Friday 30 March 2018

Rae Morris @ Heaven

Rae Morris @ Heaven

Synth chords drone and the figure of Rae Morris appears on stage to sing opener Push Me To My Limits in a chirruping voice, moving birdlike within a cage of neon. Reborn follows and her arms unfold like the wings of a phoenix, her voice rising over the marching beats and pulsing electronics.

This is a very different Rae Morris to that of her debut album. Songs from 'Unguarded' still pepper the setlist, but with her new album 'Someone Out There' she's truly found her voice, her confidence. Her sense of fun.

She steps out from behind the piano and dances along to the frothy pop of Do It, the buoyant Atletico (The Only One), the energetic Dip My Toe. The techno menace of Rose Garden erupts into a full-on rave at the end. Her lyrics are fuelled by sexuality, her stage presence a vision of liberation. Her song Dancing With Character might be a tender portrayal of an old couple from her hometown, but it equally applies to her own balletic movement on-stage.

The serious side of Rae Morris does remain. She sits behind the piano for the delicate Morne Fortuné and returns at the end for a short rendition of Don't Go. There's a sense of gothic drama too - the stunning Wait For The Rain begins with a thunderstorm. She's an eccentric performer with a voice of guttural, ethereal beauty: bubbly pop with more than a hint of Björk, Bat for Lashes and Kate Bush.

But when the music stops, she remains that sweet, polite girl from Blackpool, sipping on tea, overwhelmed by the audience's adoration. "This is crazy," she exclaims as the crowd erupt in cheers; "I can't tell you how full my heart feels," she says by the gig's end.

As she closes with the anthemic Someone Out There, the hearts of the crowd are equally full. Rae Morris is a lovable persona on-stage. Whether addressing the audience, sat behind a piano, or dancing as she sings, she is never less than her authentic self. That carefree confidence is infectious.

4/5

Rae Morris @ Heaven

Rae Morris @ Heaven

Thursday 29 March 2018

Tomb Raider - Roar Uthaug

Tomb Raider - Roar Uthaug

For a film called Tomb Raider, there’s very little actual tomb raiding here.

That may seem ironic, but it’s actually in-line with the game series on which this film is based. Long gone is the pointy-breasted double pistol-toting heroine of the 1996 original, and in her place is a more realistic characterisation: a young woman thrown into adventure unexpectedly, haunted by the loss of her missing father. This new film, from Norwegian director Roar Uthaug and starring Swede Alicia Vikander in the lead role, is faithful to the new games, but to a fault.

Its plot is essentially that of the most recent two games condensed into one. Lara is a young adrenaline junkie living in London, whose father mysteriously went missing eight years prior. She refuses his wealth, instead opting to stand on her own two feet, but she soon discovers her father’s archaeological studies and in the process uncovers the mystery of Himiko, the ancient Queen of Yamatai with power over life and death, buried on a lost island off the coast of Japan.

Events on the island eventually lead to some raiding of tombs, but up to that point the film takes itself far too seriously in its endeavour to portray a gritty, believable story. Lara is a twenty-first century heroine, a well-rounded woman instead of a lads mag fantasy, and Vikander gets top marks for effort. But even she, an Oscar winner, can’t elevate this cliché-riddled script. The relationship between Lara and her father (Dominic West) is laughable and full of trite Britishness – in fact West’s only acting direction is to speak “my darling” and “sprout” as wistfully as possible. It all just comes off as melodramatic – we’re meant to sympathise with Lara, but it’s difficult to warm to her. One minute she’s crying over her first kill, the next she’s firing arrows like she’s Legolas at Helm’s Deep. The game was criticised for this exact scene, but where the need to provide enemies to kill is perhaps more excusable in a game, here it’s an unwieldly shift in tone.

The action sequences, as expected, come with plenty of jumping (but sadly no handstands). Yet just like the recent games, Lara seemingly flies through the air making inexplicably long leaps, getting battered and bruised and smacked and stabbed yet miraculously never even being close to death. None of these sequences are delivered with the sort of wise-cracking wit or fun that you’d perhaps expect from this sort of adventure film; instead it’s a po-faced contrast to what’s come before. Worse, they’re practically all stolen from the games themselves. This is clearly meant to appease fans of the games, but really it’s just a lazy lack of creativity. Any nods to the series simply ensure the film is as boringly predictable as possible, rather than being clever nuggets. More to the point: if it’s more fun to sit with a controller and actually play through these sequences yourself, why watch the film at all?

That’s the main issue with Tomb Raider. Video games are unique in allowing player agency to control the action and the story. They’re interactive. They’re fun. That’s something that a film will never imitate successfully. That’s why this Tomb Raider film is just the next in a long line of average game to film adaptations.

2/5

Watch: Tomb Raider is out now.


Monday 26 March 2018

Love, Simon - Greg Berlanti


There’s a dream sequence partway through Love, Simon in which a handful of straight teenagers must come out as heterosexual to their parents, each met with shock and horror and outrage. It’s humorous for its apparent absurdity, but it’s a key point of the film: if straight people don’t have to come out, then why should gay people?

It’s a theme that’s more pronounced in the novel on which the film is based, Becky Albertalli’s Simon vs The Homo Sapiens Agenda. Here, each of the protagonist Simon’s straight friends has a secret and by the end, each has ‘come out’ in their own way. Simon’s own coming out is, of course, filled with drama – it wouldn’t be an exciting read otherwise – but it’s just one of many secrets to be uncovered over the course of the plot.

By comparison, Love, Simon is a more straightforward coming out film that tweaks details of the novel to suit its own refined narrative. Set in an American high school in modern day, the titular Simon has embarked on a secret gay romance over email with an anonymous lover – but who is the mysterious Blue? More to the point, will his coming out have the dramatic effect on his friends, family and colleagues that he expects and fears?

Director Greg Berlanti is no stranger to teen drama and it’s remarkable that the film brings so much freshness to such an obvious genre. Each generation has their representative teen high school movie: The Breakfast Club, American Pie, Mean Girls. Love, Simon matches that canon, effortlessly capturing the present day experience of high school. Sure, it has the same locker-filled corridors, cliques and canteen politics, but it’s a far more progressive, open and diverse film than others in the past. And in Simon (Nick Robinson, in brilliantly relatable form) we have a new teen hero.

It’s absolutely crammed with hilarious moments. There’s feisty drama teacher Ms. Albright (Natasha Rothwell) who dryly criticises during rehearsals for the school production of Cabaret, but proves to be fiercely protective of the students in crisis. Vice Principal Mr. Worth (Tony Hale) awkwardly tries to be down with the kids, but his heart is in the right place. The only ‘out’ student is Ethan (Clark Moore), who offers some of the sassiest comebacks, yet he's grown a thick skin owing to a difficult home life. And there are dream sequences and asides that will have you absolutely howling with laughter – they’re not to be spoiled here. It’s a film that’s not afraid to be sassy and bold and heart-warming all at the same time, all tied together with a pulsing dream-pop soundtrack that’s worth listening to alone.

It’s also utterly moving and tender. Once Simon is forced to come out, the reaction from his parents (Jennifer Garner and Josh Duhamel) is beautifully done. Garner in particular offers a truly sensitive performance. In its denouement, though, the film does lean slightly towards sentimentality with a cutesy setpiece and a neat ending that ties everything together. For all its drama and mystery, the film is something of an aspirational fantasy full of overtly supportive characters.

And yet, it still manages to capture the nervous uneasiness of coming out amongst all the fuzziness, the tears, and the wonderful comedy. In fact, there’s so much heart here that you can’t help but overlook any flaws. Few films are as gloriously uplifting as this.

4/5

Watch: Love, Simon is released on April 6th.


Sunday 25 March 2018

New Music Friday 23/03

Just a short one this week. Because when NMF includes the likes of George Ezra, Kodaline and Snow Patrol high up on the list, why bother?


David Guetta & Sia - Flames

David Guetta & Sia - Flames

These two are teaming up for the fifth time, following Titanium, She Wolf, Bang My Head and more recently Helium. Though the chorus soars, it's a slightly more restrained offering from the duo - that means there's thankfully a little less of Sia's croaky bleating in the higher register, but there's also a lack of a big hook. Fun, but not a classic.

Worth a listen.



Shawn Mendes - In My Blood

Shawn Mendes - In My Blood

It's hard to believe that Mendes' breakthrough hit Stitches has been out since 2015. It seems more like yesterday. In My Blood is taken from, presumably, a new album which will be the singer's third. It's more of a stadium rock track, clearly influenced by his sell out tours over the last couple of years, but it's missing the pop appeal of his previous singles. For that there's a second song, Lost In Japan, that's all funk lines reminiscent of Timberlake or rival Charlie Puth. Neither song is particularly interesting though.

Don't bother.



Panic! At The Disco - Say Amen (Saturday Night)

Panic! At The Disco - Say Amen (Saturday Night)

The band have been through so many lineup changes that Panic! is now essentially a Brendon Urie solo project. And yet, the band's sound has managed to stay consistent. Say Amen is typically loud, brash and dramatic, with some surprising falsetto from Urie. Perhaps he's freer on his own.

Worth a listen.



Kacey Musgraves - High Horse

Kacey Musgraves - High Horse

Oh look, another country singer turning to pop. High Horse is the third track released from Musgraves' forthcoming seventh album 'Golden Hour', featuring a shuffling beat and funk bass. Twanging guitar hooks and banjo maintain a grip on her country roots, but it's clear this album could be her finest hour.

Worth a listen.



Bazzi - Honest

Bazzi - Honest

Justin Bieber seems to be taking a break at the moment, so Bazzi has swooped in instead. Breakout hit Mine is riding high in the global charts, all staccato melodies and atmospheric, romantic synths. Honest swaps the synths for guitars and a heavier beat, but it's far less memorable. Bieber's crown is still in tact.

Worth a listen.


Saturday 24 March 2018

Anne-Marie @ The Roundhouse

Anne-Marie @ The Roundhouse

"I'm gonna take you back to Karate," says Anne-Marie during this gig at London's Roundhouse, the biggest headline of her career to date. Her aim here is to span her career: Karate was her first single (and a nod to her gold medal earning martial arts prowess) and since then she's released a handful of successful singles. But do we really know the real Anne-Marie?

The stage is littered with pictures of her friends and family and between songs she exudes warmth, with banter and jokes revealing this genuine, girlish side. Vocally she soars, but she's yet to find her feet as a popstar - erupting into shy giggles, she lacks the stage presence of other contemporary singers.

Musically, though, it's all confused. Fierce outrage at ex-boyfriends is her default position, all told through conversational lyrics. Yet this leads to a string of tracks that all sound too similar, R&B tinged with calypso and reggae influences. They're generically chart-friendly and characterless - close your eyes and it could be anyone singing. Breakout single Alarm stood out only for its rave remix that picked up the pace and added a jolt of energy.

Elsewhere she tries to be honest and confessional, but it all comes off a little too sickly sweet. Bad Girlfriend is too on the nose, Perfect a saccharine nod to feminism, Trigger an underwhelming attempt to be woke. Rarely does Anne-Marie step outside of an already familiar comfort zone.

When she does, the impact is considerable. By far the best performance of the night was Peak, a stripped back ballad in which she questions the end of a relationship. She sings seated and visibly emotional, a cathartic and genuine release, but it's too quiet and subtle for an audience pent up on dance music. Later, on Then, she matches the serious heartfelt lyrics with understated, cool production.

When she does finally perform her biggest solo hit at the end, it's too little too late. Ciao Adios is a stomping banger that encapsulates the best she has to offer, yet she's best known for featuring on songs by other artists: Clean Bandit's Rockabye and current single Friends with producer Marshmello. Supported by others she excels, but alone she falls flat. Forthcoming debut album 'Speak Your Mind' is set to be a mixed bag.

3/5

Listen: 'Speak Your Mind' is released at the end of April.

Anne-Marie @ The Roundhouse

Anne-Marie @ The Roundhouse

My Days Of Mercy - Tali Shalom Ezer

My Days Of Mercy - Tali Shalom Ezer

As the opening film of this year's BFI Flare festival celebrating queer cinema, My Days Of Mercy is an urgent, politically-charged choice and the first US feature from Israeli director Tali Shalom Ezer. A country in political crisis, America still shockingly enforces the death penalty - the only Western country to do so. The film is structured around a series of protests, a clash of those both for and against, at various prisons around the country.

And yet against this backdrop, a beautiful queer love story unfolds between two young activist women. They're on opposing sides: Lucy (Ellen Page) against the death penalty as her father waits on death row accused of murdering her mother; Mercy (Kate Mara) pro, after the death of her father's police partner. The two sides have mutual disdain for one another, but the girls meet by chance and embark on a secret romance, a sort of Juliet & Juliet relationship.

Narratively the main focus is Lucy's family. Eight years earlier, her mother was murdered, a tragic event that's enveloped the family in sorrow. Her father stands accused; her older sister Martha (Amy Seimetz, in an incredibly emotional performance) spearheads the family's fight to prove his innocence; her younger brother Benjamin (Charlie Shotwell) saddened to have never really known his father. Lucy has since grown introverted, wrestling with doubts over her father's innocence, though Page balances this with trademark quirky humour. The 'did-he-didn't-he' plotline is the engine that drives the narrative towards a traumatic climax.

Mercy is Lucy's opposite. Confident, free-spirited and from a wealthy family, she boldly instigates each stage of their relationship but soon becomes wrapped up irreconcilably in the family drama. She's not devoid of conflict herself though, her concealed sexuality at odds with her highly conservative parents.

Yet this isn't a film about coming out. If anything, Lucy and Mercy's relationship is this pure, innocent thing amidst the harsh, bleak reality of politics. Page and Mara have such natural chemistry together, the scenes between the two women feel warm and authentic yet also precious and vulnerable. These are snatches of secret love - all giddy and exciting - even when politics threatens to crush it all.

That central juxtaposition adds urgency to the film, its conclusion a testament to the power of love - love knows no boundaries of gender, sexuality or political divide. With this lesbian relationship so downplayed and natural and real, the film focuses instead on how elsewhere life and death literally hang in the balance, when in reality politicians weirdly question marriage equality and gender and which bathrooms should be used. My Days Of Mercy is a harrowing film, whose beautiful message forces us to question political priorities.

4/5

Watch: My Days Of Mercy was show at the BFI Flare Festival 2018 and will be distributed later this year.


Vincent River @ The Park Theatre

Vincent River @ The Park Theatre

Philip Ridley has never been one to shy away from the most shocking elements of humanity, to get to the core of our darkest moments. Vincent River is no exception: confrontational and deeply moving.

Originally performed at the Hampstead Theatre in 2000, it's now revived at the Park Theatre under director Robert Chevara. Eighteen years after that premiere and the gay community are still striving for equality, to feel safe on the streets. This fictional story of a homosexual hate crime is as stunningly potent now as it ever was.

We never meet the victim, the titular Vincent. Instead we hear his story through the filter of his mother and the man who discovered his corpse in a public toilet. Davey (Thomas Mahy) arrives at the home of Anita (Louise Jameson) determined to discover as much as he can about the man behind the body. Anita, meanwhile, is only now learning about her son's nightly habits.

It's a heartbreaking play about the aftermath of a tragedy, the ghostly image of Vincent forming through anecdotes and a handful of childhood props, yet it brims with dark humour. Ridley's fast-paced dialogue is filled with surprising wit and juxtapositions, offering glimpses of humanity in this bleak situation. He draws us in slowly, the mystery meticulously crafted, before smacking us round the face with the horrifying truth, literally guiding us through the plot - "penny dropped yet?".

The performances from Mahy and Jameson follow suit. That humour ensures we immediately warm to each character: the cocky, intimidating, yet playful Davey and the grieving Anita who masks her sorrow with dry comedy. Both actors are utterly captivating, their performances balancing light and shade - we literally watch two people crumble before us. The effects are devastating.

More so, Jameson captures the tragedy of a mother forced to come to terms with her son's sexuality under the most brutal circumstances. For all her confidence and bravado early on she is a broken woman, equally outraged at her son's lifestyle as she is saddened to have never really known him. Mahy is exceptionally strong, but Davy is merely a catalyst in shattering Anita's world. As this immense, visceral, rollercoaster of a play rattles through to its conclusion, it leaves you breathless.

5/5

Watch: Vincent River runs at the Park Theatre until April 14th.

Vincent River @ The Park Theatre

Vincent River @ The Park Theatre
Photos: David Monteith Hodge

Sunday 18 March 2018

Shadow Of The Colossus

Shadow Of The Colossus

Back in 2006, Shadow of the Colossus was a groundbreaking release. To this day it's amazing what power Team Ico squeezed out of the PS2: sixteen screen-sized colossi to kill that stomp the ground, dive underwater and fly through the clouds. Nothing like it had been seen before and nothing has matched its magnificence since - until this remake from Bluepoint Games.

Shadow Of The Colossus
More so, it was a lead example in the 'video games as art' argument. That's as much for its minimal design as it is its visual aesthetic. Director Fumito Ueda has become known for his design by subtraction philosophy and Shadow of the Colossus is his masterpiece. It's tightly focused: just you, your horse, and sixteen beasts to destroy in order to save a mysterious girl. Each element, each colossal puzzle, has been meticulously crafted, a linear journey of steadily increasing difficulty and creativity. It oozes style and atmosphere, the lonely yet peaceful ride between each colossus only bettered by the thrill of riding high on some towering beast.

Shadow Of The Colossus
But it's a game that poses more questions than it answers. It thrives on ambiguity, Ueda teasing just enough detail to form the narrative while simultaneously keeping us in the dark. What is this land? Where did the colossi come from? What power can be wielded by killing them? Is this even the right thing to do?

Minimalism informs the presentation style too: this bleak, empty, silent, ancient, decaying world. It's mournful, drenched in sadness, hopeless despite each triumph. Is it even a triumph to kill such beautiful creatures with fear in their eyes? David destroys Goliath, but Goliath is innocent and helpless.

Shadow Of The Colossus
This remake on PS4 updates the game's visuals from scratch and introduces a new control scheme. The lead characters are perhaps too cartoon-like, but otherwise this is the game as it was always intended - stunningly beautiful and with the smooth, polished framerate it always deserved.

What hasn't been touched are the confusing camera, awkwardly finicky controls, and a horse with a mind of its own. Wander, the warrior, moves with a strange momentum that takes some time to get used to and the stiff camera swings wildly in the heat of battle. You're fighting these elements as much as the colossi themselves, adding unnecessary difficulty. The game's (perhaps purposeful) scrappiness is acceptable the first time through, but replaying it in Time Attack is a hugely testing exercise in frustration.

Still, the remake does include the best possible feature: a photo mode. Pause the game at any moment and you can reposition and tilt the camera, as well as add a variety of filters. Shadow of the Colossus is a true work of art; now we have the perfect mode with which to appreciate it all over again.

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

Shadow Of The Colossus

New Music Friday 15/03

Years & Years - Sanctify

Years & Years - Sanctify

Technically this came out last week, but I missed out on a post then. King remains one of the best pop songs this side of the millennium, but Sanctify is a darker, sensual return. A spiritual successor to previous hit Worship, it's all sinuous melodies, clipped beats, and bold masochistic sexuality. Buoyed by the success of their debut, Olly Alexander and co. are back more confident than ever.

Add to playlist.



Louisa feat. 2 Chainz - YES

 Louisa feat. 2 Chainz - YES

Louisa is still desperately trying to shake off the shackles of The X Factor. Despite releasing a string of decent pop songs - as well as having an undeniably strong vocal - she's failed to light up the charts. YES is an absolute storm, a stomping maelstrom of feminine power that sounds like the best of The Pussycat Dolls. Is this the track that will finally make her? Did someone say yes?

Add to playlist.



Sigrid - Raw

Sigrid - Raw

"I'm honest, no offence," sings Sigrid in the opening verse of this new track. She's certainly shown rawness in her previous releases, particularly the storming Don't Kill My Vibe, but here it feels too literal sung over cutesy production. It's a new playful side to the Norwegian, but she's better when she's fierce.

Worth a listen.



Charlie Puth feat. Kehlani - Done For Me

Charlie Puth feat. Kehlani - Done For Me

Puth has had huge global success with his previous two hits and Done For Me follows suit. Indebted to Michael Jackson's 'Off The Wall' album, this is polished disco-funk with a welcome verse from Kehlani. Yet Puth just isn't quite cool enough to pull off this sound - his dorkiness is endearing, but this feels a little old fashioned.

Worth a listen.



Snakehips feat. St Rulez - Cruzin'

Snakehips feat. St Rulez - Cruzin'

If it's funky cool you're after, then this is for you. The production duo are yet to give us a bad song and this feels instantly fresh, pairing a 90s vibe with futuristic touches. This is the only track released from newcomer St Rulez though, so who he is is anyone's guess.

Worth a listen.



Echosmith - Over My Head

 Echosmith - Over My Head

Echosmith's Cool Kids was a brilliant, youthful debut but they've failed to truly capitalise on its success. Their 'Inside A Dream' EP from last year is a fun, frothy slice of guitar-pop that's been slept on by most, and while Over My Head is a dramatic follow-up, it's not quite the comeback track that the band need.

Worth a listen.



Emily Burns - Girlfriend At The Time

 Emily Burns - Girlfriend At The Time

Breakout hit Bitch has lurched Burns into the limelight this year, but this is an even better follow up. The production is starkly minimalist, but its honeyed and bubbly, belying the anxiety at the heart of the lyrics. "Don't let me be another missed mistake," she pleads in the chorus. That's as much to you as it is her future lover - she's a talent not to be passed by.

Add to playlist.



Kygo feat. Miguel - Remind Me To Forget

Kygo feat. Miguel - Remind Me To Forget

Another featured vocalist, same old song...

Don't bother



Banx & Ranx and Ella Eyre feat. Yxng Bane - Answerphone

Banx & Ranx and Ella Eyre feat. Yxng Bane - Answerphone

Electro-Caribbean duo Banx & Ranx have released a string of high profile remixes recently and are on the rise. Ella Eyre is struggling to make a comeback and live up to early hype. And Yxng Bane is best known for his remix of Ed Sheeran's Shape Of You. Together they've created a big potential hit that should throw all three into the spotlight.

Worth a listen



Hayley Kiyoko - Let It Be

 Hayley Kiyoko - Let It Be

Curious is one of this year's best pop releases, so it's disappointing that Kiyoko's next track is this dull ballad that dampens the excitement around her. Her album is released at the end of the month, so let's hope Curious isn't a one hit wonder.

Don't bother.


Saturday 17 March 2018

Old Fools @ Southwark Playhouse

Old Fools @ Southwark Playhouse

Theatre has the power to transport and captivate. Sometimes that's done through elaborate sets and flashy lighting and loud music and extravagant costumes and make-up.

Old Fools has none of those things. It's plaintive and quiet. Its lighting is soft and subtle. Its staging is bare, with just a stool in one corner. And it's all the more arresting because of that.

The play thrives on its beautiful, human storytelling. Writer Tristan Bernays has produced a sharp script that's at once witty and funny, yet deeply tragic. His story is a simple one: the lifetime of a couple, Tom and Viv (Mark Arends and Frances Grey). It begins with a meet cute and continues through the strains of dealing with Tom's Alzheimers. There are moments of flirtation and humour, and there are moments of pain and sadness. It is rife with raw human emotion but without being overly sentimental, its message to fight through the bad times and remember the good. Yet sometimes remembering itself is a struggle.

It's also full of nostalgia. The empty set adds a timeless quality, but this relationship is a world away from modernity. It's a reminiscence on old fashioned boy meets girl romance, heightened by the repetition of Frank Sinatra's "The Way You Look Tonight" that forms a running thread throughout.

But there's a twist. The play is fragmented, jumping back and forth through time. It's as if we witness the relationship through Tom's mind as he attempts to piece together his past. Cleverly, Bernays uses key trigger words that form a bridge from one scene to the next as the play shifts through time, further emphasising the juxtaposition of emotions. These memories are fragile and precious: they form just as easily and suddenly as they shatter.

What's more, there's a real authenticity to the script. Bernays has experience of Alzheimers in his family and it's clear that he's drawn upon that experience here, its portrayal sensitive yet honest and frank. Arends and Grey bring warmth to their respective roles, Grey also doubling as the couple's daughter. They transition to each emotion and scene with remarkable ease, their relationship consistently compelling and real.

Perhaps most cleverly of all is the play's ambiguity that ensures it remains as thought-provoking as it is heartbreaking. What happens between each jump in time? What details have been left out? We'll never find out. Tragically, perhaps the play's characters won't either.

5/5

Watch: Old Fools runs at the Southwark Playhouse until April 7th.

Old Fools @ Southwark Playhouse

Old Fools @ Southwark Playhouse
Photos: NatJames Photography

Saturday 3 March 2018

New Music Friday 02/03

George Ezra - Pretty Shining People

George Ezra - Pretty Shining People

It's always a worry when George Ezra is the first track in a NMF. It's at least a little more upbeat than his previous stuff, but it still features him bleating a sing-song melody over boring guitar patterns.

Don't bother.



MNEK - Tongue

MNEK - Tongue

When you're really falling for someone, obsessively even, but you're scared to really reveal your feelings in case you screw it up. That's all on the tip of MNEK's Tongue, spilling out over pop-dance production and a spoken word chorus. This is MNEK at his most experimental.

Worth a listen.


Diplo - Worry No More (feat. Lil Yachty & Santigold)

Diplo - Worry No More (feat. Lil Yachty & Santigold)

Diplo's often tapped into dancehall flavours, be it in his solo production work or with Major Lazer. There's plenty going on here in the production, from new wave guitars, to sub bass, dancehall beats and pizzicato strings. It doesn't quite hang together, but it's a welcome return to Santigold at the least.

Worth a listen.



Miriam Bryant - Black Car

 Miriam Bryant - Black Car

This track has already been a huge hit in Bryant's native Sweden, with nine weeks in the top 10 and awards for best single. But compared to other Scandi acts, this lacks that sparkling, polished sheen that we're used to. That would be forgivable if the song wasn't so...boring.

Don't bother.



ALMA - Dance For Me (feat. MØ)

 ALMA - Dance For Me (feat. MØ)

ALMA's been joining forces a lot recently. First there was an inclusion on Charli XCX's Out Of My Head with Tove Lo. Then, just last week she featured on a girl power version of Dua Lipa's IDGAF for the Live Lounge alongside Charli XCX, MØ and Zara Larsson. Now she's got MØ on this track taken from her new Heavy Rules Mixtape, an infectious, bubbling dance pop track that slots neatly alongside her previous singles Dye My Hair and Chasing Highs. Tove Styrke also features on the mixtape for another level of Scandi flavour.

Add to playlist.



Blakey - Prism of Love feat. JONES

Blakey - Prism of Love feat. JONES

This is an intriguing remix of Francis and the Lights, with almost identical moody electronic production and processed vocals, but with the added charm of JONES for a feminine twist. Oh wait, this is an original song? Oh.

Worth a listen.



Fickle Friends - Wake Me Up

Fickle Friends - Wake Me Up

The Brighton five-piece had a sleeper hit with last year's Glue. Wake Me Up is that song's antithesis - from giddy teenage lust to melodramatic heartbreak. "We are absolutely failing," sings Natassja Shiner in the chorus, devastated over the vibrant synths. Their full length debut is due this month and could well be one of the pop albums of the year.

Add to playlist.



Tracey Thorn & Shura - Air

Tracey Thorn & Shura - Air

Best known for being one half of Everything But The Girl, Tracey Thorn has released a string of solo albums. 'Record' is the latest, with Air as one of its nine "feminist bangers" on which she interrogates the male gaze over youthful production that fizzes and bubbles. The inclusion of Shura only adds to that youthful energy, resulting in a universal feminist anthem.

Add to playlist.



CHVRCHES feat. Matt Berninger - My Enemy

CHVRCHES feat. Matt Berninger - My Enemy

This is a moodier affair for the Glaswegian electro-pop group, tasking The National's Matt Berninger with extra vocals. He and singer Lauren Mayberry trade barbs as a relationship falls apart, but really his presence only dampens the otherwise lofty production.

Worth a listen.