Welcome to ‘Top 10 Tracks’, the essential weekly round-up of the best new music.
At the end of each week, we count down the ten essential new tracks you need in your rotation. Ranging from rappers in the Emerald Isle to boundary-pushing, experimental producers and everything in between, it’s all hits, no filler.
This week, Loah returns with a reimagining of 1920’s poetry, Wesley Joseph cements his reputation as one of the UK’s most exciting prospects and April links up with Alfie Templeman.
Do you ever just think that music sounds like its cover art? Bladee’s fluorescent collaboration with Mechatok and Charli XCX is the perfect way for anyone with synesthesia to kick off their weekend.
A track that will no doubt divide opinion, but we love the unapologetic energy in ‘SIMP’.
Weaving between hip hop, screamo and industrial sounds, Lil Mariko flicks the switch before Rico Nasty comes through with hard guest verse.
The west of Ireland isn’t traditionally heralded for its influence on the intersection of modern music genres, but guitarist and vocalist Gaff is changing that.
While evidently inspired by the running hi-hats and guitar riffs of Jean Dawson and the vocal inflections of Bakar, Gaff is carving out a lane that could only be his own.
‘Friday on a Tuesday’ is a deft continuation of his hot streak.
Alfie Templeman linked up with Kildare singer April for a woozy, nocturnal offering in ‘One More Day’.
Speaking on the cut Alfie said, “I wanted to make something that sounded like the soundtrack to a sunset. April made the song that extra bit special, her verse and harmonies really complimented the track and helps you to see its context really clearly.”
Equal parts foggy and intimate, it’s a slow-burning anthem for the late summer nights.
Terrell Hines is the shape-shifting artist asking all the big questions.
Following collaborations with Vince Staples and more he’s asking the listener “if we all are going down what do you desire?”
Never one to be pigeon-holed the Georgia-born artist is back with a genre-agnostic earworm cut.
There isn’t a massive amount known about Baby Keem and he has a modest discography, but he’s managed to drum up a lot of hype and subsequently secured a Travis Scott feature on his latest effort ‘durag activity‘.
Sounding like the soundtrack to the most nonchalant bank heist, there’s something hypnotic about this laidback effort.
Spencer’s ‘Automatic’ has got a sultry remix from Philadelphia artist Orion Sun.
Featuring distant vocals over punchy drums and downtempo instrumentation, it’s a reworking that taps into the feeling of a loved one that’s running laps in your mind.
BERWYN is undoubtedly one of the most exciting talents in the UK right now.
The visuals for ‘I’D RATHER DIE THAN BE DEPORTED’ continues on from the video for his previous release ‘100,000,000‘ and touches on his experiences immigrating to the UK.
New music from Loah is always a good thing.
The soul-cleansing new effort from the Irish-Sierra Leonean singer-songwriter was released in honour of Ireland’s Poetry Day and celebrates Irish poet, dramatist, and committed suffragist Eva Gore-Booth.
‘The Body to the Soul (Eva Gore-Booth)‘ comes after a topsy-turvy year that saw Loah have her dreams of moving to the States to further her music career dashed. Not one to rest on her laurels, she worked tirelessly as a pharmacist in the midst of the pandemic before returning with the new single.
Following his otherworldly operatic rap symphony ‘Thrilla’, Walsall-raised artist Wesley Joseph has returned with another cut that is undeniably his.
Despite his age, Joseph is an act well-versed in the art of world-building and the blend of rap and nightmarish future funk of his latest track ‘Ultramarine’ is an immersive experience to behold.
Talking about ‘Ultramarine‘, Wesley said, “I got a drum machine last year and wrote and recorded ‘Ultramarine’ in my bedroom around the same time. The song had a really dark, romantic, twisted, future funk vibe to it. I couldn’t put my finger on what the feeling was – but it felt eerie and tense, like the soundtrack to a romantic nightmare. When I was working on my project, I created an alter-ego called Fredrick that allowed the real emotions I feel to be humanised and that pushed the limits with the fictional scenarios and worlds I could create for the songs. The lyrics were formed around a nightmare chapter of Fredrick’s life – insomnia-fuelled, out of touch and tweaked-out. “