(6)Ĭhris Kelly: Fergie returns from the wilderness with an aborted Frankenstein of a pop track.
That allows for more attention to be paid to detail, but with D Double E involved, I’d like less nuance and more ‘Bluku Bluku’. (7)Ĭhris Kelly: ‘The Box’ portions out its menace with a slower, more deliberate approach than most grime tracks. Imagine actually having money and then choosing to spend it on Ben Sherman as well? D Double disapproves you’re only allowed it if it’s gifted from one of your out-of-touch uncles. Just embrace the struggle brands with some transparency and wear Everlast if you need to. So if he’s cussing out Lacoste, I don’t wanna see any of you trying to make that happen. Tayyab Amin: D Double is the MC’s MC, the true OG, so whatever he says goes. In a world of pop dancehall, score 1 for the atonal weirdos making gunman threats. D Double E sounds like Eek-A-Mouse’s long-lost nephew on the bars, and it’s always refreshing to hear him ride a riddim as bizarre as his vocal inflections. At this point we’re used to Kevin Martin assaulting us with sub-frequencies, but this is downright funky, twisting hardware gurgles and feedback without beating you over the head with bass. Son Raw: This is unexpectedly fleet-footed. Thank fuck he’s stayed out of the way of D Double E, a battering ram crashing through a wall disguised as a charisma volcano, because this is so much fun. (5)ĭaniel Montesinos-Donaghy: Last time Kevin Martin was reviewed in Singles Club, him and Miss Red were sucking all the fun out of dancehall. Only thing is, a variation on this tune could have dropped in ‘92, or even ‘62. I had the video for ‘Cannonball’ on loop during one of my more less glamorous summer jobs thanks to some ‘best of Spike Jonze’ DVD. Son Raw: You can’t go wrong with shades of The Breeders. That’s romance, an uncertain force that can’t be held in place by three minutes of stomp-along rock – and thank goodness Olsen doesn’t try to tame it. (8)ĭaniel Montesinos-Donaghy: Olsen’s vocals are yowled just enough to insinuate this wham-bam romantic nudge’s possibilities: feral futures or a throttling. I don’t think I’d have even needed this first proper active listen to fall into this song, though, it’s so catchy! Sharp riffs, a charming bassline, Angel Olsen yelping her voicebox out – this is the festival highlight to sing along to. Tayyab Amin: Until now I’ve only heard Angel Olsen’s music through the osmosis of friends’ listening habits. ‘Shut Up Kiss Me’ has the right amount of nostalgia without becoming a Lana Del Rey-esque art project (not that there’s anything wrong with that) and a sneering hook (“Shut up, kiss me, hold me tight”) that would sound weird coming from an indie rock bro.
(4)Ĭhris Kelly: These days, the only guitar-wielding singer-songwriters I have time for are women, and Angel Olsen is near the top of the list. But can we talk about the instrumental? It’s like the brief instructed something “vaguely futuristic” for Star Trek, so these people went ahead and threw in some 2010 UKF/dubstep drums into the track? Uninspiring. Tayyab Amin: It’s so dead hearing phoned-in-pop-ballad-Rihanna after such a creatively liberating album – it makes this generally forgettable tune sound worse than it is. Interesting when considered alongside Rih’s post- Anti output in 2016 a quick reminder than Rih Industries is still fulfilling its quota of Calvin Harris and Sia tie-ins so it can construct top-of-the-line SZA collabos without hurting the company line. (4)ĭaniel Montesinos-Donaghy: There are barely two verses in this quickie dispatch from Rihanna and her latest dip into Sia’s treasure trove of IMAX Audio Metaphors. (3)Ĭhris Kelly: Rihanna and Sia have hit a wall, creatively: this one’s a soulless crossbreeding of ‘Chandelier’ and ‘Wrecking Ball’, but I’m sure it will sound good over the credits of the new Star Trek movie. Son Raw: *Please be a Peter Gabriel cover, please be a Peter Gabriel cover… shit.* This middle of the road EDM blandness is our fault for not recognizing that Anti is a classic.
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