Listening to this ABSOLUTE BANGER will make you feel like
more than just a dangerous woman. “I’m so into you I can barely breathe”, she
purrs at the start before the chorus drops to leave you truly breathless – “a
little less conversation and a little more touch my body”. This sex jam should
be your new obsession.
Salt Ashes - Save It
Brighton-based Salt Ashes, a.k.a Veiga Sanchez, has released this banger just in time for the summer. Infectious beats, rousing vocals, and a properly stonking chorus make this an absolute winner.
Justin Timberlake – Can’t Stop The Feeling
This would’ve sounded brilliant two summers ago. Written with Max Martin and Shellback to soundtrack the new Trolls movie in which he stars, this is essentially Timberlake’s Happy, with its breezy, pop-funk production. It’s a fun summer track, but this is far from the Timberlake comeback we deserve.
This would’ve sounded brilliant two summers ago. Written with Max Martin and Shellback to soundtrack the new Trolls movie in which he stars, this is essentially Timberlake’s Happy, with its breezy, pop-funk production. It’s a fun summer track, but this is far from the Timberlake comeback we deserve.
Another soundtrack piece, this is from the upcoming Angry Birds movie. It’s a world away
from the belching computer music of Vroom
Vroom, but as fizzy pop tracks go it’s hard to beat.
It’s a shame that this album is so inconsistent. Over the
course of her career, Katy B has become the pop-dance voice of the clubs and
this latest album is no exception. The London singer has drafted in some top
talent to assist, including KAYTRANADA on the sultry opening title track, Four
Tet on the throbbing bass of Calm Down,
and of course the now obligatory Craig David vocal on Who Am I – a sad-pop banger that also features Major Lazer. So Far Away is also a highlight,
beginning in warm muted fashion before building towards a climactic DnB beat
courtesy of Wilkinson. What’s missing, though, is the raw emotion of her last
album and its standout single Crying For
No Reason. Instead, ‘Honey’ is more Katy B and friends, with a few misplaced
steps into grime. When they’re bad they’re bad, but when they’re good they’re
great.
In stark contrast to the usual Swedish icy cool, Niki &
The Dove have followed up their brilliant 2012 debut with an album geared squarely
at the summer. So Much It Hurts immediately
sets the tone with its warm synths and lazy beats, whilst subsequent tracks
deliver Prince-style funk guitars and live drums far removed from the metallic
euphoria of their past material. ‘Everybody’s Heart…’ certainly lacks pop
hooks, but as the title suggests there’s subtle melancholy in the lyrics and
downbeat melodies. The sun-dappled Play
It On My Radio is a beautiful summer lullaby, the moody Scar For Love has further hints of
Prince, Brand New is all dancing
minimalism, and Ode To Dance Floor is
a seven and a half minute laidback funk groove that rounds out the album in
style. The dance floor, though, is where this Swedish duo ultimately belong.
You and I features
on the re-release of the band’s debut album ‘White Noise’, originally released
in 2014 – if you missed them the first time there’s no excuse now. In many ways
they’re Chvrches meet Paramore, blending electropop with heavy rock to create an
awesome sound that epitomises youthful angst. This is a band for the tumblr
generation, the gruff vocals of Lyndsey Gunnulfsen soaring over a dense mix of huge
guitar riffs and dramatic production, with some pop hooks and “heys!” thrown in
for good measure.
“You tell me you wanna stay and you wanna watch me change /
but I’m scared so I tell you to fuck off / why do I do it?”
It’s raw, it’s honest, and it’s alluringly dark electro pop
from the L.A girl band.
The basics finally stoop to tropical house. It’s good in a “this
is so bad I’m enjoying it” kind of way.
The Chilis haven’t sounded good since 2002 (‘By The Way’).
The bloated ‘Stadium Arcadium’ failed to see the band reach new heights and did
anyone even listen to 2011’s ‘I’m With You’? Now the band return with a new
album, ‘The Getaway’, but on Dark
Necessities they’re showing their age. The funk bass is sluggish, the
vocals lack energy and the more mature sound is just dull. This is far from
essential.
This is quite a change of pace from the usual piano ballads
we expect from Alicia Keys. “It’s sunrise and I’m still in your bed” she sings
suggestively, the buoyant dancehall beats providing a rhythmic basis for the
tropical production that sounds eerily similar to Drake’s Take Care. It’s not quite iconic, but it’s intriguing hearing the
singer heading in a new direction.
Radiohead – Burn The Witch