[Weekly Listening, Week 13 – 18]
It’s been a surprisingly busy summer of music listening, with plenty of time to try out new tracks on long journeys and lazy days at home. As usual, my tastes have changed quite a lot over the past six weeks. It started with a newfound love for the smart and no-nonsense electronic pop of Billie Eilish, whose short debut dont smile at me has become one of the albums of the year. Week 15 was a very quiet week, with the release of two more Jungle tracks (Cherry and Heavy, California) being the main headline. Cherry broke records for being the least-played Song of the Week ever with only six plays. A week later Opia’s Strings Attached met the record for most plays in a week and was the first of many Opia tracks I now love. The final two weeks have been the busiest by far, with record-breaking Tieduprightnow reigning supreme as Week 17 Song of the Week with an unprecedented 24 plays. There was also a notable increase in acoustic and folk-tinged tracks from The Maccabees, Bright Eyes and Parker Lane.
To round up such a great summer of music I’ve created a top 20 list of my most listened to songs, to be released over two posts. Songs are ranked by the number of times I listened to them during the six weeks, and then time spent listening.
20. Forget to Forget
by Shy Martin (Single) (2018)
14 plays (36:10)
Whilst it may prove consistently popular around the world, pop is also a very popular genre to hate. Whether it’s the shallow lyrics, emotionless auto-tune or relentlessly overused staple chord sequences, there’s plenty of ways to criticise today’s pop superstars. For that reason, I tend to steer clear entirely of Top 40 tracks and artists, preferring lesser known and more musically creative artists. However, when I do find myself shamelessly indulging in songs that are huge hits across the globe, I find there’s usually one thing that lures me in: a stripped-back, bassy chorus. See favourite tracks like Charlie Puth’s Attention, 5SOS’s Youngblood and most recently James Arthur’s You Deserve Better to hear what I mean. Songs like these typically include a surprisingly simple first chorus (vocals and bass) and then add layers for a final chorus where a satisfying musical journey has been fully developed. You won’t be surprised to hear that Swedish songwriter Shy Martin’s single Forget to Forget works off a similar formula, but thankfully with her own twist. Hjellstrom’s voice is perfectly primed for the genre – light and breathy, dancing over the almost funky bassline. The verses may be nothing special, but it’s the chorus that will really grab your attention with an emphatic electronic bass. The whole thing is shiny with post-production polish but refreshingly not overproduced with additional backing instruments and synths. By far the most surprising part of Forget to Forget is the jarringly abrupt and early ending. Hjellstrom’s parting line is a clever repeat of her first: “I feel, I feel the ending / Before it even starts”. It may be short and a little bit of a guilty pleasure, but Shy Martin has managed to avoid many of the negative pop stereotypes in a song I can’t help but love.
19. you should see me in a crown
by Billie Eilish (Single) (2018)
14 plays (42:07)
As you may have figured from the introduction, Billie Eilish has been my favourite artist of the summer, featuring four times in the top 20. Only one year older than me, the Californian has become remarkably successful at a remarkably young age, most notably having our debut track ocean eyes go viral and subsequently being featured on Netflix series 13 Reasons Why with the track Bored. If you should see me in a crown, her most recent single, is the first you’ll hear of Eilish, then you’re in for a somewhat of a baptism of fire. In terms of self-empowered swagger, this one even surpasses the dont smile at me’s raucous opener COPYCAT, which seemed like hard to outshine. you should see me in a crown is packed with menace, and a chorus that will stop you in your tracks. Just as she smartly references her viral debut (“Cold in my kingdom size / Fell for these ocean eyes”), Eilish launches into a ferocious chorus. The glaring, gritty synths may not be everyone’s cup of tea, but the message of the song seems to perfectly sum up the Eilish mentality set up in dont smile at me. It’s a long way from the heart-on-sleeve tenderness of her debut, showing the 16-year-old has already matured as a performer (emphasised unquestionably in this sickeningly-good live performance). One thing’s for sure: don’t mess with Billie Eilish.
18. Aftertaste
by Whethan feat. Opia (Single) (2017)
15 plays (40:00)
Yale University graduates Cole Citrenbaum and Jacob Reske produce R&B influenced electro pop until the name Opia and after hearing them for the first time I fell in love at first listen. Teaming up with Chicago-based DJ Whethan, they’ve created a piece of scintillating guitar pop in Aftertaste. The bass is nasty and low and the groove is dangerously sharp, making this track a real joy to listen to.
17. idontwannabeyouanymore
by Billie Eilish from dont smile at me (2017)
15 plays (50:45)
In you should see me in a crown you’ve heard one very distinct side of future pop superstar Billie Eilish, but idontwannabeyouanymore couldn’t have more of a different tone, presenting Eilish at her most vulnerable and insecure. The song is a beautiful piano-lead ballad, and one of the many songs showcasing Eilish and brother Finneas’ outstanding songwriting skills. In keeping with the excellent songwriting, the lyrics are superbly poetic and intensely personal, as Eilish muses to herself, wishing she was someone different. To top it all off, this is vocally one of Eilish’s most breathtaking tracks, with staggeringly delicate technique on full display throughout. After reading all that you may be surprised that this isn’t the best track in the album, but showing her weaker side is an incredibly brave thing to do, and with so much unleashed emotion it’s no wonder that Eilish has produced a touching ballad in the process.
16. Toothpaste Kisses
by The Maccabees from Colour It In (2007)
17 plays (45:03)
Within the first 20 seconds of Toothpaste Kisses, English indie rock band The Maccabees give a masterclass in setting a mood. With a lit candle and a fluttering guitar you instantly know you’re in for a blissfully romantic two and a half minutes of music, polished off with a beautiful lo-fi production. It must be said that Orlando Weeks’ vocals make the track and complete the soothing accompanying textures with a crisp but dainty melody. Add in a bass and light jazz drum set and The Maccabees have a portal into a utopian world of divine perfection in romance. For it’s brief runtime Toothpaste Kisses enthrals you, reassures you that it’s all OK and provides the feeling of drifting off into a dream. As soft and fragile as it may sound, Toothpaste Kisses is an undeniably powerful piece of music.
15. Move
by Pretty Vicious (Single) (2018)
17 plays (52:59)
Part of the reason I love music is how there is always a song to help you in whatever mood you’re in, and a quick dance around invariably makes things better. All it takes is a heady tempo and classic chord sequence and I’m up on my feet having a whale of a time. So strap yourselves in – Move is one hell of a song. With the same energy as immortal classics like Blur’s Song 2 and Kaiser Chiefs’ I Predict a Riot, Move immediately takes off at a pulse-quickening pace, and soon you’ll have to stop what you were originally doing from all the headbanging. The whole thing is the musical, healthy equivalent to a Red Bull, and by the end you’ll find yourself buzzing with newfound energy. Perhaps the message of Move is summed up perfectly in the bridge: Welsh vocalist Brad Griffiths sings “The noise, the noise it makes me feel free / Music is my one release.”
14. Go Quietly
by Marian Hill from Unusual (2018)
17 plays (1:28:24)
Electronic music has always had a tendency to surprise, and Marian Hill’s recent album closer Go Quietly is no exception. In Go Quietly the Philadelphia duo unleash the tension that had been held throughout the entirety of Unusual in the form of spacey verses and outlandish choruses. In fact, it’s probably the most gob-smacking chorus I’ve ever heard, with the beat dappled with tiny percussive samples like something out of a Andrew Huang “music out of anything” video. To their credit, Marian Hill make the samples more than just a gimmick, mostly through the erratic, manipulated vocal melody that dances above the percussion. It’s a bold move from the duo, but it’s paying dividends in the form of a scintillating track.
13. Cave Song
by Pretty Vicious from Cave Song – EP (2016)
18 plays (42:18), Song of the Week (Week 18)
If it wasn’t already clear from Move, Welsh four-piece Pretty Vicious know their way around around a rock song. Cave Song has all the necessary components – a catchy guitar riff, cymbal heavy drums and ample vocal screeches are all here in force and combine to form one of the best rock tracks I’ve heard this year. The band continue to show they’re full of youthful energy, most obviously produced by lively frontman Brad Griffiths. Cave Song is almost annoyingly short, but nonetheless shows the full extent of talents from these rock youngsters ready to take on the world.
12. First Day of My Life
by Bright Eyes from I’m Wide Awake It’s Morning (2008)
18 plays (56:24)
Make no mistake, First Day of My Life is a very special song, and it would have appeared much higher on this list had I discovered it earlier in the summer. This acoustic track is even simpler in instrumentation than Toothpaste Kisses – just Connor Oberst and his guitar. His touching lyrics and beautiful playing has been uniting couples for over ten years, as Oberst sees his own new relationship dawn. The now iconic music video has garnered over 18 million views over the years, and it’s not difficult to see why First Day of My Life has become so popular. It is utterly stunning, with a vocal performance impossible to replicate. So take a few minutes to listen to First Day of My Life; you may even love it as much as I did.
11. 3 A.M. (Acoustic)
by Parker Lane from P.L.A.Y. (Acoustic) (2016)
18 plays (1:05:20)
The last of my collection of new acoustic songs is Parker Lane’s 3 A.M. (another listen-worthy acoustic track dear insecurity by gnash and Ben Abraham didn’t quite make it into the top 20). In this heartwarming ditty Printz Board and Lucy Greaves combine beautifully for a homemade feel that’s extremely difficult to find in modern pop hits. The hook is catchy and lyrics cute almost to the point of being cheesy, but like a well made pizza, here the cheese just adds to the flavour.
Read Part 2, featuring the top 10 tracks, here.
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