Elizabeth Hunter‘s “Coming for You” is impressive in just how much it does right. There’s the instrumental, a Motown-influenced slammer with butter-smooth horns and luscious organ. There’s the vocal, a killer case of blue-eyed soul drawing heavily from Amy Winehouse’s days with Mark Ronson and suave harmonizing up the wazoo. Most importantly, though, Hunter struts forward with blinding energy, loud and dynamic and alive. It’ll truly be a shame if “Coming for You” doesn’t break through, since I haven’t heard a song that’s quite so sure to get people up and dancing in a while.
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The video for Cowboy Mouth‘s “Broken Up” is partly set in a brewery, which is an accurate distillation (pardon the pun) of the song’s sound. It’s a chunk of cheeky punk rock along the lines of the Dropkick Murphys, simple and memorable I-V-I chord progression and loud, crashing drums. Drummer and lead singer Fred LeBlanc’s nasally vocals properly fit the snarky vibe of the song’s lyrics, a kind of “screw you” to the girl who’s just broken up with the narrator. It’s altogether a cheery ode to the break-up — and, given the wholesome, raucous punk featured herein, the video and lyrics fit perfectly with the music.
The video for Aphty Khea‘s “Onyx Glitz”, shot by videographer Benjamin Brookes, features body parts snapping together and apart under an eerie ultraviolet light. It’s appropriate imagery for the song itself, a sinewy piece of dubstep which undulates lethargically under piano and massive bass. It’s at times the pristine jazz vibes of Submotion Orchestra, at times the unsettling wormholes of Hyperdub’s formative years, and always everything which made the genre compelling to begin with. Menacingly spacious and elegantly caustic, it shows there’s yet life in the bassy half-time world.
The electropop of Nashville’s Chaos Emeralds is a maximalist version of the genre, everything within their grasp ballooning to massive size. “Untied”, with its gigantic toms, neon arpeggios, and buzzing bass, rams it home: if something is worth doing, it’s worth doing big. And it’s nice that things are, indeed, this big: the song is a delectable slice of hyper-sugary cake, white-boy R&B if the genre had injected approximately seven liters of Pepsi intravenously before performing. It’s brash and loud, and it’s all the better for it.