#NewMusicFriday: ‘Remember’ by Gryffin (with ZOHARA)

After a string of hit singles, American DJ and producer Gryffin starts building up the hype for his debut album with fluttering synth and deep, hard-hitting bass on the track Remember.

“Couldn’t be more stoked to announce I’ve got an album coming,” Dan Griffith revealed earlier today. Continuing the atmospheric album artwork of his previous track, Tie Me DownRemember appears to be the promising second single from the upcoming record.

While Tie Me Down was a slower, chilled release, Remember is more intense and expressive. ZOHARA’s soulful vocals take the song to new euphoric heights with an impressive range, while Griffith’s producing work includes hard-hitting bass, bubbly synths and a driving beat. With Remember, Gryffin not only ramps up the tempo, but successfully builds up anticipation for his debut album – and already, it’s sounding very good indeed.

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Musical Discovery: ‘Radar’ by Whethan (feat. HONNE)

Not long after the release of their second album Love Me / Love Me Not, HONNE return on Radar – a funky, robotic collaboration with up-and-coming DJ Whethan (Ethan Snoreck).

Fans of Sub Focus and Madeon may want to give the latest track from the Chicago producer a listen. Thudding synths at the start are reminiscent of the intro to the former’s track Tidal Wave, while the wacky vocal distortion sound like the chopped vocals of the latter’s song OK. There are some comparisons to be made on this latest release, but Whethan’s new single is far from unoriginal.

Settling into a unique sound whilst also remaining experimental with his releases, Snoreck continues to explore new electronic effects and staggering melodies on Radar. Andy Clutterbuck of HONNE’s smooth, raspy vocals explore new ground with the help of Whethan’s production.

A bubbly, poppy cluster of instrumentals, the chorus still has a sense of a tight tempo at its core underneath the catchy lyrics. Following on from collaborations with the likes of Dua Lipa, Oh Wonder and Broods, Radar demonstrates that Whethan has found the perfect balance between unrestrained creativity and a rigid, driving rhythm.

Radar is available now on Apple Music and Spotify.

#NewMusicFriday: ‘Brighter Days’ by Sigala feat. Paul Janeway

The title track from British DJ Sigala’s long-awaited debut album Brighter Days, featuring Paul Janeway from St. Paul and the Broken Bones, is a strong deep house opener packed with euphoric, feel-good vibes.

With it being just over three years since Norfolk-born Bruce Fielder released his smash debut hit Easy Love, dance fans have become quite accustomed to the producer’s particular style across the many singles the 25-year-old has released to-date. Take vibrant tropical house with the occasional funk and deep house influences and you have Fielder’s traditional sound which has seen him achieve seven Top 40 hits.

These seven chart successes all appear on the album, with 10 of the 16 tracks already being released as singles. While the popularity of these songs has already been proven, it’s the new collaborations with big names such as Kylie Minogue and Kodaline that have fans interested. Yet, while they show the range of Sigala’s tropical house sound, they fall short of conjuring up the last drop of summer – something which is probably not helped by the record’s autumnal release.

Of the few tracks which we haven’t heard before, it’s opener Brighter Days which is particularly distinctive. Janeway’s vocals have a noticeable Sam Smith/John Newman twang which is far from unfamiliar to Fielder and his listeners. What’s new and different is the deep house hook which is something fans have heard more of in live performances than in the studio (with the exception of his track with Blonde and Imani Williams, I Don’t Need No Money). Lyrics like “the sun breaking through those clouds” and “holding on for the brighter days” are typical Sigala – summery, vibrant and optimistic.

It’s a strong introduction to the record, with the underlying bass and heavy, hazy synth foreshadowing tracks such as Just Got Paid (feat. Ella Eyre, Meghan Trainor and French Montana) and You Don’t Know Me (feat. Shaun Frank, Flo Rida and Delaney Jane). However, Brighter Days and Sigala’s track with Nina Nesbitt and HRVY – Somebody – are the only two new, stand-out songs from the album. Yet, with so many featured artists and tracks we’ve heard before, there’s likely to be something for everyone on Sigala’s eagerly anticipated debut.

Brighter Days is the title track from Sigala’s album of the same name, available now on Apple Music and Spotify.

#NewMusicFriday: ‘Broken Sleep’ by Fickle Friends

Hot off the heels of their debut album release and a string of summer festival performances, Fickle Friends explore new ground on the driving pop track, Broken Sleep.

It’s time for some new directions for the Brighton band. Leaving Polydor Records to start up their own record company, the five-piece are back with an evolved pop sound ahead of their new EP out later this year.

Their first album, You Are Someone Else, was a strong introduction from Natti Shiner and co. Colourful instrumentals and soft vocals on a slow beat cemented the group as a band with a clear, distinctive sound, and room to experiment.

Listening to the lead single of their new EP, this traditional sound remains, but it feels different. While hits from You Are Someone Else packed a punch with a slower tempo, Broken Sleep has a driving rhythm which is much more urgent and excitable. If we’re seeing Fickle Friends move towards faster, poppier hits, then the band is heading in a very exciting direction indeed.

Broken Sleep is available now on Apple Music and Spotify.

#NewMusicFriday: ‘Villains’ by Emma Blackery

Bold, impactful but also incredibly personal, Emma Blackery’s Villains is a confident debut from the Essex-born singer-songwriter.

A vlogger on the video-sharing site YouTube, the musician has been involved in a fair bit of online drama over the years. Much like her previous EP, Emma’s album Villains chronicles another period of reflection for the singer, as she went through what she describes as “personal relationship issues”.  Her 11-track debut is just as honest as Magnetised – except this time, with a side order of sass and one heck of a punch.

In a tweet ahead of the launch, Emma described the record as a “concept album” – the linear narrative clear from the start, with Villains Pt. 1 and Villains Pt. 2 discussing Blackery’s list of “good and bad” and serving as two very different bookends to the artist’s many emotions across the tracks – moving from the colourful, confident hits DirtAgenda and Fake Friends into the more stripped back sounds of Icarus, Petty and What I Felt With You.

The bold tone of the album has already attracted comparisons to Taylor Swift’s reputation era (which Emma shorty responded to on Twitter after the lead single Dirt was released), but there’s also some slight Madonna and Charlie XCX vibes – on Fake Friends and Take Me Out respectively. The latter in particular warranted a few more listens before becoming a catchy hit.

Alongside Fake Friends and What I Felt With You, Blackery comes into their own on the track Third Eye. Her interest in electronic music on full show, the track offers up pulsing synth and sharp vocals. As the artist prepares to go on tour in October, this is one which is likely to get the crowd going in a concert environment.

As a whole, Villains breathes confidence. Even on the chilled electronic track What I Felt With You – arguably one of the stand-out songs on the album – Emma is in her element as she takes a more delicate approach to the song, something we’ve already seen her accomplish on the hit Magnetised. There’s also the small matter of the high notes at the end of Villains Pt. 2, a final demonstration of her vocal talents and an indication to fans and to anyone else listening that she’s here and ready to rock.

Rating: 4/5

#NewMusicFriday: ‘Tie Me Down’ by Gryffin (feat. Elley Duhé)

In keeping with his traditional style, Tie Me Down sees Gryffin combine a powerful female vocalist with flowing lyrics, a trap beat and hazy synths to make another catchy and vibrant dance hit.

Elley Duhé is certainly making a name for herself in the dance community lately. Riding off the success of a collaboration with Zedd on the track Happy Now, the American singer-songwriter has joined forces with yet another dance great.

With Duhé’s original music already containing somewhat of a trap rhythm, Gryffin certainly caters to the artist’s talents whilst also offering something a bit more creative and challenging. Lyrics are delivered at different speeds flirt with an offbeat rhythm underneath. There’s a sense that the singer is in her element here – and that’s certainly shown in her performance.

Elsewhere, Gryffin’s production talent shines through with the song’s seamless progression through verses and chorus. A subtle guitar melody guides the vocals through the verse into the build-up, switching from light instrumentals to full-on hazy synth vibes. Such is Gryffin’s skill as a producer that such a development from a stripped-back feel to a loud hook never feels rushed or sudden.

Credit must also be given to the lyrics to the track, which offers something different to the over-saturated topic of a difficult relationship and helps create a catchy chorus at the heart of the song. Tie Me Down is an incredibly slick, fresh and creative collaboration from the American DJ and Elley Duhé.

Tie Me Down is available now on Apple Music and Spotify.

New Music Review: ‘High Enough’ by Justin Caruso feat. Rosie Darling

Just three notes are at the heart of the melody in DJ Justin Caruso’s latest track, High Enough, but when mixed with singer Rosie Darling’s vocals and impressive production skills, the single makes for a vibrant dance hit.

From the outset, instrumentals in the verses let Darling take centre stage with the traditional soft sound expected on a dance track like this, but it’s enough to keep the track moving.

It’s a seamless process which extends to the track’s build-up, flowing effortlessly into the basic melody at the heart of the single.

The only disappointment comes with the final chorus, where one expects the lyrics in the build-up are now placed over the main melody. In some songs, this happens whilst the main lyrics are played at the same time, but on this occasion, it could have made for a less abrupt ending than the one Caruso adopts.

With creative pacing in the lyrics and a simplistic but effective melody, Caruso and Darling deliver a chilled hit with High Enough.

The single is available now on Apple Music and Spotify.