Feed Limmy Songs of 2018

Guess, what? It’s another year-end list. 2018 overall has been a year spent in deep infatuation with female K-pop stars. I’ve been saying for the past few years that Western pop hasn’t really been hitting the spot for me in the way their South Korean counterparts are. The melodies, the juxtaposition of genres and styles, and above all, the commitment to serving full-blown productions. We’re talking music videos, live performances, styling, choreography. Everything is just an experience.

For the first time ever, my Top 5 most played songs of the year on Spotify were occupied exclusively by K-pop tracks. There were three BLACKPINK tracks (‘DDU-DU DDU-DU’, ‘As If It’s Your Last’ and ‘Forever Young’) and two SUNMI singles: ‘Siren’ and ‘Heroine’ – the latter was my most played song. I mean, I was definitely obsessed with it at the time of release. I must’ve had it on repeat for two weeks straight for it to come out on top of the list.

My Songs of 2018 isn’t made up of what I’ve listened to the most but more of a combination of what I’ve definitely been obsessed with and songs that I felt have definitely been MOMENTS this year. So here are 25 tracks that have stood out for me…

#25 – joan ‘Tokyo’

It’s not like me to really listen to male artists but this indie-pop duo from Arkansas is really doing it with their swirl of nostalgic 80s synths and sentimental lyrics. They sound like sweet boys who wear beanies in summer and make music in their parents’ basements, all around them are takeaway containers where veggie dumplings and ramen used to be. I hope they get more mainstream attention in 2019.

#24 – Amy Shark ‘I Said Hi’

I feel a bit guilty for not staying in touch with what’s happening with pop back home in Australia. Every now and then a really cool name would show up on Idolator or a Spotify playlist like Tkay Maidza, Jess Kent or Nicole Millar and I’d get that mix of excitement and FOMO. Amy Shark is a singer-songwriter from the Gold Coast signed to Sony who is enjoying great success this year with her debut album. This moody little single ‘I Said Hi’ caught my attention immediately with its new-gen Avril vibes and candid lyrics about how lonely it gets when you’re chasing your dream.

#23 – Cher Lloyd ‘None of My Business’

I’m gonna sing Cher Lloyd by… Cher Lloyd. What a tidy little comeback from one of my favourite ever X Factor breakout stars. There is definitely a certain kind of fondness for Cher Lloyd amongst gay men of our generation and it’s really heartwarming. ‘None of My Business’ does a wonderful job of bridging what’s great about 2018 pop with what we loved about her in the early years. With these nursery rhyme-like melodies and lyrics that pack a fistful of attitude, this feels like a classic Cher Lloyd record but with a bit more grace. The smirk and eye-rolls are still there, trust, but she’s maybe a little less bothered and little less OTT about it these days.

#22 – Shawn Mendes ‘Lost in Japan’

I can pick Shawn Mendes out from a crowd of a thousand but I couldn’t sing you a single one of his songs. No ma’am. ‘Lost in Japan’ was something of a surprise for me. It may not be innovative by any means from what he normally does but young man, slap on a mischievous funk bass line and some winking emoji lyrics about a rendezvous, and I’m on the first Easyjet over.

#21 – Charli XCX ‘No Angel’

I think cerebrally I’ve always known Charli XCX to be a highly honourable purveyor of pop but I’ve never accepted her into my heart until maybe the last few months. I think there are times where she is over-hyped, for instance, I don’t think all that screaming and shouting on Twitter was warranted for something like POP2. There are definite moments, please don’t get me wrong. But let’s address it for what it is… moments. The singles Charlotte brought us this year – ‘Girls Night Out’, the double A-side ‘Focus’ and ‘No Angel’, and ‘1999’ (more on this later) – really turned me around. She would be the popstar of my dreams if I were a teenager in 2018. ‘No Angel’ very marginally took the spotlight from ‘Focus’ for me purely because I’m really into this gyrating, robo-reggae rhythm and the earnest lyrics about self-redemption.

#20 – BLACKPINK ‘See U Later’

The amount of times I have strutted out of the office with this turned up loud. What BLACKPINK really do well is that feisty, ice-cold princess gig. You can tell there is vulnerability in there somewhere but they would never wait around long enough for you to figure it out. ‘See U Later’ is a brilliant kiss-off track with a few peppery lines (in English) that’ll stay on your tongue long after they’re gone. “See you later… maybe never?????”

#19 – Clean Bandit feat. Demi Lovato ‘Solo’

It’s hard to take in that Clean Bandit is one of Britain’s most significant pop groups at the moment… but the charts and streaming numbers don’t lie. It’s even harder to deny them this when they’re dropping precise, radio-ravaging candy like this so consistently. Where years ago I was banging on about how ‘crying at the disco’ was my favourite sub-genre, nowadays, sad bangers are ruling the charts. ‘Solo’ somehow manages to become something enjoyable you’d blast on Greek island getaway with your mates and also something you’d crank up when you’re post-break up bruised and finding yourself home alone with a £6.99 bottle of Malbec.

#18 – Rina Sawayama ‘Cherry’

I have been excited about the prospect of popstar Rina Sawayama ever since ‘Cyber Stockholm Syndrome’ and ‘Alterlife’. I completely appreciate her perspective of 00s pop R&B through a 2018 Dazed/i-D reader lens. ‘Cherry’ with its blossoming chorus and stunning music video with choreography and a restraint, high fashion statement completely did it for me. Similar to Charli, Rina would be the kind of popstar a teenage me in 2018 would be completely and utterly obsessed with. She represents the dream.

#17 – Kacey Musgraves ‘High Horse’

Just as it was for many pop gays, Kacey Musgraves and her Golden Hour album was an amazing discovery for me. It seems like the time is right for a new country crossover queen to emerge and Kacey did so with such elegance with this gentle, glittery disco-Nashville number. Not for a moment did it feel like she was over reaching or trying too hard, which made her all the more appealing to the pop community. More on Kacey when I do my albums of the year list.

#16 – Charlie Puth feat. Kehlani ‘Done for Me’

It wasn’t until I listened to an episode of the New York Times Popcast discussing Charlie Puth that I really had to give it up to him. I can’t think of a male vocalist since Adam Lambert (and going even further back, Darren Hayes) that has really impressed me like Charlie has. ‘Done For Me’ – with Kehlani – is him finally becoming cool, I think.

#15 – MNEK ‘Tongue’

I could not be happier for Uzo because 2018 really saw him come out and deliver A-grade live performances with choreography and not to mention, one of the best albums with Language. The more I listen to ‘Tongue’ to more I get to savour the layers and dimensions to it. In the first listen, you clasp the monotonous spoken-word chorus over strutting club beats, but then the layers of harmonies wrapped around the verses and all the ad-libs come to the forefront. It’s genius work.

#14 – Ariana Grande ‘God is a woman’

It’s hard to discuss the world’s biggest popstar because everything astute and thoughtful there is to be said about her musicality – especially in the Sweetener era – has been articulated by critics and people with far more intelligence than me. But when it’s all said and done, ‘God is a woman’ is a completely spellbinding, slow-burner that seemingly plays to a cool, shadowy sensuality but, in actual fact, is a remarkably produced Max Martin-aided bop that has multiple levels to it.

#13 – Janelle Monae ‘Make Me Feel’

This Prince-gleaning neon-funk bop is just absolutely one of the most pleasurable music moments for me this year. As a long time admirer of Janelle Monae (she shook my world with the ‘Many Moons’ video and Metropolis: The Chase Suite EP and I’d been on board ever since), this more brazen and sexually-liberated Janelle was a welcomed surprise.

#12 – Kylie Minogue ‘Dancing’

Kylie is one of my favourite artists of all time. I would maybe even go as far as saying absolute favourite. It’s a little known fact that even people closest to me don’t know about. Any kind of reservation I might’ve had about the pop grand dame embracing country music was quickly hushed when ‘Dancing’ came out. While Golden might not have completely done it for me (I actually think it would’ve sounded better if she had given us a straight up country pop record without all the unnecessary electronic-pop flourishes in some tracks), I embrace moments like ‘Dancing’, ‘Radio On’ and ‘Sincerely Yours’. Kylie is the ultimate queen of melancholy, brightly-coloured pop and she has done this oh so subtly throughout her career. Check ‘I Should Be So Lucky’, ‘Hand On Your Heart’, ‘Never Too Late’, ‘All The Lovers’, ‘Into The Blue’ etc. The double entendre of “when I go out, I wanna go out dancing” will never not get me. Play this at my funeral.

#11 – Louisa feat. 2 Chainz ‘YES’

This second coming of Christina Aguilera’s ‘Dirrty’ absolutely sent for me. There are moments in these troubled times where a really fun pop banger comes around that doesn’t necessarily align with whatever Capital or Radio 1 is playlisting but that’s not to say it doesn’t deserve a moment. With all the nostalgia for the 00s going around at the moment, it is possible that Louisa might’ve been a little ahead of the curve with this one. I think had she had the chance to deliver an A-grade pop performance on TV with a big troupe of dancers and an image/styling that blatantly reeked of throwback 00s vibes, like what Charli XCX’s playing at with ‘1999’, perhaps this would’ve fared better.

#10 – Charli XCX feat. Troye Sivan ‘1999’

This is just a straight-up confetti-blasting throwback bop and I’m so happy for Charlotte that she’s clocking up radio airplays with it. I think in this day and age we can be too #woke and overthink one’s approach to pop when really, we’re forgetting the importance of having fun and keeping it simple. It’s a shitty world out there – we got Brexit, we got Trump, we got drones fucking grounding our flights… let’s go back to a time where things appear to be simpler and better. Nothing airbrushes the past better than nostalgia. I’m living for Charli XCX giving us the fast-food equivalent in music. Absolutely brilliant escapist pop.

#9 – Ariana Grande ‘no tears left to cry’

This is admittedly a strange pop record and yet everything about it just works. In here we have elements of garage beats layered with stabbing synths and Ariana’s angelic vocals that switch from grand sweeping notes to kittenish semi-spoken word lines. There is a persistent tide of optimism in ‘no tears left to cry’ that doesn’t try to sweep the sadness under a rug but rather bring it to the light and live alongside it. This in itself is a life lesson.

#8 – Normani x Calvin Harris ‘Checklist’ (feat. Wizkid)

This Afrobeat-influenced Top 40 dance pop banger was all kinds of exciting for me from the moment it dropped. Normani is very much on her way to becoming the next big breakout star and I’m sure she is going to move mountains in 2019. The strategic move of aligning with credible and established collaborators like Khalid, Calvin Harris and Wizkid to introduce her as a solo star is very astute but it’s her fiery delivery on ‘Checklist’ that really made me sit up. Her ability to embody this jam with a swagger and accent that isn’t necessarily native to her tells me she is a performer to be reckoned with.

#7 – Rita Ora ‘Let You Love Me’

This song stabbed me in the heart and drained the blood from my veins within the first minute. Atlantic Records-era Rita Ora has been delivering hits after hits and I was well on the ride, but it wasn’t until they delivered a nerve-damaging emotional bop like this that I knew I had to take a breather. The song’s sentiments about self-sabotaging and fear of intimacy spoke to me in ways I didn’t expect to be spoken to.

#6 – Kim Petras ‘Heart to Break’

This song has been pure joy for me and will always remind me of the summer of 2018. I have the pleasure of working with Kim and to have spent a bit of time with her when she came over to the UK to play her first sold-out headline show. I think in her I saw someone who was not only a formidable songwriter and vocalist but a true scholar of pop music, someone who deeply understood Britney, Gwen Stefani and Madonna references (and everything else in between). Above it all, I was drawn to her feverish commitment to making escapist pop – not just for us but for her – in the face of whatever the real world was throwing our way.

#5 – Toni Braxton ‘Long As I Live’

Toni Michelle Braxton has no right barging into 2018 with a lush, modern day R&B classic like this. We are complete undeserving. ‘Long As I Live’ – with its pulsating rhythms and nocturnal piano-synths – sound like something evocative of a 90s Babyface LP and no less, with Toni’s timeless, quivering aching vocals. I’d even go as far as saying this is the best Toni Braxton song we’ve had this decade.

#4 – Ariana Grande ‘breathin’

This song has low-key been such a meaningful soundtrack for me personally. The arrival of ‘breathin’ coincided with me learning to take better care of myself this year. Year after year I do these lists and towards the top end of the list, I usually find songs that have resonated with a fragile or complicated part of my life. And I guess this is no different.

#3 – Calvin Harris feat. Dua Lipa ‘One Kiss’

This was the song of summer 2018 for me. You’d be in a park with mates, nursing a cider, and hear this tune coming out of a tinny portable speaker. With Dua Lipa emerging as the UK’s biggest female pop entity of the minute, teaming up with dance music supremo Calvin Harris who was suddenly circling back to house music… ‘One Kiss’ kinda feels like a modern day classic that has always been around.

#2 – BLACKPINK ‘DDU-DU DDU-DU’

BLACKPINK was such a dominating pop force in my life this year. This YG-managed girl group, initially hailed as the second coming of 2NE1, slowly but surely got me stanning. Even though ‘DDU-DU DDU-DU’ sounds like something from about four years ago with its garish EDM drops, the blockbuster music video and BLACKPINK’s utter commitment to nailing every live performance sparked an excitement that caught fire in me and in fans worldwide. Without me realising, they had become one of my favourite girl groups alongside Girls Aloud, Sugababes, Spice Girls, 2NE1 etc. With BTS blowing the gates open with K-pop presence in Western media, I can only hope that by this time next year we’d all be on the BLACKPINK fandom.

#1 – SUNMI ‘Siren’

This has to be #1 for me. I’ve had this on repeat for months and I still can’t get over it. Ex-Wonder Girl SUNMI got my attention last year when she made her solo comeback with ‘Gashina’ which was one of my Songs of 2017. What really drew me in was SUNMI’s unconventional performance style in this era and she absolutely sunk her teeth into ‘Siren’ (just watch the music video). The high drama in this throbbing 80s disco-pop banger, which hears her cut down an eager lover from going further with her emotionally unavailable self, is absolutely bad-ass in every sense.

Listen to my Songs of 2018 playlist on Spotify here:

Follow me on Twitter @feedlimmy / Instagram @lovelimmy

And my 2000s pop podcast Right Back At Ya! – @rightbackpod

iTunes: https://itunes.apple.com/gb/podcast/right-back-at-ya/id1384164995?mt=2

Spotify: https://open.spotify.com/show/0XLneIjlau2BxFZcTecdP6?si=xn7p0mkiQWSDNI0rKm6zUg

 

 

 

 

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BBC Sound of 2017, Kylie’s Retro Hits Suddenly Appear on Spotify, and New Tunes by MUNA, Nicole Millar and Girls’ Generation’s Hyoyeon

It’s barely lukewarm let alone been a hot take, so I reckon let’s not jazz it up too much around here. For the past few weeks I’ve been getting my ass into the habit of blogging once a week (because I really miss doing it). I couldn’t think of a proper catchy way to package this whole weekly pop opinion piece/ round-up of things that caught my eye shebang, so my brain in a hungover state farted ‘Limmy’s Hot Take‘, which let’s face it… wasn’t all that great or accurate. So scratching that title. That title is cancelled. She is done.

A lot has changed in the pop blogging world since I started Feed Limmy in 2008 (I had another pop blog on Blogspot for like two or three years before that). Lots of people from when I started aren’t doing it anymore – real life happens, they end up getting very good jobs and you know, you get too busy to keep it up.

In the last 10 years I’ve met so many amazing people through doing this. I found my tribe on Twitter. People who were into this stuff as much as I was. Growing up in Melbourne suburbia, I didn’t come across very many people who were as passionate about pop music as I was. Pop was frowned upon as ‘guilty pleasure’ and somehow it was made even more unbearable for me to express my love for it when people started calling me ‘faggot’. I’d dread every single time Geri‘s ‘It’s Raining Men’ or Christina Aguilera and co.‘s ‘Lady Marmalade’ came on the radio after the lunch time bell. So after leaving high school and having my own little corner on the internet to write about all the great stuff I was listening to and being able to share it with like-minded Twitter friends was a real game changer for me.

Now that I guess I actually am part of this industry, I do see things a little differently and have to obviously, you know, gurl’s gotta eat and gurl’s got bills to pay so he’s gotta be careful of how he frames his opinions. I also now see hype and media coverage very differently. I appreciate it more, of course, knowing how much goes into it. I am more sympathetic to artists as well and I am also increasingly aware that the more I see the less I know. And I’m OK with that. It keeps me on my toes. This is such a rapidly evolving industry that it’s now more important than ever to question what is really important and relevant.

Everyone in the music industry is going crazy over ‘ones to watch’ type lists right now -i.e. the BBC’s Sound of 2017, Brits Critics’ Choice Award, MTV Brand New, VEVO dscvr, … *Shirley Caesar voice* YOU NAME IT! They are all huge targets for label marketing and music PR types because they are, of course, a really big stamp of approval for any emerging artist and it’s what separates them from other newcomers. It’s the difference between getting booked to play Wembley or a dive bar as the fourth support act, shopping at Selfridges vs. living on Lidl vouchers – you get the picture. The success story that gets wheeled out a lot: Adele. Her career started with a bang when she won the BBC’s Sound of 2008 and then her debut album 19 went on to win the Brits Critics’ Choice Award and then came a Grammy nomination and so on and so forth.

You also tend to notice the same names being hyped and thrown back and forth around this season. Sometimes people still talk about them after a year, sometimes they barely get a mention after three months. The hype can fade as quickly as it rose. As the years go by, however, it seems increasingly difficult to call who might actually their way to the top as the true rising star of the next 12 months.

BBC Sound of 2017: Could an urban artist win it – and actually dominate the year?

This week the BBC announced their Sound of 2017 longlist, informed by tips from 170 critics, DJs and music writers. You know, people in industry who really know their shit. While it’s obviously a practice of self-fulfilling prophecy, I do find it quite exciting to discover new artists this way and see who is tipped for big things.

These are the ones tastemakers are not only predicting will shape the sonic trend of 2017 but also represent what will be most commercially successful. It’s actually incredible that the list is dominated by urban music acts. MTV UK also released their shortlist of Brand New 2017 acts with the same handful of urban music rising stars AJ TraceyNadia RoseRay BLK and Stefflon Don.

It would be great to have a real and raw British R&B star like Ray BLK reaching Adele and Sam Smith level of mainstream dominance. Hailing from a working class background in South London and proudly embracing her roots (‘My Hood’ is basically her ‘Hometown Glory’ but less vanilla and tea cakey), I so want to believe the UK is ready to really big up an artist like her instead of another prosaic guitar noodling substitute for Ed Sheeran, but from what history has informed us that is rarely the case. It’s been years since we’ve seen a super real and distinctly British R&B act embraced by the mainstream. Seriously, please name me one. Whoever it is that ends up taking home the Sound of 2017, I hope we don’t see a repeat of what happened with this year’s lot.

Jack Garratt, who won Sound of 2016 was literally everywhere at the start of the year. After being announced as the Sound of 2016, he went onto collect the Brits Critics’ Choice Award and then wasted no time in releasing his debut album in February, which entered the charts and peaked at #3. It only stayed in the Top 20 for two weeks and then he sort of vanished. By summer, the name seems like a vague memory. Runner-up Alessia Cara, a soulful teen Youtube sensation from Canada, didn’t manage better either. While the brilliant breakthrough hit ‘Here’ flexed for a really bloody long time, her album only managed to peak at #14 and subsequent singles missed the Top 50 altogether. She was nominated for New Artist of The Year at the American Music Awards but lost to ZAYN. I only remembered I had bought her album when I saw her pop up as a feature creature on a Troye Sivan single a few months ago.

Maybe part of why Garratt’s hype wasn’t sustained was because there are literally hundreds of artists doing the type of electronic-R&B fusion with scratchy soulful, folk singer vocals. The market was already saturated by the time he came into primetime attention. But perhaps maybe why it didn’t work was because the tunes just weren’t memorable at all. They go to great lengths to stress he is a multi-instrumentalist, which you know, instills a level of authenticity, and his work is very immaculately produced but where are the tunes? Where is the song that makes people feel something?

Sometimes I think people in our industry forget that all these accolades and lists don’t really matter to the vast majority of the record buying public. Most people don’t care. People will buy records they connect to. People will support artists people they like.

Every single one Kylie’s retro hits are now on Spotify

On Friday, without formal warning, all of Kylie‘s Stock Aitken and Waterman era releases (her first four albums, which were all bloody huge) suddenly appeared on Spotify. I am talking not just all the albums but all the remixes, the B-sides, you name it. I am literally gagging.

This is sort of a nice reminder of one of the many highs in Kylie’s long pop career. While the Christmas stuff she’s doing now is a very clever and savvy business decision, I can’t stress how much I need for her to return to making brilliant pop for the other 11 months of the year.

Check out my 30 favourite ‘retro’ Kylie tunes:

Top tunes of the week

MUNA ‘I Know A Place’

L.A. girl band MUNA has delivered a shimmery, feel good song for the LGBT community. According to Time, ‘I Know A Place’ is “meant to be a rallying cry and a reminder that safe spaces can exist”. If you’re into HAIM, you need to get into this.

Nicole Millar ‘No Bad Vibes’

Smoky-voiced Australian singer Nicole Millar definitely should be on everyone’s pop radar. ‘No Bad Vibes’, taken from her new EP Communication, is a calypso pop treat with trap beats about blocking out negativity.

Decco featuring Mapei ‘Shooting Stars’

It’s good to hear from Swedish-American soul pop singer Mapei. Can’t believe ‘Don’t Wait’ came out three friggin’ years ago. This twinkly radio-ready club pop tune is possibly the most commercial sounding record she’s done and I’m here for it. Part of me wishes Alexis Jordan would come back with something like this right about now.

Hyoyeon (from Girls’ Generation) ‘Mystery’

I’m still shook from Tiffany‘s “I Just Wanna Dance” earlier this year so it’s great to see that K-pop’s longest running girl band Girls’ Generation has yielded yet another solo star. Hyoyeon‘s debut solo single ‘Mystery’ (“Miss Terry” if you’re nasty and singing along) is much more rhythmic, giving you Bhangra beats that nod to Selena Gomez‘s ‘Come and Get It’ but much spicier.

And finally…

On this day 10 years ago, Emma Bunton released her last solo album Life in Mono. I’d be quite happy if she banged out another Free Me, which I guess was what Life in Mono was meant to be but not quite on the same breadth of excellence. Although I still enjoy the title track, ‘Wasn’t Looking (When I Found Love)’, ‘All I Need to Know’ and ‘Take Me To Another Town’.

The album features her cover of ‘Downtown’, as you might remember. It was the BBC’s Children in Need charity single that year and reached a peak of #3 on the UK charts.

Limmy’s Hot Take: How I *Checked* Myself After Kanye’s Breakdown, and Top Tunes from Busted, MAMAMOO and Ronika

This week on Limmy’s Hot Take: Friends, it’s absolutely OK to call yourself out for making insensitive jokes about Kanye West‘s mental breakdown. What started as seemingly “standard Kanye” loose cannon behaviour on stage soon escalated to a point beyond lols when the 39-year old man was hospitalised for psychiatric emergency this week.

Alarm bells are ringing. We can’t make light of this struggle and repeat the inhumane cycle of scrutiny, mockery, and callous mistreatment that we’ve seen heaped on Britney, Mariah, Amanda Bynes and countless other celebrities who have gone through very public breakdowns. Definitely not when suicide is the biggest killer of men under 50.

I, for one, checked myself for dismissing Kanye’s rants as light entertainment last week because at the time I thought that was just him being his ‘eccentric’ ‘crazy’ self, but say if that were a friend or colleague behaving in that manner. Would I find it amusing or would I be able to discern and have enough care in my heart to look deeper beneath the surface and reach out to a vulnerable person in need? I sure as hell hope I am the latter.

There has been greater awareness about mental health issues in recent years. We’ve got ribbons, T-shirts, marathons, hashtags, full blown social media campaigns… you name it but, real talk, don’t put up lengthy posts on Facebook saying you’re here “if anyone needs to talk” then turn around and contribute to the cacophonous #KanyeWestIsOverParty mess.

This is not about being overly politically correct. This is about responsibility and recognising that our actions and our words carry weight. They matter. They cause an effect, and we need to look after each other more than you think. This definitely includes our online friends, which I’m sure some of us talk to more than we do our RL friends.

Oh also, if you happened to be called out on Twitter for insensitive and trash opinions? Please don’t delete the original tweet. Let the drag prosper.

 

In lighter news, I really do think The Veronicas have finally delivered the pop performance I’ve waited years for. Here they are looking deadly, coated in ruby red glitter, slaying The ARIA Awards this week with their banger ‘In My Blood’.

 

It would not be acceptable to bring up this year’s ARIAs without mentioning the strong showing of LGBT+ support – from Sia using her acceptance speech to promote marriage equality to Troye Sivan dedicating his award to LGBT kids in Australia, and Kylie and fiancé Joshua Sasse attending the ceremony in their “Say I Do Australia” campaign tees.

It’s time, Australia. And I could not be happier to see this movement gaining momentum in mainstream media every single day.

Top tunes of the week

Busted ‘Night Driver’

I really wasn’t expecting for Busted to come back after all this time with some neon-lit 80s pop. What on earth is going on here? Why is it so seriously good? Production-wise, ‘Night Driver’ sounds like something from the Off The Wall sessions. I haven’t made my way around their new album of the same name as yet but I’ve heard great things on Twitter.

 

MAMAMOO ‘Décalcomanie’

Can’t believe this is only the first time I’ve come across K-pop sirens MAMAMOO. They’ve been in the game for a good two years now, making a name for themselves with their candied mix of jazz and R&B.

‘Décalcomanie’ – taken from their fourth mini album MEMORY – is what I imagine Duffy exec producing a K-Pop girlband would sound like.

 

Ronika ‘Dissolve’

This feels like a new angle for Ronika. Coiled in a loop of stuttering synths before climaxing at a chorus with utterly heavenly vocals, ‘Dissolve’ feels like a cherry-tinted boudoir soundtrack in an 80s French arthouse science fiction film.

 

Emily Burns ‘Take It or Leave It’

File this under ‘Songs from The Friendzone’ – I know y’all can relate. This gentle, tinkling pop tune from emerging British singer-songwriter Emily Burns would definitely appeal to anyone who likes them a bit of Birdy.

 

For more of my favourite tunes, check out my NEWEST playlist.

You can find me tweeting about my latest Iceland meal-for-one at @feedlimmy.

Feed Limmy: Top 30 Songs of 2015

This has been a tradition since the land before time and Snapchat. While I’ve taken a long break from pop music blogging (the commentary still very much lives on in Twitter), I’m usually tempted to come back to this increasingly unfamiliar Wordpress interface every year and rank, hyperlink and embed my personal favourite tracks of the last 12 months. This year for the first time, I will be blogging with emojis. #downwiththekids

I imagine it’d be nice to scroll back through the passage of time one day to see that once upon a time, Carly Rae Jepsen overtook Robyn as the gays’ new queen of Bubbling Under pop. Once upon a time, Halsey was the flavour of the moment. Popstar of the Future Troye Sivan made an album (how traditional!). They sent troops to Syria but couldn’t extract a record from MKS. Nobody has time for the games Rihanna‘s playing anymore. And two unfuckwithable singer-songwriters in their 20s called Adele and Taylor Swift scrapped everyone’s life force with their massive-selling, Spotify-shunning, numerically titled albums. And where you were when you heard Zayn had left 1D?

Never mind. Here are 30 songs that I really, really liked this year.

Spoiler alert: At some point you might say, this list is really crap. Why isn’t Lana on here? 

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Kylie Minogue ‘Sexercize’ Music Video

This is the sexiest music video Kylie Minogue has done in 10 years.

Kylie Minogue Sexercize Will Davidson

We haven’t seen the Aussie pop siren turn out anything this deliciously raunchy since her 2003 Body Language era and after all this time, it’s great to see that Kylie‘s still got it. 

True talk, if you played the ‘Red Blooded Woman’ and ‘Sexercize’ videos back-to-back to an untrained consumer, they might actually gag and struggle to pick which one was filmed a decade ago.

Fashion photographer and director Will Davidson delivers a highly tantalising video for ‘Sexercize’ that displays glimmers of sexuality in highly-functional (and somewhat bleak) spaces. Think of it as a cross between Olivia Newton-John‘s ‘Physical’ and portions of Anggun‘s 2012 Eurovision offering ‘Echo (You and I)’.

Here we see Kylie and her posse of female dancers in skin-tight white leotards bouncing it out on exercise balls in a dusty gym that was probably frequented by Olympic gymnasts in the late 70s.

This whole production is practically Carmen Carrera, relying on all that body-yody-yody! We are guided with voyeuristic eyes that focus on frame after frame of gyrating body parts. There are scarcely any close ups of Kylie’s face in this video – just glimpses here and there that convey the carnal pleasure of her workout.

Kylie Minogue Sexercize Music Video

When her fellow The Voice UK coach, Ricky Wilson, commented about the “saucy” song, Kylie simply and coyly responded, “The sauce is always on the table.”

She has made it clear for years that her style is “sexy with a wink” – it’s never a full frontal X-rated assault on the senses. Having said that, the ‘Sexercize’ video must sit somewhere within a hair’s breadth from becoming the latter, especially when you get to the sapphic scenes in the steam room.

There will always be basic fools who are quick to mouth off what is and isn’t appropriate attire and behaviour for a 45-year old woman, but let’s not forget, Kylie is not a regular woman in your church prayer group.

She is a bonafide global popstar, who is in terrific form, doing what she has always done best. She doesn’t abide to your standards.

The ‘Sexercize’ video has already racked up over 2.4 million views on YouTube in just four days – overtaking its predecessor ‘Into The Blue’, which took six weeks to cross the 2 million mark.

Watch the official music video for Kylie Minogue‘s ‘Sexercize’:

Team Minogue clearly saw the song as a promising base to launch a visual project.

They’ve commissioned for a suite of ‘Sexercize’ visual content to be created, from music videos to animation and graphic design – each piece is a product of a unique collaboration between creatives in the fashion, art and film industry.

Check them all out on Sexercize.tv.

Naturally, apart from the aforementioned video, everyone’s talking about Kylie‘s new album. Here’s a review of Kiss Me Once, hyperlinked for your convenience.

Kylie Minogue “Kiss Me Once”

The boss of glitter-bomb pop, Kylie Minogue, returns with a euphoric album that glistens with her signature tuneful dance music style.

Kylie Minogue Kiss Me Once album cover

Kiss Me Once arrives four years after Kylie‘s last album of originals, enough time in pop years for a whole generation to saunter past and not Google her. Despite the nagging paranoia from fans after she signed to Roc Nation management, Kylie‘s new album remains ever so true to the impossible princess’s brand.

It’s bright, it’s melodic and it’s sophisticated in a way you would expect from a seasoned performer of Minogue’s calibre.

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Chart Feed – 12.11.12

I left y’all scratching at the post a little last week because I took my ass on a little vacaycay to Brisbane.

Chart Feed

Bitch, you should’ve seen me lounging on the beach in an island that was practically deserted on a Monday arvo. I was having a Mariah moment frolicking in the sand, trying to look cute for my Instagram photos. But hey, I am back now and here comes your chart feed – which might cover some things I didn’t get to touch on last week.

This has been a good week for Robbie Williams who scored his first simulatenous UK #1 album-and-single action in 11 years. Elsewhere, the following chart showboaters can’t complain either: Taylor SwiftCalvin Harris, Little Mix, Of Monsters and Men, The Wanted, and to a certain extent, Christina Aguilera. SAY!

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