Sinead Harnett - No Other Way
Flourishes of modern electronica contrast nicely against old school R&B vibes on this chilled out summer jam. Watch out for Sinead’s N.O.W EP on June 15.
Disclosure - F For You (ft. Mary J. Blige)
Mary J teams up with Disclosure, raising the question as to why she hasn’t been doing house vocals these past few decades.
Tinashe - 2 On (ft. ScHoolboy Q)
Just when you thought Drunk In Love was the only urban anthem you needed right now Tinashe went and dropped this bomb on y’all. It’s produced by DJ Mustard. It features Black Hippy member ScHoolboy Q. It’s big. I dare you not to move when that Sean Paul sample kicks in.
Janelle Monáe // Q.U.E.E.N. (feat. Erykah Badu)
Janelle Monáe is bringing the groove back with this new cut from the long awaited next installment of her Metropolis series.
The Electric Lady teams up with Neo-Soul queen Erykah Badu to deliver an empowering uptempo that will no doubt get you up on off-ah that chair and moving just about everywhere. You know those places you never thought you’d be moving? Yep, even there.
Starting with a deep guitar riff which procedes some glitzy 80s synths and a nice orchestral arrangement, Janelle has managed to do what she does best by providing a great track with various layers. It has that vintage vibe she does so well, but with a crisp modernity to remind us that she’s on the cutting edge of basically everything. Okay, some things.
Add an excellent outro from Erykah Badu and I gotta say is that the booty don’t lie. Shakira told us that 7 years ago, true; but the message is still just as powerful to this very day.
Disclosure // You & Me [feat. Eliza Doolittle]
After the success of ‘Latch’ and ‘White Noise’, Disclosure take it back to basics with new single ‘You & Me’, released April 28.
In an unlikely collaboration with Eliza Doolittle, the duo embrace the garage sounds that made us fall in love with their earlier material. While it may not be quite as immediate as the aforementioned singles, it only takes a couple of plays for the fast paced chorus to sink in and do its magic. Combined with a slinky beat that sounds like it could have come straight out of 2001, and Disclosure have hit that sweet spot yet once again.
Drake // Started From The Bottom
I don’t know what to think about the new Drake single. The sparse, repetitive instrumental gives the track a nice atmosphere, but the fact that it really is repetitive is a bit of a problem as well.
Don’t even get me started on the lyrics. I mean, really? We knew you were going to cover the same ‘rose from ashes, now I’m in gold glasses’ ish on this track, but you could have at least invested in a thesaurus to make things a little interesting Drizzy.
This isn’t bad, just incredibly disappointing. Even if Drake does tell us this was all a joke and what we’re all just hearing is a half finished snippet, it still has nothing on his previous lead singles, let’s face it.
Disclosure // White Noise [feat. AlunaGeorge]
Following up ‘Latch’ was always going to be difficult. I mean, it was that song. So what better to do than hook up with one of the most hyped bands of 2012?
Well, it could have been awful. Disclosure could have been teaming up with some bland band that were hyped up by some bland magazine as pioneers of some indie/post-indie/post-future-rock/turtlewave revolution. Thankfully that’s not the case though. They’ve team up with AlunaGeorge, so without even hearing the song we pretty much know it’s amazing. Plus it’s Disclosure, enough said.
With two of my favourite acts of 2012 teaming up this could have been one of those massively disappointing hyped collaborations. It’s not. ‘White Noise’ is everything it should have and could have been - and more. Even on top of a massive 80s techno influenced instrumental Aluna’s vocals are unmistakeable. The production is precise without sounding calculated, with the euphoria of the pre-chorus with it’s looped vocals and hollow core being my favourite part of the track. That’s all before the massive chorus comes in, resulting in something close enough to perfection.
Rainy Milo // Don’t Regret Me [Gif Video]
Rainy Milo’s ‘Limey’ mixtape is one of those song collections where they’re all so good that it’s difficult to pick standouts. Despite that, ‘Don’t Regret Me’ is an obvious single choice to launch the London singer to a broader audience.
With laidback strums of guitar, oceanic electronica and a steady urban drum beat, ‘Don’t Regret Me’ sounds like a collision between William Orbit and the Neptunes circa 2000, with a little Sugababes 1.0 thrown in there for good measure. Rainy’s delivery is chilled yet unrestrained, which combined with her accent add a certain sweetness to the track.
Make sure you grab Rainy’s ‘Limey’ mixtape over at her soundcloud and follow her on here too. You’d be a fool of you didn’t considering all of the songs all good and it’s free. I can’t wait to hear more from Rainy, but in the meanwhile I’ll enjoy this cute plant infested gif video.
Beyoncé Sings the National Anthem at the 2013 Inauguration of Barack Obama
That moment when she yanks the earpiece out from under her hair. Perfect.
Aaliyah // Quit Hatin’
Despite Drake acting like an idiot by putting a Chris Brown diss in a posthumous release, ‘Enough Said’ was one of my favourite tracks of 2012. Aaliyah’s “came too far to give up, gotta try” riff helped to remind me what I love so much about her music, easily meriting the release of some new material. Her effortless, haunting vocals sounded sublime on top of a sparse instrumental and left me begging for more unreleased material.
'Quit Hatin' isn't technically new as there's been a low quality version of the Knotch & Dre Sinatra track floating about the net for years; but bar some slight tagging we've now got it in all of it's high quality glory. You can hear the yearning in Aaliyah's voice now, as she pleads with her friends to quit hating on her man, whom she loves despite the fact that she knows he's nothing but bad for her.
Cascading snares form the basis of the instrumental, which sounds tense thanks to an off-kilter piano riff and some unnerving sirens in the background. Combined with slow, aching synths, this is another atmospheric Aaliyah track which reminds us just how much she’s missed in today’s music industry.