Beat Market & French Horn Rebellion - Turn My Colours On NASA-style beeps lead into a Daft Punk-esque 80s-themed number that takes a little bit of time to get going but by the end of its three-and-a-half minutes it's delivered a funky, little number that bounce along nicely. (6/10) Brooklyn - Cupid
'Cupid' is a smooth, pleasing little RnB number that eschews a big chorus for some neat Destiny's Child-style harmonies and attitude. The lyrics at times are perhaps a little too ordinary and pedestrian in their references but it's a grower. (6/10)
Coucheron - Loud
'Loud' is another gentle little slice of indie music with a fun vibe and the magic, weaving vocals of the lead singer. It's not dramatic but it will pull you in with its musical pop-smoothness (6.5/10)
Everywhere - Heroine
Heroine is a low key indie number that references Apollo Creed and though it might not pack as many punches as that boxer it's a gentle, ear-pleasing slice of indie. (6/10)
Line Mari - Haters
Line Mari has a great sweet little voice and though the subject of 'haters' is a well trodden path there is enough positivity in this simple little song to hold it together and the simple production gives the subject matter more credibility. (6/10) Queen - We Will Rock You (Fast)
It's really refreshing to hear a familiar song in a new way, so here is a fast version of this Queen classic which is, whisper it, better than the original. (8/10) Sam Way - Last Page
Sam Way's latest single is a drum-beat driven emotional ballad with a touching chorus that is the heart of the record. (7/10)
Seafret - Blank You Out
Indie duo Seafret are back with a new stand alonesingle. Don't expect any huge change of direction on 'Blank You Out'; it pretty much fits in with the songs from their debut album. But if you've liked what you've heard so far then this is a good addition to your Seafret collection and the chorus is as radio-friendly and catchy as ever, with a bit of a U2 vibe to the vocals and stripped-back music, but it's sticking to the duo's familiar formula. (6.5/10) VAULTS - One Day I’ll Fly Away
Finding its fame from the John Lewis advert, this is still a touching, nicely done version of the classic song. (7.5/10) The XX - On Hold
'Hold On' is a strange beast, a mixture of touching, dual vocalled ballad and electro-pop number. However you approach it this is a great little track that grows which each listen. (7/10)
Coming in at just over thirty-minutes in running time, Pretty City's eleven track LP is a quick affair, with at least a couple of tracks almost interlude-like in duration.
The album is a rocky, indie, atmospheric album but one that struggles with muddy production values with vocals lost in the mix of the eerie guitar mix, and it's difficult to pick something that stands out from a clutch of songs that sound pretty similar to each other. Opener 'Melt' boasts some vocal effects that give out a hook but it feels a little blurry to hit home. 'Running Around' is a little more U2 but again the vocals feel too distant in the mix. 'Mary Go Round' is a little more anthemic, whilst 'Second Hand Clothes' knocks the pace down a little. The record continues in much the same vain through numbers such as 'Fun Machine' and 'Leave it Alone' but the lack of any distinctive choruses or any clarity through the mud removes the enjoyment. They're on better form when things get rockier and with a better producer could stand out, but in this form the 33-minutes just passed me by in a haze of one-note background music. (4/10)
I recently had the pleasure to see Luke Carey perform live at a recent Sofar Sounds gig and he was an entertaining performer flicking between serious numbers and comedy with a singing style that switched between Ed Sheeran and Eminem, and this vibe comes across successfully on his latest EP 'Stencils'.
Opener 'Jump The Gun' is a catchy, rhythmic piece that sounds like Coldplay if Chris Martin cheered up a bit, mixing a toe-tapping memorable vocal line based around the title and throwing in a whistle-led breakdown. A strong opener for the EP this is a quickly memorable indie number with a surprising number of hooks and an accomplished, crisp production sound. 'Buckledownknucklehead' is a bit more Ed Sheeran in its opening music (a comment he hilariously addresses in his catchy flow) but the delivery is much more rap-like with some funny well-observed lyrics like 'The only plaque I got this year is on my teeth'. Referencing Stormzy and Kanye this is a fun take on modern pop culture whilst building it all into a hooky chorus and verses. With the observations and hilarious takes we know from Eminem's more lighter offerings this is a great song that will make you laugh. 'God Might Forgive In A Day' is a more subdued, introspective offering with strings and more personal lyrics, all wrapped up in a nice little ballad whilst 'Something I've Found' is a good mix of tempos and nicely written lyrics and feels more heartfelt than what has come before it, and is the heart of the EP. Things end with 'Dream So Much', the most accomplished of the songs in terms of productions and is a strong conclusion to a very strong EP. Mixing in a varied range of styles of songs from the wit of track two to the emotion of track four this is a collection of songs well worth picking up. If 2017 is not the year for Luke Carey I'll be very surprised. (7.5/10)
Thirteen years after their last LP and a very public break-up, Busted are back with their third studio album, and like Aqua when they returned with a belated album number three and decided to grow up their musical style, so have Busted. But instead of keeping the pop credentials and adding swear words like Aqua did, Busted have ditched their earlier pop credentials and matured into something a little bit more 80s and electronic, and then added swearing, and I think fans of their big radio hitters will be taken aback by the change of direction.
That's not to say it's not a good album, but it's not at all related to the trio that brought us 'Crashed the Wedding' and 'Crash and Burn'. 'Night Driver' is a rather experimental and darker record, as shown by the opening track and best song on the record 'Coming Home', released several months ago as a teaser. This gritty rough electronic number manages to straddle somewhere between their radio-friendly choruses of old with something much more experimental, and is very catchy and, above all, exciting, and aside from a couple of exceptions the album never quite hits the heights of experimentation and willingness to do something different and very distinctive showcased in this song. The title track which comes next is all drum machines and synth but isn't as interesting as the production makes it sound, but the chorus is pretty good. Latest single 'On What You're On', with its Daft Punk-style effects and vocodor, is one of the big highlights of the record and is definitely the direction they should continue to head in, and again has a good catchiness to it whilst adding the credibility they never had on their first run through. Track four 'New York' takes things down a notch but outside of a few moments in the bridge and chorus is pretty forgettable. 'Thinking of You' again doesn't really set the album alight but 'Without It' as much better number and has some good attitude and energy to what is actually quite a slow song, and the lyrics feel stronger when paired with the 80s feel. 'One of a Kind' is the best song on the record with a catchy poppy chorus and a general fun vibe, mixed in with the great synths. 'I Will Break Your Heart' kicks up the pace a little and is a good follow-up whilst 'Kids with Computers', like the opener, feels like the band are in fresh territory and doing something interesting with their new found musical confidence and feels like the one with the most commentary on their maturity, and after 'One of a Kind' this should be a single. Entering the final three tracks 'Easy' is an electro-ballad and not a bad follow-up; 'Out of Our Minds' is one of the best on the album with another fun chorus and general feel; whilst 'Those Days Are Gone' sees Charlie take the main lead and ties things everything up in a smoother, less bombastic way. Fans of classic Busted will find this a considerable departure from their earlier material and though I would have enjoyed hearing a poppier album credit has to go to the band for delivering something much more interesting both lyrically and in terms of production. The combination of their three vocals and a new found maturity work well, and tracks like 'Coming Home', 'On What You're On', 'One of a Kind', 'Kids with Computers' and 'Out of our Minds' make for five big hits with the rest not shaming them. 'Night Driver' is not Busted as we know them but that's not a bad thing; well done on the trio for doing something much more experimental, interesting and well produced. It could perhaps do with a little lightening up here and there but they had a vision and stuck with it. (7/10)
FELIN release their genre-hopping self-titled EP, a quickly catchy selection of five songs that begins with the fast-paced hook-lead pop-punky number 'Revolt' that is a great all-energy starting point. Follow-up 'Gossip' shifts into power ballad territory, its stripped-back piano riff leaving space for the hefty vocals to breath before the poppier chorus soars higher. With darker undertones and a strong string-breakdown, it's two out of two in terms of great openers.
'Destruction Therapy' goes even darker, with an industrial-style opening before it switches to a more Goldfrapp meets the Pretty Reckless vibe. Full of energy and attitude this is a ballsy punky piece that will hit you between the eyes with its live-tinged kicking feel. 'In Your Arms' is another strong song with a rockier feel, it's stuttering-style chorus proving to be pretty catchier, once more the lead vocals and clear music layering working well in conjunction. The best of the five tracks, this feels like one that could squeeze onto radio quite easily. The impressive EP concludes with 'Love and Forget', which switches again, down to a slower piece. Though not as hooky as the other four tracks there's plenty of power in the vocals and music and feels like a strong end to a great EP that I won't hesitate in recommending thanks to its crisp production, strong lead vocals and varied styles. (7.5/10)
Country music star Kacey Musgraves returns with a twelve-track album of festive songs, some original and some covers, in a delightfully different seasonal package that offers her modern-tinged take on country music tropes and her own versions of classics.
The album opens with a short and sweet country-twang version of 'Have Yourself A Merry Christmas' and a bassy 'Let It Snow' alongside the Quebe Sisters on retro-sounding backing vocals. Both tracks are quite respectful to the originals whilst offering some nice little twists, with country on the first, and a 1940s-vibe on the second, with hints of a Hawaiian-esque sound that keeps coming back on tracks. Both numbers have a slight karaoke-feel to them but there's enough twists in the production to keep them interesting.
The tango-style 'Christmas Don't Be Late' continues the feel that Musgraves has tried to expand her sound away from just country, the chunky instrumentals and Kacey's distinctive vocals, alongside the big-band sound, all working together on a sound that's more French than Country and Western. At least it's an improvement on the original 1958 track famously "sung" by Alvin and the Chipmunks.
Track number four delivers the first original song that is more luau than country. 'A Willie Nice Christmas' is probably the album's best track, weaving in Willie Nelson on the second verse and scattered through the rest of the song. With references to drugs, being open to other people's beliefs, and the catchy hook of the title and the line 'May we all get higher than the angel on the top of the tree', this is a great little fun number, even though there's potential for seasonal snickering with the repeated singing of the word 'Willie' if taken out of context.
'Feliz Navidad' sees us switching back to the covers, this time with a bit of a Mexican feel to the opening, as the chorus goes all Mariachi on us. When Kacey finally appears it becomes a nice little track that lifts the spirits, thanks mainly to the distinctive production that mixes up Mexican with whistling, with all manner of instruments.
'Christmas Makes Me Cry' heads up the next two original tracks and is the most country of the numbers so far and is also much more downbeat and introspective with soaring strings and a gentle vibe. It's not a particularly distinctive number musically or lyrically but has plenty of heart especially in some of the later words. 'Present Without A Bow', featuring Leon Bridges, brings us into the second half of the album and is one of the catchiest, radio-friendly pieces on the record, it's well structured lyrics and mid-tempo jaunt fun, plus Bridges delivers a very soulful second verse.
The Hawaiian theme comes out more strongly on 'Mele Kalikmaka', again featuring the Quebe Sisters, this jaunty cover mixing something festive with something more toe-tapping. The quirky 'I Want A Hippopotamus for Christmas' makes another appearance after LeAnn Rimes' take on the novelty song a few years ago. It's not that different from previous takes but its tongue-in-cheek vibe is hard to ignore and Musgraves delivers the quick lines and ridiculous rhyming with pizzazz.
The classic 'Rudolph the Red Reindeer' brings us into the final third and again is a rather respectful cover but is possibly the most novelty version on the record with its chipmunk-like backing vocals and clip-clop beat.
'Ribbons and Bows' is the final original song on the record and adds music to the same vibes of 'All I Want For Christmas Is You' and is a joyous little pop number with a very catchy hook. The album then wraps up with a cover of the lesser known 'What Are You Doing New Year's Eve?' which is actually quite a downbeat ending to the record after everything that's come before it, and feels like the least enjoyable number on the record, but it doesn't shame the piece. The live-style ending and snatch of 'Auld Lang Syne', though, is great.
'A Very Kacey Christmas' is a healthy mix of fun and quirky original songs, festive favourites and versions of lesser known songs, including some novelties made a little more acceptable. Those expecting a country album will be disappointed as it's much more Hawaii than Nashville but it's a fun and cheerful little LP that will get the party going. (7.5/10)
Singer-songwriter Janet Devlin returns with a festive-themed six-track EP called 'Little Lights' that matches her beautiful, note-perfect, distinctive vocals with a simple piano-led arrangements as shown by the subdued and gentle opener 'Wake Up It's Christmas' that is a touching, delightfully produced festive ballad with hints at some heart-breaking lyrics.
Following this is a cover of Slade's perennial favourite 'Merry Xmas Everybody'. I don't think anyone is really calling for another cover of possibly the most over-played Christmas song but in stripping it back to a piano ballad with strings at least gives its a new, more downbeat feel, and it's possibly the best cover version of the classic in the long time. with a slightly sombre feeling to the delivery and some more accomplished breakdowns, plus a neat little carol-interpolation at the end.
'Merry Christmas Mum and Dad', the lyrics for which appear as part of the deliciously designed physical package, is the centre piece of the record, a very moving ode to Devlin's family and upringing, and though the style of the piece is very similar to the tracks that procede it it's all done in such a nicely warming way.
The second cover on the record is 'White Christmas' and though rather similar to previous versions is a great listen.
The EP wraps up with two more original tunes, the Eye Spy and 'Night Before Christmas' referencing 'Something Beginning with Christmas' and 'Christmas Kiss'. Track five is the only really upbeat number on the piece and offers something a little different and though the lyrical structure is a bit freer and more scattergun its all delivered with such love. The closer 'Christmas Kiss' is arguably my favourite on the EP, the best written of the original material numbers and like a more subdued antidote to 'Santa Baby' mixed with the feelings behind 'All I Want For Christmas Is You'.
Overall 'Little Lights' is a delight of an EP, the perfect stripped-back warming festive collection that feels like the perfect soundtrack to a festive night in front of a fire with a hot chocolate. Or mulled wine of course. (8/10)
The Hallows are a London-based band made up of Sarah Rodriguez, Joe Rodriguez and Dave Pugh and they've just released their second single, the infectious 'Cardboard Love'. We spoke to Sarah and Joe ahead of the single's release on the 2nd December.
How would you describe your
new single?
Sarah:
It’s a bit of a moody, sultry song. It’s about being in a really horrible
relationship and coming out the other side, brushing yourself off and looking
forward. By the end of the song it hopefully comes off as more upbeat with a
positive vibe than at the beginning.
Is it a personal song?
Sarah:
I think it reflects back on situation that we can all draw on, experiences that
maybe haven’t been the best. It’s an important way of getting those feelings out
and putting them in a song and being able to channel that.
Joe:
I’d like to state it has no relevance to Dave and I, honestly! We’re really decent
guys!
As musicians you have
backgrounds in different styles, so how does that work when making music as the
Hallows?
Joe:
It’s an interesting one really as we’ve got several bands that we relate to and
really love, which are kind of touch points for us, we’ve all come from quite different
backgrounds musically. For me I was always into grunge and alternative rock
band in the day and Sarah’s probably come from a more melodic background.
Sarah:
Yeah, but also quite rocky as well. My folks brought me up on AC/DC and Pink
Floyd.
Joe:
You can’t go wrong with the DC!
Sarah:
I’ve always got time for them! For me and Dave we’ve been brought up with quite
a bit of classical influence too, so I think that comes across in our music, as
classically-infused pop.
Joe:
All in all it’s tended to work well. We don’t tend to disagree on many things
so there must be something right in the mix!
As well as the music, you
have the video out for ‘Cardboard Love’ which I believe you had an active role
in creating?
Joe:
Yeah, that was the bit of a product of a fevered dream! I woke up one morning
in the really early hours, and we were struggling at the time to come up with a
concept that would fit the vibe of the song, and basically I was getting vibes
of a dark and moody secret society. That particular video spanned from there,
and we got a demonic puppet involved and the rest is history as they say!
Are any of you successful
card players then, looking at the video?
Sarah:
I like to play cards but I wouldn’t say I’m successful by any measure, so I
wouldn’t do well around the table with the demonic puppet!
Joe:
I think Dave’s probably the most clued up cards player. Unless it’s snap I have
no chance as I don’t understand the rules of most card games. I’m definitely
the weak link on the card game side of things.
Sarah:
That’s why we had the house band in the video so we don’t go anywhere near the
card playing table!
You’re album ‘Of Time and
Tides’ is out on the 13th January; how does that compare to the
single?
Sarah:
I think our album is quite varied. I would say it’s fundamentally pop but then
we’ve drawn upon lots of different influences, so there are a few songs that
are a bit heavier and a few songs that are a bit lighter and more cinematic in
terms of their production. It’s very melody-driven so we try to be about the
hook and so on.
Joe:
We just want people to sing along, that’s what it’s all about for us.
The album was recorded on a
vintage desk; was that a conscious choice and did it bring the sound to life?
Joe:
We were really lucky as we got to work with our producers and Seb’s got some
wonderful kit that really adds some weight and warmth to any of the recordings
that we were doing. He also had a really good ear in trying to compliment the
songs with the different sound palettes, so he was a really useful person to be
involved in the whole creative process. The desk was lovely and I would
recommend anyone looking to record to definitely drop by Riverside studios as
that desk is awesome!
Sarah:
It was stationed at the Royal Opera House so again it definitely helped
contribute to our sound and the classical influence.
You’ve recently been
performing live; how did those gigs go?
Sarah:
They went really well! We’ve had three gigs in the last week in really quite
different venues, but it’s been fantastic and we really feel like we’re getting
into the groove of our live performance. I think when live we have a harder edge.
I think our rock sensibilities come across more when we’re live.
Joe:
It’s been nice to cut loose as the album is slightly more pop and shiny whereas
live it’s a little more visceral and brutal, but we like a bit of that!
Sarah:
If anyone wants to come and see us live we’re going to be playing in London
again on the 16th December and another gig on the 17th
which is for Oxjam.
Do you have any big ambitions
for 2017?
Joe:
We’re really, really hell-bent on getting into the festival scene next year,
when that all starts to kick off. We’re very keen on getting out and playing
and we’re already in the process of penning songs for our second album, out
towards the end of next year. It’s all really go at the moment, it’s a vibrant
and exciting time. It’s just finding the time to get everything done. It’s a
bit manic but we’re loving it!
And finally it’s getting to
the time of Christmas pop songs. As a group would you ever pen a Christmas single
and what’s your festive pop tune of choice?
Joe:
We’d definitely pen a festive pop song because if you have a successful one
then you’re made really and you’re going to get that cheque.
Sarah:
I’m a sucker for some sleigh bells so if I can get them into a song at any
point I’ll be a happy lady. My favourite Christmas song would have to be one of
the classics – ‘Do They Know It’s Christmas?’
Joe:
I’d probably go with something more credible like the Pogues. But I think Sarah
secretly wants the one by Mariah Carey.
Sarah:
You can’t go wrong with that! Once you hear that song you know that Christmas
is coming!
Perhaps the frontman of Keane has recently been listing a lot to Seafret as, like their recent debut LP, the theme of water and the sea flows through it, if you'll excuse the pun. Fans of Keane will be on familiar ground here as there's not a huge departure from the sound of the full band, but even for an act known for a downbeat look on music, this album is quite an introspective, gloomy piece, as showcased by the darker 'Still Waiting' that opens. Chaplin is on strong songwriting form and the production is strong, but you can't help wishing at times he'd lift the mood up a little. 'Hardened Heart' which is up next boasts more strings and a perkier chorus and sounds more like recent Keane material, whilst 'The River' is once more sombre in tone until the jerky synth moments bring it up to something more friendly. 'Worthless Words' remains on one level; whilst 'I Remember You' with its comparatively jaunty rhythm becomes one of my favourites on the piece. 'Bring The Rain' is as tonally recognisable as the title would suggest but there's a certain welcome warmth to it. 'Hold Onto Our Love' is once more quite gentle and downbeat whilst single 'Quicksand' proves, with its clearer production and more positive sound, it deserved to be the main cut from the album. 'Solid Gold' is a nice enough follow up whilst 'See It So Clear', with its stripped-back vibe and sing-a-long chorus make it one of the better tracks on the LP. 'The Wave' finishes things off thematically. Keane have always been known for their ballads as much as their anthems and it's the former that comes to the fore in this solo spin off. There are a handful of stand out tracks and the vibe is pleasant and ear-pleasing, but at times you'd wish Chaplin would inject more songs with the energy of 'Spiralling' into his work. That said the lyrics are very personal and it's all done with such love and dedication. (6/10)
For too long Kacey Musgraves has had it all her own way as the youthful voice of modern American country but now Maren Morris has stepped onto the scene with her first album on a major label. 'Hero' is a bit less country than Musgraves and certainly packed with much more attitude and swearing but it's no less fun to listen to with eleven catchy, enjoyable country-pop numbers.
The LP kicks off with the sweet-sounding 'Sugar' that stretches the metaphor over a sexy sounding track that even has chance to reference Christmas in its surprisingly rocky number. 'Rich' has a Joan Jett vibe to the more country-tinged record and is my favourite track on the record thanks to its fun swagger. 'My Church' is a slower number and feels more like it ticks the country tropes and sounds a little Musgraves in its subject matter and has quite an anthemic rhythm and a very hooky chorus.
'I Could Use A Love Song' is a smooth subdued ballad whilst '80s Mercedes' is a bit poppier in its delivery but with a stadium-friendly chorus and further modern references.
'Drunk Girls Don't Cry' boasts a quirky vocal hook which opens the track, building up to quite a catchy little number and is another of my favourite, with plenty of ballsy lyrics. 'How's It Done' once more lowers the pace and gives Morris' voice more time to shine, but it's a track that doesn't quite as grab you as the others.
'Just Another Thing' switches to a more casual style, with hints of the Drifters in its verse, before the chorus bursts into life. 'I Wish I Was' continues the vibe, offering a gentle, more stripped-back country number. 'Second Wind' kicks the pace up more and returns to the pop-attitude and hooks of the earlier part of the album to great effect. Things tie up with the powerful 'Once' which is a high point to end on.
'Hero' might be labelled as country but it's perhaps more pop than, say, Kacey Musgraves, but as a ballsy, well written and sung collection of songs it really works. Morris' vocals are great as are her confident, attitude-filled lyrics, and I look forward to hearing more from her. (7.5/10)
Another ten songs we'd like to recommend to you! Busted - One Of A Kind
Busted are back and continue their grown-up sound on this mid-tempo pop record. (6.5/10) Charlie Puth - Dangerously
Puth's vocals are once more on top form on this emotional ballad. (6/10) The Chemical Brothers - C-h-e-m-i-c-a-l
They are back with this familiar sounding track, though I can't put my finger on where I've heard it before. It's still good though. (6/10) DNCE - Be Mean
With a smattering of innuendos it's not a classy song but it has enough pop fun to keep it together. (6.5/10) Emeli Sandé - Breathing Underwater
Though it doesn't have the energy of 'Hurts' it's stlll a great soaring ballad. (7.5/10) Fickle Friends - Brooklyn
'Brooklyn' is a catchy little electro-pop number led by some great listenable vocals. (6.5/10) Kaleo - Way Down We Go
Kaleo return with a dramatic, bassy little indie-rock number that is great after a couple of listens. (6/10) Laura Mvula - Ready or Not
Taking the famous phrase and building a song around it, this is her best song in a long time. (6/10) Olly Murs - Back Around
'Back Around' is a little Olly Murs by-numbers but it's poppy enough for his fans. (6/10) Thomas Rhett - Star Of The Show
'Star of the Show' is a great catchy pop-country crossover number. Great single! (8/10)
Another ten tracks you must listen to! BETSY - Wanted More
With a voice that sounds like a modern Cher, this is both a great song through the lyrics, the soaring chorus and BETSY's stand-out and unusual vocals. (7.5/10) Cast - Do That
A nice gentle little soft-rock song that is worth a listen. (6/10) Charli XCX feat. Lil Yachty - After The Afterparty
The lyrics might be shallow and fag-packet but as a catchy pop-song it works, though I can take or leave the Autotuned breakdown from Lil Yachty. (7/10) The Collapsable Hearts Club feat. Jim Bianco & Petra Haden - Easy Street
Sounding like it's been ripped straight from a cheesy musical, it's still quite catchy because of it. (7/10) Garth Brooks - Baby Let's Lay Down and Dance
A funky little upbeat country song that breathes new lift into Brooks' catalogue (7/10). JP Cooper - September Song
I suppose this had to be released in September. A catchy, summery, big chorused pop song with a fun, if slightly familiar, breakdown. (7/10) Panic! At The Disco: Hallelujah
It's not as huge as their big hitters but the familiar mix of music, vocals and lyrics are still solid for them. (7/10) Passenger - When We Were Young
It's no secret than I'm a big fan of Passenger, and when he releases songs like this it's no wonder. Though sharing a title with songs by Adele, Take That and the Killers this is an original song but with a similar amount of heart. (7/10) Sigma feat. Birdy - Find Me
It's Birdy's vocals that make this song, otherwise Sigma's work is very derivative of their previous work. (6.5/10) Tom Speight - Love
This acoustic-guitar and harmony-led country song is a smooth, gentle little number that will warm your heart. (6.5/10)
Another ten tracks recommended for you! Bebe Rexha - I Got You
A fun catchy pop-dance number from an artist with a great name. (7/10)
Biffy Clyro - Rearrange
It's not a million miles away from what you'd expect from Biffy Clyro, but the gentle vibe and vocal effects work well. (6.5/10)
Devil's Witness - The Wild Things
With a pleasing bassy swagger and a sound-led chorus, it somehow comes together in a gritty, retro-sounding number. (6.5/10) Disciples - Daylight
'Daylight' is a catchy little electro-pop number that's simple in its production and vocals but hooks you in. (7/10) Dua Lipa - Room For 2
Another neat little single from Dua Lipa. It's quite gentle and forgiving but offers a warming listen. (6/10) Hey Violet - Guys My Age
Build around the chorus of the title this is a cool little attitude-filled mid-tempo song with some nice musical guts. (7/10) Juliette Ashby - Build Up The Strong
With a distinctive reggae and ska influence, this is a funky, jazzy little pop number with Ashby's vocals taking centre stage. (7.5/10) Lower than Atlantis - Dumb
Another strong soft-rock from the band with a catchy enough chorus to keep you interested. (6.5/10) The Slow Show - Ordinary Lives
It perhaps starts a little William Shatner but eventually the quality of the lyrics, the strings and the distinctive Faithless-like vocals kick in and it shows its heart and becomes more Johnny Cash meets Leonard Cohen. (7.5/10) Temples - Certainty
The lyrics and verses are a little flat but the electro-synth riff is a great hook and lifts the track up. (6.5/10)
Another ten songs for your listening pleasure! April Towers - Get Recovered
With hints of eighties Depeche Mode, this dark and simple indie number has hints of much more under its surface. (6/10) Banfi - Happy When You Go
Though the chorus renders the song unradio-friendly the quirky fast-paced style at odds to the music and the buzz of the lyrics make it work. (6.5/10) Bring Me The Horizon - Oh No
BMTH are back with this mid-tempo ode to falling out of love. It's verses help build up to a stronger chorus that should please fans and newbies alike. (6.5/10) Hello Casanova - I'll Be Waiting
'I'll Be Waiting' is a well produced slice of indie-rock with a poppier, Biffy Clyro-like chorus. It's certainly a grower. (6/10) Icona Pop - Brightside
Though not as huge as their previous singles 'Brightside' is a fun enough light-dance track. (6/10) Jake Bugg - Put out the Fire
'Put Out The Fire' is not a huge departure from Jake's previous work so should please the fans, but it's a nice little simple stripped-back number. (6/10) Matinée feat. Pier Ferrantini - Satellite
Matinée are back with this quirky indie number that ticks along quite nicely. It could do with something more hooky to lift it up, but it's a neat new track. (6/10)
Michael Bublé - I Believe in You
This time of year is stereotypically known as Bublé's time of year, and he possibly earns that crown with this touching, singable little pop ditty. (7/10)
The SSS - The One You Need
A neat little indie-rock number with a pleasing little chorus. It's not got a huge bomasticness to it but there's something about the style as it weaves in and out. (6/10)
Youth Club - Sorry
Youth Club are back with this nice little indie track with lyrics that are perhaps a bit perkier than the music, but the Caribbean feel to the production is nicely done. (6/10)
