Marina and the Diamonds - Immortal (Official Video) [+ Review]

Marina Diamandis (Marina and the Diamonds) has released the music video for her third track 'Immortal', which is taken from her third upcoming studio album. The album, entitled FROOT, is set to be released on the April 6 next year (In the US and UK). 'Immortal' is the third track from the album to be released, with it's predecessors 'Happy' and title track 'Froot' garnering much attention online. 'Immortal' has the familiar solitary, slow-paced sound as 'Happy', and is the ending track on the album, which sounds more than fitting for the nature of the song - which talks about wanting to be immortal. 

But 'Immortal' has that kind of brashness to it with it's lyrics, as Diamandis sings rather openly "everybody dies, everybody dies/ If I could buy forever at a price/ I would buy it twice, twice". Despite its slow pace, and the fact that the song takes a rather long time to build (compared to your average song), it does possess a catchy chorus even it is surrounded by a certain sense of solemness but also enlightenment. This is of course aided by Diamandis' vocals which sound rather angelic in tone and soar above the slow rhythmic beat. So far, the album is shaping up to be a rather emotional affair of mixed feelings (from the burst of sexuality in 'Froot' to the self-discovery and emotional journey in 'Happy' to this new life-reflecting 'Immortal'). 

Have a listen to (and watch) 'Immortal' below - what's your favourite track so far?

Lana Del Rey - I Can Fly (Audio) [+ Review]

Another new Lana Del Rey track? Oh yes, also from the upcoming biopic Big Eyes, is the airy 'I Can Fly'. The song sees Del Rey's ethereal vocals be put to their limits in this dreamy ballad. It's all very reminiscent of the 'Born To Die' era, with sweeping vocals and core strings and piano instrumentals. So this is definitely one you want to check out if you were a fan of that particular Del Rey style. 

Once again, 'I Can Fly' has key lyrics which reflect the nature of the film; "I had bright wishes in the summer, I was bathing in sunlight/ I was painting in the garden like a ghost in Mid-July/ Running fast from something with my eyes wide like/ Saucers spinning in the sun". Whilst the lyrics of the songs are filled with a certain poignant sadness, the acoustics are particularly heavenly, and reminds an eager listener just how well Del Rey can perform these kinds of ballads. Listen to the sickly sweet 'I Can Fly', below: 

Lana Del Rey - Big Eyes (Official Audio) [+ Review]

Big Eyes. Tim Burton. Lana Del Rey. Yes, the sultry songstress has lent her entrancing voice to another movie - Tim Burton's Big Eyes, starring Amy Adams. The title track by Del Rey is very much in-keeping with the feel and theme of the biopic, which revolves around Artist Margaret Keane and the fraud of her husband Walter, who allegedly passed off Keane's work as his own (although this is still heavily disputed). Nevertheless, 'Big Eyes' is a real number, a crooning ballad that features some killer string instruments. Del Rey certainly has that classic aura and gravitas, and these types of tracks always showcase her talent best. It's certainly one to listen to. 

The track is set to be incorporated into the film at some point, with another of Del Rey's songs for the movie ('I Can Fly') being used for the ending credits. With memorable lyrics focusing on the main themes of the movie "With your big eyes, and your big lies/ Is it me was I wrong to have trusted you" the track is a haunting affair and Lana Del Rey does a chilling job of portraying the movie's key emotional aura. Listen to 'Big Eyes' below: 

Calvin Harris ft. Ellie Goulding - Outside (Official Video) [+ Review]

Calvin Harris and Ellie Goulding have teamed up again on their newest track, 'Outside', after their collaboration on 2013's 'I Need Your Love'. The duo certainly produce great work together, and 'Outside' is your classic dance-pop track with a sort of house music flair. The build-up to the chorus helps to engage listeners in the song, and Goulding's vocals are impressive and unique. 'Outside' will undoubtedly be your new break-up anthem, and its electronic vibes really help set the mood, with Goulding and Harris proving that they make a dynamic pair. 

You've got Harris' EDM and Goulding's wistful airy vocals that have that unique edge, and the result is a track that is easy to listen to and a killer to dance to. You know the tempo is going to build and the bass come in, and this is perhaps one of the most engaging things about the track, it sets you up with subtle synths and then really lets you have it when the chorus comes in - "I'll show you what it feels like/now I'm on the outside/ We did everything right/ Now I'm on the outside". 

The video itself sees the pair in separate relationships and features some stop in time motion, with bikes hanging in the air and mirrors crashing everywhere. Goulding spends most of her time 'outside' (how fitting) and kneeling down in the street as she bursts out her lyrics about the deconstruction of relationships. It's a catchy song, and Goulding's vocals provide a suitable balance of instrumentals to actual lyrical content. 

Watch (and listen to) 'Outside', here: 

Taylor Swift - Blank Space (Music video) [+ Review]

 Taylor Swift is back and crazier than ever in her new music video for 'Blank Space', which makes fun of the media's portrayal of herself. For so long a relationship with Swift has been equated with a nightmare as, if you broke up with her - you could be pretty sure a song would be wrote about you. But, Taylor is taking things to a whole new level in this mocking video, which sees the singer act like a psychopath with a new lover. 

There's phone breaking, car smashing, food poisoning and, of course - the classic shirt cutting. The whole video is one of the most genuinely funny in the way it takes on this portrayal and Swift really gets into her role on screen. It's just one of those things where you hear something and you think, "Oh no, she'll never do something like that, or reference this 'man-eater' image in her songs or videos", and then she goes and does it. 'Blank Space' is the quintessential mocking song, and its darker undertones really make for captivating viewing. We reviewed the song itself over in our 1989 album review, but the music video is so outlandish and extravagant and completely fitting to the track that it would be foolish not to comment on the affair. 

The sets and costumes are top notch, and the whole persona that Swift is giving off is incredibly on point; starting off as a seemingly innocent girl residing at a large estate to a full-blown manipulator who reaches breaking point and takes it out on her lover. 

As music videos go, this is certainly one of the more interesting ones and its refreshing to see a singer-songwriter that doesn't take themselves too seriously and can have a laugh at times when it's appropriate. Swift's really pushed the boat out on this one, and it's safe to say she won't be coming back to shore any time soon. 

Check out the hilarious video for 'Blank Space', below: 

Taylor Swift - 1989 [Album Review]

Usually when a music artist releases their fifth album, it’s more of the same sort of thing they’ve already been doing – but not Taylor Swift. Not content on being labelled a ‘country singer’, the female artist has strayed into new territory by making her fifth album officially a ‘pop album’.

The singer’s album, entitled 1989 (after her birth year), is inspired by the pop music scene of that year, and is representative of the singer’s fully fledged departure from her signature style, into an album that is undeniably pop – but with a twist. You’d be forgiven for thinking Swift would lose some of her storytelling ability in her tracks, instead opting to go down the ‘mind numbing pop stereotype’ that a few people think of when the word ‘pop’ is used. But of course, pop doesn’t have to be nearly so dull, and often has a bed rep amongst those who can be a bit prone to musical snobbery. And if there was ever a case that pop doesn’t have to be similar in sound and style, Swift is here to set the record straight.

Of course, there’s some things that are similar with 1989; like Taylor’s relationship-central track topics. But this isn’t all about heartbreak and ‘you did this and it made me feel like this’, oh no, this is more of a stand and a discussion on the complexity of relationships, intertwined with killer synths, eclectic drum beats and dominating bass. We are going to be looking at the Deluxe version of the album, and taking you through track-by-track. So, let’s kick this off!

The first track off the album is ‘Welcome To New York’, the second promotional single. In an unfortunate kick off, the track’s lyrics aren’t the best from the album and it’s dull at times. The next NYC anthem, it is not – but it’s still got the sugary catchy sound if you like that sort of thing. In short, it’s glossy and airy in tone, but it makes no real impact. The second track does a much better job of getting across what Swift’s album is all about.

‘Blank Space’ is a real gem of a track, and the electropop sound really suits Swift’s voice and style. The lyrical matter is something to be marvelled at, as well. In a self-mocking fashion and as a critique to her critics who would portray her as some sort of maniacal nightmare date, she really pushes back and in this song, portrays herself as all the things the media would describe her as. It’s a real hard-hitter and incredibly humorous in tone that she is mocking the way that she is portrayed as some sort of man-eater who uses people for song material. The tone of Swift’s voice in the track matches with the villainous undertones of the song and the two go hand-in-hand to create this images that Swift has so cleverly concocted. The sweet sounding nature of the track really provides a stark contrast with the subject matter and lyrical content – “they’ll tell you I’m insane/ but I’ve got a blank space baby, and I’ll write your name”. Near-end, the track gets into a break down with Swift teasing that “Boys only want love if it’s torture/ Don’t say I didn’t warn ya”, which is some of the most memorable lyrics from the track.

The third track, ‘Style’ really has that 90s groove to it and is one of the more down-right funky sounding songs from the singer-songwriter, and the end of verse break down is so typical of that type of musical period. It’s a fun track, and it measures up well next to others, but there are certainly other songs that make more an impact. Listen if you’re a fan of groove and want a track to just kick back and dance to. Coming in at number 4 is ‘Out Of The Woods’, which also served as the first promotional single from the album. This piece is a real fun and imaginative track which shows what Swift can do when teamed up with ‘fun.’ member Jack Antonoff. It’s a bit of mix between Swift’s signature vocals and a far more mature and intriguing sound – so credit to her. Very synthpop and unusual in sound, this marks a big progression for the singer who was known for her very traditional country anthems about heartbreak, but ‘Out Of The Woods’ shows that this isn’t what she’s all about anymore.

Track 5 is ‘All You Had To Do Was Stay’ and it’s a pretty solid addition mid-way through 1989, and the ending verses are sung with that sickly sweet electronic sound, in a breathy manner. After that is ‘Shake It Off’, which I’m sure you all know about – but in case you don’t, it’s pretty much about Swift shaking off all her haters and moving on up. A feel-good track that it perhaps a little too addictive in nature. Next up at 7 is ‘I Wish You Would’ which is perfectly alright, but not one of the most memorable from the album. You could probably give this a miss, unless you’re really into wishing (upon a star).

Taking a turn for the feisty and onto the more aggressive almost ‘Gwen Stefani’ sound (think beat like ‘Hollaback Girl’), is ‘Bad Blood’. Swift takes a more dominant stance on this saying “Did you have to hit me/ where I’m weak, baby I couldn’t breathe”, and then goes into a voice strain which actually suits her, hitting those high notes in a more rock fashion. It’s full of attitude and as catchy as hell. In at 9 is ‘Wildest Dreams’ which has a lovely musical opening that really draws you in, with Swift’s voice coming across more softer in contrast to the previous track. This is a nice change and it is classic Swift but with more bite and a more mature sound. Track 10 (‘How You Get The Girl’) and 11 (‘This Love’) don’t really do anything for us – they’re not bad – but perhaps amongst all the really, genuinely fantastic tracks, they just don’t seem to have the ability to grab attention as much. ‘This Love’ does have some really beautiful opening instrumentals though.

Track 12 is a different take on the classic pop song, with a darker undertone “Cause they got the cages, they got the boxes/and guns” that deals with Swift and her lover knowing places that they can go to escape – it comes as no surprise that the track is entitled ‘I Know Places’. The last track off the standard edition is ‘Clean’ and it’s a suitable ending, as Swift teams up with songstress Imogen Heap. It’s very much about ‘getting clean’ in the emotional sense, but its lyrics could certainly be applied to other addictions, situations or troubles – “Rain came pouring down/ When I was drowning, that’s when I could finally breathe”.

Now we get onto the fun bonus tracks from the Deluxe. We have to say, ‘Wonderland’ is perhaps one of our favourites of the album as Swift does some pretty amazing thing manipulating her voice into new manners to create totally new different sounds that captivate. ‘Wonderland’ also has a similar dark undertone to ‘I Know Places’ and ‘Blank Space’, with Swift mentioning that “You searched the world for something else to make you feel like what we had/ and in the end in Wonderland, we both went mad”. ‘Wonderland’ is very much a group effort and fault on both parties for getting lost in the moment, and the almost dubstep sound is certainly something dramatically different from anything Swift has previously done. The last two tracks are ‘You Are In Love’ and ‘New Romantics’, the first being a subtle percussion opening with ethereal electro pop sounds suitable for the song, and the latter having a more discotheque vibe, with Swift’s voice going particularly deep for this last addition. It’s a bit Charli XCX. Certainly one to dance to.

1989 is a triumph for Swift, who has proven that she’s more than country but hasn’t forgotten her roots and her original storytelling is evident in most tracks off the album, and the un-missable and memorable favourite certainly propel the album to a higher status. It’s got pretty much everything – and the catchy nature of the tracks mean that the album is very radio-friendly and likely to be a huge success for the singer-songwriter. It’s a pity the quality of the album means that filler tracks really stand out more than usual, and if those were polished up a perhaps more personal like the majority of the songs, then Swift’s album would be pretty much perfection.

Years & Years - Desire (Official Music Video)

After the release of the extremely popular 'Take Shelter' London-based electro-pop trio really blew up on a radar and it seemed like a hard challenge to follow that one up. Well, Years & Years are back with their new track 'Desire' which admittedly, isn't as catchy as 'Take Shelter' but showcases Alexander's smooth vocals rather well, and of course - the beat is incredibly groovy (definitely think electro-disco vibe) and suits the band well. With all the attention Years & Years have been getting recently you think they'd feel under pressure to release another hit soon but the trio has managed to avoid the pressure and 'Desire' is a capable creation that any dance fan will no doubt love. 

Years & Years have a unique edge that gives them an advantage in the industry and 'Desire' is a perfect example of this, it's vibrant, it's easy to dance to and it has the air of freedom and smooth rhythm. The electro group are currently just over mid-way through their UK tour, and are scheduled to perform at the Eventim Apollo Hammersmith in London, tomorrow. 

Have a listen to 'Desire' hear and let us know what you think of this latest addition from the trio:

Sam Smith - Like I Can (Audio) [+ Review]

After a successful debut studio album release, Sam Smith is back with a new soulful track; 'Like I Can'. Taken off killer album In The Lonely Hour, 'Like I Can' captures that air of soul that Smith has become so known for, following his magnificent break-through as one of the most exciting emerging artists. Thanks to some famous faces in his recent music videos, Smith's popularity has grown as audiences appreciate his music styling and different take on tracks - and 'Like I Can' is no exception. Smith seems to be particularly proficient in writing catchy tracks (along with co-writer Matt Prime) and no doubt helped by producers Jimmy Napes, Steve Fitzmaurice and Mojam.

 In a similar fashion to Ed Sheeran, 'Like I Can' starts off with a rhythmic guitar beats and strumming which help builds the tempo of the track that inevitably culminates at the addictive chorus which leads to Smith declaring that - 'They'll never love you like I can'. A particular master at the whole brooding and love-crooning vibe, Smith's 'Like I Can' is another affirmation that this is his forte and he is certainly good at it. The track is set to be the next single for Smith whose previous successes have been in the form of the piano-laden 'Money on My Mind', the extremely memorable 'Stay With Me' and 'I'm Not The Only One'. So, will 'Like I Can' be another success for the soulful singer? Check it out for yourself below: 

Neon Jungle - Can't Stop The Love ft. Snob Scrilla (Official Music Video) [+ Review]

After the release of their debut studio album, Neon Jungle are back with a new track entitled 'Can't Stop The Love', which - as it suggests - is all about the love and a real feel-good track. The new song tackles with some of the issues surrounding hate in the world today, such as racism, which is displayed through the lyrics in both Neon Jungle's verses - 'We get taught the colour of our skins/Is it what we're defined by' - and also Snob Scrilla's verses - 'Are we living in the nation as promoting segregation/ Before you see my colour you should see me as your brother/ A strong black man with a proud white mother'. The lyrics are particularly powerful in this context, and it seems appropriate for the members of Neon Jungle to be talking about this strong issue considering their promotion for equality and the fact the members of the group are of a variety of races. 

In order to help promote this anthem of acceptance and love the gang have recruited members of their fan base into the music video, which sees home-made videos (a particularly popular element around nowadays) created by fans being incorporated into the video itself. The fans have thought up creative ways to express themselves and the lyrics they are singing to, including body paint and impromptu dancing, as well as the classic paper lyric slide-show. In between the fan-made segments, there is of course clips of Amira, Asami, Shereen and Jess who take up positions in different locations and join forces towards the end of the song, in the video. As usual, Neon Jungle's latest tracks showcases their confident, edgy style and the product seems to be something their more comfortable with. 

The material is powerful so it's reassuring to see that there isn't a lot of needless effects added to the song as it stands out so assuredly by itself. 'Cant Stop The Love' seems to be a give-back for their fans so its questionable as to what effect it will have on mainstream radio, but this is a passion project and it's clear the fans are really getting into this one. This is perhaps a clever move from a group who is beginning to establish itself as a force to be reckoned with in the music industry, and it begs the question as to what sort of material they will release next as a follow-up to their debut album. Of course, 'Can't Stop The Love' is taken from said album, which has other memorable tracks like 'Badman' and 'So Alive'. If Neon Jungle does release another song as a separate single off the album, which one would you like it to be? Perhaps you're a fan of the edgy 'Badman' or the euphoric 'So Alive', or do you like the rhythm of 'Sleepless in London'? Let us know in the comments! 

Watch Neon Jungle's collaborative fan music video, below:  

Iggy Azalea - Beg For It ft. MØ (Audio) [+ Review]

After a string of successful hits, Iggy is back with another - and this time she's teaming up with MØ to do it. After topping charts with Charli XCX on 'Fancy' and then with Rita Ora on 'Black Widow', Azalea has joined forces with Danish singer MØ on this funky drum track, entitled 'Beg For It'. The production on 'Beg For It' is pretty slick, and the end result is a pristine pop song that's easy on the ears and packed full of plenty of Azalea sassiness. 

MØ's guest vocals provide an appropriate interlude to Azalea's rapping verses, whilst the beat of the track sounds almost exotic and has a calypso vibe. The fresh addition to the Australian rapper's discography sees another potential hit for the music artist, who has enjoyed a recent stream of successes, and it would seem this one is no exception. 'Beg For It' is taken from Azalea's upcoming re-issue of her The New Classic album, entitled Reclassified, which sees a couple of new songs appearing for listeners to indulge in. The new re-issue is available to purchase on November 24, later this year. 

Just in case you thought Iggy's partnership with Charli XCX was done for now, you'll be pleased to know that the English singer wrote the hook for 'Beg For It' whilst Azalea wrote the other verses (and The Arcade and The Invisible Men produced it). Charli XCX's distinct sound resonates in the hook, even if she isn't the one singing it, and the easy-listening nature of the track means it is likely to be successful on mainstream radio and iTunes. 

'Beg For It' contains the usual dominance from Azalea, who shows that she's in control of the situation; 'Get up out my face like who d'ya think you are/ talking all this trash like blah-di-blah-di-blah'. Azalea's 'Beg For It' certainly has some stand-out lyrics, and 'P-p-pussy power, pay me by the hour' will certainly stick out in your mind. As lyrics goes, it's pretty powerful stuff and sums up Azalea's sassy nature in one single line. The follow-up lyric hits hard as well; 'I need me a Braveheart, can't deal with a coward'. If there's one thing Azalea does well its create memorable lyrics that you simply just can't ignore and definitely won't forget. Have a listen to 'Beg For It', below: 

David Guetta - Dangerous ft. Sam Martin (Lyric Video)

David Guetta has teamed up with Sam Martin on his latest track, 'Dangerous', which now also has a new lyric video out. 'Dangerous' is taken from his upcoming sixth studio album, entitled Listen, which is due for release on November 21, later this year. Meanwhile, singer-songwriter Sam Martin reunites with Guetta on 'Dangerous' following their successful collaboration on one of Guetta's previous tracks; 'Lovers On The Sun'. Martin's prominent vocals are featured heavily in the new track, which has a distinctive disco vibe, despite starting off relatively classical, with piano instrumentals and violins in the background. 

Getting a little bit more funky, the track builds with accompanying techno and electric beats that create intensity for the single. There's a certain air of emergency in the track, which ties in suitably with its 'Dangerous' title. The disco and dance vibe of the song helps to create a smooth and retro-sounding addition to Guetta's discography, firmly putting him back on the map as a successful DJ and record producer. Guetta also doubles up as the producer of the track, along with Tuinfort and Evigan. Guetta's upcoming album, Listen, will also feature notable names in the R&B, Pop and Hip-Hop worlds, with not only Martin making an appearance, but also the likes of Nicki Minaj, Sia, Lil Wayne, Krewella, Natalie Kills, Akon and Chris Brown. 

Listen to the space-bound 'Dangerous', here: 

Marina and the Diamonds - FROOT

Feeling a little fruity? Then come and enjoy Marina Diamandis' new track 'Froot', which is the first track to be released from the singer since her Electra Heart days back in 2012. Her new album, allegedly set for release in 2015, has allegedly taken the name of this first track, and if 'Froot' is anything to go by, Diamandis' next album looks set to be pretty immense. The 5 minutes and 30 second track is classic Marina, with plenty of electro vibes, with the singer's vocals being a mix between high and low tones. Diamandis' voice is very distinctive, and considering the popularity of singers with particularly deep voices recently (Charli XCX and Lana Del Rey), there seems to be a good chance that Marina will prove to be another success. 

The singer has, of course, been around in the music industry since 2010, with her album The Family Jewels proving to be a successful debut album of the singer. Diamandis, known for Electra Heart tracks 'How to be a Heartbreaker' and 'Primadonna', incorporates her love for metaphors in her new track, with 'Froot' being in a similar fashion to 'E.V.O.L' with was a play on words for 'evil' and 'love'. These clever little in jokes and wordplay make Diamandis' tracks far more deep and intrinsic than you might realise upon first listen. Notable lyrics include 'I'm your carnal flower, I'm your bloody rose/ Pick my petals off and make my heart explode/ I'm your deadly nightshade, I'm your cherry tree', which forms as part of the interlude before the chorus.

'Froot' is certainly a comeback for the singer, and the sweet highs and lows in the track (especially around the chorus and 'life couldn't get much sweeter') make for a captivating listen. The track possesses the same catchy nature of recent hits like 'Fancy' and Charli XCX's 'Break The Rules', with Marina serving up a juicy helping of electro beats for you to enjoy. A mixture of electro and dance, 'Froot' is one of those tracks that you just can't help but get into your head, and this is helped by the hook 'I'll give you all I've got/ Yeah you know that it's true/ I've been saving all my summers for you'. Diamandis' track comes a little later in the year for a summer hit, so perhaps 'Froot', which offers more than your classic pop song, with be a hit in time for Halloween. 

Listen to new track, 'Froot' from Marina and the Diamonds, below, and let us know your thoughts in the comments! Are you excited for the return of Marina? 

Beyoncé - Flawless ft. Nicki Minaj (Remix) [+ Review]

Mega star alert - it's rapper Nicki Minaj and celebrated pop star Beyoncé joining forces in one song. The flawless remix of 'Flawless' (too much?) features none other than a new segment featuring the rapper who has become some what of a hot topic at the moment. But there's more - you can now listen and watch the live version of the track featuring the two popular singers, as they took to the stage to perform their track. About two and a half minutes into the video, Pop queen Beyoncé triumphantly announces to the crowd that Nicki Minaj will be joining her on stage for the remixed version, and it's safe to say the crowd goes wild. Whilst we envy everyone in the audience, the track itself has that extra bite and sass to it courtesy of Nicki's rap segments, and the solid beat makes for an even more addictive version of the song. 

Minaj kills her verses, and the gradual speed in her verses builds the song appropriately, until the low beat in the background returns and the crowd screams. Beyoncé's lyrics are particularly relevant and contain some subtle digs at previous events, such as the elevator incident, in which she screams 'of course some shit gonna go down when there's a billion dollars in the elevator'. Whilst we would have loved an actual music video version for the track (it seems to be the latest rage for musicians to include live recordings instead of pre-rehearsed music videos for the accompany 'video' to a song), the live version still has everything you would expect in a usual pop video; there's slick dancing, captivating visuals, funky costumes and of course, killer high notes. It's undeniable that the chemistry between Nicki and Beyoncé is electric, and Minaj is particularly endearing in the video as she giggles and smiles away as she raps and sings along with her on-stage partner. 

Overall, the song is catchy and current (what is it with remixes some how sounding marginally or drastically better than the original?), and in a similar vain to J-Lo's 'Booty' remix, which sounds 10 times better with Azalea's rapping segment, Beyoncé's 'Flawless' remix sounds that little bit more dramatic and insanely catchy with Minaj's verse - could we see a pattern emerging amongst musical artists? Will rap remixes become a thing once again? Only time will tell! In the mean time, check out the flawless video below and bounce along with Nicki and Beyoncé: 

Veronika Vesper - Suffocate

Veronika Vesper. Heard of her? Well, you should have. The captivating space pop singer has released the music video for 'Suffocate', and it showcases the inner emotion of the singer, effortlessly encompassing the feelings of restriction and immobility, which has been present in her musical efforts so far. The track itself is a mix of dark, classical instrumentals and dubstep, with your beloved drum and bass thrown in for good measure. The pop track is an interesting blend of different styling, and the chorus with Vesper's enchanting voice makes for a track that is almost impossible to stop listening to. 

The subtle voice-over esque effect towards the end of the track is particularly enthralling. Vesper's track showcases her unique style and really establishes herself as a strong, forward-thinking artist with plenty of creative musical flair. The video is equally engaging, and we love the blend between fantasy and sci-fi, with Vesper herself describing it as a mix between 'Lara Croft' and '5th Element', and the overall effect is certainly cinematic. There's certainly a place in the musical market for a singer such as Vesper, so time will tell whether she manages to fully embrace the position she is in, and we look forward to listening to future music from the singer. 

Check out the powerful 'Suffocate', below (and tell us in the comments your thoughts!): 

Lorde - Yellow Flicker Beat (Official Audio) [+ Review]

The Mockingjay musical frontrunner Lorde's new track 'Yellow Flicker Beat' is the lead single from The Hunger Games: Mockingjay Part 1, and it's certainly an atmospheric addition to the singer's discography. With elements of darkness and rebellion, the track certainly echoes the tone of the first instalment in the two-parter finale to The Hunger Games film series, which are of course, based on the books by Suzanne Collins. 

Considering the large amount of anticipation for the first part of Mockingjay, it seems destined that Lorde's track will prove to be a favourite amongst fans, and suitably gear them up for the film's release in November, later this year. The soulful songstress, whose previous memorable hits include 'Royals', 'Tennis Court' and 'Team', seems to be the particular flavour of the year, and no doubt her addition to the soundtrack will help to promote the film and its musical accompaniment as well. Lorde is an interesting choice for the lead track artist, and 'Yellow Flicker Beat' is a very intriguing song which appears to reference Katniss Everdeen's rise to the status of the Mockingjay, as demonstrated through its poignant lyrics 'People talk to me, and all their faces blur/ But I got my fingers laced together and I made a little prison/ And I'm locking up everyone who ever laid a finger on me/ I'm done with it'. The track is able to also demonstrate the inner conflict and outward battles the character has faced through her existence, which is particularly beautifully expressed through the following lyric; 'And my necklace is a rope, I tie it and Untie it/ And now people talk to me, but nothing ever hits'. 

The composition of the song also reflects this feeling of urgency and rise, as the beat gradually builds, with different instrumentals slowly creeping in until they reach full impact when the chorus beckons in. Having this kind of build up provides the catchy nature of the song, but is also suitable for the kind of drama that is trying to be created, and the tense storyline that it revolves around. The second verse has similar acoustics to that of Lorde's 'Team', which is typical in its styling, but this track has a notably more darker tone to it. The lyrics are certainly more 'deep' and showcase a different side to the music artist, whose is known for her carefree 'Royals', and allow us a glimpse into her musical potential, as an up and coming recording artist. Lorde and Joel Little did an excellent job when writing the key lyrics for this particular track. 

Check out the official audio for the track, right here: 

You Should Be Watching: Glue [+ Review]

Airs on E4, Monday, 10pm

Skins and This is England ‘86 writer Jack Thorne has debuted a new murder mystery drama series, Glue, an 8 episode series depicted in the idyllic English countryside. But this is no Midsomer Murders. It is quickly established that someone has met a sticky end, and almost everyone is keeping tight grip on their secrets.

Feel free to check out this review online over at Concrete, and give it some love! Click here. 

The new E4 show features a whole range of talent, from Harry Potter’s Jessie Cave (who plays housemate Annie) to one half of Rizzle Kicks, Jordan Stephens, who portrays Rob, boyfriend to Tina (Charlotte Spencer), who has no idea about his future plans and seems to be perfectly happy hanging around in a bath with her all day. Also part of the countryside gang is Cal (Tommy-Lawrence Knight), brother to Eli (Callum Turner), Janine (Faye Marsay) and James (Billy Howle). With so much talent to give it’s no surprise that the show starts off in a rather intriguing, albeit slow, manner. We’re introduced to the cast slowly, which allows them to fully take centre stage.

The group spend their free time taking drugs and generally goofing off, and it seems that there are some interesting characters to deal with. Rob seems to be one of the more brazen of the bunch, and certainly appears to be one to watch across the next couple of episodes, along with his girlfriend Tina, who seems to have a wilder side. The episode is constructed well enough to showcase both sides of the characters, and their relationship as a whole. Jessie Cave performs particularly well as Annie; her wide eyed stare becomes a frequent feature of the episode. Turner’s Eli, with his wide range of emotions and sullen attitude, is captivating.

After the death of one of the group, it becomes clear that everyone’s got an agenda and some people know more than others. Cue police officers, enter right. Yasmin Paige sheds her skin as Beth Mitchell in Pramface, and takes on the role of the young and equally ambitious police officer Ruth, who is appointed secondary on the case. Ruth seems to know a bit about the other young characters, and this is what makes her possibly one of the most intriguing additions to the show so far. She shows young talent at its best.

Glue, unlike other series based in the city, has a unique set of sequences. For instance, where else would you see grain tombstoning? It’s a spectacle to behold on screen, and one of the more visually pleasing sequences that manage to engage you without saying much at all. Although the episode starts out like any other drama, it quickly distances itself from some more contrived shows, due to how much more realistic in terms of teen behaviour and the secrets that people can keep. The characters are engaging without being overtly annoying, and the drama is drawn out, and by the time you are half-way through you’re more than likely hooked. The actors are fresh and original, and the self-destructive nature of some of the characters is undeniably appealing and thought-provoking, which makes for a great beginning to a short series.

If you do nothing else on Monday, make sure you’re watching Glue. The series seems destined to get even better, so immerse yourself in a countryside which holds plenty of hidden secrets, and more than a few surprises.