#BILLCSTop30 #570 – September 16/19

Right now I have so many favourites out there.  Just a little insider information – I have a new music playlist of about 60-70 that includes these 30, which I play regularly during the week.  To keep track of my submissions and new songs I want to hear, I have a Spotify playlist – at least for those songs on Spotify.  So I’m usually always checking something out that’s new in the week when I’m not writing!  

The new chart has a lot of smaller moves and songs holding steady that I enjoy, but in two weeks that’s likely all to change, with so many new faves waiting in the wings.

Ukrainian dance group Kazaky hold tight at #1 with the Depeche Mode-influenced “Push”.  The song doesn’t sound like much out there right now, which makes its 80’s and 90’s influences all the more refreshing.

So what is wrong with US radio?  “Higher Love” by Kygo and Whitney Houston should be one of the year’s biggest hits, as it is worldwide, particularly in England, where, like on this chart, it has reached #2.  The dance music crowd loves it though and it is topping dance charts everywhere.  Check out the recent video for the song above.

The cool synths of “Monday Blues” by Eric Sharp and Zhao allow it to continue to move up a notch to #3.

“Tough Love” by Avicii, Agnes and Vargas & Lagola climbs 9-5.  It’s both Avicii and Agnes’ second Top 5 on this chart.  Avicii got to #3 in 2013 with “Addicted To You”, while Agnes reached #1 back in 2009 with “Release Me”.

Canadians Loud Luxury lands in the Top 10 for the 4th time with “I’m Not Alright” (12-8, above) with US vocalist Bryce Vine, while Australian producer Throttle gets his first – outside of his #1 remix of Troye Sivan’s “My! My! My!”  – with the thoughtful “Dreamer” rising 13-9 (below).  Also below, you can check out Throttle’s latest release “Japan”.

 

The fastest riser on the chart belongs to US production duo Midnight Kids with “Those Were The Days”, which soars 18-10.  In the past few weeks, vocalist of the song, Jared Lee, posted a video of him singing the song live in the studio accompanied simply by piano, always a true test to find the great singers behind the complex production of many songs.  Check out the original above, and the acoustic version below.

The deep bass beats of “Give Me Love” continue to climb the chart for producers Ken Summit and Eric Kupper with vocalist Amy Douglas.  The throwback to late 90’s club music rises 16-12.

Another thoughtful song with a really terrific vocal and honest lyrics is “Graduate” by singer/songwriter/author Simon Curtis.  It moves up 17-13.  I can’t tell you how I love that Simon is back making great music after a protracted absence.

All of the previous five debuts move up steadily, and are still led by the fun OKJAMES remix of “Like Like” by UK indie singer/songwriter Lostchild.  It moves up 23-19.

Right behind it is the song that uses a Finnish acapella performance to sample and form its key hook.  It’s called “Run Wild” by L.A.-based producer PLS&TY, and it rises 24-20.

The chart had room for three debuts, and they changed a number of times when creating the chart.  While there are a slew of fantastic new songs that will help last out the year, the three that premiere have all actually been on release for a number of weeks.

First up at #27 is British singer/songwriter Benedict Cork with “Breaking Hearts”, which I have been playing for months and richly deserves more attention as the highest debut.  Benedict has one of those instantly likeable, pristine voices that can make short work of just about any song.  And this original quickly gets stuck in your head.

Next up is the first entry by TheKnocks in 2019, the fun charmer that is “Awa Ni”, featuring singer Kah-Lo, which arrives at #28.  “Awa Ni” appears to be an expression of praise in Kah-Lo’s native Nigerian.  The song’s lyrics have an interesting disconnected train of thought about them, but it all comes together as summery, festive, and joyous. It’s also The Knocks’ 7th entry since 2012.  The prolific duo have released another four singles since “Awa Ni” first appeared in July.

The last debut is a dark and progressive song for late nights that club DJ’s will totally dig.  It’s “Flicker” by NYC-based producers (and brothers) Anden at #29.  Pete and Tom previously appeared on the chart back almost three years ago as remixers of Satchmode’s “Undertow” (#12).

View the full BILLCS Top 30 right here!  Click on the hyperlink on the song titles to hear the songs or watch the videos!

Listen to the BILLCS Top 30 Songs on Spotify! Click on this link to take you there, and follow me on Spotify: BILLCS Top 30 Songs

Check out and ‘like’ the BILLCS Music Projects Facebook page 🙂

 

 

 

Florida electronic music producer @Trivectamusic makes Toronto club debut, new song with @Woolimusic @Excision @JulianneHope “Oxygen”

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EXCISION, WOOLI, TRIVECTA and JULIANNE HOPE, “Oxygen”

Tampa, Florida electronic music producer Trivecta (aka Sam Dobkin) easily won over Toronto dubstep fans with his alternately hard hitting and melodic style at Revival Bar last night, where he opened for dubstep master Wooli.  His set slammed super-hard at times – in anticipation of the headliner of course – but transitioned quite well and often into more melodic tones that he has been known for through some of his originals as well as his remixes.  Trivecta, like many other producers in the genre these days, is also a musician, and whipped out his guitar a few times to the utter delight of the invested audience.  Among the highlights in his set were a remixes of songs by “his buddy Gavin” Dabin with “Alive”, “Without You My Love” by Seven Lions, and the song that easily received the best crowd reaction, “Fractures” by another of his pals, Illenium (listen below).  The club was also worked up when he played Above & Beyond’s “Sun & Moon”, and when he brought out his guitar again to his own “Break Me”.  All in all, Trivecta was definitely pumped up by the audience’s warm embrace and it was an entertaining set.

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Trivecta also is part of a new release on Excision and Wooli’s EP “Evolution”, which arrived yesterday.  “Oxygen” is a heartwarming slice of emotional electronica that definitely plays to the style of Illenium’s recent Ascend album.  Featuring a touching vocal by co-writer Julianne Hope, the song alternates dramatic synths with softer moments that will appeal to fans who enjoy Illenium’s “Crashing” and other similar songs.  Check it out above.

 

“Walk Alone”, the latest by Dutch producers @TheHim, revels in sharp melodic house recalling earlier in the decade

THE HIM, “Walk Alone”

Easily one of my favourite purveyors of top notch house music, Dutch producers The Him are back with one of their best songs to date in “Walk Alone”.  After critics tried to bury the melodic house genre of the early part of the decade, smart producers like The Him are gradually reviving its influential presence, largely inspired by the late Avicii.  It makes “Walk Alone” a brisk 2:51, where you just wait for those magical melodic drops and hooks.  The uncredited male vocal is also appealing ear candy, and “Walk Alone” should become one of The Him’s big fan favourites in concert.  Side note: If you didn’t know, Jeroen (J) will no longer be performing with Steve in order to focus on production, and we’ll miss J at the shows, but The Him will continue to be a constant force in the house music scene.

Dutch producer @SteveVoid takes @StephenPuth’s “Look Away” to new heights with his fanciful remix

STEPHEN PUTH, “Look Away” (Steve Void remix)

Stephen Puth has definitely followed brother Charlie into the pop music scene on his own terms with three engaging and original singles, particularly “Sexual Vibe” from earlier this year which got to #5 on my personal chart.  While “Look Away” is another top-drawer release, it is lifted to new heights to the attention of dance music fans in Steve Void’s insanely catchy official remix.  The forlorn vibe of the song, which captures regret after a failed relationship, is countered by some significant bounce alongside of acoustic guitar and a simple set of piano riffs.  Stephen’s gentle vocal will win you over too and Steve’s tropical tinges are unexpected but most welcome.  It’s a total winner overall!

“Hello My Loneliness” is radio-friendly slick pop dance from the unexpected dynamic pairing of @iamDelaneyJane and @CallMeKarizma

DELANEY JANE and CALL ME KARIZMA, “Hello My Loneliness”

Canadian singer Delaney Jane has built her reputation over the past few years as one of dance music’s most recognizable vocalists, scoring a few recent radio hits such as “La La Land” and “Throwback” in Canada in the process.  This time she’s paired with Minnesota pop/rap performer Call Me Karizma for the unexpected pleasure of “Hello My Loneliness”.  When I first saw the co-billing I wasn’t sure if it would work.  I suppose the song has been taken to greater heights because both performers are co-writers along with noted producer Shaun Frank (The Chainsmokers), who has also had a great impact with Delaney Jane’s pop-charting hits as producer and co-performer along with his own hits like the recent “Tokyo Nights”.  While Call Me Karizma has a deeply committed fan base who enjoy his harder-core emotional hip  hop, he easily slides into more pop-friendly territory that recalls his own “Life Of The Party” release from last year.  “Hello My Loneliness” is instantly appealing pop/dance that will sound great on the radio this Fall.

“Not Enough” marks an ear-pleasing, heartfelt return for Secondhand Serenade @secondhandJohn

SECONDHAND SERENADE, “Not Enough”

Aside from the single release of “Lost” two years ago, we haven’t heard from John Vesely, otherwise known as Secondhand Serenade, since his 2016 indie release A Naked Twist In My Story, essentially an acoustic update of his best known work, 2008’s A Twist In My Story, which featured his huge hit “Fall For You”.  The San Francisco born singer/songwriter is back with a strong pop song that his many adoring fans will love called “Not Enough”, co-written with his wife Veronica Ballestrini.  The song has a terrific arrangement, building from a piano/vocal combo, and gradually introducing harmony vocals, drums and guitar into the mix.  The lyrics lay everything on the table after a relationship has just ended – “when were we not enough?” being such a heartfelt question to ask.  Hopefully this fine release, which should be a highlight in live performance, will keep the Secondhand Serenade fan base growing.

“Not Enough” marks an ear-pleasing, heartfelt return for Secondhand Serenade @secondhandJohn

SECONDHAND SERENADE, “Not Enough”

Aside from the single release of “Lost” two years ago, we haven’t heard from John Vesely, otherwise known as Secondhand Serenade, since his his 2016 indie release A Naked Twist In My Story, essentially an acoustic update of his best known work, 2008’s A Twist In My Story, which featured his huge hit “Fall For You”.  The San Francisco born singer/songwriter is back with a strong pop song that his many adoring fans will love called “Not Enough”, co-written with his wife Veronica Ballestrini.  The song has a terrific arrangement, building from a piano/vocal combo, and gradually introducing harmony vocals, drums and guitar into the mix.  The lyrics lay everything on the table after a relationship has just ended – “when were we not enough?” being such a heartfelt question to ask.  Hopefully this fine release, which should be a highlight in live performance, will keep the Secondhand Serenade fan base growing.

With new single “Pyro”, @AaronCarter is no fluke comeback king, and serves up more slick soulful pop/dance grooves

AARON CARTER, “Pyro”

Just when you thought his 2017 EP LøVë was a one-shot fluke of a comeback for the man who sold millions as a pre-teen at the start of the last decade, the Aaron Carter story continues through his music with his newly released independent single called “Pyro”.  As with songs from LøVë like “Fool’s Gold” (delightfully remixed last year with hip hop singer 3letterznuk) , which were as on the mark as any other soulful pop/dance release two years ago, “Pyro” brings us a sophisticated, well-produced groove with interesting lyrics that will all resonate well alongside music by Bruno Mars or Sam Smith.  Aaron’s vocal glides along in his head voice most of the time, with some well-placed harmonies that reinforce the chorus of the song.  It’s time to dispense with so many of those preconceived notions and thoughts and let Aaron Carter’s music speak for itself.  And for those of you producers, remixers and vocalists who are interested in getting in on his music, he’s posted three instrumentals with which you can be creative, as free downloads at the link below.

“Eleven” is a fun and funky crowd pleaser for your Fall playlists from Toronto’s Will Bowes @wilsonbowes

WILL BOWES, “Eleven”

“Eleven” is the most engaging song that I heard at Will Bowes’ debut performance as a solo artist this summer.  It’s a jazz-flavoured, funk-filled slice of fun that will keep your toes tapping and hands clapping along.  Will’s vocals get a real workout as he exercises his falsetto in Prince-ly ways.  The bouncing beat is familiar enough, and “Eleven” is enhanced big time by the appearance of some well placed saxophone work.  Already known as a singer with the Toronto pop/R&B/jazz collective Gold Complex, “Eleven” is an infectious must-add for your Fall playlists that would sound terrific on the radio, and a big taste of what’s to come when Will Bowes releases his first album in the near future.

Australia-based producer #Latchmere returns with the many moods of his new dance EP “Rule The World”

LATCHMERE, Rule The World (EP)

It was just about two years ago that UK-born, Australia-based producer Latchmere dropped the very fine but overlooked EP “Lovedrunk”, which contained a couple of positively amazing house tracks in “Need Your Heart” – a #1 house zinger on my chart – and “Monster”.  Latchmere – aka Shaun Galvin – took a sidestep after Lovedrunk to record under another name (which I shan’t reveal but I wrote about this alias, too) to showcase his indie singer/songwriter side, sometimes quite successfully. 

With Latchmere’s return back to electronic music, Rule The World is an intriguing if moody set of songs that don’t propose to fit into any dance sub-genres easily.  Opener “You Were Right” is a tight blend of pop and house that focuses on when you’re wrong about something but can’t do anything about it – except maybe dance the night away.  “I Was Wrong” is a sullen-sounding instrumental ‘answer’ to “You Were Right” that veers towards the progressive side of electronica.  “Fired Up” is a Latin flavoured groovin’ fiesta of deep house.  But it’s the title song that is perhaps the most accessible, featuring a heartfelt, sparse-sounding vocal that goes a cappella to draw you into its chorus: “What does it take to rule the world around you?”  “Rule The World” has a lovely, gentle mid-section which Latchmere lets simmer until the chorus arrives again.  I might be wrong but I think Latchmere used his own vocals on this EP unlike the previous one, and quite successfully too.   

Rule The World shares the pains of the head and the heart, and fuses them all together with synths and beats for the good of body and soul.