‘Song of Zula’ by Phosphorescent
Occupying a well-worn niche of lonely heartbreak music in the company of The Smiths, The Cure and John Grant, this song manages to make a huge impression. With love being the overriding theme in popular music, hearing a declaration of love this powerful and unique was surprising in the best possible way. It’s huge, airy and epic with lush soaring violins loops, but beneath this grandiosity lies the melancholic voice of Matthew Houck singing lyrics of genuine meaning and quality that seem to convey real pain and heartbreak. His voice seems tiny and earthbound against the immensity of the music. It is almost allegorical in its nature, suggesting more than it is actually saying. For a song that sounds so sweet and yearning, the final lyrics “And I could kill you with my bare hands if I was free” are both shocking and beautiful.
‘Step’ by Vampire Weekend
Yeah, it’s twee. But it’s very good twee. You can lose yourself in a world of jangling harpsichord and whimsical visuals of champagne, New York and Communism readers. Though at first it seems timid, almost shy, it is in many ways a little epic, and it keeps on entrancing from the first few notes until the last rumblings of the chopped and screwed vocals of its final bars. The idiosyncratic lyrics function as an oddly potent tribute to youth and music fandom, while name dropping everything from Croesus to Angkor Wat. It is something contained in its own world apart from time or location – and it is all the better for it.
‘New Slaves’ by Kanye West
Potentially deranged narcissists may be difficult to live with, but they sure are fun to listen to. This song is anything but radio friendly with its incredibly aggressive sonic background that owes more to industrial and noise music than conventional hip-hop, and with lyrics that verge wildly from designer clothes, racial power struggles to ejaculating on the wives of his enemies. It’s hard to believe that a few years ago Kanye was basically making music verging on mainstream R&B. His self-obsessed, self-contradictory ranting may be jarring, but it’s undeniably compelling.
https://soundcloud.com/ventlyfedotcom/kanye-west-new-slaves-full
‘Retrograde’ by James Blake
Magic is frequently made out of simple ingredients. Although the song has lyrics, Blake manages to say more without them. A simple bass and snare, an irresistible vocal refrain, and James Blake’s mellow crooning all come together to make one of the most irresistible songs of the year. It fuses and takes inspiration from numerous genres, from electronic to soul, yet manages a firm and distinct identity that is instantly recognisable. He deserves all the acclaim he’s getting at the moment; it’s music for the modern age.
https://soundcloud.com/umusic-backstage/james-blake-retrograde-1
‘Graceless’ by The National
The National manage to make the epic out of small moments. Although it sometimes strays dangerously close to beer commercial territory, if your idealism can hold out long enough you will be richly rewarded. The excellent melody goes perfectly with the lyrical maturity found within. It slowly layers and builds upon itself, and even though it’s fiercely emotional, it never descends in hysteria with emotion strongly burning under the surface. It is the sound of a band, who are undeniably, at the apex of their career.