I’ve written a few times this past year about L.A.-based singer/songwriter KING MALA, who I’ve described as having a tough exterior and aggressive alt.rock style (“KING MALA” means “bad bitch” in Spanish). “B4U” sheds some new light on that persona, and it’s culled from her recent EP Gemini, whose title offers somewhat of a giveaway (and being a Gemini myself, I know a lot about it!). “B4U” is softer in vocal approach – kind of Suzanne Vega meets Amy Winehouse at times – but doesn’t hesitate to make deliberate choices in harsher words that create some vivid imagery, which delivers a song that is both vulnerable and unapologetic. KING MALA’s unconventional, thought-provoking approach is something to continue to watch in 2021.
It’s not often that DJ/producers look back into their own repertoires with a view to making one of their older songs sound fresh and new. Italy’s DJ Mirko B chose “Let Me In” (featuring vocalist Greta) from 2013 to rework its anthemic, arpeggio-laden backdrop into something a little different. So he’s lifted a lot of the techno flavours from the original to make it the focus of “Let Me In 2020”, giving it enticing early 90’s eurohouse feels. It works like a charm, still full of what I call ‘festival power’ but with wider appeal for pop audiences.
FAITHLESS and NATHAN BALL, “Synthesizer” (original and Butch remix)
Their music has lived on in dance clubs for over 20 years, but British electronic music legends Faithless hadn’t released an album of new songs for 13 years until All Blessed surfaced this year. It’s an adventurous and atypical record which, like Inner City, brings back strong techno flavours to the 2020 music scene. l had to go back to “Synthesizer” (original mix and video edit, both above) a few times before I realized it was the highlight of the album. Led by a wicked vocal by British singer Nathan Ball, it’s accompanied by a droll sense of humour in its lyrics, an unconventional arrangement, and luminous synths that show that Faithless continue to be electronic wizards of the best order. Its recent remix by Butch (below) strips away some of its unconventional layers in favour perhaps of a tight, fluid mix more suited to dance music radio. Both versions stand on their own merits and are most worth of dance music fans’ attention.
During the past four years or so, Philadelphia duo N i G H T S have released a series of sometimes intriguing singles that are often rooted in R&B and pop of yesteryear. 2018’s stunner “Eyes” recalled mid-90’s R&B ballads, while 2017’s “Party” had wry lyrics set to an alternately sultry and offbeat arrangement. Their latest single “Selfish” discovers out a lover who spends too much money and doesn’t care about anyone else. The ever-distinct vocal and some humorous lyrics make this one a real kiss-off at only 2:04. And finally, the mystery guys in N i G H T S unveil themselves, of sorts, coming out of the shadows of their photos in a basic, nicely silhouetted live performance above for you to watch and hear.
“Love Again” as sung by Las Vegas indie songwriter Sabriel (pronounced ‘shä brē el’) captures the essence of all-girl R&B groups of the 60’s (The Ronettes, The Shangri-Las, and of course The Supremes) and inserts it into the more contemporary, bolder world of Erykah Badu, Macy Gray, and H.E.R. Sabriel creates a dreamy, wondrous world of self-discovery as she comes to terms with healing herself in order to move forward into other relationships. Her voice is unique and touching, and by the end of the song you may sense that a butterfly is now taking flight. There’s plenty to enjoy in “Love Again” and I look forward to more new songs from Sabriel.
BINNY is a new Asian-American bedroom indie singer/songwriter from Maryland who pulls from contemporary pop and R&B influences to deliver a snappy sound that relies heavily on his vocal delivery. The production in “Prime” is pretty minimal, with beats that have been heard in countless other recordings. But BINNY makes the most of these basic trappings to showcase his smooth, clever vocals. Justin Timberlake is an obvious reference in this song, particularly from his “SexyBack” era, though BINNY has a richer, deeper tone. A brief sung/spoken interlude immediately brings BTS to mind, and some vocal effects are inserted to bring the song to a close. BINNY clearly intends to take you on a journey with his music and “Prime” is a great starting point.
Many of us are having to make the most of what’s going on in our municipalities. I can’t be more grateful that we have an overabundance of music to keep us company. I can’t imagine my life without it. There’s a lot of activity brewing in the new chart, with two additions joining in all the activity. I wish everyone a safe, restful and happy holiday and a Merry Christmas to those who celebrate it with me.
Closing out the year at the top is “Diamonds” by Sam Smith from their excellent third album Love Goes. Even the best singers have to admit that Sam’s performance here is pretty unbeatable. I think the public-at-large associates Sam with sad songs, which they also sing so well, and which make up most of the album.
Soaring from 9-2, in a tie as the Fastest Mover on the chart, is “Give It Back”, a new dancefloor banger that requires your attention! It’s brought to you by The Disco Fries and Giiants with vocals by Allison Park. It’s the highest that The Disco Fries and Giiants have reached on the chart, though two thirds of Giiants reached #1 three times as DATABOY in 2011-13.
Cover songs rarely appear on this chart, and I must say one by The Blue Nile is a great choice by producers Matt Mancid and Color Theory. It’s “Tinseltown In The Rain”, which originally appeared on The Blue Nile’s 1984 album A Walk Across The Rooftops. The “Big Rhythm” mix climbs 5-3, with vocals by Color Theory (Brian Hazard).
Climbing 7-4 is “Fantasy” by the dynamic collaboration of Saxity, Victor Perry and Robbie Rosen. It’s Saxity’s second Top 5 entry following #3 “Brothers”, and Victor’s fourth, most recently reaching #2 with “What I Deserve”.
Tying for the Fastest Riser is another danceable favourite, “Nobody” by Sweden’s NOTD with vocals by Catello, rising 14-7. “Nobody” also reached #1 this week on Mediabase’s national dance airplay chart.
Toronto’s Francesco Yates obtains his third Top 10 on this chart with the steamy “Late Night Love” (13-9) from his EP Bad Decisions. It’s been amazing to hear his growth as an artist on this enjoyable EP.
“Good At Goodbyes” by Bright Light Bright Light and Erasure’s Andy Bell closes in on the Top 10 as this multi-faceted track from the Fun City album moves up 18-12.
The fun and energetic “Too Hot To Touch” by Toronto’s Crash Adams rises 16-13 and gives you another reason to check out their ‘in office’ video.
L.A. quintet Why Don’t We have a new album coming in January called The Good Times & The Bad Ones, which will include their current rollicking pop hit “Fallin’ (Adrenaline)”, which moves up 21-16. The band also made available a hologram of sorts of themselves on Snapchat, where you can place them virtually in your room with you.
I’m fond of the messaging in “Fake” by Lauv and Conan Gray as much as I am of its cool music track and its colourful video. It climbs 25-19.
The highest debut belongs to Japanese-British singer/songwriter Rina Sawayama with her first entry, “Lucid” at #26. This Lady Gaga influenced track should be her big breakthrough. It’s the lead track from her recent album called Sawayama.
The second entry is the latest collaboration between NYC producers The Knocks and rock group Foster The People with “All About You” at #28. It’s The Knocks’ 8th song to appear on this chart (they reached #1 in 2016 with “Kiss The Sky” with Wyclef Jean), and it’s Foster The People’s fourth but first since 2012.
A reminder that the music from my chart and blog are featured regularly on the online radio station The New Radio GTA. You can hear their Big 20 on Wednesday evenings with ‘The Musicman’ James Rogers and listen for songs from the chart too 🙂 Scroll down the station’s main page to listen to lots of variety from across the decades! I’m the new music consultant for the station so you can expect even more in 2021 🙂 You can start by joining Radio GTA’s new interactiveFacebook group too!!
View the full BILLCS Top 30right 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
Want to see what I’ve been listening to and charting for the past 22 years? Rummage through theBILLCS Top 30 Archive (where you can click on the link within) when you have a chance!!
Currently, DJ Shaan is the #1 India-born DJ/producer in the world. He’s amassed a worldwide following, through performing at festivals including Tomorrowland (the first Indian DJ to do so) and being supported by the biggest and best producers including Steve Aoki, Afrojack and David Guetta. At only 25, Shaan Singh is noted for his big anthemic dance style. After releases through Armada and Virgin, DJ Shaan has now signed with Casablanca/Republic for “By Heart” featuring a splendid, affecting vocal by Londin Thompson. The big synths are more restrained here in favour of a pop radio-friendly dance melody. But this is no compromise, it only shows DJ Shaan’s style is much more versatile than what we previously heard on songs like “Bring It To Me” or “End Of The World”. I expect “By Heart” and subsequent releases will continue to open more doors for DJ Shaan.
Following up their EP Love & Suicide, from which came “Wild Love” which I wrote about in the Fall, is “Criminals” by UK alt.rockers The Trusted. The obvious comparison, because of their penchant for strong melodies, is The Killers, or perhaps more specifically Brandon Flowers. But that’s where the similarities end, and The Trusted carve out their own niche with ease. “Criminals” is definitely radio-worthy, with the melody-line being the highlight while Tom Cunningham’s anguished, sympathetic vocal provides the tough-love story. Fans of Cage The Elephant, The Strokes, and Billy Talent will enjoy songs by The Trusted.
He can rap and sing, and his style comes off as streetwise but fresh. Meet Boston’s Heath 240 and his new single “Chirp”, which follows up his full album release from last year called The Hometown Hero. The song looks on the brighter side of life when you need to move on to bigger, better surroundings, away from the haters, so you leave the nest and wash away that chirping to create your own path. This is clever, creative hip hop flavoured indie alt.rock, which contracts Heath 240’s gruffer tones with Daniel Price’s dreamier pop flavours that are offered later in the song. “Chirp” is instantly likeable and will appeal to fans of crossovers such as 24Goldn’s “Mood” and Gym Class Heroes/Travie McCoy.
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