This week’s offering of new music has really been satisfying our sweet tooth here at the interns; first we had RnB, pop princess, Banoffee‘s Got It, then we had Jungle‘s bubbly Lemonade Lake, and now to add the maraschino cherry on top, Aven Sans have remixed Johnny Stimson‘s Sugar. Listen below for the best kind of sugar headache without the cavities.
At the beginning of the week we said “Make it rain” and while the ‘rain gods’ didn’t send us money ( :[ ) they did send us new music in droves. We almost found it hard to keep up with the amount of new music coming our way, but because we are professionals with little else to do than watch the House Rules finale, we managed to catch the week’s best and put them here for your endless pleasure.
Consider these 10 songs as our way of saying happy weekend. Maybe pour yourself just one wine extra tonight, put on these tunes and lament on the week that has been. You deserve it.
And on the sixth day, there was a beat. Yes, Jessie Ware’s criminally smooth track, Tough Love has been given the remix treatment by Canadian beat-smith, Cyril Hahn and it’s a match made in heaven, of course. Hahn keeps Ware’s heighty vocal intact, instead choosing to pump it along with a deep-house base-line and send it straight to the clubs.
Somebody, please save Juce. Their city is burning and their only response is to write this perfect piece of ‘90s throwback RnB. On second thought, let them be. Burning has never sounded so good. These three just keep getting it right, time and time again. They also sing the lyric “Juce it up” and you know what that means; we’re entering Spice Power territory.
Usher- She Came To Give It You (Feat. Nicki Minaj)
Usher is yet to really score a radio-hit in the lead-up to his forthcoming album so he’s called in the hit-making machine, Pharrell to help. And help he has. He’s laid down a quasi-disco beat with a strident back-bone and effortless funk. Just when it all gets too smooth to handle, Nicki joins to put some sass all up in your face and we’re left in the corner sweating and fanning our face like “dayum this is hot”.
Just when you thought HAIM couldn’t get any more badass they go and put a rapper on their hardest-hitting song yet. Yep, you’ll never be as cool as these Californian hunnies, so just pop this on, don some shades and pretend you’re cruising Melrose Avenue with a baseball bat en route to smashing your ex’s car. And yes, of course A$AP can come along for the ride.
Last time we heard Lunice he was assaulting your ears and general chest area as one half of trap-duo TNGHT but now he’s decided to go it alone once again with a new album on the way. Can’t Wait To is not as heavy on the bass as anything TNGHT has churned out. He replaces it with a skittering vocal sample and an industrial rawness that’s a little bit cold and alienating in the friendliest way possible.
Who’s got it? Melbourne artist Banoffee has got it and “she know you know I got it”. Got it? What I’ve also got is that this song is one of the most interesting things we’ve heard come out of this country, this year. It’s a minimalist RnB track, that adds dark shades with a deep, male vocal running below Banoffee’s sweet, dulcet tones. Got it?
Future- Rock Star (Feat. Nicki Minaj)
Nicki Minaj must’ve barely had a moment to breathe this week. Here she pops up on a left-over from Future’s Honest album, that didn’t make the album because they couldn’t clear the George Michael, Careless Whisper sample. Surely if Michael just gave the song a listen he’d realise “All my bitches in love with me” is a far more eloquent way of saying what he wanted to say on Careless Whisper.
Coldplay & Cat Power- Wish I Was Here
We came to hate on Coldplay but we stayed to fall in love with Cat Power. Seriously, I really couldn’t care if Chris Martin was playing the banjo and the accordion in the background of this, Chan Marshall’s (aka Cat Power) vocal is so beautiful. She sounds melancholic, longing and ethereal. Conveniently, it’s titiled after Zach Braff’s forthcoming film Wish I Was Here.
Wet- Move Me
Remember Wet? They’re the New York trio that didn’t realise the significance of having a band called Wet with an EP called Dreams. While they may be a little bit oblivious, they know a good tune when they hear it and Move Me is just that. Move Me is a lush, RnB-tinged number that plods along with the occasional auto-tuned vocal and pluck of the guitar. Subtlety is their strong suit and in Move Me less is most definitely more.
Saint Pepsi- Fiona Coyne
If one more artists delivers a single straight from the tropics in the middle of this harsh, harsh Sydney Winter I may just self-combust. However, I must make an exception for the brass-laiden efforts of 21 year-old Ryan DeRobertis (who is Saint Pepsi, FYI). Fiona Coyne, the subject of his perky track, is a character from Degrassi (who probably know Drake!) who Saint Pepsi is lusting after. Judge for yourself, she’s not our cup of tea, but she must be a pretty special gal if Saint Pepsi is pulling out the trumpets for her.
“Right on time/ Back by the beach/ Still gonna bring the heat” is how enigmatic British collective, Jungle begin their debut album. And it’s the perfect foreshadowing for what is an album that continuously brings the heat. Jungle have been stirring up serious hype with their brand of disco-tinged funk, so what better way to groove right on into the weekend than to spin this baby.
We locked ourselves in, took away phones and attempted to keep ourselves cool against the flurry of heat that wafts from this record. Stream the album and play along at home. Just be warned this one contains sex with guns, Grand Theft Auto references and Venice Beach cruisin’.
Bianca: Great start to the album. I usually hate police sirens when I’m driving because I feel like I’m being chased after but this time I’ll make an exception.
Hannah: This is the perfect cruising down Venice beach- police sirens, a little bit of ‘80s grime to it.
Lizzie: Yeah, watching the world go past, all the little scenarios.
Bianca: So GTA.
Lizzie: Yeahhhhhh, it’s got a soundtrack quality.
Sam: Perfect start to the album- “right on time, back by the beach…”
Sam: What d’ya think bitches?
Lizzie: It’s the gift that keeps on giving.
Bianca: Lovin’ the chimes.
Lizzie: Yeah, lots of surprises.
Hannah: It’s got a kind of Aloe Blacc quality to the voice that then errs onto disco
Sam: The verses just creep. Creep on up thurrrr….
Bianca: I just feel like I’m playing a game. It’s definitely the soundtrack to my life. Life is a game guys. It’s kind of rainbow road-y
Lizzie: And we’re still cruisin’. Still in the car.
Sam: It’s not cruisy in the way it floats over you.
Hannah: Yeah, you’ve got your hands out the window doing waves in the air
Lizzie: We’ve got one of those….what is it? Take the roof off…
Bianca: I do not regret putting this as number one in our Top 20 of 2014 so far…
Sam: Me neither. I’m very content with the fact I feel like someone’s in a leather jacket with a baseball in their hand coming for me to beat me
Bianca: It’s all very evocative isn’t it
Sam: I think that’s the point with jungle. They’re very…
Sam: They’re one of those band whose video clips need to be there
Lizzie: This is my favourite. They have lots going on but it’s a perfect mix. It’s new sounds. You’re questioning what those sounds are
Sam: I’m the opposite it’s my least favourite
Sam: It’s not dynamic enough
Hannah: It’s a nice track for approaching the middle of an album. You’re already hooked, you can just cruise on through
Lizzie: If the next song is not good then…
Bianca: Wait, you said it was your favourite song?
Hannah: Yeah, but there’s provisions around that obviously
Sam: It’s not unconditional
Bianca: I love the door creak samples
Hannah: It’s like Bon Iver but…
Bianca: …with a gun
Sam: I’m thinking American Hustle now. It’s something really sweet with something dangerous
Bianca: Having sex with a gun on your bedside table
Sam: I love this one. It creeps in a subtle way
Bianca: This is a creep. In a good way
Sam: Love it love it love it love it love it
Lizzie: I just creamed my pants
Sam: Why do we love it so? Like all of their songs, there is almost no dynamic, it flat-lines but they have this “we’re going on a bear-hunt” creep
Bianca: His voice stays at the same level but I’m ok with that
Hannah: I haven’t stopped nodding my head the whole time
Hannah: It’s definitely changed the tone
Sam: Julia has been a bad bad girl because this beat is dirty
Hannah: We’re no longer cruisin’. We’re not happy with Julia
Lizzie: More random sounds
Sam: It’s so textured. It’s yummy
Bianca: It’s not my favourite
Bianca: Because I just hate Julia. No, I don’t know actually. I love it of course, it’s just a bit pleady
Sam: This one’s neither here nor there for me
Lizzie: I was worried at the start but I think they redeemed themselves- sirens!
Sam: It’s funky. I think it’s something that grows on you
Bianca: This is the police chase in GTA. This is when I’m jumping out of the car and singing
Sam: It’s a bit Starsky and Hutch even
Hannah: Venice Beach. Baz Luhrmann’s Romeo & Juliet
Sam: It’s so interesting all the visual references that are coming out
Lizzie: It blends in but I’m not sure about it
Sam: I love it
Hannah: I think the second half of the album is already noticeable different to the first
Sam: This song’s the first one on the album that we’ve all been silent through the whole time because it’s interesting and there’s many different levels
Bianca: Does anyone know what he’s saying
Lizzie: I just got taken away by the whole sound
Bianca: This song has so many elements to it. I love the break-down when shit gets real
Sam: Shit gets real so many times on this album. This song is just so brilliant. It’s so melodically perfect
Hannah: Yeah. This one’s a winner
Lizzie: Damn, so smooth.
Bianca: I love that this song actually sounds like a Lemonade Lake. It’s bubbly…
Hannah: Candy, Willy Wonka land
Sam: What an end
Hannah: I feel like that was a journey guys. We’ve been on a journey. We’ve killed some people, we’ve been in and out of gang wars and I’m walking away happy
Bianca: Lemonade Lake
Sam: Lucky I Get What I Want and Accelerate
Lizzie: I love Time. I’ve always loved Time. And Lemonade Lake is the nicest surprise
Hannah: I like Lemonade Lake as the close to the album more than on its own
Bianca: Can I give it a 10?
Lizzie: I’m going with 9.5
Sam: I’m going to say 8. 8 is a solid number and that’s what it is a solid album. I’m not going to listen to it and be like wow wow wow. The whole How To Dress Well album was full of wow moments, this is just solid.
Bianca: Can I give a 9.5, maybe?
Hannah: I’m gonna give it an 8
With a new album in the works and a freshly announced, 5 date US Tour, Dom Maker and Kai Campos from post-club London duo Mount Kimbie, debuted a new mini mix on The Fader overnight. Cue cheers. Calling it one “for when you get on the plane feeling rough and put music on and fall asleep and have bizarre and extremely vivid dreams,” Campos says it reflects the duo’s headspace at the moment: Disjointed and all over the place. Looking forward to churning out some hits while in the US, the pair cite “having to constantly turn down or leave food and weed,” as the downside of touring life.
The legendary George Michael once sang, “Freedom!” and while the second syllable of that has nothing to do with Throwaway Thursday, the first is what we’re all about here. Once again, this week we’re offering up 11 free songs for the taking. And the price? Free, of course. Because we know it’s hard out here for a bitch, and being a music fan is sometimes an expensive hobby. Particularly for those of you paying $75 to see Goth Queen Lorde this weekend.
This week, we have enough variation to fill your chill, gettin’ down, lights-off and drank playlists. A new tune from trap king turned viral-star, Baauer, which samples Soulja Boy and is conveniently titled Soulja. There is also Slow Burning, a new track from Adelaide band, Flamingo, who are getting ready to tear up Splendour In The Grass in a weeks time. If that’s too mellow for you, wrap your ears around the new one from Young Franco featuring Joy., Close 2 U.
Enter the hysteria of Throwaway Thursday once more, below:
Hungry? I can’t help you. But I can satisfy your craving for new music. Melbourne-based artist, Banoffee, has premiered her new single , Got It, and it’s rich with poppy melody and R&B undertones. Listen below for all the flavour without the calories.
Banoffee’s debut EP is out 22 August.
It’s fair to say that the humble music video is amidst a highly anticipated and totally welcomed resurgence. After exploding during the late 1980s and early 1990s alongside the indoctrination of MTV as the cultural influencer and instigator we’ve come to recognise it as, music videos then became somewhat of an afterthought in the 2000s. A weird landscape filled with awkward product placement and clunky new media haphazardly thrown into the melting pot while artists, directors and producers alike busied themselves grappling with just what the www’s had in store for their industry. While major brands like MAC, Coke, Samsung and Pepsi, all benefited from this awkward coming of age period by jumping into bed with the Britney Spears’ and Fergie’s of the world, the true power and potential of ye’ old music video as an artistic pursuit seemed to have fallen down the back of the couch to gather dust. Admittedly, the early 2000s subjected us to our fair share of girls on film, less plot, narrative or character development. Cue music, start dancing, start filming has seemingly been the go to formula for music videos for the better part of the noughties.
Recently however, this has begun to change as we slowly dig ourselves out of the thong-laden, booty shakin’ void, one video clip at a time. From the narrative formula of Lady Gaga’s controversial Telephone epic, to the raise-your-left-hand-and-twist-at-the-wrist motion synonymous with Beyonce’s Single Ladies track now engrained in our cultural consciousness as a go-to saturday night move, the music video is steadily being restored to its former position atop not only the hyped-up MTV mountain but, with the top 5 most viewed videos on Youtube being music clips, it’s seemed to have conquered the internet as well. In recent weeks, news regarding Sia’s Chandelier clip has been plastered across Pitchfork, Sterogum, Vulture, and Rolling Stone to name a few and generates more than 26,900,000 Google results in less than a quarter of a second, making instant celebrity of both 11 year old dancer Maddie Ziegler and director Daniel Askill. Current reigning king of the music video world, Nabil Elderkin, debuted his offering for Little Dragons’ track Pretty Girls to a similar response less than two weeks ago. As a follow up to the band’s clip for Klap Klap, it’s clear directors and artists are once again harnessing the story and cinematic scope of music videos. Like Lana Del Rey’s Tropicano of 2013 directed by Anthony Mandler and Beyonces’, well Beyonce album, music videos are becoming a world unto their own, unshackled from the time limits of their audio instigators, winding their way through narrative constructs, and characters, coming in two part series and extended versions. Here we have a look at a few of the music video directors from the 80s to now responsible for crafting the medium.
Having aligned himself with the Future R&B movement and directed clips for the likes of Frank Ocean, The Weeknd, James Blake, FKA Twigs and Bon Iver, if you know anything about the music video industry at the moment, it’s likely to be Elderkin’s name. From small beginnings as a surfing photographer that grew up in Port Macquarie before moving to Chicago, it was Elderkin’s desire to photograph a then-unknown rapper, Kanye West , that gave him his first break. Upon registering the domain name www.kanyewest.com on a whim, Roc-A-Fella records contacted Elderkin three weeks later to buy it back off him. Uninterested in money, Elderkin transferred the domain name in exchange for a photo shoot with the artist. These images went on to be the Kanye’s first publicity photos and the beginning of an on-going collaboration between the two that has since spawned Mercy, The Coldest winter and a coffee table book.
Before Beyonce surprised the world with her explosive visual album, Beyonce, there were few people in the world privy to its creation. This man, Jake Nava, was one of those chosen few. Having worked with Beyonce during her Destiny’s Child days and again when she was Crazy in Love, Nava directed three of the videos to feature on Beyonce, including Flawless, the bonus Grown Woman clip and the NSFW, comes-laden-with-parental-advisory-warnings, Partition. Nava is also the man we can thank for those hours spent in front of YouTube attempting to learn the Single Ladies choreography, a video that has since listed by The Times as the 3rd Most Influential Music Video of All Time and is an exemplary demonstration of what happens when perfect production meets perfect direction in the music industry (we all end up waving our hands in the air asking strange men to put a ring on it).
When he’s not busying himself with Yonce, Nava is the darling of the divas, having directed Mariah Carey’s Shake it off, Adele’s Someone Like You, Emeli Sande’s Heaven and made breakfast foods incredibly suggestive while Kelis’ Milkshake brought all the boys to the yard.
In 2011 Nava placed 5th in Entertainment Weekly’s Top 10 Music Video Directors’ and has worked with the likes of Kylie Minogue, Robbie Williams, and, all time trump card, The Spice Girls.
Joining Propaganda Film’s in 1997, Spike Jonze has been credited with rendering the aesthetic of the hazy MTV generation at the height of its influence. A big call for a then fresh faced director with roots in the LA skateboard community? Perhaps, but let’s not forget, this is the same man that won 4 MTV Music Video Awards for his 1994 work on The Beastie Boys’ anthem, Sabotage, anticipated the entire Youtube obsession with flash mobs in his video for Fat Boy Slim’s Praise you, and convinced Christopher Walken to dance up and down escalators around the LA Marriott for the band’s follow up hit, Weapon of Choice, for which he won a 2001 MTV Video Music award as well as the 2002 Grammy Award for Best Short Form Video. Sounds like MTV, right?
It was also Jonze’s brilliant idea to cast children as hip-hop royalty in The Notoroius B.I.G’s Sky’s The Limit, and weird everyone out with his back to the future tactic of placing Weezer on stage at Happy Day’s institution Arnold’s for their Buddy Holly clip. Look closely and you’ll see The Fonz singing along. Weird.
More recently, Spike Jonze collaborated with Arcade Fire for The Suburbs, and co-directed Flashing Lights with Kanye, proving that all you really need for a great video clip is some slow-mo and a semi-clad Playboy model with a serious walk on her. A similar tactic was obviously utilised for Kate Beckinsale and the Underworld series. Walk on.
Harold ‘Hype’ Williams began directing music videos in 1991 with an unwavering desire to focus on what a song sounded like, and draw visual cues from there. Sounds simple enough, right? This crystalline, no bullshit approach to projecting the narrative of a song and the true nature of its singer onto the screen led him to be named Best Director of the Year at the 1996 Billboard Music Video Awards and gain the 1998 MTV Video Music Award in the Best Rap Video category for his work with Will Smith on Gettin’ Jiiggy Wit It. Hype Williams successfully did for hip hop music videos in the early 90s, what Timbaland and Aayilah did for the for the soundscape of the genre at the same time. Working with everyone from Brandy to Boyz II Men, 2pac to Nas, TLC to Aaliyah, and Missy Elliot to Ashanti, Williams also found time to collaborate some 20 times with Kanye West since 2005, shoot Mrs West’s Playboy cover of 2006 and capture Beyonce grindin’ on dat wood, for her lesson in the art of seduction, Drunk In Love. Hint, you need a beach.
Inspired by Butch Cassidy and the Sun Dance Kid, arguably the world’s leading music video director of the 80s and 90s, David Fincher, set his sights on a career in directing as young as 8 years old. Before directing feature films such as Se7en, The Curious Case of Benjamin Button, The Social Network, and that infinitely forgettable blip otherwise known as Fight Club, the 1980s saw Fincher co-found Propaganda Films, a music video and film production company that, come 1990, was responsible for producing a third of all music videos made in the US at the height of MTV’s reign and now counts Nigel Dick, of Britney Spears’, Baby One More Time fame, and Spike Jonze, of well… Spike Jonze fame, among its alumni.
Despite this clear and independent success, in a 2008 interview Madonna declared she was responsible for the trajectory of David Fincher’s career after the pair worked on her 1989 hit Express Yourself and pulled the iconic video for the 1990 Madonna classic, Vogue, together in less than a week. Fincher won back-to-back awards for his work with Madonna and after a relatively dormant period on the music video front during the early 2000s, came back swinging with Justin Timberlake’s Suit & Tie released on Valentines day earlier this year. With its deliberate use of black and white and an unapologetic Art-deco aesthetic, Digital Journal called it “Fincher’s music video masterpiece,” and earned him his third VMA.
Fincher has also directed music videos for Michael Jackson, The Rolling Stones, Aerosmith and more Paula Abdul than anyone should ever be subjected to.
This Dick gave the world Britney Spears’ Baby One More Time. Nuff said.
British trio known for bringing the sun to gloomy London, Juce, released a follow up to February success, All Call You Out, overnight with catchy pop melody, Burning Up. With disco notes melding seamlessly with the girl group’s late 90s aesthetic and sound, Burning Up is all about juicing (or Juce-ing) it up in summer time.
Commercial radio has always been whinged about. In fact, I’m yet to hear anyone who raves about Commercial radio. Despite the emergence of spotify, iPod inputs in cars and digital music in general, what radio plays continues to translate to sales. And while sales nowadays also put pressure on radio to play high-selling tracks, if radio takes a chance on something, it usually means the public does also.
This week the radio airplay charts are a grim sight. The only Australian act that features is Justice Crew and they’re followed by international artists Nico & Vinz, Mr. Probz (Yeah, us either) and The Madden Brothers. The number one song, Nico & Vinz’s Am I Wrong was spun 898 times just this week. Compare those artists to any of the Best of 2014 lists doing the rounds and you’re likely to find no similarities.
It’s an age old question but why does radio seem so mundane? It comes down to the fact that it doesn’t like to take risks. Trend-wise it follows American radio playlists and, to some extent, British radio, meaning that it rarely gets to dictate what should be played in the way a station like the UK’s BBC Radio 1 can.
I spoke to the Music Editor at News Limited, Kathy McCabe last year who said, “Commercial radio in Australia is pretty much programmed mainly by what’s happening in America. A few British artists sneak through but it still tends to take its cue from whatever Ryan Seacrest is doing.” This hits the nail on the head. Australian radio is suffering from a lack of innovation as it is so far down the cultural food chain.
This may also be the reason that radio shies away from home-grown talent. 12 of the top 40 artists played on radio this week are Australian. While that may seem positive, this includes Iggy Azalea, Sia and Five Seconds of Summer who spend more time away from the country than in it at present. It’s also interesting to note, that all of them bar one (Sheppard) are signed to a major label.
McCabe told me “We still seem to have this bizarre cultural cringe in terms of the support of Australian music that should be far more fundamental particularly on the airwaves.” The cultural cringe is often what prevents Australian artists from reaching commercial radio. Iggy Azelea found it onto Australia radio but not until she was adopted in America with a record that has no Australian fingerprints on it, really.
It’s worthwhile to look at the fact that on the rare occasion a track that sounds less commercial crosses over it ends up doing pretty well. There’s a little song called Somebody That I Used To Know that shot Australian, Wally de Backer to the top of the charts in this country and then all around the world.
In 2007, Gotye won Best Male Artist at the ARIA Awards to a collective “who?” At the time his album had failed to make the top 20, while none of his singles had charted. Heart’s A Mess was the album’s first single, a song that has now featured on the soundtrack for Baz Luhrmann’s The Great Gatsby.
Somebody I Used To Know wasn’t a record made for commercial radio but was one that was swiftly adopted when its video went viral. Without that video, one could speculate that the record never would’ve made it to commercial radio.
A few more examples of songs that have crossed over into the mainstream include Flume’s Holdin’ On, The Black Keys’ Lonely Boy and Lana Del Rey’s Video Games. The three of them sounded completely foreign on commercial radio but with each play a revolution was started. Flume is now the most sought-after electronic artist in the country, the Black Keys have been upgraded to an arena-band and Lana Del Rey has just debuted atop the ARIA charts with her sophomore record, Ultraviolence.
Turns out being different ain’t such a bad thing.
It’s easy to whinge but hard to come up with any solutions to commercial radio’s problems. So, below are a few artists that would find a comfy home on commercial radio while keeping their innovative edge, independent status and creative control.
22 year-old Megan McInerney has only released three tracks but already she’s carving a name for herself on Triple J, having already taken on the infamous Like A Version. Her tracks have a straight-forward simplicity to them with optimistic pop-hooks that would be delectable to commercial radio. If radio were to take a chance on a young Australian artists, my money would be on Mac.
An alternative to: Adele, Sara Bareilles
Most radio-ready track: Roll Up Your Sleeves
Why she’s not on radio: She’s a self-made artist who is neither flashy nor self-gratuitous. Had she been a winner of The Voice, her tracks would be eaten up by radio.
Let it be known that I have nothing against Lorde, but she didn’t exactly make it to the top from nowhere. At 13, she was signed to Universal Music Group which certainly helps with radio airplay. Segue from that to 18 year-old Kiwi artist, Thomston, who’s just released his debut EP Argonaut. His dark, pop tunes could be the perfect antidote to some of the over-thought music coming from male songwriters at the moment. It’s got the sort of electronic undertones that radio is devouring right now.
An alternative to: Lorde, Ed Sheeran, Sam Smith
Most radio-ready track: Anaesthetic
Why he’s not on radio: Being a young, unsigned artists from New Zealand doesn’t really bode well for you on radio here.
Girl bands have had a resurgence of late but if you look at the radio charts you wouldn’t know. There isn’t one to be seen in the top 40. M.O. are three girls from London making ‘90s throwback R&B. It’s full of great pop hook, bouncin’ beats and perfect harmonies. Think TLC with a hint of Destiny’s Child.
An alternative to: Little Mix, Neon Jungle
Most radio-ready track: Dance On My Own
Why they’re not on radio: It’s beyond me. The ball is in Britain’s court. Once they catch on, Australia will follow.
This Nashville trio is slightly too enigmatic at this point to make it in the mainstream, but their songs suggest otherwise. With four tracks to their name so far, they’re showing a knack for velvety, synth-pop. It’s melodic enough to stick to radio and also has enough street cred to see it on Triple J’s playlists as well.
An alternative to: Nico & Vinz, Mr. Probz
Most radio-ready track: ILYSB
Why they’re not on radio: They’re far too mysterious right now. Radio doesn’t like that. It wants somebody who’s going to say “This is LANY and you’re listening to the hottest radio station on the planet”.
Liz is the First Lady of Diplo’s label Mad Decent and she’s producing damn fine, millennium RnB. She evokes nostalgia from the golden days of pop/RnB when Britney was queen and Xtina was the dirrrrtiest gal around. Touches of Ryan Hemsworth-esque electronica ensure that Liz sounds contemporary while having a throwback sound. It’s as if she was the sole survivor of the dreaded millennium bug.
An alternative to: Ariana Grande, Katy Perry, Nicki Minaj
Most radio-ready track: All Them Boys
Why she’s not on radio: She’s channeling an RnB sound that hasn’t quite hit the mainstream yet. While the RnB revolution has flooded online blogs, Ariana Grande is perhaps the first artist to bring it to radio. Hold tight Liz-lovers.
Here’s the full list of what we would play if we got to take over the radio for a day: