The entire video is enthralling from start to finish – a joy to lose yourself within, and well-crafted to the point that you really feel no need to distinguish this from (or compare it to) the original or other versions.
Singles
Something about the violin offers those traditional folk-rock vibes that make you want to head down to a live show at some Irish pub. To combine this with the already uplifting aura of a well-crafted, synth-driven EDM ambiance makes for something even more immersive and a total pleasure to listen to.
Carefully fusing a crisp acoustic guitar sound and a thick yet mellow drum-line, a uniquely recognizable hip hop backdrop supports this emotional rap flow and story-line from bich toe.
Musically the song feels rooted in contemporary pop-dance fusion, but it’s the structuring and the progression through the melodic vocal sections that ultimately grab the attention of the listener and make for something easily memorable.
Thousand Times’ return this year brings a gorgeously ambient and smooth RnB-fusion track with a softly soulful backbone. Seductively gritty vocals leads the way lyrically and melodically, running alongside a down-pouring of colourful synths and a sort of lightly throbbing energy level.
There’s a sense of identity to it, those contemporary hip hop layers are still present – the rhythm, the confidence, the leadership vibe and a sense of independence – but musically and indeed in the way POPMFS has structured this, the whole thing speaks volumes for originality and creative freedom.
Cross My Heart sounds beautiful, passionate & musically supreme. It’s memorable in a subtle fashion, not intrusive or irritating to have running through your mind – on the contrary, it feels soothing to consider the loyalty & love at the heart of the song; even with its turmoil & regret – that realness is everything.
Soul City emerges with the easy-going rhythms and subtle organic-electronic ambiance of a Lemon Jelly classic. You can hear every instrumental layer as this crisp and clean building block, and yet at the same time – you can let the entire completed soundscape work its smooth and colourful softness around you in a united wave of warmth.
The song itself leans in a notably soulful direction as things intensify, but this is primarily down to the development of the melody and the sheer effortless emotion and movement of that vocal. An easy beat and plenty of space, a hint of reverb, a flicker of guitar and synth later on – this is all that surrounds the writing and the performance for the most part.
Creatively walking multiple lines between raw indie rock and dreamlike shoe-gaze or grunge, James Dean Death Machine presents a notably live sound on this album Leave a Pretty Corpse – inviting the listener to stand front and centre as this rain of bass-lines, beats and vocal grit pours down before them.
Conceptually on point, dealing with the value of time and its ability to change our perspectives and our understanding of those around us – the song utilises characteristics from a number of musical genres to build a lightly rhythmic yet dreamlike soundscape around you.
Facing Dullness is perhaps the best new song I’ve heard so far this year. It takes a moment to really kick in, the overall sound is fairly familiar – warm and indie-pop-like in nature, but once you really hear it; you can’t un-hear it.