Browsing Tag

dance pop

Belly has dropped another feat of riotous dance-pop with her sophomore single ‘Taking What I Want’.

https://soundcloud.com/iambelly/taking-what-i-want

After the success of her dance-pop debut, up and coming alternative artist Belly is here with her entrancingly riotous pop hip hop anthem, ‘Taking What I Want’,

With similarities to Neuroticfish’s industrial-electronica production style mixed with nods to the fearless icon, Lauryn Hill, Taking What I Want is an act of filthy unapologetic aural rebellion. Fleeting reminiscences may be there, but everything about Belly feels authentically candid. From her constraint-less sonic style to the galvanising energy she brings vocally to the playfully antagonising vocals.

Even if Taking What I Want was a downtempo track, it would have still left me stoked for finding such a charismatic punk-pop-hip-hop pioneer. Taking What I Want is the antithesis of plastic pop.

You can check out Taking What I Want for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast

Debrah Jade has released her funk-fuelled hyper-pop single, Nobody But You.

‘Nobody But You’ is the latest fierce feat of  hyperpop left on the airwaves by the breakthrough artist Debrah Jade. After racking up hundreds of thousands of streams since making her debut in 2018 with her single, ‘Drenched in Love’, Jade has stayed true to her signature funk-fuelled, disco-pop affectionate style that unapologetically reminds her listeners of their capacity to feel.

Hit play on Nobody But You, and you won’t just hear Jade’s optimistic disposition; you will be inclined to share it. We may have all collectively endured the most trying times in living history. But the presence of resoundingly visceral voices, such as Debrah Jade’s that remind you of the time when Houston and Turner were the reigning queens of pop, bring back a sense of normality.

Nobody But You is now available to stream via Spotify.

Review by Amelia Vandergast

TAYLOR ESPOSITO breaks though with her hyperpop debut single ‘KISS ME LIKE IT’S NOT OVER’.

Shaking off her small-town-girl status, TAYLOR ESPOSITO is here with her impassioned hyperpop earworm, ‘KISS ME LIKE IT’S NOT OVER’. In the same vein as anthemic tracks by Rihanna, Ariana Grande and Cardi B, the single resounds with fervent energy but you would be hard-pressed to find any singles by the aforementioned artists with a bassline that slaps as hard.

The debut is an unapologetically archetypal pop track but with the formula perfected under TAYLOR ESPOSITO’s meticulous approach to production and her fierce attitude colliding with the bass-riding beats. There’s no denying that KISS ME LIKE IT’S NOT OVER doesn’t leave you adrenalized and insatiable to hear what ESPOSITO has in the pipeline.

If her music wasn’t exciting enough, the artist and influencer has made it safe to see pop stars as role models again.

KISS ME LIKE IT’S NOT OVER is now available to stream via Spotify. Follow the artist via Instagram.

Review by Amelia Vandergast

Throw away your saviour complex with Justine Eltakchi’s hyperpop single, ‘Demons’.

Justine Eltakchi

If you find that the average perennial pop earworm lacks bite, get acquainted with the teeth in the flawless futurepop earworm, ‘Demons’, by Justine Eltakchi.

After a productive 2020, which saw the singer-songwriter releasing two EPs and six singles, 2021 shows a different side of Justine Eltakchi. Her latest single brings forth a darker, more experimental hyperpop sound that isn’t afraid to lyrically rip right through to the core of suffering as the instrumentals echo the mental instability before the final crescendo that illustrates that breakthrough when the black cloud finally shifts.

Demons is a single that compels the listener to put themselves first and throw away the saviour complex. Considering that there is a fair amount of women out there lusting over serial killers with the belief that they can ‘fix’ them, Demons is an essential track.

Check out Justine Eltakchi on her Website, Facebook and Instagram.

Review by Amelia Vandergast

Koko Nova has made an artful alt-pop debut with, ‘Addicted to You’

https://soundcloud.com/iamkokonova/addicted-to-you/s-YspngYgqcGg

For her debut single, alt-pop artist Koko Nova served a seductive slice of era-spanning European electro-pop that won’t fail to leave you arrested through the atmospheric post-punk elements amongst the 90s pop artfully anthemic grooves.

The sonic experience itself is enough to get you excited about Koko Nova. Yet, with a successful corporate career behind her and a background in science that feeds into the constructs of her sound, you don’t just get the sense that her music is intellectually inspired; you get the affirmation.

If you pay close enough attention to the lyrics, you’ll find that Addicted to You isn’t your usual saccharine love song; instead, it is a siren call to our habits that form around our vices. Something tells us that her sophomore single will be just as subversive.

Addicted to You released on April 23rd; you can check it out for yourselves by heading over to SoundCloud.

Review by Amelia Vandergast

Jake Inzerra blasts off with his 80s dance pop track, ‘Rocket’

https://youtu.be/M2cyvGFDvhk

Plenty of pop artists explore the interstellar with their sound, but with Jake Inzerra’s grooving single, Rocket, you’ll feel the ascension as your dopamine levels get a top-up and the 80s-influenced infectious melodies choruses take hold and bring the energy.

The Connecticut-born singer-songwriter and producer takes inspiration from pop icons from across the ages, and it shows through the timeless euphoric vibes in Rocket. But there’s plenty more to Inzerra’s connectable presence on the airwaves than his influences; he turned to music and dance after receiving homophobic abuse in his narrow-minded hometown before moving to NYC and finding the freedom to be inspired by 80s-style androgynous male glamour and harness his own creativity.

As a firm believer that androgyny is the future, there’s nothing more satisfying than encountering an artist bold enough to defy convention and be unapologetically, authentically sensational. Inzerra’s music is an irresistible invitation to live your own life, not a life of downtrodden assimilation that the illiberal prescribe.

Rocket released on April 23rd; you can check it out for yourselves by heading over to YouTube.

Review by Amelia Vandergast

 

REMY QUINN – Make U Happy featuring Haley Warner

‘Make U Happy’ is the fourth single released by the up and coming Chicago-residing pop artist and producer REMY QUINN in collaboration with vocalist Haley Warner. If your summer pop playlists need shaking up, they will get a seismic shift in cool with Make U Happy.

The urban dance-pop track comes with polished production, but there is still enough room for the intimate indie vibes to breathe through the short and sweet mix that finds the perfect balance of energy. Make U Happy delivers plenty of affectionate passion. Yet, Haley Warner delivers the lyrics with a touch of realist reservation, accentuating the organic feel of the stylish release. Make U Happy is the kind of authentic pop that the airwaves has been crying out for. It is the antithesis of plastic pop music.

Make U Happy is now available to stream via Spotify.

Review by Amelia Vandergast

Biz-ARD invites you to get into ‘The Vibe’ with his dopamine-boosting alt-pop playlist staple.

If there is an up and coming pop artist worth paying attention to in 2021, it’s Liverpool-born high-vibe alchemist Biz-ARD. His latest single is a stylish funk-filled invitation to shake off the apathy and to ‘step in the vibe’. You’ll be putty in his hands before the first verse runs through.

With choppy guitars akin to the ones in Bowie’s Let’s Dance paired with Biz-ARD’s indie and post-punk tendencies, The Vibe is accessible from the first hit while still unravelling as a brand-new sonic experience. Mostly because you’ve never encountered an artist like Biz-ZARD before.

To truly appreciate The Vibe, you’ll need to check out the official video that documents Biz-ARD’s greenscreen-enabled globe-hopping and vibe sharing. It is available to view via YouTube.

The Vibe is also available to stream on all major platforms via this link.

Review by Amelia Vandergast

Cami Bex has unleashed her demure radio-ready pop anthem, ‘Falling for a Star’.

Finding the perfect balance of accessibility, authenticity, and energy is no easy feat for emerging pop singers eager to get their sound into as many ears as possible but Cami Bex has it down to a fine art.

‘Falling for a Star’ is the latest single released by the Sydney-hailing artist who creates to process the world around her. It’s safe to say that if listeners reach past the infectious melodies to invest in the lyrics, they’ll also get to learn from Cami Bex’s all too relatable introspection. The single is a soulfully demure reminder to not be in love with merely the idea of being in love; a red flag is a red flag.

Falling for a Star is now available to stream via SoundCloud.

Review by Amelia Vandergast

Conor Latcham brings realism to romance with their disco-pop track, ‘Do You Think You’re in Love?’

If you’re still sore from Daft Punk’s disbanding, the sonic indie disco pop grooves in Conor Latcham’s ‘Do You Think You’re in Love?’ brings all of the funk-laden consolation you could possibly ask for.

With Luke Marc Hughes (Tom Odell, Lewis Capaldi) on drums and Barry Grint (Bowie, Prince, Beatles & Oasis) in charge of mastering, the production matched the talent exhibited in the subversively relatable track.

Given the number of love songs hitting the airwaves (probably every second at this point), it’s nice to hear an almost-lovesong. It’s passion-driven; it grooves away from the sickly sweet proclivities of pop that allow all tracks alluding to love to sound like the lyrics were written by Disney screenwriters. We can see how Latcham came about their ‘blue-collar poet’ reputation. We can also see how he is going to take the scene by storm in 2021 and beyond.

You can check out Conor Latcham’s track, released by Trident Records, via Spotify and SoundCloud.

Review by Amelia Vandergast