Apparently I can still add content to this blog. Who'd have thought?
So here, a full year after the last update, are the 10 singles I listened to most often in the past 12 months (ordered by the play count in my iTunes library). They're not a bad bunch, and you'll find a handy YouTube playlist at the bottom of the post.
10) George Ezra - Shotgun
Shotgun was a last-minute addition to George Ezra's second album, after label boss Ferdy Unger-Hamilton told him the album "wasn't finished".
"It was one of those awful, 'I think you need to write another song even though I don't know you very well' conversations," Unger-Hamilton told a recent edition of Music Week. "He came back with Shotgun within about 10 days and I was like, 'this is fucking amazing'."
He wasn't wrong. This echoed round our kids' school playground all summer, albeit with the slightly altered lyrics: "I'll be riding shotgun / underneath the hot sun / you look like a dumb-dumb."
Legendary.
9) Theophilus London - Bebey
The bassline of the year was written at a McDonald's in Brooklyn at 3 in the morning while Theophilus waited for a bus. True story.
8) Mark Ronson ft Miley Cyrus - Nothing Breaks Like A Heart
This place was reserved for Kacey Musgraves' country-disco crossover High Horse until Miley swooped in during the closing seconds of 2018 with a country-disco crossover of her own. A shimmering, splintered break-up anthem that's so convincing I was momentarily surprised when Miley got married to Liam Hemsworth.
7) Calvin Harris ft Dua Lipa - One Kiss
I hated this at first, which just goes to show what I know. The UK's biggest-selling single of the year, fact fans.
6) Jade Bird - Uh-huh
Jade Bird appears to be bitching about her ex's new girlfriend... but wait for the middle eight and there's a delicious twist:"She's got you where it hurts / But you don’t seem to see / That while she's out at work / She's doing what you did to me". Yeowch.
A relentless rock song with a shout-your-throat-raw chorus, it marked Jade's coming of age as a songwriter. If she isn't a massive star by the end of 2019 the world is an unjust and deplorable place.
*Checks the news*
Oh shit.
5) Tove Styrke - Sway
"Sway to me, is one of the most romantic songs on the album," said Tove Styrke, the day she released Sway - the latest in a long procession of perfectly-crafted pop songs.
"The album is like a collection of little love stories, and some of them are like not romantic at all because life's like that, you know? And some of them are really like, pink and like, everything is good. This is one of those songs, I love it so much."
Me too. *swoons*
4) Rosalía - Malamente
Spanish star Rosalía made quite a few "best of 2018" lists with her subversive and brilliant album El Mal Querer, which blends traditional Andulasian flamenco music with trap drums and suitcase-rattling basslines.
The record tells the story of a woman who's imprisoned by a jealous lover, and this is the opening chapter - subtitled "Augurio" (Omen) in Spanish. A moodier, more compelling piece of R&B is hard to find, while the video is crammed full of the slick choreography and loaded imagery you'd normally expect from Beyonce.
3) Let's Eat Grandma - It's Not Just Me
Interviewing Let’s Eat Grandma earlier this year, I told them how much I loved the lyric “you left a dent in my home screen” and the way it captured that state of obsessively stabbing at your messages app, in the hope of a new message from your obsession.
They looked at me like I was deranged and said, “but it’s about someone dropping my phone”.
Ah well, this is still a towering achievement. Five minutes of restlessly inventive, shape-shifting pop that sucks you in, shakes you up and spits you out.
2) Ariana Grande - Thank U, Next
No-one navigates the choppy waters of modern pop stardom better than Ariana Grande, whose music this year tussled with her own personal dramas, acknowledging a tough transition to adulthood, while remaining wryly self-aware about her image.
Nothing said this better than Thank U, Next. Supposedly released to overshadow her ex-fiancé's return to Saturday Night Live, it was actually a gracious and thoughtful reflection on the end of their relationship. The video, which riffed on teen comedies like Mean Girls and Legally Blonde, made deliberate comparisons between high school gossip and social media fixation on her personal life - the message being, "I'll take care of myself, if that's alright with you".
But the best bit is when she (metaphorically) turns to the camera and winks: "At least this song is a smash". In the future, they'll write textbooks about this.
1) Janelle Monae - Make Me Feel
I could never shake the feeling that Janelle Monae was too slick to be funky. Her first two albums, great though they were, felt sanitised and fussy, unable to get down in the dirt and really scuff things up.
The Dirty Computer album gave us the context - Janelle's music was buttoned-up because she felt her sexuality and her identity were being stigmatised. Make Me Feel was the moment she broke out of the shackles, with a filthy slinky chorus, a bassline like a trampoline, and a sticky, celebratory "sexual bender".
Better late than never... These are the records that went on repeat at Discopop TowersTM in 2017. Which was a week ago.
10) Muna - About U
When you're beaten and a friend unexpectedly comes to your defence. When you're silently hurting and someone notices. When you just need to be understood. That's what this album is, but songs.
9) Billie Eilish - Don't Smile At Me
Technically an EP, but longer than most Beatles' albums, so I'm allowing it.
Billie Eilish has a faultless ear for melody, a lean-closer voice and a bucketful of acidic lyrics. Everyone, including me, goes on about Bellyache, where she fantasises about killing her friends. But my favourite (because I actually lived it) is Party Favor, where she casually and callously dumps her boyfriend on his birthday. "I hate to do this to you on your birthday," she coos. "Happy birthday, by the way".
8) Wolf Alice - Visions Of A Life
Good luck summing this one up. Ellie, Theo, Joff and Joel sound like they've raided the musical pick'n'mix counter, grabbing handfuls of grunge and dream-pop and punk shoegaze and anything else that takes their fancy - Ellie even borrows Neil Tenant's deadpan vocal "stylings" on Sky Musings. But somehow it works. You can holler along to Beautifully Unconventional, you can spit at Yuk Foo, you can swoon to Don't Delete The Kisses.
"I think hummus is quite a good analogy for our album," Ellie told me in September. "You get all these different varieties but at the end of the day they're all hummus."
Told you it was impossible to sum up.
7) Kendrick Lamar - Damn
The fire, the fury, the blood, the piss, the faith, the doubt, the humility, the false humility, the Rihanna duet, the breezy, casual competence of it all. At this point, he's basically showing off.
6) Paramore - After Laughter
Paramore's technicolor fifth album completes their transformation into pin-sharp pop stars - but not, like, Katy Perry or anything. ("I can't imagine getting up there and playing a Max Martin song – at that point we might as well just stop," guitarist Taylor York told The New York Times in April).
Instead, they take their cues from the angular elbows and polyrhythms of Talking Heads and Cyndi Lauper, while Hayley Williams picks at the scabs of her depression in a procession of unflinchingly stark lyrics.
My favourite track is Rose Colored Boy - where she rages against an irritatingly glass-half-full acquaintance. "And oh, I'm so annoyed," she hisses, "'Cause I just killed off what was left of the optimist in me". Sad-dancing hasn't been this good since Robyn last released an album.
5) Lorde - Melodrama
Too clever for its own good, Lorde's second album suffers from a surfeit of ideas. When they work (the conspiratorial tongue click on Perfect Places, the submerged vocal samples of Sober) it's glorious. But other tracks threaten to collapse under the weight of their ambition. It's telling that the standout moments are the simplest: Liability and Writer In The Dark.
But you can't argue with Ella Yelich-O'Connor's facility with melody, nor her gothic, awkward, evocative lyrics - somehow cool in their lack of coolness.
"We're the greatest/ They'll hang us in the Louvre / Down the back... but who cares? Still the Louvre" is a stand-out, but my absolute favourite is "I'm closing my teeth around this liquor-wet lime".
A flawed masterpiece.
4) Dua Lipa - Dua Lipa
Was it groundbreaking? No.
Did it rewrite pop history? No.
Was it an unimpeachable collection of pop songs? Yes.
New Rules was the standout, naturally, but you get six other singles for your money, from the self-descriptive Hotter Than Hell to the ridiculously danceable Blow Your Mind (Mwah). And check out Dua's sultry, husky vocals on Thinking 'Bout You for proof that she's set to be the UK's finest pop star.
3) St Vincent - Masseduction
All seedy glamour, giddy highs and unsettling lows, St Vincent's fifth album is as sticky and messy as real life gets.
Over crunching programmed beats, her stories invariably deal with loss of control ("I cannot stop the airplane from crashing," she sings on the title track), with references to mood-stabilising drugs, and a soul-crushing break-up ("how can anyone have you and lose you and not lose their mind, too?" - Los Ageless).
Annie Clark's most personal album to date, it's also her most pop-fuelled. She's ably assisted in this by Jack Antonoff, who also produced Lorde and Taylor Swift's latest albums, but never surrenders her wit, her inventiveness or her fury.
2) Kesha - Rainbow
When life gives you lemons, make a defiantly bonkers hillbilly pop record.
Kesha may not have won her freedom from Dr Luke, the producer and label boss she accuses of drugging and sexually abusing her (claims he denies) but she was finally free to make the music she wanted.
Out go the vocoders and retrospectively creepy lyrics about being drunk and out of control. In come throat-shredding vocals and revelatory songs about resilience, compassion, independence and, er... dating Godzilla.
The back story makes it compelling, but it's the songs that keep you coming back.
1) Laura Marling - Semper Femina
Acres of newsprint were wasted discussing how Laura Marling wrote about femininity from a male perspective. For a start, she abandoned that conceit half-way through (although the record is broadly about female archetypes, from the wild child to the artist's muse). But worse than that, it steers your attention away from the mesmerising beauty of these songs.
The album opens with Soothing, whose prowling, sensuous bassline suggests all kinds of sex, until Marling kicks her lover out: "I banish you with love". On Wild Fire, she channels Lou Reed, while shaming a plonker who tells her "you're at your most beautiful when you don't know you're being watched". "Maybe someday when God takes me away," she drawls. "I'll understand what the fuck that means."
Musically, she's never sounded more relaxed. Under the watchful guidance of Blake Mills (Alabama Shakes, Fiona Apple) she lets in all sorts of new musical textures - backmasked vocals, sweeping strings, even a guitar solo - that add to the dramatic acuity of her lyrics.
Beguiling and brilliant, it's the best album of her career.
Here's a playlist of tracks from the Top 10 albums. You can see numbers 11 to 20 below.
FYI: The next 10:
11) SZA - CTRL
12) Taylor Swift - Reputation
13) Lana Del Rey - Lust For Life
14) Stormzy - Gang Signs & Prayer
15) J Hus - Common Sense
16) Haim - Something To Tell you
17) Niia - I
18) Feist - Pleasure
19) Jessie Ware - Glass House
20) Jay-Z - 4:44
So it's been... er, five long months since I last updated the blog. But I couldn't resist compiling my Top 10 singles of the year.
This year's list is extremely pop heavy, even for me, but the choices are determined by my iTunes play counts, which means they represent the songs I actually listened to over the last 12 months.
So here we go... in reverse order, with a playlist of the videos at the bottom of the post.
10) Lorde - Green Light
Max Martin called Lorde's comeback single "incorrect songwriting" but to my mind, that's a compliment. Green Light's awkward lurch from verse to pre-chorus encapsulates everything that's brilliant about Lorde - a pop star who's not afraid to embrace her weirdness (cf her performance at this year's MTV Awards).
Green Light isn't the best song on Melodrama, but there's something graceful about its clumsiness that kept me coming back for more.
9) Don't Kill My Vibe - Sigrid
Rae Morris made it into my Top 20 with the sublime Do It, a song about falling in love with her producer. Don't Kill My Vibe tells the opposite story - of how pop-star-in-waiting Sigrid Raabe was patronised and demoralised by an obnoxious studio boffin. Working with more sympathetic collaborators, Sigrid poured her scorn into this undeniable pop banger - and unwittingly set the scene for the song at number eight.
8) Praying - Kesha
Kesha could have come back swinging - she'd spent years in legal limbo, fighting her boss and mentor Dr Luke, who she accused of psychological and sexual abuse. But her response was much more compassionate than anyone expected.
The star doesn't hide her anger ("we both know all the truth I could tell") but turns it into a plea for redemption. "I hope you find your peace, falling on your knees, praying," she sings. If only we could all be so forgiving.
7) Little Of Your Love - Haim
AKA the song that saved Haim's second album. As Este confessed earlier this year, "There was a time where I was like, 'OK, why is every song I’m writing sounding like the theme from ‘Jurassic Park’?'"
Little Of Your Love broke that curse. Commissioned for (but not used in) the Amy Schumer movie Trainwreck, it relieved Haim of the pressure of following up their first album, allowing them to write a joyous, freewheeling True Blue tribute that's become a highlight of their live set. It also has one of the best videos of the year, which you can see at the bottom of this post.
6) Mistakes - Tove Styrke
Tove Styrke released two absolute corkers this year: Say My Name and Mistakes are cunningly detailed songs, employing multiple vocal layers and pixel-perfect production to embellish Tove's seemingly straightforward pop melodies.
Mistakes is my favourite of the two, thanks to that slap-back snare drum and a delicious portamento in the vocoder refrain. But it would be remiss of me not to mention Say My Name's "wear it out like a sweater that you love" lyric.
5) Lust For Life - Lana Del Rey ft The Weeknd
"My boyfriend's back and he's cooler than ever". Lust For Life is Lana's most radio-friendly single since Summer Sadness, and one in which she invites The Weeknd through the airlock of her interplanetary spacecraft.
It's a curious duet. Despite the chorus's demand to "take off all your clothes" the singers perpetually circle one other - mesmerised, rather than ravenous. But there's something beguiling about their soft-focus sensuality that keeps me coming back for more.
4) Hard Times - Paramore
A fluorescent, upbeat pop song about plumbing the depths of depression. "All that I want / Is a hole in the ground," sings Hayley Williams. "You can tell me when it's alright /For me to come out."
The counterpoint is the point. Taylor York's triangular, new wave guitar hooks and Zac Farro's creative drum fills make the bleakness of Williams' lyrics all the more stark. Radiohead, take note.
3) Bellyache - Billie Eilish
The best debut of the year? 15-year-old Billie Eilish fantasises about killing all her friends and going on the run - only to get an ulcer from the guilt.
Reviews rightly focus on the lyrics, but the music is equally ambitious - switching from peppy acoustic balladry to the gut-churning bass drop of the chorus. Billie Eilish is going places in 2018, and not just to escape the law.
2) New Rules - Dua Lipa
How often does someone come up with a new lyrical conceit for a break-up song? Almost never, that's how often. But Dua Lipa found a new angle with her step-by-step guide to avoiding your ex - and it became her proper breakout hit.
New Rules was the first single to really capture the star's witty, approachable Twitter persona ("It's so cold outside my nipples could key a car rn") but it also benefitted from a super-smart video; which saw Dua being supported by her girlfriends as she struggled to stick to the four-point programme.
The video rightly became a viral success... and not just for its gif-tastic choreography and themes of female solidarity. Someone "in the know" told me the pastel palette was deliberately chosen to reflect the most popular colour schemes on Instagram. How 2017 can you get?
1) Bad Liar - Selena Gomez
The way it interpolates Talking Heads' Psycho Killer. The way the lyrics spill out like an infatuated teenager's love letter. The line "just like the Battle of Troy there's nothing subtle here." The nuance in Selena Gomez's delivery - alternately awe-struck and assertive. The way she tries to deny her feelings ("you're taking up a fraction of my mind"). The melody in the chorus. The counter-melody in the chorus. The line "every time I watch you, serpentine".
The whole damn thing is perfect. Perfect. Perfect. Perfect. Perfect.
FYI: The next 10 would have been:
11) St Vincent - Los Ageless
12) St Vincent - New York
13) The Killers - The Man
14) Kendrick Lamar - Humble
15) Laura Marling - Wild Fire
16) Tove Lo - Disco Tits
17) Dagny - Love You Like That
18) Foo Fighters - Sky Is A Neighbourhood
19) Camila Cabello - Havana
20) Rae Morris - Do It
"NO BOYS WERE HARMED IN THE MAKING OF THIS VIDEO 💕” writes Charli XCX, below the YouTube clip for her new single, Boys. A clever attempt to subvert the male gaze, it's more eye-catching for the cast list than the direction - but the song is catchy as all heck.
In case you need help identifying the talent, here's a complete list:
All the evidence suggests that Kesha's comeback album, Rainbow, is going to be a triumph. After Praying and Woman, she's just posted a third song, Learn To Let Go, which has one of the best videos I've seen all year.
It's nice when people who've been dragged through the shit have good things happen to them, isn't it?
Mura Masa releases his self-titled debut album today and, as the headline above suggests, it's got more smashes than a bottle bank.
If you're not familiar with his ouevre, here's a potted biog: Mura Masa is 21-year-old Alex Crossan. He comes from Guernesy, and named himself after 16th-century Japanese swordsmith Muramasa Sengo. Being raised on a "small, isolated haven" halfway between Britain and France meant he wasn't swayed by prevailing music trends, and so he delved into the weird and wonderful delights of world music, which means his own productions are peppered with non-Western sounds like Trinidadian steel drums, African kalimbas and Indonesian gamelan gongs. It's trop-house with a genuine understanding of its roots.
More importantly, he makes dance music that's infused with genuine emotion, via collaborations with fellow outsiders Damon Albarn and Charli XCX.
Lana Del Rey has always had hip-hop elements in her songs, but she's never had a rap star contribute a verse... until now.
Yesterday, she unveiled two new songs: Summer Bummer and Groupie Love, both featuring A$AP Rocky (and on the former, Playboy Carti), and both continue the star's current hot streak.
Summer Bummer is, despite the bollock-awful title, my favourite of the pair. It starts off as a prototypical Lana Del Rey song, with barely-bothered lyrics like "hip-hop in the summer, babe... be my undercover lover, babe."
But then something interesting happens - after A$AP's verse (which he shares with Playboi Carti) the song starts to deconstruct, dissolving into digital noise, with Lana's haunting upper-register holler barely holding the song together.
Groupie Love is a more straightforward, string-drenched ballad, with a chorus that sticks like flypaper.
Speaking to Zane Lowe last night, Lana revealed she'd recorded a bunch of songs with A$AP Rocky but they're mostly just languishing in a cupboard somewhere.
"He travels a lot but sometimes he’s in town for a month and, when he is, I’ll come to the studio and hear what he’s working on and do background vocals on his tracks," said Lana.
"There probably are a lot of tracks somewhere that we’re both on over the years. We do 'em and forget em and if one's better than all of them, like this one, we try to put it out."
Lana then proceeded to FaceTime A$AP Rocky while he was on the toilet, which is a classy move.
Still, with these two tracks alongside Love and Lust For Life, her new album is shaping up to be one of the year's best releases. It's out next Friday on Polydor.
Last week, Kesha poured all the anguish and horror of the last five years into a (frankly stunning) new song called Praying. You can read about / listen to it here, should you desire.
With that out of her system (in song form, at least, the mental scars will be with her for life), she's free to make a gargantuan, ball-busting pop song. And here is that song.
Woman is powered by the same brass section who played on Amy Winehouse's Back To Black; and it shares some of that album's "don't give a fuck" attitude.
The lyrics are all pretty boilerplate "I'm a strong independent woman" stuff until Kesha gets the giggles in verse two and fluffs her lines. It's a brilliant, humanising moment - one in which the singer becomes three dimensional. She's not just a female warrior, she's self-aware, capable of levity. She's Just. Like. Us.
Whoever made the decision to include that outtake instead of the other, more polished, vocals Kesha undoubtedly recorded is a genius.
Incidentally, can you think of any other songs where the narrator breaks character? Michael Stipe does it in The Sidewinder Sleeps Tonite. Janet Jackson has a giggle in Runaway. Any others???
UPDATE: According to Popjustice, this whole song was inspired by Donald Trump's "Grab them by the pussy comments."
"That made me so infuriated, as a hardcore feminist," said Kesha at a recent playback event I couldn't go to because I had to pick my children up from school.
"Ever since I was a kid and knew what a feminist was, I was a feminist. [I was] raised by a feminist. Once I heard that [comment] I was like, okay, well, I’m going to write this song about being a badass motherfucking woman who you don’t want to fuck with."
With Bad Liar finally climbing up the UK charts, Selena Gomez has decided to kill its momentum by releasing another single. Pop music, eh?
Anyway, Fetish is a worthy replacement. It doesn't have the quirky wordplay or musical slinkitude of its predecessor, but the chorus is a humdinger.
"You got a festoon for my love," sings La Gomez. "I push you out and you come right back."
"Don't see no point in blaming you," she continues. "If I were you I'd do me too."
The video, meanwhile, is fetishistic in its own way. A lingering, borderline intrusive, close-up of Gomez's lips, it also gives you an appreciation for the clinical excellence of American dentistry.
Haim playing Selena Gomez's Bad Liar with a fork and a spoon, in Radio 1's Live Lounge, is the only video you need to watch today.
They also did a passable version of their own single, Want You Back, without the aid of kitchen utensils. If you have time for a second video, this is also a 10/10.
Here it is. Sorry Not Sorry: The song that Swish Swish aspired to be... A fierce riposte to [persons unknown] that rises above petty payback with a wry sense of wit.
"I'm on fire and I know that it burns," sings Demi Lovato in full-on foghorn mode. "It'd be nice of me to take it easy on you but... nah."
"A lot of people hear this song and they think it's about an ex-boyfriend," the singer told Amazon Music, "but it's actually a song about the haters."
Actually, I'd argue it's a song about realising that haters are simply acting out their own inadequacies, and learning to take pride in your own achievements. Which is a great lesson for us all, is it not?
"Plot Twist is about finally getting over someone," says the Norwegian teen star, via press release, "but we decided we wanted the focus [of the video] to be on me having a good time with my best friends.
"We filmed it in Bergen where I've lived for two years now, and it was the best day!"
A big round of applause to filmmakers Sigurd Fossen and William Glandberger, then. Capturing a natural performance in a pop video is notoriously difficult but they've managed to convey every Kilojoule of her kooky energy.
PS: Bonus points for putting the title of her song on her scarf.
The best new track on Dua Lipa's eponymous and epochal debut album is New Rules, a song about trying to keep your distance from a boyfriend who's bad for you. In the lyrics, Dua sets out four commandments to avoid falling back into his arms.
One, don't pick up the phone
You know he's only calling 'cause he's drunk and alone
Two, don't let him in
You'll have to kick him out again
Three, don't be his friend
You know you're gonna wake up in his bed in the morning
And if you're under him
You ain't getting over him
It's a quirky, and funny take on the break-up song, and now it's got the video it deserves; with Dua's girlfriends doling out the advice through the medium of a heavily-choreographed, colour-coded slumber party.
"These are the kind of rules you tell to your friends and they would tell to you," she told me at Glastonbury. "So, with the video, I wanted to show unity between women and girls.
"I think it really tells the story of women looking out for each other."
And that, ladies and gentlemen, is what we call "damning with faint praise".
Get Low is a collaboration with pop alchemist Zedd, which accounts for the sudden uptick in quality. The German DJ's lightness-of-touch keeps the song afloat with a brisk and uncluttered production that'll drift out of a thousand car windows this weekend.
Lyrically, Get Low doesn't plumb the depths of Liam's hopelessly clumsy Strip That Down: A song about sex that makes Carry On Camping seem intellectually sophisticated. But it still contains the following stanza:
I like the way you take me there
I like the way you touch yourself
Don't hold back, I want that
When the water come down, I'ma get in that
Frankly, if I were Liam's missus, I'd rather go bowling.
Now there's a headline I wasn't expecting to type - but isn't that the beauty of pop? You can suddenly and unexpectedly be swept off your feet by a song, regardless of who recorded it or where they live.
Felix Pallas are that band today: A quartet from Antwerp whose new single, Similarities, is a delicious dose of dusky pop. Throughout, the singer's sweltering falsetto tussles with surging synths, over a sinister lyric about being held prisoner as the "water's rising".
Produced by Chris Zane (Bat For Lashes, Passion Pit, Friendly Fires, Nelly Furtado, etc) the band have branded it "alien synth pop", which is as good a description as anything I can come up with.
After the incendiary, in-your-face comeback single Yuk Foo, Wolf Alice have spun on their heels and released a shimmering indie-pop song that's quite possibly their best single yet.
Don't Delete The Kisses is "the most synth-heavy tune we've made", the band told Beats 1 - and, sure enough, it sounds like it's been beamed in from the soundtrack to a lost John Hughes movie. Or, more accurately, a John Hughes script shot by Nicholas Winding Refn.
In the spoken-word verses, Ellie Rowsell plays a girl who can't strike up the courage to approach the object of her affections.
I'd like to get to know you
I'd like to take you out
We'd go to the Hail Mary
And afterwards make out
Instead I'm typing you a message
That I know I'll never send
Rewriting old excuses
Delete the kisses at the end
The chorus lets out all that frustrated energy with a cathartic cry of, "Me and you were meant to be in love!"
"I kind of wanted to make one of those head out the window on a long drive tunes," Ellie told Beats 1. "And I wanted to try my hand at like a hold-nothing-back love song. Those were my thoughts. But other than that I just kinda let it go where it wanted to go... I just think if you hold back it will sound worse won't it?"
It's really rather brilliant.
Don't Delete The Kisses comes from Wolf Alice's second album, Visions Of A Life, which is out in September.
The band revealed the (unbelievably creepy) artwork on Twitter last night as they set off on a month-long US tour.
That's a photo of Ellie's aunty Helen playing the classic game of 'dance round the horse's skull in your Sunday best' pic.twitter.com/QqoHLGsHM4
Of all the multifarious "live session" set-ups; NPR's Tiny Desk concerts are among my favourite. The artists are literally dragged into an office, propped up against a bookcase and made to perform amongst the print-outs and coffee mugs of a working radio station in Washington, DC.
Chance The Rapper just did his stint at the coalface, having played to 23,000 people at an outdoor theatre in Virginia the night before.
His performance was interrupted by an announcement on the building's tannoy, but he laughed it off and delivered a low-key, subtly moving performance of Juke Jam and the Stevie Wonder classic They Don't Know What I Know.
If you haven't heard of 15-year-old pop prodigy Billie Eilish yet, you're missing out.
The LA native has lit up my "most played" list this year with a handful of smart, dark pop songs, in which she fantasises about things like killing her boyfriend and burning his car. You know, typical teenage stuff.
Her new single, Watch, came out last Friday and it's packed with more Melodrama than Lorde's entire album. "Go ahead and watch my heart burn," she trills, "with the fire that you started in me".
Listen below.
If you want to know more about Billie, here's some highlights from her first forays into the media.
Billie wrote her first song when she was four. It was about falling into a black hole [Interview]
Her neighbour asked her to star in his homemade horror movies when she was six, which isn't creepy at all. [Vice]
For the last eight years, she's been a member of the fancypants Los Angeles Children's Chorus. [Teen Vogue]
As well as singing, Billie is a trained dancer, who used to practice 11 hours a week until "my hip decided to explode" last year. [WFN Music]
A post shared by billie eilish (@wherearetheavocados) on
Billie writes all her songs with her older brother Finneas. "Him and I get along really well, so it's perfect," she says, before basically admitting no-one else will put up with her. "I'm a super-particular person and I always have to have stuff my way." [Triple J]
Her breakthrough song was the lullaby-like Ocean Eyes, which Finneas wrote for his band, but gave to Billie when she needed a piece for her dance class. "We put it on SoundCloud with a free download link next to it so my dance teacher could access it," she says. "We had no intentions for it, really. But basically overnight a ton of people started hearing it and sharing it." [Teen Vogue]
The song has now had 1.96m streams on Soundcloud, winning her a record deal with Interscope and a slot on the 13 Reasons Why soundtrack. [Soundcloud]
Her best song to date is Bellyache, which she describes as "a flat-out a song about murder". [Ladygunn]
It probably goes without saying, but you shouldn't take the lyrics literally. "You don’t have to kill people to write a song about killing people," says Billie. "I'm not going to kill people." [Billboard]
In fact, the song has a deeper meaning. "Like, if you do something to impress somebody else or because your parents want you to or because whatever, you’re going to end up alone one day... with a bellyache." [Ones To Watch]
Her favourite colour is yellow, as she will explain to you at length. "I think of myself as yellow because I think a lot of people used to maybe doubt yellow or not like it because it’s one of those colors that people just sort of hate. Nobody likes it and it’s such a good colour! I don’t even know how to describe it. I just feel like I am yellow. I do and say what I want and I don't really care if people like it or not. That makes me yellow." [Popcrush]
So there you go: That is Billie Eilish "in a nutshell", if the nutshell was about 600 words of text on a stunningly popular music blog.
This is such a simple and brilliant video. If you've ever walked home from a night out, air-drumming to the song in your head (and who hasn't?) then this video will trigger a giddy rush of nostalgia.
As ever, Haim have their feet firmly planted in the centre of a venn diagram showing the overlap between dorky and cool.
One of the standout tracks on Sza's luscious new album, CTRL, is called Drew Barrymore. The lyrics don't reference the erstwhile star of ET and The Wedding Singer - but SZA was apparently inspired by watching the actress's seemingly endless stream of 1990s romcoms.
"I just imagine this being the soundtrack to one of those movies," she told an audience in New York last year. "Cue Freddie Prinze, Jr."
But Drew Barrymore (the song) has none of the breezy effervescence of those films, focusing instead on self-doubt and insecurities.
"I get so lonely, I forget what I'm worth," sings SZA. "I'm so ashamed of myself think I need therapy".
Nonetheless, Drew Barrymore (not the song) gave it her seal of approval, calling SZA "awesome" and praising the song's "lack of perfection" - especially the mention of "mom jeans".
She liked it so much, in fact, that she cameos in the video - released today and embedded above. She crops up around the 2'18" point; but the whole thing is worth watching. It's beautifully shot by Dave Myers, who recently made the Humble video for SZA's labelmate Kendrick Lamar.
