For his latest release, Norway-residing artist and producer Ben Alexander collaborated with the enigmatically unique artist and vocalist Ida Stein to create a chilling feat of future pop.
With effect-laden vocals that will feel familiar to any fans of Mindinabox and breakdowns that resonate with your senses on a practically primal level, becoming immersed in the bass-swathed mix is non-optional. Despite the chill of their geography lowering the temperature in Motions, there’s an inexplicable, soulfully infused sense of warmth to the release that resonates through Alexander’s African percussion style.
You can check out the official music video to Motions via YouTube, or you can add the mesmerising mix to your playlists by heading over to Spotify.
Shaking off her small-town-girl status, TAYLOR ESPOSITO is here with her impassioned hyperpop earworm, ‘KISS ME LIKE IT’S NOT OVER’. In the same vein as anthemic tracks by Rihanna, Ariana Grande and Cardi B, the single resounds with fervent energy but you would be hard-pressed to find any singles by the aforementioned artists with a bassline that slaps as hard.
The debut is an unapologetically archetypal pop track but with the formula perfected under TAYLOR ESPOSITO’s meticulous approach to production and her fierce attitude colliding with the bass-riding beats. There’s no denying that KISS ME LIKE IT’S NOT OVER doesn’t leave you adrenalized and insatiable to hear what ESPOSITO has in the pipeline.
If her music wasn’t exciting enough, the artist and influencer has made it safe to see pop stars as role models again.
KISS ME LIKE IT’S NOT OVER is now available to stream via Spotify. Follow the artist via Instagram.
Smooth, soulful, and full of spirit, 59Fifty – the new single from Canada-based artist Jae Cabrera – is a classic little R&B/pop single, all dancefloor groove, neat little programmed hi-hat patterns, and high-register vocals. Cabrera’s voice has a kind of sexy, crooning quality, that Michael Jackson high-end that’s almost but not quite breaking into falsetto.
‘59Fifty’, the track, is a mix of Bruno Mars, Justin Timberlake, and Charlie Puth, that perfect mix of dance-oriented beat and grind and sincere, lifting vocal-line, expressive and passionate yet equally poppy and immediate, catchy without being disposable, with a hook that sticks around long after the final bars have decayed to silence. It’s a perfect summer pop record.
Justin Adijanto, Jessica Gelinas and Voel’s latest collaborative 3-track single, ‘Ctrl Alt Delete’, practically lays out the welcome mat to make you feel right at home in the immersive indie RnB pop release.
The radio-ready singles, produced by Jakarta-born producer Justin Adijanto, ooze contemporary appeal by toying with moody and muddy tones and nestling shimmering synths in between. With the RnB infusion manifesting through Jessica and Voel’s vocals and instrumentally through the funk-laden grooves, the potency of the soul parallels the infectiousness of the melodies. The standout track has to be, ‘Crazy’; a highly relatable admission of the mania that comes to the surface when it comes to romantic disparity.
Ctrl Alt Delete is now available to stream via Spotify.
The debut single from Brighton-based artist VALE, ‘Outrun The Sun’, was produced entirely in lockdown and totally DIY – but that’s not to understate the quality or the passion here. Growing up in Switzerland and a classically trained pianist Vale wrote her first song aged six, but her passion for electronic and pop music came to the fore as she studied composition and songwriting at Brighton’s Institute of Modern Music.
‘Outrun The Sun’ is a cute little electronic-pop single in the style of Sia, Billy Eilish, or Dua Lipa; a more subdued verse and then upbeat, catchy chorus with a nice little hook on the ‘what if we outrun the sun’ vocal line. It’s a great little summery pop song, instantly familiar and with that proper ear-worm quality that means you can’t help humming it for hours after listening. Expect to hear a lot more of Vale in the coming months.
Stockholm’s indie synth-pop outfit The Mermaids have made their debut with the atmospherically sensual bi-lingual track, ‘L’auntre’. Any fans of the Midnight, Gunship, Wolf Club, St. Vincent or any other act experimenting with retro-inspired chillwave tones will want to delve into the ambience of the polyphonically immersive single.
With the glassy notes brushing up against the moody pulsating throbs of the bassline in the unapologetically 80s-inspired mix, L’auntre is contemporary as synthwave gets, which undoubtedly puts The Mermaids in good stead for success in the future. You’ll want them on your radar with chilled summer nights being not too far in the distance.
After making an unforgettable impression on us with his 2020 single, ‘You Keep Running’, Copenhagen-residing pop artist 3oland has released his brooding, glassy single, ‘Whatever You Want from Me’ and left us even more assured that he’s one to watch with his contemporary yet undeniably accessible sound.
If you could imagine what it would sound like if 90s pop artists carried the style and gravitas of contemporary alt-indie-pop icons, you’ll get an idea of what is on offer in Whatever You Want from Me. It’s a touching lyrical tale of self-sacrifice and an invitation to one of witness the sincerest forms of unconditional love; there’s no doubt it came straight from the soul.
Whatever You Want from Me is now available to stream on SoundCloud.
Mark McQueen is an underground performance-pop artist based in Brooklyn, NYC; he began sketching fashion designs aged four, acting in theatre at five, and playing piano at six – all of which combines here to provide the background to McQueen’s performance-pop.
‘Guest List’ is a vaguely electronic-based perfect slice of pop, a kind of mix of Tori Amos/Amanda Palmer mixed with Erasure, Peaches, Mika, and the Scissor Sisters. It’s that sort of electronica-dance-pop thing that has a touch of the 1980’s without ever sounding dated or retro, like Daft Punk on ‘Instant Krush’ mixed with a little bit of Nicki Minaj. It’s fresh and familiar at once, catchy as hell, and – in the nicest possible way – inoffensive, despite the NSFW language. It’s a perfect pop song.
Breaking pop artist Imogen put her classical training to use once again with her almost Carnatic RnB-infused single, ‘Silhouettes’.
The length of your attention span becomes irrelevant once you hit play on Silhouettes and are introduced to her harmonic command combined with the hazy romantic beats that leave plenty of room for the magnetic field which emanates around her subtle and demure vocal timbre.
Each of the songwriter and pianist’s tracks reflects a different facet of love passion and freedom and allows the listener to experience it through aesthetic phenomenon. It’s easy to see why she’s been able to put leagues between her artfully astute approach to production and other up and coming artists.
Silhouettes is now available to stream via Spotify.
With such a vast array of artists joining the airwaves, phenomenal releases can be overlooked, such as Californian singer-songwriter, multi-instrumentalist and producer Reese Taylor’s 2020 standout single, ‘After the Party’.
At the age of 17-years-old, she not only has the ability to appeal to the human psyche by her eerie, ethereal dark pop melodies, but she can also scathingly berate toxic behaviour that people seem to exhibit without repercussion.
After the Party poignantly attacks hedonists intent on living the high life with little mind to what their behaviour does to people around them. We all know them, the ones desperate for the world to see just how much fun they’re having when anyone with emotional intelligence know they’re trying to fill a gaping hole with superficial pleasure.
There may be a moody edge to Reese Taylor’s take on pop, but she doesn’t hide behind a pretence in the same way that many dark pop artists do. Her sense of vulnerability is still perceptible, but her astute wit dominates the soundscape all the same.
The official video to After the Party is available to stream via YouTube.