As emotional songs go, this one digs right into the heart – dog lovers be warned. The tears may flood, but the song also reminds you to appreciate those still with you. An absolute recommend.
Music
Creep deals partly with what the title promises, though topics vary to keep things interesting, and it delivers consistently with this familiar Nirvana-style set-up and the unmistakable yet ever-unexpected innocence of that leading vocal tone.
Stephen Babcock’s brand new single is an easy hit that ticks a whole lot of different boxes. Pouring through with the simple rhythm of an MGMT piece but the vocal swagger and clarity of a blues-rock classic, Fight I Need goes on to become conceptually accessible yet presented in a refreshing and somewhat quirky manner.
The contrast between these spoken word moments and the uplifting brightness of the hook lets the whole thing really hit with impact.
The song begins with a clean riff stylistically similar to The Cult, coupled with a laid-back groove. Both elements are drenched in reverb, and provide a moodier aesthetic. The sheer size of this track is certainly as the name would suggest – biblical.
Emerging under the appropriate title Exit Simulation II, the new project is of such a uniquely interesting and easy to enjoy nature, that you’re likely to find yourself lost in the midst of it as one united and whole experience – a rare and valuable quality for the contemporary album.
Celtic Purple brings together soulful performances with engaging melodies and an array of musically warm soundscapes, each with a fairly raw and intimate presentation style, giving off the sense that Cady and the band are playing right there in the room with you.
Essex-based singer-songwriter Georgia Box’s sex positive anthem Coco is a well-produced pop song that could comfortably fit within the mainstream.
Eight original tracks designed with care, with clear emotion and professionalism combined. Breathe Me In as a complete project is a rewarding journey to embark upon – the perfect choice this summer but also offering a timeless quality with a notable lightness.
The last nod to the Baby Shark phenomenon is the post-chorus part, which harks back to 50s doo-wop, with its nonsense rhythmic lyrics. Altogether now: ‘Bam-a-lam-a-lam-a-ding-dong…’
With some decent exposure, I could imagine Let Me Know appealing to a very broad demographic: it’s a confident slice of hip-hop that ticks all the lifestyle-centric tropes of current on-trend bangers. It feels mature and authentically honest without being too knowing or too cynical, and deserves to be shared around.
Instead of falling victim to genre or industry expectations, Brown has let his own inner desire to let go, to free himself of yesterday’s turmoil, guide the way with the release. You can hear a genuine breath of progression and peace as you turn the track up loud, and that feeling passes over perfectly well.