“Airplane Mode” is the title track from the recent four-song EP by L.A.-based singer/songwriter Brandyn Burnette. As faithful readers of this blog already know, Brandyn records both under his own name and under EMAN8 – in fact he also almost concurrently released a bluesy, more hip-hop flavoured album under that moniker called Heaven On A Cloudy Day. “Airplane Mode” is more pop-oriented R&B, and I’m glad Brandyn has found that he can flesh out what he loves to do successfully under both identities. Like previous single “Rolling Papers”, also featured in the EP, this is the most fun Brandyn has sounded in quite some time. His verses couldn’t be better and always take you places you don’t expect, as he balances light-heartedness with some pointed messaging too. While “Airplane Mode” is the highlight of the EP, I also have to give props to “Luh U” for being so direct about relationships being a two-way street. But do make sure you spin all four songs, which play together like a top-notch mixtape.
It was only a few weeks back when I featured “Hope You’ll Be Here Soon” by UK singer/songwriter James Poole, about whom I’ve written much over the last six years or so. I called that song a return to the vocal pop style of his You Tube days. “Dust On The Wind” isn’t as light or cheery as “Hope”, not what you would expect as a follow up. In fact, it’s a song you can visualize being sung at a Broadway theatre, with James’ sublimely rich tenor being the star attraction here. It’s a commanding, chill-inducing, somewhat traditional pop performance that passes here as a variation of alt.pop, and the taut and sparse arrangement couldn’t be more fitting. I could listen to songs like this for hours on end. James is ever the musical chameleon, so he’ll keep us guessing for the next one. But I will definitely take a release like “Dust On The Wind” any time!!
“Lost In Your Light” is the kind of song that grabs your attention immediately as the fine sum of all of its parts. It’s brought to you by relative UK newcomer (and former ski instructor) Waiting For Smith (aka Harry Lloyd), whose name comes from a drummer named Smith who never showed up for rehearsal. Harry weaves a relatable story about finding someone with whom you can share your deepest secrets and fears, allowing you to bask in their glow and vice versa. His indelible songwriting, along with an infectious guitar hook, make “Lost In Your Light” a much easier listen than what may appear on the surface. Waiting For Smith was already known to me through songs that I didn’t think were a strong as this, and I’m glad I waited. “Lost In Your Light” is much more than the ‘eccentric songwriter’ stuff that can typecast a performer. Harry has the vocal prowess to match his writing skills, which should mean many more pleasurable releases to come.
UK singer/songwriter Jonathan Rippon’s specialty is bass sounds within a choral setting. But he can successfully marry that sound with the dance music he enjoys, and through the magic of co-writer and producer Olly Shelton, we have “Feel The Fire”. The radio edit of the song allows Jonathan’s deep tones to partner with some terrific female harmonies and undulating rhythms which enhance the song’s seductive appeal. There’s also a theatrical rock vibe about the song, which leads into a catchy and memorable chorus. “Feel The Fire” is indeed quite appropriate for a late night soirée.
It’s been a very strange and somewhat long 2020, yet here we are with my second last chart of the year. Like many others, I’m itching to see live performances again but only when safe to do so. I don’t know how social distancing will be maintained without strict enforcement. We currently have to look at places like Australia, New Zealand, and Taiwan to see what measures they are taking. Anyway, there’s a new #1 on deck along with three strong entries. There are also a few significant jumps, which shove other songs into making smaller moves, and push the debuts to the lower five of the chart.
It’s Sam Smith who claims #1 with “Diamonds” from their excellent album Love Goes. Sam had FOUR #1’s in 2014 on this chart – “Money On My Mind”, “Stay With Me”, and “I’m Not The Only One”, from their debut album In The Lonely Hour, and “Latch” with Disclosure – and “Diamonds” is their first #1 here in six years. I was fortunate to see Sam perform at a small club in Toronto in April 2014, because their next stop in my city was our stadium! Their club show actually was to be earlier in the year but ended up conflicting with their first appearance on Saturday Night Live.
One of the year’s most infectious songs belongs to Sweden’s Pawl and Discrete with the toe-tapper “Type Like That” (above), which climbs a notch to #2. And we have Swedes back-to-back with Agnes’ equally catchy “Fingers Crossed” (below) moving up 5-3.
Back in the Top 5 for the first time in seven years are Germany’s Matt Mancid with American producer (and here, singer) Color Theory with “Tinseltown In The Rain” rising 9-5. This is the “Big Rhythm” dance mix of this much revered song from the 80’s by Scottish group The Blue Nile.
Another one with a long gap between events is Justin Nozuka. The Toronto singer last appeared in the Top 10 in 2010 with “Unwoken Dream” (#6) from his second album You I Wind Land And Sea. His latest is “No One But You”, a duet with British singer and 2020 R&B Grammy nominee Mahalia, which moves up 11-8.
The fastest riser on the chart is the latest in a series of dance music bangers that created some of the brightest moments of 2020. It’s “Give It Back” by the pairing of The Disco Fries with Giiants and vocalist/co-writer Allison Park. It smashes into the Top 10, moving 20-9. It’s the third Top 10 on this chart for both Disco Fries and Giiants.
The third Top 10 entry is Illenium’s “Nightlight”, featuring the uncredited voice of Annika Wells. It climbs 13-10, and is Illenium’s 6th Top 10 entry.
Also soaring up the chart 24-14 is another new favourite deep house banger, “Nobody” by Sweden’s NOTD with vocalist Catello.
Watch for “Good At Goodbyes” (above) by Bright Light Bright Light and Erasure’s Andy Bell to move up more in the coming weeks. For now, this wondrous electronic ballad of sorts rises 21-18. Check out the latest single from Fun City, “Saying Goodbye Is Exhausting”, featuring Justin Vivian Bond, below.
I think I’ll need to get a T-shirt or create a meme that says “Sorry for All the Bangers”. “Chasing Feelings” by UK producer Jerome Price and singer/songwriter Cally Rhodes also fits into this category, and it climbs 23-20.
“Fake” is a fun song and video by Lauv and Conan Gray, which moves up 30-25.
The highest debut on the chart is the first entry for renown Dutch producer Oliver Heldens. Collaborating with Party Pupils with vocals by MAX, the exuberant “Set Me Free” arrives at #26. MAX is also sitting pretty at #17 with Suga of BTS with “Blueberry Eyes”. And arriving this past weekend was baby Edie Schneider for proud new parents MAX and Emily!
Also premiering is the darker deep house track “Like Gold” by my fellow Canadians Loud Luxury and Toronto’s Frank Walker with vocals by Stephen Puth at #27. Loud Luxury’s recent “Aftertaste” reached #8 a while back, while Stephen got to #5 last year with “Sexual Vibe”. It’s a first appearance on the chart for producer Frank Walker.
The third new entry makes a concurrent chart appearance for UK singer/songwriter Karen Harding. She’s currently at #12 with the former #1 “Undo My Heart”, and bows with Scotland-based production duo Illyus & Barrientos with the dreamy disco of “Let’s Get Together” at #29.
A reminder that the music from my chart and blog are featured regularly on the new online radio station 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!!
“Sinnerman” is a striking new slice of deep house from veteran UK producer Hot Since 82 (aka Daley Padley) and new vocalist Ed Graves. It’s culled from Hot Since 82’s latest album Recovery (which also features tracks with Boy George and Rudimental among others), as he continues to release music on his own Knee Deep In Sound label. While Ed Graves is new as a vocalist on this song, he is not new to the music business. He’s a respected producer (Alt-J, Liz Cass) and multi-instrumentalist from the US but based in England who co-wrote and plays guitar on “Sinnerman”. And the song is as mysterious as its title – after several listens, I have no idea what it’s about, but no matter. With dark-sounding synths and vocal effects creating its rich atmosphere, and Ed’s sometimes soulful vocal creating another major layer, it’s immediately memorable with a brisk pace belying its four and a half minutes in length, and will work well for late night sets in clubs when they resume business in most of the world.
L.A.’s Rob Tirea is a rising songwriter and producer who has recently also taken on vocal duties for his releases, after a number of previous songs with other vocalists – notably Jeremy Beamish of Australia’s The Beamish Brothers – or producers – I wrote about his work with Emirati producers Revelries on “Blue” last year. And like “Blue”, “Deaf and Stellar” is another fine slice of left-of-centre electronic dance/pop. The song seems rather cryptic at times, with its unusual song title, but what I get out of it is a positive spin on life after a relationship has ended. Rob has an easy going tenor voice and the melody is soothing to accompany its earnest lyrics. “Deaf and Stellar” won’t resonate with you immediately, and I don’t think that’s its intention either, so do stick with it.
tiny deaths is a new “dream pop” project created by L.A.-based singer/songwriter Claire de Lune with producer Grant Cutler. From the new EP If I’m Dreaming comes “The Jump”, a quietly captivating observation on the attraction and ‘what if?’ moments we have with fame. With its minimalist drum beat pulsating throughout, “The Jump” has hypnotic qualities, with Claire’s attractive and smooth voice being the star of the show. Electronic music fans of this new sub-genre will undoubtedly be impressed and tiny deaths appears to be moving in an intriguing direction. Check out the video above featuring dancer Desaré Cox to give you more insight into the song. PS there’s a Shania Twain ‘easter egg’ in the song … *hint* it’s the title of one of her songs 🙂
Whenever UK singer/songwriter James Poole creates new music, it always draws me in for one reason or another. Often, it’s in the way he uses his voice, whether it’s the falsetto in the funkiness of “Goodness Gracious” or its raw power in “I Am Lion”. In “Hope You’ll Be There Soon” it’s a restrained head voice vocal over a mainly acoustic pop backdrop. Yes, it sounds rather simple at the end of the day but in actuality it takes a lot to make it sound so effortless. The gentle, positive message of the song wouldn’t work as well without it either. “Hope You’ll Be There Soon” reminds me of when I first heard James’ voice many years ago when he was recording covers on You Tube. If you haven’t heard James’ music before, be sure to check this one out as well as the songs in his album Humanity released last year.
Educated at Berklee College and travelling worldwide with symphony orchestras brings a richness to the music of NYC-based singer Kéren with her recent single “Talisman” from her new 6-song album In Form. Kéren sounds like so many classic alternative and pop singers at different times – Adele, Amy Winehouse, Sade, Björk – yet has also achieved her own sound through the crisp and compelling clarity of her voice and the subtle yet layered arrangement of her music. “Talisman” is a song that could be set to a cinescape of images for even better effect. Kéren’s worldly music seems to want to unfold a set of stories that will be fit for the ages. “Talisman” has numerous indelible and mystical qualities about it that warmly pull you in to enjoy.
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