NEW MUSIC: The Wild Wild - Alright

Judging by the success of The 1975, us Brits clearly have no problem with 80s pop rock, hair metal or glam rock influences in modern indie, and newcomers The Wild Wild take advantage of this fact wildly. 

"Alright" is an M83 sized chunk of synth-drenched rock melodrama, with sentiment-soaked pads and collosal Killers-sized hooks set to bring a fist pumping singalong to many a student union or drunken festival tent.

The band's eponymous debut EP, The Wild Wild, is out now on iTunes.

FOR FANS OF: The Killers, The 1975, M83

- Joe Copplestone, 7.4.14

NEW MUSIC: Frankmusik - By Nicole (Highlights)

Frankmusik is some kind of modern pop hero, and quite possibly the UK's guiding light for truly independent music. After a year of using social media to share his every move, emotion and frustration during the process of making this album, it would be a bummer if "By Nicole" was anything less than exceptional. Luckily it's more than exceptional.

I'm not here to review the album in detail, but I will tell you it's his most colourful, organic and human sounding effort yet. Whilst still being essentially electropop, live instruments pop up everywhere, weaving a delicate 3-dimensional tapestry that the "Do It In The A.M." Frank would never have considered. Take the lilting guitars on the verses of "Misdemeanor" and "These Streets" - gorgeous. And the double bass/marimba texture on the verses "Go"? Subtle but somehow breathtaking.

"Misdemeanor", "Go" and first single "These Streets" are my album highlights because they are the sound of an artist simultaneously at his artistic and commercial peak. Their big pop choruses could easily stand out on his exceptional debut Complete Me, with a warmth and maturity that Vince wasn't in touch with back when he recorded it. On "Misdemeanor", Frank talks of conquering his fear of getting older at one point, admitting "the future's a place I feel I don't belong", whilst "Go" could well be about the same girl from "Confusion Girl", but this time Vince is wiser, wryly encouraging Ms Confusion to "go and do what your friends say, they didn't like me anyway."

But best of all is "These Streets". It might not seem like an obvious first single, with its subtle, subdued "Black and Gold"-esque pulse, but placed at the very end of a focused, reflective and forward thinking album, it comes across as the perfect curtain call, or perhaps the perfect 'to be continued'. It's a break-up song, like so many of Vince's are, but when he says "strangers pass by where you were once there by my side", he shrugs it off with a sweet "I've got these streets". 

After 7 years of Vince singing mournful tales of 'what if?', and even one unconvincing (yet beautiful) track named "Final Song (To You)", this finally feels like the end of this chapter and the beginning of a new one for Vince, musically and lyrically. And judging by the raw, idea-crammed By Nicole, there is so much more new inspiration in him, growing by the second and bursting to be expressed.

Below is the one take video of "These Streets". It features nothing more than Vince standing under a bridge somewhere in London (on the route of the 152, if you pay attention), but I dare you not to fall slightly in love with this man whilst watching it.

FOR FANS OF: Sam Sparro, Bastille, The 1975

- Joe Copplestone, 28.04.14

GivePopAChance's Top 20 songs of 2013!

GivePopAChance is proud to present our Top 20 Pop and Pop-adjacent songs of 2013! Thanks for reading! We'll see you in 2014 with a whole load of new music for you to get your turkey-stained teeth into.

- Joe

20 
"ADORE YOU"
MILEY CYRUS

After all the twerking, drug-references, nudity and post-Disney rebelliousness that made up Bangerz' marketing scheme, it's best song was the opening number, a relatively freestyle and surprisingly emotionally raw power ballad, softened with the country edge that Miley will never quite be able to shrug off. The cheap thrills of Bangerz as a whole wear off after one or two listens, but "Adore You" becomes more affecting with each repeat.

19

"WALKING ON AIR"

KATY PERRY

Camp as christmas and Cher-er than Cher, Katy Perry's Prism standout "Walking On Air" fits the term 'guilty pleasure' perfectly. Because there is so much pleasure to be had in the Black Box-esque vocal samples, the shameless 1990 Vogue dance beats and piano hooks, the melodramatic falsetto hook... in fact, who's feeling guilty?

18
"MOVE"
MAUSI

Italo-Londoners Mausi gave us other mini indie-dance joys with "Sol" and "Body Language" over the last year, but the advert-friendly "Move" is their crowning earworm glory. Somehow the band get away with a flailing, slightly hysterical synth hook and a so-play-it's-safe-it's-not-safe chorus to create the underdog party song of the year.

17

"IMAGINE IT WAS US"

JESSIE WARE

Is it genius? No. Is it particularly creative? No. Is it gorgeous? GOD yes. Jessie Ware was sick of moping about men who keep her running even during their wildest moments over mid-tempo 80s soul beats, and decided to pick up the tempo and have some let-your-hair-down fun with cheeky one-off "Imagine it Was Us", and gives us pouty hook upon pouty hook over a gloriously retro Madonna-friendly Julio Bashmore beat. And somehow it ends up more hypnotic than anything on her still incredibly impressive debut album.

16
"HEART ATTACK"
DEMI LOVATO

It's hard not to be impressed with "Heart Attack". It's got it's American #1 ambitions written all over its sleeve (of course it does, it's Demi Lovato), but boy, you've gotta appreciate the effort here. Demi piles on the melodrama as she gradually makes her way up to a chorus the size of China, and her "I put up this facade, but really I'm incredibly insecure" act bizarrely manages to fly... do you know what, it's just really fucking catchy ok? Brings out the ambitious karaoke-r in all of us.

15

"GIRLS"

THE 1975

From the minute The 1975 dropped their debut album, mid album track (now current single) "Girls" pretty much overshadowed everything bar "Chocolate" by being the most ridiculously syrupy and addictive indie song since about 1996. There's something Britpop about these guys, which they would most definitely hate to hear, but they've got the attitude and sneery vocal is down to a T. Those adorable little guitar licks that inundate the song don't hurt either.

14
"NEED U (100%)"
DUKE DUMONT FT. A*M*E

The track that really kicked off mainstream house awareness this year (a #1 single I might add), "Need U" is MNEK-penned club perfection and an unexpected mainstream breakthrough for Duke Dumont. This would be hooky enough to command dancefloors as an instrumental, but A*M*E's Janet Jackson-esque plucky vocal and MNEK's own hypnotic vocal hook (uncredited for most of the year) brings things to an irresistible rave boil.

13

"SAME LOVE"

MACKLEMORE FT. MARY LAMBERT

There's no doubt that Macklemore is awesome - one of the biggest stars of mainstream hip hop and STILL unsigned - but his explicitly gay-marriage support anthem "Same Love" just catapulted him into a new stratosphere of modern day role model. Macklemore doesn't hide behind metaphors, favouring blunt honesty and personal admissions over the subtle hints that other artists would bottle out to, boldly stating "if I was gay, I would think hip hop hates me". There's also no ego involved, no need for approval (see Lady Gaga), and as a result, when Mary Lambert's simple, undramatic chorus comes around, it's a  sudden tearjerker each and every time for those whom the subject matter affects.

12

"GET LUCKY"

DAFT PUNK

It feels like a cliche to even feature the year's biggest song, but "Get Lucky" is just too damn good to leave off. When a song as simple and instantly memorable as the chilled and funky "Get Lucky" is overplayed as much as it undoubtedly was this year, you know it's a winner when you just don't get sick of it. And you just sing, deliriously happy, over and over...

"we're up all night to get lucky, we're up all night to get lucky, we're up all night to get lucky, we're up all night to get lucky, we're up all night to get lucky...."

11

"WAKE ME UP"

AVICII

In 2013 Avicii recognized a fusion that had not yet been attempted by the commercial dance elite, or the underground for that matter. On paper a Country-EDM hybrid sets off alarm bells of post-"Cotton Eye Joe" novelty music distress, and sadly a lot of Avicii's True record is an unwelcome rally to line dance at a rave. However, he got it right just once, and judging on how huge "Wake Me Up" was this summer, once was enough. The fact is, however he managed it, Avicii's summer smash hit manages to capture the most joyful elements of both Country and Progressive House and combine them to create a track that is warm and friendly one minute and euphoric and exhilarating the next. 

10
"HEY NOW"
LONDON GRAMMAR

London Grammar's 2013 journey reminds me very much of Hurts' 2010 one. Beginning with a single spectacular song (in Hurts' case "Wonderful Life" and for London Grammar - "Hey Now") and swiftly getting swept up in the hype with some equally impressive follow up songs and a debut album before you know it. But much like Hurts' before them, although London Grammar might be consistently strong and lived up to the hype as much as anyone could've hoped, nothing quite matches the magic of hearing Hannah Reid's earthshatteringly stunning voice uttering the words "Hey Now" for the first time. It's still their sparsest, most cryptic and most heartbreaking song.

9

"YOU AND ME"

DISCLOSURE FT. ELIZA DOOLITTLE

On paper, the most bizarre feature spot of the year turned out to be one of the biggest revelations (although Ms Doolittle's solo output continues to be sorely dull), with Eliza penning what essentially has become modern house's "We Found Love". Although Disclosure's beats are reliably funky, Eliza's the star here, with her unusual phrases (particularly the memorably odd opening line) riding a gorgeous, silky melody that steals the show.

8

"FALLING"

HAIM

"The new Fleetwood Mac" wouldn't even be an understatement with Haim, who bring the funk, the soul, the class, the hooks, and the whole damn package to the table, the most deserving BBC Sound of... winners in a long time. "Falling" just pips the rest of the output for sheer unashamed hookiness, complete with Michael Jackson yelps and speedy melismatic verses that get into your bloodstream and get you thoroughly addicted.

7

"TREASURE"

BRUNO MARS

It would so EASY to hate Bruno Mars, with his cheesy grin and even cheesier music, but taking off your muso-hat (and you should, it's Christmas), you'll find it's just as easy to love him. Every hook in the 70s funk of "Treasure" is a killer, laced with an unadulterated joy and a level of catchiness that knows no bounds. Bruno, there's not a thing that we would change - we think you're amazing. Just the way you are.

6

"HIGH SOCIETY"

BETTY WHO

If you don't know Betty Who by now, get to know. The Aussie synthpop hipster-princess is cut from the same genius-pop cloth as Robyn, and that's not a comparison we make lightly. On "High Society", the 21 year old Betty Who celebrates living life as if you're rich, when you really aren't, and manages to sound so much more endearing and likeable than a lot of her young synthpop peers (naming no names Chloe Howl). Effortlessly and infectiously happy and kinda beautiful. 

5

"DO WHAT U WANT"

LADY GAGA FT. R KELLY

ARTPOP is, on the whole, not a particularly surprising record. If Zedd had produced Born This Way, ARTPOP would've probably been the result. However, as far back as I can remember in modern pop, there has never been a song so TOTALLY GOBSMACKINGLY HEADS AND SHOULDERS BETTER than everything else on an album than "Do What U Want" is when compared to the rest of ARTPOP. 

The track's opening bassline itself smacks you in the fact in a way that every other track on the album tries to, but only "DWUW" actually succeeds in doing, and Gaga's 80s soul vocal is surprisingly convincing, deliriously over the top, but at the same time perfectly pitched. R Kelly's feature spot is ridiculous, and his climactic "we don't give a FUCK" is absurd. It's a track that makes you say, out loud, "...I'm sorry, WHAT?" after you hear it for the first time, and pretty much every subsequent time too. And it's probably the best track she's ever done, and will ever do.

4

"CHOCOLATE"

THE 1975

"Chocolate" represents the heart of what The 1975 stand for - i.e. mild hedonism and aggravation towards authority. Oh and their love of weed. And much like the drug itself, and indeed chocolate (a fun little metaphor), the band's breakthrough single is instantly satisfying and moreish indie pop, worryingly addictive even. The band come may come across as disinterested and trendy hipsters to pop fans, and eager to please crossovers to indie rock fans, but I have a different theory. Watch the video for "Girls" a few positions back - the band want to be taken seriously, but they simply cannot avoid their pop appeal. Poor dears. 

3

"HOLD ON WE'RE GOING HOME"

DRAKE FT. MAJID JORDAN

It's often hard to associate the dreamy-R&B Drake with the rap scene he associates with. "Hold On We're Going Home", a straight up, commercial pop song with a sung vocal from Drake himself, sounds like a signal of intent, a distinct step forward from the tongue in cheek, slightly flat lullabies of "Marvin's Room" into a realm where Drake takes himself seriously as a singer. 

In the past I've been one of those detractors who think of Drake as the worst thing about his own tracks, but on "Hold On", he rises to the challenge and provides something close to a heartfelt vocal. Lyrically it's the most straight forward love song of his career, and the simplicity and vulnerability is endearing, something I thought I'd never call Drake, and the track sounds like the beginning of a new musical journey. I'm sure it won't last long, but for 3 minutes and 47 seconds, Drake becomes someone you could actually trust with your daughter, and your future iTunes library.

2
"ROAR"
KATY PERRY

Katy Perry, the Californian sweetheart who was the most popular pop star on the planet 3 years ago, took a bit of a popularity beating this year, with a string of below par live vocals and a general lack of interest in her message of spiritual progression, which was compromised by a perceived general lack of musical progression. However, most of her critics that I have spoken to simply claim to have not taken an interest in her this time round.

It's understandable, on first listen "Roar" is a dull mid tempo "Teenage Dream" knockoff with absolutely nothing new to say. But as with so many great, great pop songs, it grows and grows on you - Much like the magnificent middle section of the song that builds to a heart stopping final chorus, one that displays a confidence and a genuine unadulterated joy that Katy Perry has never sung with before. 

And that's the point of "Roar" - it's not some now-outdated Russell Brand break up song - it's a statement about Katy Perry as an artist. She's a notoriously dodgy live singer, makes questionable fashion choices and sings songs about drinking and partying like an embarrassing older sister trying to stay hip, but nothing deters her. Katy Perry might seem like a has-been to many of you, but as she says in the bridge: you hold her down, she's gonna get up.

1

"SOMEBODY LOVES YOU"

BETTY WHO

Spencer's home depot gay marriage proposal has been seen currently 11 million people on YouTube. What makes the video extra special is that out of all the famous love songs in  the world he could've chosen, he chose an unknown Australian singer called Betty Who to soundtrack one of the happiest moments of his life. However, once you've heard "Somebody Loves You", you'll realize that this was not some sort of statement of unsigned music support - the track is genuinely that powerful.

Lyrically and musically the song has love at its core, running through every vein, whilst managing to avoid any kind of unwelcome sentiment or insincerity. The song occupies the same 80s synthpop space as Robyn, but where Robyn would favour a smart and street wise approach, Betty Who's honest and uncomplicated approach is impossible to misinterpret, and the joy is dangerous infectious. If any pop song this year, or in recent memory, has expressed love in a purer and more convincing way, then I have not heard it.

- Joe Copplestone, 27.12.13

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.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

"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 10 Songs of May 2013.

10. "Lost Hearts" - Last Days of 1984
Funky and addictive indiepop laced with a dark, obtuse atmosphere. Like Friendly Fires held hostage by The Knife.

9. "Intentions" - Gorgon City feat. Clean Bandit
Begins occupying a wistful Ibiza chillout space, as the gorgeous tones of Clean Bandit make their mark effortlessly, before dropping to a typically deep and hypnotic bass breakdown that is fast becoming Gorgon City's calling card.

8. "Modern Hearts" - The Knocks feat. St Lucia
Gloriously uplifting indie dance from these guilty pleasure connoisseurs with the lush St Lucia adding an irresistible 80s new wave vocal.

7. "Every Night I Say A Prayer" - Little Boots
Finally dropping her surprisingly brilliant second record in May, "Every Night I Say A Prayer" is its warm Italo-heart, with a subtly euphoric piano hook guiding proceedings onto timeless ground. Not bad for an act that many proclaimed very much left in BBC Sound of 2009.

6. "Warm Water" - Banks (prod. TEED)
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. 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.

5. "My Name's Jake" - Jake Emlyn
Having dropped a demo version of "My Name's Jake" in 2012, the track was pretty game-changing even then, but  the version that closes his Scandinavian Alien mixtape is a whole new level of epic. A deliciously melodramatic new orchestral and choral first verse drops into a much harder beat than before, and this time when Jake sneers "I'm famous and nobody knows it yet" it doesn't quite fly; people are going to know very soon.

4. "Iran Air" - Hiatus feat. Shura
The organic and beautiful alter ego to Burial, London producer Hiatus, dropped his majestic debut record Parklands in May, and although hard to pick highlights from an album where subtlety and darkness come together perfectly on every track, when the magnificent viola loop drops on "Iran Air", all bets are off. Shura does what she does, but somehow it's her most spine-tingling performance on the record, on par with "Fortune's Fool".

3. "fallingforyou" - The 1975
How the shamefully underrated 1975 manage to occupy two polar musical spaces with ease continues to elude, as the groggy but heartbreaking dark ballad "fallingforyou" closes the same EP that the epic and hedonistic "The City" opens, much as "Me" did for "Chocolate" on their Music For Cars release. This gloriously bi-polar band continue to more than prove their complex and achingly human credibility.

2.  "Doin' It Right" - Daft Punk feat. Panda Bear
"Doin' It Right" is Random Access Memories' "Face to Face"; the dark horse of the album, one that begs multiple plays outside of the context of the record. Uncharacteristically sparse, the song is held together almost entirely by an irresistible vocodor hook and Panda Bear's performance. It's the most effective guest spot on the album, purely because the Animal Collective vocalist's delirious and euphoric vocal adds a human edge to an otherwise quirky and robotic record.

1. "Endorphins" - Sub Focus feat. Alex Clare
Sub Focus has come under minor scrutiny for his new commercial direction, particularly on the euro-dance rave vibe of new single "Endorphins", but there's no denying that the man knows how to simultaneously create a rave frenzy and tug on a heartstring at the same time. "Endorphins" is just as emotionally charged as last years phenomenal "Tidal Wave", with Alex Clare providing a singalong wet dream of a lead vocal. If there are more tracks in the vein of "Out The Blue", "Tidal Wave" and "Endorphins" on the way, Sub Focus' second record should indeed be named after the latter song. Wikipedia describes actual Endorphins as hormones released during feelings such as excitement, love and orgasm - so far in the last 12 months, Sub Focus has very nearly caused me all three.

IYES - Glow

Brighton based IYES released their debut track "Lighthouse" onto Soundcloud 5 months ago, a gorgeous synth-drenched fusion of the xx and Daughter, but along comes "Glow" this month, and totally ups their game. Taking from their peers The 1975 and Chvrches, the band mix euphoric electronic flourishes with an anthemic indie mindset. The vocals of Josh Christopher and Melis Soyaslanova compliment each other perfectly, Melis' cracked, gentle voice breaking ripples in the water in the verses, before Josh's Chris Martin sized voice causes a full on tidal wave in the exhilarating chorus, where Josh cries "You make me glow" as a wall of synth battles it out with an over-eager drum machine. More please.

FOR FANS OF: Passion Pit, The 1975, Chvrches

Top 10 Tracks of March 2013.

10

"Ice.Moon"

SZA

GivePopAChance said...

"On new track "Ice.Moon", SZA's gentle, silky tones float over a thick bass drone and menacing trap beat... Equally suggestive and threatening, just like it should be." READ MORE.

9

"Yung Rapunxel"

Azealia Banks

GivePopAChance said...

"Yung Rapunxel" feels like Azealia Banks' true second single, her first real showstopper since she first dropped "212" about a year and a half ago." READ MORE.

8

"Lay Down in Swimming Pools"

MKS (Mutya Keisha Siobhan)

Although the original Sugababes line-up have flaunted clips of a somewhat lacklustre track called "Boys", this reinterpretation of Kendrick Lamar's modern classic "Swimming Pools" feels like the trio's proper, and indeed appropriate comeback. Bringing the Compton anthem to South London, Mutya's husky murmurs, Siobhan's haunting vibrato and Keisha's trademark vocal flourishes fit together better than ever, and the harmonies are spellbinding. 13 years down the line, it feels like the girls, young and ambitious when they began, now world-wise and seasoned, are only finally beginning their career together the way it was meant to be.

7

"We Can Be Ghosts Now" (feat. Shura)

Hiatus

GivePopAChance said...

"...(Shura) opens up her vocal chords just enough to let the gorgeous melody bounce charmingly against Hiatus' warm, glossy backdrop." READ MORE.

6

"Shallows"

Daughter

A fragile, haunting and very impressive debut record from London band Daughter dropped this month, one of the years best records of 2013 so far, one track stands out in particular, album closer "Shallows". Bringing to mind Explosions in the Sky, it has a tender, post-rock touch that eludes many similar acts (and there are many), and singer Elena's tender Romi-esque (xx) voice trembles with emotion but resides itself to defeat when she utters the words "if you leave" as the guitars melancholically arpeggiate her loss. It's a heartbreaking moment, and one that the song revolves around.

5

"Imagine It Was Us"

Jessie Ware

GivePopAChance said...

"...(Julio) Bashmore surrounds Jessie's warm tones with familiar warm synths and an almost european dance beat that ensures the track pushes every guilty pleasure button whilst still being utterly irresistible." READ MORE.

4

"Digital Lion"

James Blake & Brian Eno

GivePopAChance said...

"Eno can be heard in the shimmering, warm, 70s-flecked pads, but Blake's voice steals the show as it breaks through the fuzzy atmosphere like a ray of sunshine, rather than hiding his gorgeous jazzy croon beneath it." READ MORE.

3

"Borderline"

Classixx

GivePopAChance said...

"The new wave synth chords of "Borderline" pulse along purposefully through a typically gorgeous, balearic chord sequence, and the melt-in-your-mouth vocals of Jesse Kivel from the similarly sunny synthpop band Kisses float thoughtfully up into falsetto." READ MORE.

Also check out a more euphorically inclined remix courtesy of London producer lostchild.

2

"3 Days"

Rhye

Rhye's debut record "Woman" is so far my favourite record of 2013. A true frontrunner in the gradually growing 80s soul revival brought about by Julio Bashmore and Jessie Ware et al, Rhye's Mike Milosh (yes, that voice that drew so many comparisons to Sade comes from a man) has a voice that mesmerizes and warms, and the band's arrangements are, whilst on paper cheesy and dated, in reality tasteful and perfectly underplayed. 

"3 Days" comes out as a personal favourite from the record because their choice of arrangement, one they do not even attempt to recreate live (they slow it down to a jazzy shuffle), is one that ticks every cliched 80s chillout box, but comes out with something that suspends any comparison in our minds, and just sounds like Rhye. And that's the sign of a band with a fruitful and much coveted career ahead of them.

1

"Me"

The 1975

For a band so well known for their gutsy, anthemic singles, on their EPs, The 1975 paint from a much more varied palette. For those not willing to give themselves to the band, but only to their popular songs like "Sex" and "Chocolate", are shooting themselves in the feet. On their EPs, The 1975 prove themselves as a thoroughly complex, beautiful act. Their catalogue thus far is practically musically bipolar; the singles show them as rebels, hedonists and teenagers. And then there are songs like "Me".

"Me" is the band's darkest song, lyrically and musically. The words are apologetic, full of self-loathing and disturbingly blunt, but musically synths wail in the distance as bass rumbles quietly in the foreground. The music is beautiful, and every line ends with the shy, residing phrase "don't you mind", but the statements and confessions that precede are harsher. Singer Matthew Healy confesses he's "put you all through hell", "hurt your brother as well" and, most overwhelmingly, "I thought about killing myself". It's heartbreakingly confessional. If "The City", "Sex" and "Chocolate" are the party, "Me" is a hell of a comedown. I don't actually know which I'd prefer, both sound enticing to me.

TOP 10 TRACKS OF FEBRUARY 2013.

10
"Attracting Flies"
AlunaGeorge

GivePopAChance said...
"AlunaGeorge continue to elude genres whilst sounding effortlessly cool and current, and the crumbling beats and battering ram synths of "Attracting Flies" are no exception." READ MORE...



9
"So Close"
Kidnap Kid feat. Sinead Harnett

After a stunning yet mysterious debut on Disclosure's "Boiling", Sinead Harnett returns with a similarly subdued tune. The consistently tasteful Kidnap Kid drops subtle and unusual balearic chords, with just enough ambiance to still please his underground house fans, and Sinead's songwriting takes centre stage. Unlike the distant reverb-laden ad libs of "Boiling", the chorus of "So Close" is full of positive energy, uplifting and warm, and unlike on the Disclosure number, Sinead makes the track her own with her lullaby tones.



8
"XTC"
LIZ

GivePopAChance said...
"This will be, without doubt, a cheesy dated mess to many people, but it's an ultimate retro R&B guilty pleasure for me." READ MORE...



7
"Make A Little Room"
Al Lewis

In the wake of Ben Howard's sweep at the Brit's, it bodes well for a lot of folky British singer songwriters, but there are few as deserving as Welsh sweetheart Al Lewis. There are no awkward metaphors, no pretense, just classic, relate-able songwriting. The flecks of country in the upbeat tempo and cutesy female backing vocal only add to the charm of this modest, clean cut love song.



6
"Falling"
Haim

These girls are so 80s pop/rock that many bands would shy away from their gutsy vocal hooks, shamelessly funky basslines and twinkling synth, but their sheer Fleetwood Mac brand of cheese is to be admired if anything. Even the closing hook of "Never look back, never give up" is forgivable  as these girls stand by every overly confident hook they write and pull them off with panache. And god damn it, "Falling" is catchy.



5
"Sloe Gin"
Dream McClean

GivePopAChance said...
"Over a stumbling, drunken beat and head-swirling synth line, Essex rapper Dream McLean woozily tells partially-blacked out tales of "drinking sloe gin too fast"." READ MORE...



4
"London"
Official-O

So much goes on in the gorgeous yet harsh "London", that it's hard to pinpoint one particular sound Official-O, or "the artist known as Ofe" as his website cryptically states, was aiming for. The vocoders are straight from James Blake's debut, but Ofe's voice is from the Alex Clare school of gritty soul. Every sound, including the optimistic, sunny piano chords and thunderous drums and deafening wall of vocals at the climax, all form a perfect soundtrack to the hectic streets of London. And to anyone who's ever lived there, the sound is crazy but beautiful.



3
"Chocolate"
The 1975

The 1975 simply have to be the next big indie band. There's a level of rebelliousness that a lot of the pretty indie boys of 2012/2013 have eschewed in exchange for a more twee sound, and right from their anthemic lead single "The City", The 1975 have been anything but quaint or twee. These boys tell stories of fumblings in the backs of cars, being young and being stupid. "We're never gonna quit it, never gonna quit it no" yelps their (utterly gorgeous) lead singer, and guitars jump around in a gorgeous tapestry. The pulsing drum machine that is exposed towards the end of the song emphasizes the message even more. There's no point of being a mopey indie band when you can be one that lives for the party.



2
"Retrograde"
James Blake

GivePopAChance said...
"New single "Retrograde" is a total relief, a revelation and a triumphant sign that Blake is no mere BBC Sound-of-year flash in the pan. A seemingly complex acrobatic vocal hook becomes somehow unforgettable by the end of the song, and Blake's voice seems confident and utterly heartwarming." READ MORE...



1
"Metal and Dust"
London Grammar

When a track like London Grammar's (already song-of-the-year standard) "Hey Now" comes along, there's no doubt that there is something really special there. The question is, is it the band that's special or just the song? The Naked and Famous released the epic, heartwrenchingly perfect indie anthem "Young Blood" in 2009, but followed it with an album bogged down with almost exclusively uninspiring synth rock = THE SONG. On the other hand 80s goth-pop revivalists Hurts' released their seminal, timeless song "Wonderful Life" around the same time, and followed it with a benchmark album full of timeless songs; just look at "Stay" or "Blood Tears and Gold" = THE BAND.

As you might have already guessed by my placement of London Grammar at the top of both my January and February lists, you would be very accurate in guessing that London Grammar, two songs in, look like they belong to the latter category  "Metal and Dust" has all the sparkle that made "Hey Now" so spellbinding, the mesmerizing vocal, the sparse, perfect guitar parts, but whilst "Hey Now" was infused with a longing and melancholy, "Metal and Dust" replaces that with a fire and a passion. "We argue we don't fight, stay awake till the middle of the night" chants singer Hannah Reid, and the youth in the band shines through more here than on the drifting loneliness of "Hey Now".

Similarities between "Metal and Dust" and "Unfinished Sympathy" by Massive Attack can be made, but that is no mean feat, and by all means a huge compliment: the busy breakbeat that the track rides on, the majestic strings that envelop it, and not to mention the epic cut and paste vocal loop that cries out towards the end of the track. But once again, as with London Grammar's own "Hey Now", Massive Attack's "Unfinished Sympathy" was a sad song, one that had a lot of emotion wearing it down, whilst "Metal and Dust" soars, totally reinterpreting the sounds it has been influenced by. If London Grammar can demonstrate such maturity, such range and such depth and range of emotion, skill and meaning in just two songs, there can be no other prediction to be made: London Grammar's debut simply must be the album of the year.

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.