Rudimental feat. James Arthur - Sun Comes Up
Considering James Arthur's early solo material was all Rudimental-style rough soul meets hip-hop cool, it's ironic that he's now featuring on their comeback single. It is, however, one of THE songs of the summer. The tropical marimba, the clipped beats, the way the song builds from acoustic guitar and then breaks down to build up all over again in the middle eight. This is a brilliantly constructed pop song with an intoxicating sound that marries sunny warmth with cool darkness.
Mura Masa feat. Christine And The Queens - Second 2 None
Take the choppy, crystalline production of Mura Masa and the effortless vocals of pop darling Christine And The Queens and you get Second 2 None, which sounds like the sort of thing Imogen Heap would release these days. Hushed vocal harmonies float delicately over fluttering synths before colliding in the chorus - for all the song's metallic experimentation it remains a beautifully soft little love song.
Clean Bandit & Marina and the Diamonds - Disconnect
This track was actually put together a couple of years back, but has been given a surprise release following Clean Bandit's Glastonbury performance. More importantly, it's the first we've heard of Marina since she declared she'd be taking a break after her 'Froot' album. That makes the lyrics to this all the more poignant: "I've been feeling anxious, ain't been feeling right...Need to look after myself, need to take a break." Is new music from Marina on the way? We'll have to wait and see...but this'll do nicely in the meantime.
Liam Gallagher - Chinatown
Against my better judgement I accidentally listened to this song and...it's not as bad as I thought. It certainly shows a softer side to the Mancunian, with its fingerpicked acoustic guitar backing and gently sung melodies. Perhaps that's the influence of producer Greg Kurstin, best known for his work with Adele. Still, that vocal is as grating as ever.
Redlight, Liv Dawson, Kojo Funds - I'll Be Waiting
Redlight: a Bristol-based DJ producer. Liv Dawson: an up and coming singer who's worked with Disclosure. Kojo Funds: London rapper. I'll Be Waiting: an utterly pedestrian R&B track that's devoid of personality despite its three collaborators.
Dusky Grey - Call Me Over
Are Dusky Grey aware they've ripped of Sigrid's Fake Friends with this new track? Well the verse at least; the chorus suddenly lurches into a light reggae tropical feel that's equally unoriginal. Still, it sounds very 2017 and is an enjoyable bop so perhaps this will give the duo their first real mainstream hit, despite having a name that sounds like a Dulux paint.
Astrid S - Such A Boy
Such A Boy is the next single to be taken from the Norwegian's EP 'Party's Over'. Sonically this is frothier and more playful than the icy cool of the title track, but that belies its honest lyrics that depict uncertainty in a relationship: "You say you want a break so we break up, you tell me stay so we make up." The repeated chorus hook "don't be such a boy" might be seen as a little sexist, but the song is as frank and relatable as it is infectious.
Anna of the North - Someone
The second Norwegian release of the week (well, Norwegian/Kiwi if we're being pedantic), this glistens with 80s synths and polished drums reminiscent of Betty Davis Eyes meets Fleetwood Mac's Everywhere but with added Scandi shivers and a yearning, widescreen chorus of "I'm only human baby". And then the key changes, the whole song turns up a notch and the ice shatters into glorious, melancholic euphoria.
St. Vincent - New York
On this new release, Annie Clark switches guitars and weirdness for brutal honesty, wistful strings and reflection. "I have lost a hero, I have lost a friend," she sings longingly, "but for you, darling, I'd do it all again." It's a searing, beautiful break-up anthem tinged not with regret but a loving sigh of acceptance.
Dan Caplen feat. RAY BLK - Flat Champagne
We all have delusions of grandeur, visions of a bubbly future of fame and fortune that ultimately fall flat. That's the focus of Flat Champagne, which feels a little cynical. The production, though, is anything but flat, all funk grooves, joyful piano and gospel vocal harmonies, while the addition of RAY BLK should help to bring Caplen the recognition he so richly deserves.
