Browsing Tag

Australian Pop

Urban Cafe Crew unleashed their classically contemporary tinsel-wrapped perennial pop earworm, ‘Baby It’s Christmas’

Urban Cafe Crew wrapped a perennial pop earworm in tinsel to deliver the catchiest Christmas single since Mariah Carey dominated the festive sonic landscape with All I Want for Christmas is You.

Hit play on Baby It’s Christmas by the eclectic Australian music collective and instantly succumb to the modern spin on the classic Christmas motifs. From the first beat following the swells of classic strings, you’ll register that Baby It’s Christmas sets itself apart from the usual holiday fare.

From the bells to the butter-wouldn’t-melt croons to the keys working in complete synergy with the percussion to raise the energy, Baby It’s Christmas ticks all the sentimental boxes while oozing cross-generational appeal. It has been a while since a Christmas single melodiously moved with the times while keeping sonic traditions alive; Urban Cafe Crew achieved the feat effortlessly.

Even if you usually recoil to the tune of White Christmas on the radio when November rolls around, you won’t be able to resist turning a smile as you hum the exhilaratingly vibrant melody.

Baby It’s Christmas was officially released on November 10th. Unwrap it on YouTube.

Review by Amelia Vandergast

Ojay put devil horns on their latest pop-rock earworm, Creep in the Night

This isn’t Thriller, but the Bad Guy by Eilish-esque swagger in the recently released macabrely magnetic pop-rock hit, Creep in the Night, from the prodigal sons of accursed experimentation, Ojay, is one of eeriest infectious earworms you will meet this year.

With their ability to bring the funk in the basslines, the grooves in the razor-sharp guitar cuts and wear the devil may care horns all too well in the vocal performance, the high-energy Australian outfit knocked it out of the seventh ring of hell with Creep in the Night.

Between the exemplary modern production which puts Highly Suspect to shame, the swathes of chilling charisma and the efficaciousness of the vocal hooks which seduce you into the dark heart of the release, I’m struggling to see how I will leave this hit alone.

Creep in the Night was officially released on Friday the 13th; stream it on Spotify.

Review by Amelia Vandergast

Holly Riva is as stormy as a tsunami in her latest alt-soul single, Drowning.

The hypnotic harmonic effect on her ethereal vocal lines over the crashing waves in the intro was a mesmerising way for Holly Riva to kick off her latest lyrically dark, texturally luminous single, Drowning.

With moody electronica motifs sending shockwaves of reverberance through the stormy as a tsunami release, the horn stabs harbingering doom and the metaphors alluding to the relatable phenomena of losing your power under the weight of toxicity, the Australian singer-songwriter succeeded in visualising universal emotions, which typically leave us out of our depth when we have chased an idea instead of a person.

Artistically and technically, it is a phenomenal release from the evocative enchantress who has already racked up 250,000 streams on Spotify alone since she made her debut with the EP, A Memory. Now that she’s shown a more vulnerable side to her creativity, we can’t wait to hear more of it rush to the surface.

Drowning was officially released on September 29; stream it on Spotify.

Review by Amelia Vandergast

ELSKA delivered synthwave redemption in her latest single, Flashback

With an 80s edge as sharp as the one carved by The Human League paired with the same spiritual zeal of Stevie Nicks, the latest single from the ever-ascending Australian pop icon, ELSKA carries enough of the nostalgic new wave feel-good factor to leave you exhilarated by the swells of retro aesthetics, but Flashback is so much more to an ode to seemingly everyone’s new favourite era.

The juxtaposing lyrics reminisce on crying on the bathroom floor – yea, we’ve all been there – while the shimmering aesthetic of the track affectingly attests to how we all have to write our own redemption story, which also goes for survivors of sexual abuse and assault. If the sticky-sweet hooks in the stellar four-to-the-floor bop don’t convince you that dark days don’t set a blueprint for your future, just wait until the harmonies start to layer into a synthesised choir.

Prior to the release of Flashback, ELSKA performed at the 2023 FIFA Women’s World Cup, collaborated with the world-renowned Brad Hosking on a track, and became a semi-finalist in the International Songwriting Competition. She has come a seriously long way since she made her debut in 2018. We can’t wait to see her make more Olympian strides.

Flashback was officially released on October 6; stream it on Spotify.

Review by Amelia Vandergast

Bree Gregory cut right to the emotional core with her orchestral ballad, See You Soon

The Adelaide singer-songwriter Bree Gregory captured the bitter-sweetness of impassioned goodbyes and the beauty of uninhibited vulnerability with her latest orchestrally arranged piano pop ballad, See You Soon, which strips the sonorous production right back to her vocals, piano keys and a string quartet.

Between the cutting crescendos and the steady strides in her dynamic vocal register that carries the same sense of beguile as Adele, See You Soon cuts you right to the emotional core.

Moving away from her RnB soul sound, which saw her peak at number 4 in the top 10 AMRAP charts with her single, Waiting, was a bold move, but discernibly, her talents lend themselves efficaciously well to more than one genre. We can’t wait to see where this Billboard & Grammy-worthy exposition of viscerally warm raw emotion takes her. Even greater successes are surely in the pipeline.

See You Soon will debut on September 22; stream it on SoundCloud.

Review by Amelia Vandergast

Georgia Jones digs through ‘Ruins’ in her melancholically cold debut pop track

Contrasting the warm climate that she hails from, the 23-year-old Australian singer-songwriter, Georgia Jones, unleashed a sombrely cold serenade with her debut single, Ruins.

With a penchant for poetry and influences from Taylor Swift, Lorde, Bon Ivor and Billie Eilish, Georgia Jones found her signature somewhere in between her inspirational artists. From the bruisingly raw lyricism of Eilish, the tender melodicism of Bon Ivor and the stylishly melancholic edge of Lorde, Ruins serves as a candidly contemporary introduction to the artist, who frequently traverses fear as the prevalent theme in her music. Considering that there’s little else but fear in the atmosphere these days, you would struggle to find a more timely release.

As far as pop debuts go, Georgia Jones left nothing to be desired – apart from the sophomore single.

Ruins was officially released on August 12th; stream it on Spotify.

Review by Amelia Vandergast

Arlo Boe – Eclipsed: One small step for pop, one giant leap for the airwaves.

The Australian up-and-coming pop sensation, Arlo Boe didn’t just go lyrically interstellar with her latest single, Eclipsed. The stratospheric energy resounds just as much through the catchy, spacey 80s synth pop textures, modernised by Boe’s unique futuristic pop vision.

Beyond the spacey intonations, Eclipsed is dedicated to the people who don’t fall into the category of marriage material but are dynamite between the sheets. A bold concept, but with Arlo Boe’s signature cinematic yet casually cool style, it is impossible not to get hooked on the synthy grooves and her vocal dynamism, which asserts her authenticity on the airwaves.

Eclipsed will officially release on August 12th; hear it on SoundCloud.

Review by Amelia Vandergast

Amela is the epitome of individuality while advocating it in her hook-decorated pop hit, Who You Are

With ample resonance to the structure of Lorde’s hit, Royal, there is no denying that Amela’s latest single, Who You Are, has the earworm factor nestled into the contemporary production.

Beyond the catchy pop vocal hooks, there’s a sticky-sweet celebration of autonomous freedom around the feisty and moody electro instrumentals that give the track enough of an edge to ensure it etches itself into your synapses and demands repeat attention.

There’s nothing more irritating than pop artists that encourage individuality while presenting themselves as fresh from the cookie-cutter stars. With Amela, she leads by infectiously quirky example. The Australian singer-songwriter has blown up across her home continent, but clearly, her sound carries all of the hallmarks of an internationally successful artist. We can’t wait to see her climb the charts.

Who You Are will officially release on July 8th. You can check it out for yourselves by heading over to SoundCloud or Spotify.

Review by Amelia Vandergast

Enjoy the high life with Emil’s dreamy synthpop sonic story ‘Up in the Hills’

Escape reality with Emil’s latest feat of fusionist alchemy, Up in the Hills. At just 18 years old, the Sydney, Australia-hailing artist has already perfected the art of crafting soundscapes that scarcely seem of this world.

With the artful originality, which pairs dream pop with nuances of jazz and RnB, on par with the likes of Brian Eno and Kate Bush, Emil set himself apart from the rest with his hazy, smoky, summer serenade. The best part? The complete lack of pretence while the narrative lyrics are soulfully being run through. Up in the Hills is pure sonic expressive bliss.

Up in the Hills was officially released on June 26th, 2022. Check it out for yourselves on SoundCloud.

Review by Amelia Vandergast

Cami Bex owns her lack of impulse control in her matured bubblegum pop earworm. Cut Me Off

There was no forgetting the pop-archetype-smashing artist, Cami Bex, after hearing her debut single, Type, in 2020. In 2022, she is on even more visceral form with the release of her seminal single, Cut Me Off, which is a playfully resonant admission to her lack of control in the face of temptation.

A chorus of, “I’m not strong enough for you, you better cut me off”, was always going to hit hard. But when those bruising words are delivered through Cami Bex’s signature bubble gum pop vocals, they hit twice as hard.

The Sydney Southwest-based artist has been worthy of viral notoriety from the start; we can’t wait to watch more hype garner around the sheer vulnerability in her indie breathy vocals and her hooky melodies.

Cut Me Off will officially release on February 25th, 2022. You can check it out for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast