Salutations! I'm back already, spurred on with my recent tide of enthusiasm, to again enlighten the souls of those who read this with (hopefully) decent music and lead them off the path of the opposite. Yippee! In this septet of songs I'll be going over the unfortunate fall from grace of one of my (former) favourite PBR&B songs, stepping into the unknown, unnerving world of electroswing and slamming arguably the brattiest song I've heard in a very extensive period of time. I invite you, my beloved readers, to a brief incite to the remote entity that is my music taste... 

 1. Occupy Your Mind by Villagers 

 To start off we have this rather creepy number by Mercury Prize nominees Villagers, imagine the quintessential haunted house. The song's decent enough with a guitar line reminiscent of one of Muse's best and a thumping drum beat. My only problem is the rather perverted lyrics, images of some unpleasant stalker are brought to mind as lead singer Conor J O'Brien whispers 'let's slip inside'.

2. Stay by Henry Krinkle

 The vacuous and atmospheric production by Henry Krinkle on this tune helps transport the listener to the dark, vibrant streets of London, full to the brim with fast black cars and neon signs, whilst being in some invisible bubble (that cuts you off completely from your surroundings) throughout. I hope that has some coherence. 

3. Break The Rules by Charli XCX

 Next, a rather insipid piece of drivel. This bratty and frankly rather irritating number of rock EDM (a horrific genre that should in general just be banned from life) includes Charli XCX removing all possibilities of becoming a responsible figure for her listeners as she desperately yells 'I don't wanna go to school I just wanna break the rules'. Desperately. Now I'm not all against Charli XCX at all, her early synthpop, retro style stood out (and still does) from this David Guetta dominated industry, but it seems she's now fallen into the crooked path followed by so many artists this year, that of a decent musician finding mainstream success by giving into the realms EDM and all it's associated trash. 

Charli XCX: Break the Rules
'a rather nsipid piece of drivel'

4. 6 by Elijah Blake

 Dedicated readers of this blog, if there are any, will perhaps remember my recent description of Elijah Blake of being some divine, holy being in the music industry and life in general (he has an incredible ability to sing expletives with such tranquility and control). That facade of admiration has sadly shattered dramatically as I've listened further into his discography. His fall from grace has been startling. The track, 6, starts off as a rather stolid R&B ballad, as Blake moans about how he behaves like a 6 year old. The halfway point of the song marks the spot of my mental rape, the disgusting screeches that ensued brought on genuine tears of pain, distress and torture. As one so-ever-alert listener so rightly said although he's singing about 6 year olds, Blake needn't sing like one.

Elijah Blake: 'a startling fall from grace'

5. Shelter by Years & Years

 
This beautiful piece combines bouncy, artistic production, a distant set of pipes and a rather conventional pop chorus to create shear ecstasy. This song is ideal for strolling down the street with a disturbingly cheerful expression (despite the fact that the topic at hand is rather grim). 

Years & Years: 'bouncy, artistic production'

6. Jamaica by Theme Park

 A jaunty number that takes the listener to a distant land of Hawaiian t-shirts and exotic cocktails, rather depressing though when you're shivering in a vacant room, in an ever more empty house, lamenting the woes of your life. 

7. Delight by Jamie Berry 

A last I have been properly pushed into the hostile ocean that is the world of electroswing. As you listen to this track, a sense of overwhelming joy and euphoria overcomes you and it's as if you're brainwashed for a few brief minutes of your life as some external force physically forces any possible part of your body to move, even your chin.

Jamie Berry, Delight: 'a sense of overwhelming joy and euphoria'

After a rather unexpected hiatus I have at last made the difficult decision to make this, the comeback of all comebacks, to a blog I left decaying and rotting to inevitable ruin. In this October issue I will be recommending a sextet of tracks that I've been enjoying over these past few bleak, sombre weeks.

1. Tinashe - All Hands On Deck
From her excellent recently released début album, Aquarius, comes perhaps one of the more generic hip-hop songs I've heard all year. Though don't assume my labelling as the song as being 'generic' as a necessarily bad thing, the production is slick, the tune is insanely catchy and the breakdown is perhaps the most unexpected breakdowns I've ever heard (there's a flute in it!!!). Tinashe has this incredible capacity to be 'cool', this is never clearer than on 'All Hands On Deck', she's the Bugatti Veyron whilst you're the Mini Cooper. I would usually have some extravagantly abstract metaphor for the song, but it's so generic that none sprang to mind.

2. Elijah Blake - Strange Fruit
A dark, brooding, seductive piece of R&B perfect for a bleak winter's night. Mr Blake's smooth vocals float delicately over subtle production and when listening the sexual tension is the song is almost palpable, even without the rather disturbing noises that occur throughout in the background. Stunning, despite the fact that death always seems to be on my mind once the song reaches it's minimalist conclusion.

3. Wookie & Zak Abel - Higher
A beautiful, jazzy little number set alight by the soulful vocals of Zak Abel. A little like Rudimental's Feel The Love, except toned down about a million times, this song sounds perfect for your average middle class dinner party. Whilst Elijah Blake's Strange Fruit would be a bottle of vodka (after which you would never live to drink again), 'Higher' would be a bottle of champagne, bursting from the seams with reticent saxophone melodies et al.

4. Autre Ne Veut - Counting
This number by the French musician whose stage name translates to 'I want no other', for me at least has all the entities required to make a perfect pop song. 1) a set of restrained, reflective vocals 2) a confused and irregular beat 3) a saccharine melody 4) the sound of doors creaking cropping up throughout so as to genuinely terrify the listener and 5) a singer with a very indie sounding name. When listening to the song, a warm bath rather obscurely crops into my mind. Just a passing thought.

Hello again you beautiful people as we embark upon the next item in my (hopefully decent) blog. In this current issue you’ll be introduced to an anthemic Swedish pop group,  the next You Me at Six and a troublesome trio of hip-hop rockers, who will hopefully become part of the soundtrack to your summer.

NoNoNo: 'cold, complex production'

 NONONO

Straight out of Stockholm, indie pop trio NoNoNo, are the latest from the seemingly endless stream of talent seeping out of Scandinavia. Compromised of vocalist Stina Wappling and production duo Astma and Rockwell, they have already experienced mild global success around much of Europe and even in the US, their break out single ‘Pumpin’ Blood’ has already sold a whopping 700,000 copies worldwide! Called NoNoNo, as a criticism to uninspired song writers (many of whom Wappling in previous solo projects has had the formidable task of working with), the band fashions a brand of pristine pop. ‘Pumpin’ Blood’, or ‘the whistling song’ as some may coin it, is the most famed of their collection. Wappling’s breathy vocals join a militaristic, marching drum beat and intricately placed synths, forming a stunning alternative summer jam. Add on thought provoking lyrics such as ‘you’re a catalyst to your happiness’, and you have a sure-fire hit, even though Wappling emphasizes how that wasn't her aim in writing it saying ‘if it had been ‘let’s make a whistling hit’, then maybe we’d have had to worry’. Another standout track is the distant ‘like the wind’; the complex, cold production showcases the trio perhaps at their greatest. With an album poised for release in the UK that has already had commercial and critical success in native Sweden, NoNoNo are on the brink of something mega. I recommend NoNoNo for fans of Robyn and her similar counterparts or who can take a slightly more easy listening version of the white stripes. 

Sons and Lovers: 'climbing their way up the totem pole of the pop world'

Sons and Lovers

Little known about London based rockers Sons and Lovers are slowly climbing their way up the totem pole of the pop world. Having toured with the likes of Ellie Goulding and One Republic and performed at the BBC Introducing stage, it seems now is the time that their tight harmonies and intense melodies (with much of the coldness of NoNoNo) will gain a larger audience. The clear masterpiece is recent single ‘lover’, a clear stadium filler, with an epic chorus and a thunderous drop questions identity and loneliness in its hostile lyrics.

Sons and Lovers are clear favourites for fans of You Me at Six, Vampire Weekend or even Bastille.

RDGLDGRN: 'dirty basement rockers'

RDGLDGRN

Virginia based, garage rockers RDGLDGRN, have worked with legends such as Dave Grohl and Pharrell Williams to produce a unique and interesting sound. From last year’s full length album ‘Red Gold Green’, highlights include ‘a million fans’, a real head banger with a raucous electronic guitar, as well as Angel Haze team up ‘lootin’ in London’. The former being loud and boisterous ‘dirty basement music’ as the words ‘ain’t no one f***** with me’ are screamed. The name does need some explaining ‘RD’ only wears red, ‘GLD’ is always clad in gold and… (you get the picture). Imagine Wale mixed with You Me at Six or a more bad-ass rapping Sons and Lovers and you get the picture.

Best Song of the Week: *****

When we’re Fire by Lo-Fang (3^rd)

A restrained piece of perfect pop music, Lo-Fang is careful to not be overly climatic dropping light scatterings of synthesisers to precise effect throughout the song. This magnum opus also holds the title for one of the most delicately sung expletives I've come across in years.

Down On My Luck by Vic Mensa (2^nd)

Clearly house music is anything but sparse to come by these days nonetheless this piece of dance-rap by Chicago based Vic Mensa is truly electrifying. The dark smooth bass and soulful chorus makes this an inevitable summer club monster. ‘Do you think the things you do or who you know’, shows Vic as actually quite a philosophical character as he questions the entire basis of the rap game, making Vic Mensa a clear one to watch.

Good Kisser by Usher (BEST SONG OF THE WEEK)

R&b crooner Usher returns with an exemplary example of a good ‘baby making song’, clearly from an expert on the topic at hand. The slick refrain and pulsating beat that make this sensual work of art align to make one statement. Usher is back.

In the fifth issue (can’t believe it’s still going) of this infantile blog, I will be dissecting the music of Lorde’s buddy, a former Game of Thrones actor and one of the leaders of California’s emerging hip-hop scene. Hopefully there’s something in this week’s issue for everyone J

G Eazy

Gerard Earl Gillum, or G Eazy as you may know him, is one of the few leading the embryonic hip hop scene in California. With a huge loyal fan base to his name already, it won’t be long before instead of being the opening act for big stars such as Drake and Lil Wayne, that he becomes one of them in his own right. Highlights from his large compilation include the doo-wop sampling ‘Runaway Sue’ and the mature sound of ‘Marilyn’, a song about a broken relationship, where the tender melody sang by Dominique LeJeune is intertwined with Eazy’s commercially ready form of rap. This formula is used again in recent tune ‘Let’s Get Lost’. This makes G Eazy heavily comparable to the likes of Macklemore, in the simplistic piano backed tunes that they both pull off. G Eazy can also make more conventional, ego-boasting songs, albeit with significantly less effect. ‘Lotta That’, where Eazy teams up with A$ap Ferg and Danny Seth over a trap beat befits only one word of description. Terrible. Littered with rap cliches such as ‘yeah I have a lot of sex’, (I’m like me you are astounded by the creativity), this is clearly a path Eazy should avoid. Fans of more marketable rappers such as Macklemore, Big Sean or Wiz Khalifa will heavily appreciate his work.

Raleigh Ritchie

Part time Grey Worm from Game of Thrones but nowadays full time singer, Jacob Anderson goes by the moniker of Raleigh Ritchie producing gritty and honest alternative hip-hop enthused r&b. Songs such as ‘Bloodsport’ from his ‘Black and Blue’ EP, released earlier this year, are full of grit and pain, baring everything in the genuine delivery. It’s the perfect song for a miserable day.  While male stars in r&b nowadays are often twerking fanatics making shirt off music videos, as a welcome breath of fresh air, Ritchie (perhaps due to his past in the acting world) makes more raw, artistic ones as seen in the touching music video for ‘Stronger Than Ever’, as watching you choke back the tears. Fans of L Marshall and the UK Grime Scene will find Ritchie fits well into their playlists.

Lo-Fang

Lorde’s tourmate, Lo Fang, is a classically trained musician with expertise in playing 6 different instruments. After many years spent homing in his talent, Lo-Fang has released his debut album, Blue Film, where he expertly blends orchestral symphonies with complex electronic production. #88 assembles a fragile section of violin strings with tantalising synths and Lo Fang’s serene falsetto. Despite the vast array of rich sounds brought to the table, the ending effect is one of simplicity; his classical training coming through as every instrument is brought in for precise effect. ‘Where We’re Fire’ a more upbeat piece of indie electropop speaks of sexual frustration, a theme in the overwhelming majority of his songs. 2014 is Lo-Fang’s year, as he aims to reach a similar level of respect to fellow experimenters such as James Blake and with a start like this; it’s looking likely that he will.

 Best Song(s) of the Week:

So High by Doja Cat

So High, a track by LA based singer/rapper Doja Cat, already a renowned celebrity on Soundcloud, mixes slick production with her elegant voice resulting in a rather ambient feel, as you dive into the ocean of delight.

Beware the Dog by The Griswolds

Australian indie rockers the Griswolds (459,340,304 times better than fellow Australians 5 Seconds of Summer, cook up self-proclaimed ‘tequila-inspired party pop’. Beware the Dog a charming perk of a song one of the highlights from their quirky collection, ideal for a barbecue, talks about the pains of losing a friend to a drug addiction. The sound is disturbingly reminiscent to the Lion King with the colourful guitar lines and a few splashes of sunlight on top but nonetheless a definite summer tune.

In this fourth issue of this juvenile blog, the three artists being recommended all make ballsy, game-changing music. In addition to this exquisite trio, since it was so difficult to only pick one best song of the week, I’ve picked two. Fortunately I am yet to have heard a song so atrociously odious that it deserves to fit into the belittling worst song of the week section.

Kelela

30 year old Kelela Mizankekristos, is a determined and talented star-to-be, who mixes soulful vocals with a harsh, futuristic production, the result being grand alternative r&b. Kelela has trod a long, twisted path to get to where she is now, despite academic success at college, she chose to follow her dream of a career in music, paying the bills by whatever means. Many years of her life were spent finding an identity, from a spell in the jazz world to trying to be the next Mariah Carey. In these years of struggle, Mizankekristos recalls herself steeping so low as to steal from her friends. It is merely by chance that she met the right people to aid her escape from this dark abyss yet the raw sorrow from these experiences comes forth in her vocals. Songs that stand out particularly in her admirable collection include ‘Cut 4 Me’, an ultramodern sound with minimalist harmonies swooped precisely over innovative production from Kingdom, one of a pack of producers who Kelela frequently collaborates with. Other highlights are the metallic song ‘Enemy’ produced by Nguzunguzu, where sharp, clanging production is met with a menacing Asian string section as Kelela chants ‘don’t you know it’s me K-E-L-E-L-A’. Yet to sign an actual record deal until she’s completed her debut, Kelela is in control, knowing what she wants to achieve and how it’ll be done. Listeners will find her reminiscent of Aaliyah and similar to those such as Banks.

                                                 Kelela, making a sound before her time

Hozier

It’d be an understatement to say that Andrew Hozier Byrne, an up and coming Irish talent, makes very dark music. In Autumn 2013, Hozier, as he’s otherwise known, had a huge viral hit in Ireland with the song ‘Take Me To Church’, the song reaching number 2 on the Irish charts. As for content, the song itself critiques the prejudice and discrimination of the Roman Catholic church in Ireland as well as homophobic on goings in Russia. As Hozier condemns ‘a fresh poison each week’, being served at the churches, the blue-eyed soul and clear passion of his voice, make him more than a protester. ‘Take Me To Church’, a rock song, with heavy gospel and choral undertones, indeed does what the title says, taking the listener to a dark, gothic place lit only with moonlight, as the upfront lyrics roll on. Hozier openly criticises the little the Roman Catholic Church in Ireland has done to apologise for the pain it has done in the past saying ‘the reparations are all too few’.  Hozier indeed is a welcome example that music hasn’t lost its revolutionary meaning as it had years ago. Other gems in his sombre collection are the acoustic folk song ‘From Eden’. At first listen it seems a breezy juxtaposition to the previous tune, but the lyrics are just as profound.  A song of unrequited love takes a gloomy turn as Hozier bleakly croons ‘a rope in hand for your other man to hang from a tree’. Hozier in a nutshell is a mixture between the enthused tones of James Blake, the activism of Nina Simone and at his peaks akin to Jeff Buckley.

                                                     Hozier: Dark and Revolutionary

Elliphant

Ellinor Olovsdotter, or Elliphant is a Swedish MC, heavily influenced by the urban sounds of London as well as the reggae accents of Jamaica, both strongly coming across in her music. There are Scandinavian influences here also though, in the opaqueness of her work. Elliphant is clearly unafraid to speak her mind, as seen in the endless series of expletives scattered across her work, an outcast at school, the independence she so relishes comes across in her ‘f*** what other people think’ mentality. Perhaps the most striking song of hers is the Skrillex produced ‘Only Getting Younger’, a foreboding, frightening and fierce piece of dubstep-pop. The song is an uncontrollable, destructive monster destroying everything in its path without a second thought. Listeners who appreciate the likes of Diplo, M.I.A or Skrillex will find Elliphant slips nicely into their collection. If not then I’d sidestep this one.

Elliphant: The Scandinavian M.I.A

Best Song(s) of the Week

Don’t Wait by Mapei

This cute, catchy little r&b pop gem sounds like a bona fide hit. Simple but effective, you can almost feel the waves of the sea reaching up to your toes when listening. The stunning, chilled drum beats of the production make this a song even the biggest pop stars would be proud of putting out.

Luvletta by Meanwhile

An overwhelming, quirky, kaleidoscope of colour with a catchy bass line and a wild voice from newcomer Meanwhile, heavily tipped as being the next Prince, Luvletta is like an odd sort of party with party poppers and streamers as you get really drunk… Then it comes to an end, like the morning after, and you can’t even remember what the song’s about. 

Always open to suggestions :)

Somehow I am still making this blog after 2 weeks (does a little celebration dance), and in this issue there's a jazz hip hop maestro, a cold, cool electronic music genius and a new feature which I call worst song of the week. Enjoy, and as always feel free to send feedback :)

Rainy Milo
18 year old former Brit School alumni, Rainy Milo is a confident and adroit starlet in the making, she serves up her own diverse form of 'jazz-inspired hip hop'. Indeed the smooth jazzy beats compliment the lax nature of her voice with an added edge in the truthful London accent that she carries with her, heavily reminiscent to Lily Allen. The unique nature of this never-done-before style of music perhaps came from how Rainy from youth chose to surround herself with 'inspiring people', choosing to act against the status quo of her upbringing in which people "were told that they had a crappy fate and were willing to just go along with it.". The gritty reality of her lyrics as seen in songs such as ''bout you', a exotic cocktail of delights accompanied with a groovy base, succumbs the listener to more. As well as other songs. such as 'miss you', a laid back, summery piece of laid back r&b. Listening to Rainy Milo is like laying down on a sun bed just outside a New York jazz club, whilst being in London at the same time. Perhaps Rainy's songs aren't catchy enough for her to achieve success with a mainstream audience, but this young diamond in the rough shows much promise and can look forward to a glimmering future. If you like Amy Winehouse or Corrine Bailey Ray, I suggest adding Rainy Milo to your collection.

SOHN

SOHN an English electronic music artist nowadays based in Vienna. This move perhaps has been key to the compelling sound he makes, the cool, tranquil mountain landscape yet also the animated city life coming through in his music. SOHN's sound is rather reflective yet also energy enthused with edgy, epic beats, 'Tremors', perhaps his most noteworthy piece of work, is a monumental piece of frighteningly forbidding dance music, slivering up to a peak as the volcano of sound explodes half way through the song. The only slightly more upbeat 'Artifice' has a deep sense of almost nauseous
overload as SOHN mumbles 'somebody better show me how I feel'. Reminiscent to James Blake and
Banks in the hostile music made, SOHN is an artist I heavily recommend.

Best Song of the Week:

Silver Lining by First Aid Kit
An eclectic piece of orchestral country pop, First Aid Kit, as a duo sing with pain in their voices much older than their years, over the bittersweet nature of life. It is simply beautiful.

Worst Song of the Week:

#twerkitlikemiley by Brandon Beal and Christopher
I know I'm going to dislike a song once I see a hashtag at the beginning of the title, and boy this song doesn't disappoint. It isn't the dull beat or even the irritating voice of Christopher, 'Denmark's answer to Justin Bieber', that annoys me the most. It's the whole thesis of the song, the fact that anyone could in their right mind find it attractive seeing someone twerk like Miley Cyrus, many I'm sure are still struggling to recover from that VMAs performance...

P.S. Shoutout to my friend's youtube channel, Lunajay, go watch it guys

Me I Am Mariah: The Elusive Chanteuse by Mariah Carey (Review)

4/5

Me I Am Mariah The Elusive Chanteuse is the 14th album by the musical legend that is Mariah Carey that has been 4 years in the making after innumerable set backs, commercially disappointing singles and title changes. The title itself gives a hint at how the rest of the album is going to go, Mariah in part reverts back to her old sound but also makes some modern club bangers. Indeed, whilst many artists benefit from changing their sound with the times, this album proves that Mariah's original and signature sound has always been her best. In many ways similar to Beyonce's surprise launch album last year, Mariah doesn't have the intention to produce hit singles yet is more focused about the album concept, 'I'm not trying to follow any particular trend, I want it to be well received'.

Me I Am Mariah has a vast array of musical delights from disco songs, thumping Hit-Boy production to a tribute to Reverend James Cleveland. Although I was worried whether the epic title would outshine the actual content it is clear that Mariah's ego remains undented from the lacklustre success 

of her previous album merely peaking  at 23 in the UK. We start off with ballad 'cry', a traditional soul song that puts full attention to Mariah's enviable talent as she ranges throughout her humongous vocal range with ease. Other highlights include the fittingly titled '#beautiful', the duet with Miguel being a shimmering chandelier of class and elegance. When she's not collaborating with Miguel, Mariah steals the spotlight from Wale in 'you don't know what to do', he might as well be a mere instrumental in the shimmering piece of disco pop with a few litres of sunshine added for good measure, or collaborates with her two twins '"Dembabies" a.k.a. Ms. Monroe & Mr. Moroccan Scott Cannon a.k.a. Roc 'N Roe' in the slightly bland, yet heartwarming 'supernatural' where she shows her deep love for her children.

Mariah hooks up with fellow 90s royalty, Nas, in the throwback hit 'dedicated' as she warbles 'I'll just sit right here and sing that good old school shit', and despite under performing as a single, 'you're mine (eternal)', a gem of peaceful r&b, conveys Mariah at perhaps her most vulnerable. The retro sound returns in upbeat songs such as 'money' and 'meteorite', the latter with Q-Tip's dust of magic upon it. The only song that the album could be without is the George Michael cover, 'one more try', Mariah's turns it into a dreary and dull gospel ballad, but nonetheless you can never fault her vocally. Personal highlights include the stunning 'heavenly', which verges onto X Factor winner's single territory, the emotional, typical Mariah ballad that is 'the art of letting go', but perhaps the best song on the album is the sure fire hit 'thirsty', which combines production reminiscent to Niggas in Paris by Jay Z and Kanye West (well they do have the same producer) with a traditional soul hook, as Mariah sings 'best thing to happen to your ass was me', you can't help but get up and grind along. It's no mean  feat that an artist 25 years into their career can still deliver something so current.

As you're left with Mariah's joyful laugh in the conclusive speech at the end, you're left to realise that perhaps this album isn't the most genre defining or original sounding of its time, but it's the album of an artist genuinely having fun and wanting to breath back life into the album franchise. Critics might say its a bit of a mess with no flow to it, yet this adds to the personality in another great album by undoubtedly one of the best performers who has ever lived.

Jontincooper Musicblog 

New Artists of the Week: Take 1

At last I have taken the brave step into the foreign and hostile world of blogging and already feel like a child without a mother I'm so lost. Nevertheless in this perhaps ill advised blog and until it's imminent demise I will strive at nothing less than providing you with an insight with artists and bands who I believe deserve the all so precious time of being heard by you. In this week's blog there's a reggae pop making German machine and a smooth rnb crooner and I hope there's something you'll like.

Milky Chance:

This German self proclaimed pop-rock-folk-reggae-electronic music duo made up of singer Clemens Rehbein (above) and producer Phillip Daubech have already caused quite a stir in Europe thanks to their bumper sized hit 'stolen dance' which as of yet has already reached number 1 in 8 countries across the globe. Many listeners ever keen to hop on to the band wagon before it starts rolling will do well to tag along with this ever increasing  fan base, for within months inevitably they will have had a hit in the UK as well. The buzz for this band centres around the hit 'stolen dance', an understated pop for song full to the brim with acoustic pleasantries as the listener is invited to do 'the boogie all night long'. It's like sitting by a lake in the middle of the summer sun as the melancholy tones of Rehbein's voice float over you. Indeed stolen dance dies overshadow much if the duo's other work, fading into mere dull accousticness in comparison, nonetheless I doubt this will hinder the group's imminent success. So if you like Kodaline, Mr Probz or folk with a touch of reggae (still yet or find this reggae influence perhaps it's just Rehbein's hair), you'll love them, the added bonus that you can say you heard them first.

PARTYNEXTDOOR

Canadian Johran Anthony Brathwaite, or partynextdoor, is the latest from the seemingly endless catalogue of incredible modern r&b artists originating as one of Drake's apprentices. Following on from his predecessors the Weeknd and Jhene Aiko, partynextdoor offers smooth, dulcet tones of 'hipster r&b' with a formidable production. Arguably the best song in his growing collection is the heavily explicit 'wus good/curious', where in the politest way possible Johran sings 'ride me till I'm 'bout to cum', (clearly not to be listened to in a room with the grandparents). His songs based on the repetitive theme of the thug life, sex, strippers, drugs and more sex (well what did you expect?) take you to a place riding in the dark streets in a black Cadillac whilst thumping along to the sophisticated self done production. One may say that the production is indeed the thing that sets him apart from his contemporaries (his lyrics certainly don't). If you like the Weeknd, Frank Ocean or Drake, this'll be right up your street, if not then I advise you avoid him with the upmost immediacy.

Song of the Week 

Meet Me There by Nick Mulvey

This light, bouncy, piece of hipster folk, like a breeze of calm, brings reassurance that there is still good music in the world, having heard the atrocious pile of shit that is Pitbull's latest offering.

Thank you if you have read this and as always I'm open to comments etc.