Musical Discovery: ‘Came Here for Love’ by Sigala feat. Ella Eyre

It’s about time that Sigala graced our song libraries once more. Save for February’s Show You Love (where Sigala was only a featured artist), it was last December when the DJ got us warmed up for summer. Now that sunny days and scorching hot weather is upon us, it seems fitting that the Easy Love producer is back with a new single, Came Here for Love.

Joining him on the single is a singer who is no stranger to helping out on dance, electronic and drum-and-bass tracks – Ella Eyre. Having previously worked with Rudimental, DJ Fresh and Sigma, the 23-year-old has quite the impressive CV as a featured artist. It isn’t the first time that Eyre has worked with Sigala (real name Bruce Fielder) either, as the two joined forces on Ella’s track, Good Times.

This time however, the DJ isn’t bound by Sigma’s drum-and-bass style, instead returning to his traditional tropical house groove. With trickling marimba and sharp piano chords, we return to familiar territory. However, as one YouTube commenter points out, with slight violin-style instrumentals, the track also has a hint of Clean Bandit to it too – a slight, but nonetheless welcome change to Sigala’s usual melodies and musical make-up.

Yet, as much as it’s about Fielder’s creative construction of the track’s instrumentals, the DJ’s other strength is his ability to showcase the featured singer’s vocal talents – something which shouldn’t have been too hard given Eyre’s past experience.

Calm and minimalistic during the verses, the focus is very much on Ella up until the chorus, where the two artists’ contributions blend together for a full-on uplifting vibe.

Came Here for Love is a traditional song in many different ways. With love as the lyrical theme of love and vibrant piano chords, it’s a traditional Sigala track and thus, a traditional summer song through-and-through too.

Musical Discovery: ‘Grant Green’ by Mr Jukes feat. Charles Bradley

It’s been over a year since Bombay Bicycle Club announced that they were to go on hiatus, but now some of the band’s members have returned – albeit in the form of their own solo projects.

Cue Jack Steadman, the lead singer of the group who’s now explored the jazz genre with his stage name, Mr Jukes. In his latest single with Charles Bradley called Grant Green, the musician pays tribute to one of the greats from the American jazz music scene.

With mellow bass riffs lying underneath flowing drum rhythms, it’s a track which is certainly jazzy in nature. Further adding to the tone is the vocals of Charles Bradley, who channels the traditional soul of a jazz singer in the song.

Like most jazz, Grant Green has that perfect play-in-the-background vibe to it. Whilst the verses are, agreed, somewhat forgettable, the atmospheric feel to the single means that it’s still just as powerful when played for more casual listening. After all, it’s the chorus where Jukes and Bradley really shine through.

Accentuated notes from the brass section and drums maintain the liveliness of the song, with catchy and memorable lyrics also adding to the successful chorus.

As garden party season approaches, this is certainly a track to have on your playlist.

Musical Discovery: ‘Glue’ by Fickle Friends

With a growing fanbase and a big debut imminent, all eyes are on the Brighton electro-pop band Fickle Friends when it comes to their next release. For a while now, news outlets have reported that the five-piece group are to unveil their debut album in the summer, but with the announcement of an August EP (entitled Glue), could that be delayed? Even if that is the case, Fickle Friends continue to build the hype around their music, as they revealed the title track from the record late last week.

Bouncy synths introduce a track which sounds far more electronic than previous singles such as Brooklyn and Hello Hello. However, it isn’t long before it is balanced out with the traditional guitar riffs which are such a strong part of Fickle Friends’ style. Accentuated notes tense up the track ahead of the song’s catchy chorus, where Natassja Shiner’s soft and smooth vocals add to the euphoric, plucky electronic guitar and bass.

It’s yet another groovy track for the band to add to their already impressive collection, complete with summer vibes to keep us hyped throughout the season until the big EP release. Even when the band said in a recent newsletter that the song was ‘kinda born out of frustration from lots of writing sessions that hadn’t gone all that well’, there’s no dip in quality when it comes to this new single.

So, if this is indeed a teaser for bigger things to come (that debut album), then Glue certainly is a single which perfectly summarises the upbeat electro-pop vibe of Fickle Friends, and will no doubt be a great opener to the three-track EP coming our way on Friday, August 11.

Musical Discovery: ‘The Man’ by The Killers

Bass-heavy alternative is sweeping the genre at the moment, whether it’s full-on funk or something a little bit more inventive, everyone seems to be jumping on the musical bandwagon. Now, with a song that sounds like the lovechild of Jamiroquai and Two Door Cinema Club, Mr Brightside singers The Killers return from a five-year absence with The Man.

Although far from an anthemic rock single, the fluid drum beats and groovy guitars apparent in Battle Born and Hot Fuss still linger underneath Brandon Flower’s falsetto vocals. The Man (taken from the band’s upcoming album, Wonderful Wonderful) debuted as Annie Mac’s Hottest Record on BBC Radio 1, and certainly hints at a record which strikes a balance between funky alternative and hard-hitting rock.

However similar it may sound compared to other alternative bands in the industry at the moment, we can all be thankful that The Killers are back after a lengthy absence.

The Man is available to stream on Spotify and iTunes now.

Musical Discovery: ‘Wearing Nothing’ by Dagny

Facebook adverts are just as interesting as they are concerning. Over time, the social networking platform has managed to nail my complex taste in music, offering a mix of musicians I had never come across before. Most recently, the mysterious algorithms were responsible for me finding the Norwegian singer, Dagny, and her track, Wearing Nothing.

A pop-heavy blend of Kylie Minogue and Charlie XCX, Dagny encapsulates the soft vocals of the former, and the screaming cheerleader sound of the latter. It’s a flashback to the older days of pop with the singer, whilst also hanging on to the genre’s current style through sophisticated instrumentals.

Stripped-back (pun not intended), the chorus offers a sluggish, bouncy rhythm. The bass drum keeps the song in time, before a plucky guitar riff adds in an off-beat groove on top. Rather than being an excitable, loud melody, the almost anticlimactic drop sets a smooth tone fitting of the track’s meaning.

Whilst the pop industry descends into this weird tropical, calypso mash-up (which is, quite frankly, getting a little bit tedious), it’s refreshing to hear a pop song that offers a more chilled tone for people to listen to – and all thanks go to Dagny for that.

Musical Discovery: ‘Don’t You Feel It’ by Sub Focus feat. ALMA (Sub Focus & 1991 Remix)

Whilst the original version of Don’t You Feel It showed that Sub Focus (real name Nick Douma) had adopted a more deep house style, it’s his latest remix with 1991 which takes us back to the drum-and-bass style of the DJ’s previous two albums.

It’s a remix fit for clubs and gigs. An atmospheric introduction calms the crowd whilst emphasis is placed  on ALMA’s vocals, then it quickly progresses into the DnB at the centre of the track itself. However, the balance between vocals and rhythm isn’t exactly 50/50, with the song eager to progress to the next hook: a loop of the line I need to be close to you which repeats one time too many. However, when combined with the lyric don’t you feel it too, the rhyme and vocal melody fit together seamlessly.

As for the beat drop, the first half sees drums underneath the original chorus, before a synth tune is introduced. It’s the light trill during this section which is a joy to listen to. The blending of euphoric and fast-paced music, although unequal, keeps the track moving forward in a satisfying rise-and-fall motion – getting listeners excited for the next drop whilst also offering the space to breathe in between.

As a whole, this new remix seems to suggest that Douwma hasn’t forgotten the drum-and-bass vibe of his sophomore album, Torus. Now, with a third album approaching, here’s hoping the DJ establishes the perfect balance between old and new which will keep long-time fans happy.

Musical Discovery: ‘Obsession’ by Vice feat. Jon Bellion

Obsession is a collaboration between two artists I’ve yet to listen to (although I have heard of Jon Bellion before). As a song by Marshmello finished on Spotify, the streaming service was quick to suggest another song that I might enjoy, and it was right. High-pitched vocals combine with clear, bouncy synths in this dance track that sounds all too familiar.

It’s familiar in the sense that straight away, the opening synth sounds reminiscent of Iggy Azalea’s Fancy, whilst the chorus – as some commenters on the above YouTube have claimed – has hints of NEIKED’s Sexual. However, this song is lucky enough to not be shoved under the typical ‘dance’ or ‘club’ genre, and that is thanks to Jon Bellion’s vocals.

A soft, smooth voice guides us through the verses, but it is, of course, the chorus where the emphasis is placed. Bellion’s whining taps in to the groovy, lazy and laid-back style of this song, offering something different at a time where dance and pop all sounds too similar.