#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

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

Banks - Warm Water (Prod. Totally Enormous Extinct Dinosaurs)

The sudden surge of subdued, soulful singers in the wake of Jessie Ware's success is surely no coincidence, but more often than not, these singers rise to the challenge. The American Banks has a very British tinge to her warm, subtley aching voice, and Oxford dance prodigy TEED tones down the synthpop to create a shimmering and sparse post-R&B soundscape for Banks to vibe over. The toneful is thoughtful and chilled, and as Banks' sings "I think I may love you if you give me some time", it feels like it's not just Banks herself on the verge of something great in the song, but also in her rise to success. It is a joy that we live in an time where subtlety is valued in R&B, and may Jessie Ware have many more protegees to follow.

FOR FANS OF: Jessie Ware, Delilah, Snakehips

SZA - Ice.Moon

Dark, eerie and seductive was the order of the day in 2011/2012 R&B, with many artists following in The Weeknd's and Drake's footsteps. Now finally it looks like the girls are taking over, and SZA has the potential to become a frontrunner. On new track "Ice.Moon", SZA's gentle, silky tones float over a thick bass drone and menacing trap beat, and on the mesmerizing chorus she borrows the "go, go, go" refrain from Delilah's "Go" and laces the sexual tension with an air of genuine menace, ending on the sneering "go to church if your scared". Equally suggestive and threatening, just like it should be.

FOR FANS OF: Delilah, Aaliyah, Lana Del Rey

Popdar: Best New Music - 30/07

Sadly, this week is almost entirely a no-show week for exciting releases, but there are some recent releases that may have slipped under the radar for some of you.


ANGEL HAZE - RESERVATION (MIXTAPE)
FREE DOWNLOAD.


Although they're all getting at each others throats, it is nothing short of a delight (for me anyway) that in the wake of Princess Azealia's rise and rise, so many young female rappers, mainly from NY admittedly, are receiving widespread attention in 2012. Whilst some of them are all attitude with little to say (I'm looking at you Kreayshawn and Dominique Young Unique), others, like Angel Haze, have a bit more than skimpy underwear, a diss dictionary and monopoly money in their suitcase. 


The Reservation mixtape is decidedly old school in its productions, but 20 year old rapper is Ms Haze's flow is not cheap and flashy, but intelligent, sharp and compelling. She comfortably sings "I run New York" in "New York", and the relaxed but focused verse rapping is much more convincing than a louder, more obnoxious rapper. Unlike other NY rap divas, she doesn't focus all her attention on her peers, but on colossal bass highlight "Werkin' Girls" she sums her position in one fell swoop: "You can cut the fake shit, I'm not a motherfuckin' actor". Low key cuts like "This is Me" and "Sufferings First" could not be further from fake, the perception in her lyrics exceeding her 20 years of age.


If Azealia Banks' frills and fun approach doesn't win you over to female hip hop, Angel Haze gives you something deeper to get your teeth into. 


For fans of: Lil Kim, Missy Elliot, Azealia Banks,



ETTA BOND/RAF RILEY - EMERGENCY ROOM (EP)
FREE DOWNLOAD

If you thought Etta Bond displayed a satisfying bite when she calls her ex a "bitch" in "Ask Me To Stay", then brace yourself for her first EP, produced by future bass/post dubstep producer Raf Riley, who gives every track a broken glass edge with merciless shuddering beats leading the way beneath uncomfortable but addictive electronics, jagged and sharp as broken glass. And placing a saxophone solo on "Baddy" has surely never proved to be a sound so gloriously out of place, and yet still somehow perfectly placed, in dubstep before.

Not that Etta's performances are any less jagged and sharp than her productions. "Ask Me To Stay" seems endlessly tame in comparison to the hedonistic, 'crazy bitch' persona she displays everywhere else on this EP. She's got the hangover from hell in "Resolve", in which beats and bass churn like a alcohol-poisoned stomach as Etta moans about "cold pizza for breakfast", whilst the alarming but brilliant "Boring Bitches" pays tribute to girls who don't dance for fear their "fake tan's gonna run and shit", but the insane drop, courtesy of Riley, could surely even get the Queen on her feet. 


Hopes of further exposure are high, with even Jessie J championing her, having tweeted that "Boring Bitches" is 'her tune'. Maybe she's right, although perhaps not in the way she thinks. And that's why we need Etta Bond in 2012. There are too many of these boring bitches dominating the charts of late, and what we need is a girl who in no way wants to "sit down and act like a lady".

For fans of: Benga, Lily Allen, Katy B



DELILAH - FROM THE ROOTS UP (LP)
OUT NOW

It seems unlikely that anyone reading this is unfamiliar with creamy voiced Paloma Ayana, aka Delilah, but in case there was any confusion, she killed it on Chase & Status' "Time", and her debut record "From The Roots Up" is out today.

Whilst her voice is undoubtedly an acquired taste, Delilah's performance on her debut is all the more enjoyable due to its limitations. Her sparse trip-hoppy/post dub productions leave her voice completely uncovered 95% of the time. On recent single "Inside My Love", Delilah strains the top of her range to hit sky high head voice notes, and as a result her voice sounds vulnerable and desperate, perfect for the misty and lustful tones of the track.

"From The Roots Up" has its share of distinctly 'pleasant' love songs, but compared to the more seductive material there is no contest; Delilah has a voice to seduce and entrance rather than to preach, and there is nothing wrong with that. "Go" is still the album's stroke of genius, with a bassline that rumbles like distant thunder and a genius reinterpretation of the verse in Chaka Khan's "Ain't Nobody", and the floating, beautiful "Breathe" still manages to be sexy despite its lyrics flirting with suffocation and suicide. It's a shame that elsewhere, she sounds uncomfortable on tracks like "Shades of Grey" and "Only You", on which her thin, wispy voice struggles to sound warm and inviting.


Delilah might have a distinct, inimitable voice, but material wise, she is still finding her feet. But there is still enough on her debut to suggest she can work beyond her soulful roots in its follow up, and hopefully play on her infinitely more satisfying underground dance flirtations, which fit her like a glove.


For fans of: Portishead, Katy B




TNGHT - TNGHT (EP)
OUT NOW ON ITUNES

Two incredibly forward thinking, massively creative and unfairly unknown producers, Lunice and Hudson Mohawke, collaborate here to make an EP which is already twice as hyped as their original projects.


Not without good reason. Hudson Mohawke's playful and startling melodies and quirky sounds are tamed yet enhanced by Lunice's sparse but dynamic beats, and the result is an EP of genre-bending bass music that repels trends as much as it sets them. Expect all 5 of these tracks to feature on a good deal of mixtapes in the future.

I personally hear Azealia Banks snapping up "Bugg'n". What about you?


For fans of: Rustie, Hudson Mohawke, SBTRKT

TOP 50 OF 2011: Honourable Mentions

After humming and hawing over my top songs list, I just want to mention some tracks that I seriously considered for the top 50, but that didn't quite make it...

"TERRA INCOGNITA" - ATLAS SOUND
Beautiful and haunting stripped down number from the Deerhunter frontman.

"GO" - DELILAH
Takes the verses of "Ain't Nobody" by Chaka Khan, and comes up with this dark, sexy, post-dub gem.

"DOING IT WRONG" - DRAKE
Touchingly honest and knowingly insightful ode to breaking up with someone, with a gorgeous, sparse synth-laden backdrop thanks to his producer 40.

"SMALL BUMP" - ED SHEERAN
Not a fanatical fan of the ginger crusader here, but the achingly pretty sentiment of this sad, sad song is impossible to deny.

"SOMEBODY THAT I USED TO KNOW" - GOTYE FEAT. KIMBRA
A delightfully quirky ode to splitting up on bad terms with a killer chorus that Sting couldn't sing better.

"FORTUNE'S FOOL" - HIATUS & SHURA
Delicate vocals, wistful acoustics with the scent of dub lurking in the air, British producer/singer duo produce, under the radar, one of the most fragile and beautiful singles of the year.

"THE VISION (LET ME BREATHE)" - JOKER FEAT. JESSIE WARE
Irresistible commercial dubstep track with a deliciously dramatic vocal performance (just see 1.35 for the best moment).

"BROKEN RECORD" - KATY B
The party girl gets insecure and emotional about a destructive relationship, and the breakbeats and killer melody on the chorus compliment this perfectly.

"MARRY THE NIGHT" - LADY GAGA
The stadium-bothering Hi NRG dance opener of "Born This Way" tells the bittersweet tale of being dumped from her label, but its message is triumphant and uplifting for those who know.

"VIDEO GAMES" - LANA DEL REY
The sexiest song of the year, somehow manages to make you feel dirty every time you hear its sultry 60s orchestral ballad tones.

"PERFECT SKIES" - MAIN ATTRAKIONZ
Lush, stoner hip-hop, that is so laid back in its tempo it threatens to grind to a halt at any moment.

"SOMETIMES" (SHAZAM REMIX) - MIAMI HORROR
A generic indie dance song is given the euphoric funky house treatment, and the catchiest synth lead of the year.

"DON'T FUCK WITH MY MONEY" - PENGUIN PRISON
Reliving punchy 80s pop has never been so much fun, from the tongue-in-cheek lyrics to the OTT scream towards the end.

"IT'S REAL" - REAL ESTATE
An uplifting care-free indie love song that is as sing-along as it is tender.

"FAMILY FRIEND" - THE VACCINES
The one downtempo moment on an upbeat, relentlessly energetic record, and a much needed, and surprisingly touching moment for reflection to close it.

"TOTALLY TRUE" - VIOLENS
Hypnotic guitar hooks and misty vocals and a driving rhythm at an intense new wave pace. Beautiful and mysterious.

"LOOP THE LOOP" - WILD BEASTS
A beautiful cabaret-indie waltz and a yearning ode to the power lust has over love, both common topics for the band, brought together here touchingly.

"IN THE MORNING" - WYNTER GORDON
A chilled out comedown dance anthem that is beautiful and yet biting at the same time, magically produced by Robbie Rivera.