I have to get on a train at midday and as per usual I have done none of the prep work I had ample time to do yesterday when I was just lounging around doing nothing so I’m trying to cram a full day into 2 hours… but here I am writing about the new releases anyway! Nine weeks into my streak, this is officially the longest commitment I’ve ever made in my entire life that wasn’t state-sanctioned schooling. I don’t even know who I am anymore. Anyway, on with the reviews!
CASH CASH & ROZES – ‘MATCHES’
Rozes has a weird vocal that sounds like Katy Perry throwing her voice and this song has a weird incongruous chorus that I straight up don’t like. Look, can we just… I don’t know, but can dance collaborations stop until they can avoid being so predictable? They’re so boring and white and heterosexual. It’s not like it would be difficult to shake the formula up a bit. Perhaps the production outfit is more diverse? Maybe the singer is someone other than a basic white girl who doesn’t have enough star quality to exist outside of a feature? Perhaps the song isn’t hinged around a beige metaphor about flowers or fire? Give my something, ANYTHING, to work with here, I beg.
JENNIFER HUDSON – ‘REMEMBER ME’ ☑️
This song is like a leftover Emeli Sandé demo from 2012, but you know what… I kinda like it? In a song from a movie soundtrack kinda way? Not that this song is from a movie soundtrack, but it has that vibe. I can see some kind of race to the airport to stop your childhood sweetheart who left you behind when they moved to the big city but recently returned for a funeral and the chemistry is still there, more so even, but they’ve got a new girl they don’t really love but they’re getting married next spring and you’ve got issues and small town self-esteem but actually shouldn’t you just take the risk and be happy and stop them before they leave for New York? scene happening over the top of this song. Plus, Jennifer’s voice is so evocative and warm and churchy that I actually wanna play this again? Slap me, I’m projecting.
LANY – ‘GOOD GIRLS’ ☑️
My favourite new band of last year, (I will be seeing them perform this song on Wednesday!) and I love this song so much. A little more dancey than their previous material – I guess ‘Bad, Bad, Bad’ sits alongside this most comfortably – but the LANY spirit is still there: sadboy narration of care! free! love! affairs! with! care! free! millennial! girls! in! California! that! suddenly! have! cares! attached! and honestly so much of what LANY are should be abhorrent to me, but I cannot get enough. I listen to them all the time. I’m obsessed. If you like HAIM, The 1975, MUNA, The Neighbourhood and/or beautiful pastel-emo lead singers they are the band for you. Get into it.
LITTLE MIX – ‘NO MORE SAD SONGS’ ft. MACHINE GUN KELLY
I don’t seem to rate this song like everyone else, so I’m half-arsed on it even being a single anyway, but for sobbing out loud – Machine Gun Kelly? I’m so over Little Mix sticking a rapper on the single releases anyway because it’s fucking lazy, but Machine Gun Kelly is a particularly egregious edition because HE DOESN’T HAVE BARS. Simultaneous to this release is a ‘Touch’ remix featuring Kid Ink, a rapper who has contributed to the chart success of precisely zero artists and I’m just here like – why get two budget rap features when you could focus on one song and put the money into getting Migos or Big Sean or literally anyone but this terrible, terrible, TERRIBLE G-Eazy cosplayer? Stormzy would probably have laid out a sweet 16 as he napped in between pop up gigs if you asked nicely because he has talent for days. Or, y’know, the song is good enough on its own merits and didn’t even need a feature. That too.
LORDE – ‘GREEN LIGHT’ ☑️
Ugh, this anthem though! I never got into Lorde on her last album – complete disconnect for me, though I liked ‘Royals’ – but this is instantaneous. The Swift-esque first 50 seconds are a complete misdirect, because the actual song is far more interesting – built up around a house piano line, weird echoing backing vocals and frenetic drums it’s constantly surprising: part ballad, part dance song, part playground chant, all banger. A promising lead in to the album, I think I’m on board this time round.
SKEPTA – ‘NO SECURITY’ ☑️
Last year’s Halloween special gets a new verse (and a sick new video) and an official release and sees Skepta ruminate on his “nominated but understated” existence over a dark, vibrating beat. Somehow this track feels a little flat in a post-Stormzy world, but I’m still reminded that Skeps is absolutely a force to be reckoned with from the confident verses set against the menacing threat of the hook.