst still finding space for creative flair is rare. And judging by the quality of their earlier single "Lies" also, this rare skill is abundant in CHVRCHES.
2
"Mainline" (feat. Syron)
Tensnake
"..."Mainline" itself is out and out 90s, more than a little Inner City with unashamadly hooky and flirtatious brass synths and organ basslines, but its balearic feel is still unmistakably Tensnake. And Syron, for a white girl, she can't half pull off a camp diva growl..."
READ MY REVIEW OF "MAINLINE" HERE.
1
"Tidal Wave" (feat. Alpines)
Sub Focus
"..."Tidal Wave" takes the angelic, La Roux-esque vocals of Alpines, and pairs it with an epic yet jagged edged march that bursts into break-beat just as you get comfy with it, synth fireworks abound..."
READ MY REVIEW OF "TIDAL WAVE" HERE.
"Your Body"
Christina Aguilera
"...Indeed, it's an obnoxious club anthem, with a chorus ripped straight from Katy Perry's "Teenage Dream", but it's jam packed with (other) hooks, has some top notch yelping from Christina, and is no doubt aeons ahead of the dull "Not Myself Tonight"..."
READ MY REVIEW OF "YOUR BODY" HERE.
9
"I Know You Care"
Ellie Goulding
After all the chirpy synthpop anthems on Lights, it was inevitable that Halcyon would be the "difficult" second album. And indeed it is, and it's a hard record to warm to. Despite a misleadingly uplifting and familiar-sounding single, "Anything Could Happen", on Halcyon as a whole, the butterfly-winged voice of Ms Goulding is no longer accompanied by chopped-up folky guitars and crisp poppy beats. Instead we've got dubsteppy beats, thick walls of electronic sound, and reverb heavy soundscapes. It's not a bad record at all, and it fact it does retain just enough personable character and melody to allow for a little maturity and emotional self-indulgence.
However, one song aside from "ACH" is instantly likeable on the album, and that's the piano ballad "I Know You Care". It's new ground for Ellie in many ways. The only other acoustic number of note in her back catalogue is "Your Song", which was twee and light, sickly in a way, like a Britain's Got Talent entry. "I Know You Care" however, with its gentle piano bobbing up and down like a buoy on a calm sea, showcases a surprisingly restrained vocal from Ellie, one that allows meaning behind the words to resonate. For the first time, the fragility in Ellie's lyrics and voice are really allowed to shine.
8
"22"
Taylor Swift
"...closer to Avril Lavigne pop than to the country anthems of yore, but the hooks are irresistible, the chorus is insanely moreish, and Taylor's voice is twangy and gutsy, and it's quite simply the perfect song for her."
READ MY REVIEW OF "22" HERE.
7
"Thinking About You" (feat. Ayah Marar)
Calvin Harris
Fans of older Calvin Harris material frequently turn their noses up at his newer, more profitable, commercial direction. However, the fact is, this transition from solo artist>producer to producer>solo artist makes his tracks much more tuneful and song-focused than his new-found peers Guetta and Swedish House Mafia. On album highlight "Thinking About You". Credible upcoming pop singer Ayah Marar provides a housey vocal that suits Harris' ibiza-friendly chord sequences perfectly, and the whole track is a perfect meeting of 2004 house and 2012 dance. Say what you like about Harris, but to his credit, he never completely abandons his roots.
6
"The Raver"
Ayah Marar
From feature to focus, Ayah Marar has an underground credibility with a voice to conquer the charts. "The Raver" is the best of both worlds. Like DJ Fresh's "Hot Right Now" but much, much later at night after a lot of drinks and whatever else, "The Raver" breakbeats its way into oblivion and Marar's voice is sexy and sultry as it effortlessly rides the raging beat. A truly invigorating crossover track that could well set in motion a real drum & bass revival in the charts, one that DJ Fresh has been very much alone in instigating thus far.
5
"Talk Through The Night"
Dog is Dead
Indiepop is nauseatingly oversaturated in 2012, you can't move without tripping over an Alt-J or an Of Monsters and Men. However, the good thing about an increased output is that the likelihood of coming across a brilliant tune is tenfold. "Talk Through The Night" is everything an indie anthem should be: youthful, exuberant, nostalgic and, above all, irritatingly catchy. Yet Dog is Dead manage all of this and still manage to be endearing and likeable. Maybe there is hope for indie yet.
4
"Oh Yeah"
Bat For Lashes
A lady who can seemingly do know wrong, Bat For Lashes aka singer/songwriter Natasha Khan, takes a more anthemic, 80s-tinged approach to her wistful, haunting pop on long-awaited third record The Haunted Man, and "Oh Yeah" embodies all its best qualities. Khan's voice is delirious and fluttering as ever, almost lustful as she cries "here am I, looking for a lover to climb inside", and the pivotal synth hook is punchy and striking in a bold step into new sound territory. If Khan had only hinted at anthemic before, it's clear she is warming up more and more to the idea.
3
"The Mother We Share"
CHVRCHES
If Purity Ring cheered up and stopping singing about sternums and teeth clicking they might sound as glorious as scottish electropop act CHVRCHES do on "The Mother We Share". Musically majestic with pop-perfect hooks and a gorgeous melody, this track really shines in its lyrics. Describing a dying relationship, bound together by "the mother we share", the message is gorgeous and poignant. A pop song that can be perfectly pitched lyrically and musically whilst still finding space for creative flair is rare. And judging by the quality of their earlier single "Lies" also, this rare skill is abundant in CHVRCHES.
2
"Mainline" (feat. Syron)
Tensnake
"..."Mainline" itself is out and out 90s, more than a little Inner City with unashamadly hooky and flirtatious brass synths and organ basslines, but its balearic feel is still unmistakably Tensnake. And Syron, for a white girl, she can't half pull off a camp diva growl..."
READ MY REVIEW OF "MAINLINE" HERE.
1
"Tidal Wave" (feat. Alpines)
Sub Focus
"..."Tidal Wave" takes the angelic, La Roux-esque vocals of Alpines, and pairs it with an epic yet jagged edged march that bursts into break-beat just as you get comfy with it, synth fireworks abound..."
READ MY REVIEW OF "TIDAL WAVE" HERE.
Tuesday, 31 July 2012
Give Pop A Chance's Best Of July Round-Up: INCLUDING 15-TRACK MIX!
ENJOY THE GIVE-POP-A-CHANCE JULY 2012 MIX BELOW!
Azealia Banks finally dropped her mixtape Fantasea this month, to a gleeful response from this blogger. A mix of bass-heavy hip hop, underground dance and house, working with a plethora of brilliant underground producers, highlights including the camp, high fashion house anthem "Fierce" (0:00 in the mix), and brilliantly explicit moombahton flirtation "Esta Noche" (42:41), penned by Munchi.
Bat For Lashes also finally released a new single, a simple piano and voice lament, the heartbreaking "Laura" (28:42).
If you've not heard Grimes latest work with producers Blood Diamonds, the track "Phone Sex" is as balearic and blissful as it is dark and disturbing, sweetened considerably by some pretty steel drums and poppy beat. Whilst you're checking this out, the Unicorn Kid remix (45:52) is also worth a listen or 10; the kid only goes from strength to strength, his production values having never sounded more chart friendly, whilst never losing the 90s rave vibe that gives everything he touches such a joyously euphoric sound.
Anyone missing their indiepop need look no further than The Crookes, whose debut record Hold Fast is pumped with youthful energy and earworm hooks. Particularly exciting is single "Maybe in the Dark" (26:14), oozing the same desperate teenage woes of their equally likeable peers The Heartbreaks.
After opening many a recent set with the track, Crystal Castles (10:46) finally shared a studio version of the dark, difficult and foreboding "Plague", sounding like a rave caught in a tornado, with Alice Glass crying "I am the plague!" with trademark alarming gusto in the chorus.
Etta Bond's free EP Emergency Room, produced at the dirty dubstep hands of 22 year old London producer Raf Riley, made early preview "Ask Me To Stay", seem like the weak pleas of an innocent girl in comparison to aggressive anthems about vomiting, fake tan and kissing on the tube. "Boring Bitches" (3:06) is a clear standout, with Etta's enraged party girl rant at said bitches and a drop to make you bleed from the eyes.
Pnau getting access to some of Elton John's back catalogue was a bizarre project, but a successful, lush sounding one, with Pnau merging slick 70s disco sounds with a gorgeous 80s warmpad sheen, particularly on the heartbreakingly beautiful tragic disco anthem "Sad" (23:00).
My favourite remix of the month has got to go to the Krystal Klear mix of the latest Marina & The Diamonds single "Power & Control" (32:58). The Manc producer takes the initially plodding track and turns it into a 1992 house banger, complete with token bubbling organ basslines and bright piano hits.
Passion Pit returned to their early bubblegum hyperpop tendencies of early tracks like "Smile Upon Me" for a brief moment on their sophomore effort Gossamer, for the cut and paste joy of "I'll Be Alright" (18:39), which stands out like a blinding ray of sunshine on a generally emotionally heavy album. Although lyrically its just as paranoid as the rest of the record, you wouldn't guess by all the cheery melodies flying around.
The debut album by electronic bass band Purity Ring however had no shortage of highlights, with the gory words and meatgrinder bassline of "Fineshrine" (7:19) and hypnotic middle eastern bells and sugar sweet melodies of "Amenamy" (36:21) proving to be amoungst the best.
Just when you thought M83's "Midnight City" (14:59) had done its fair share of rounds, eerie electropop act Saint Saviour posts a cover so good that it will undoubtedly do its own fair share. But with haunting synth pads, distant cooing vocals and an addictive rework of the already addictive main refrain, it almost deserves to stand on its own as an original work, such is the creativity on show here.
Bass producers Lunice and Hudson Mohawke's duo project TNGHT also had released its first EP, and the dance world is already trembling under the weight of the brass bass line in "Higher Ground" (39:44).
But the real event of July was The xx finally releasing their comeback single, "Angels" (50:09). Read my review of it here.
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