With so much great new music coming our way daily, we’ve compiled our favourites into an easily accessible format, aptly titled: #BitterSweetPlaylist. The idea is, once fully consumed, everyone has their shot at voting for their favourite track by means of the poll at the bottom of the page. We’ll tally up the votes and the winning act will get an in-depth feature. Spread the word, let’s make this thing huge.
Voting closes on 15th November 2017.
Pip Blom – ‘School’
Cutting in under two minutes, Pip Blom makes sure that we don’t lose any fast-flying substance as ramification. The band, helmed by chief noise-maker Pip Blom, practise precision and disorder on new cut ‘School’. Whilst repetition and scrawling dissonance plays a huge part, nonetheless it’s another thumping hit from the group. Who knew ditching class would sound this good?
Glass Caves – ‘I Do’
Heading straight for expansive and the cinematic, Glass Caves’ latest single feels its way through chasms of crooning voice and heavily rhythmic progressions. Even though the tempo never reaches beyond its means, somehow the pacing works just perfectly, slowly building throughout with slight inflections of nuance and pretty guitar trills. A solid show of songwriting from the Yorkshire band, we highly recommend checking this one out.
Harry Pane – ‘Here We Stay’
Already receiving praise from Frank Turner and support from radio, Northamptonshire singer-songwriter Harry Pane seems to have the music game sussed. New release ‘Here We Stay’ is nicely bewitching, using its folktronica tropes to good measure. Yet it’s Pane’s vocal tone which offsets the plaintive melody, offering a graininess to the otherwise blase backing, that remains the most affecting component.
Cameron Bloomfield – ‘Change’
London artist Cameron Bloomfield invigorates with his unique blending of vivid pop and neo-soul. Revealing a stunning blend of forward-reaching innovation in an easily accessible (and wowing) format. Possibly the most dynamic use of melody we’ve heard this year, taking in a multitude of shifting waveforms, rhythm and pitch – it’s a sure delight. ‘Change’ expresses a want to explore, to stretch the possibilities of genre and indeed, to simply introduce a thoughtful new artist.
Shadowlark – ‘See Each Other Right’
Leeds’ Shadowlark dabble in the Gothic romance of dramatic pop, ‘See Each Other Right’ carefully bears an air of Fleetwood Mac and Eurythmics, whilst still showing contemporary influences. Ellen Smith’s piercing but oh-so-smooth timbre soothes a comfort and confidence to the narrative, one that couldn’t be replicated by any other voice. Sonic textures become tactile through smart layering and harmonies boost mesmerics; overall it’s a star-making track.
Oddnesse – ‘I Used To’
Nostalgia contextualises Oddnesse’s latest release, but in no way is ‘I Used To’ a sorrowful yearning for the past. Instead similar to their contemporaries (Cigarettes After Sex and Dum Dum Girls) Oddnesse re-conceptualises the meaning of ethereal melancholy, transcending the bitterness and evoking a freeing independence. As an end-of-relationship closing memoir, ‘I Used To’ strangely feels optimistic, rather than distraught and detached, empowering the new-found ‘solo’ status and making it a positive. This is a song to listen to with the lights down low – simply stunning.
Kat Frankie – ‘Bad Behaviour’
Aussie musician Kat Frankie uprooted her entire life to Berlin 13 years ago, now secure in her sound and surroundings, we find her fresh perspective on the pop genre to be utterly magnificent. The lead titular single from her forthcoming album is as glorious as the music written by those three sisters from California. Rhythmically beautiful and just so infectious, ‘Bad Behaviour’ taunts with its ever-mobile riffs and quick-talking vocal punches. A song with technique and heavy groove – it’ll have you swaying in no time.
Richard Walters – ‘Nervous Energy’
Emotionally alert, Richard Walters proves in his music that sharing sentiments of true resonance and intimacy can move mountains. With a voice bathed in stirring reverberations, Walters sings of a love close to his heart, a love that still provides the shivers and chills of first sight. ‘Nervous Energy,’ like most of Walters’ works, retains a lo-fi charm to its delicate folktronica fibres, softly transcending the natural world and soaring on high.
IDER – ‘Body Love’
Electronic duo IDER don’t have to do much to grab your attention; their scintillating voices are more than enthralling, melding together in an affecting harmony of enchantment – we’d safely say, it’s their best instrument. New single ‘Body Love,’ whilst bright with sensual vocals and trapezed ostinato, is a song in flux: translating the emotional release of learning to love yourself through letting go of past baggage. The vocals and instrumentation, through stimulating arrangements and layering, shift and mutate to produce a luminous pop edge. If we needed any more convincing that IDER are one of the very best in the UK at the moment, then ‘Body Love’ easily affirms.
PEAKES – ‘Space’
Poised with sophistication, the Leeds trio combine synthetics to ethereal voice in a multiplication of expanse and dislocation. Akin to the breathtaking ambience of London Grammar, PEAKES also realise the power in stripping back to basics. Naturally this approach isn’t the first of its kind but in the hands of PEAKES, what’s not to love? Lyrical depth may be subtle, disguised in vague ambiguity, yet the forever-building landscape of sonics and blossoming lightness of voice leaves little to dislike, and entrusts the band as vital players in the electro-pop world.
The winning artist will be treated to a grilling in our ‘Many Things About…’ segment, which works to uncover all those pesky little fun facts that we don’t know about them already, so get voting and make your artist proud (if not slightly nervous)!
Listen to previous winner False Advertising with their song ‘Hey You’ below.