Tag Archives: pop

Monthly Playlist – Apr. 2022

15 May

After a short break, we are back with our Monthly Playlist series! This month, we saw the releases of much-anticipated albums from Wet Leg, Fontaines DC and more – not to mention news of perhaps the year’s most anticipated release, Kendrick Lamar’s new album. Read on to find out our picks from the month of April 2022, and let us know if you agree or disagree!

“Down” by Hot Chip

English synthpop band Hot Chip have been around for quite a while now – almost two decades, in fact – and they’ve got quite a few notable albums under their belts. Their second and third albums were particularly successful, with sophomore album The Warning (2006) fetching a Mercury Prize nom and third album Made in the Dark (2008) spawning the massive hit “Ready for the Floor”. Now, a few so-so albums later, the band is back with new single “Down” as the lead single for their eighth album Freakout/Release, set to come out in August 2022. “Down” is a jagged, off-kilter party romp that’s up there with the band’s best works. It’s just a fun dance music with a strong bassline, infectious breakdowns, and an insanely catchy phrase (“Girl, know how to break it on down!”) running through the background – definitely check this one out. 

“About Damn Time” by Lizzo

(Note: This song was actually released in March 2022, but since we missed a Monthly Playlist in that month, we just had to include it in this one. Trust us, you’ll see why when you listen to the track!)

Speaking of irresistible dance music, there are few active artists today who can keep churning out the hits quite like Lizzo. In the latter part of 2021, she released the catchy “Rumors” with fellow artist du jour Cardi B – a track we liked so much that we put it on our year-end list. At the time, she mentioned that “Rumors” marked the start of a new era for her, possibly ahead of her planned 2022 album. Now she’s added another milestone to that new era with “About Damn Time” – a song seemingly about Lizzo re-discovering her confidence after a rocky few months. The world’s foremost flutist / funk-pop star describes how she’s finally in a mood to celebrate and get back out there. “Oh, I’ve been so down and under pressure, I’m way too fine to be this stressed, yeah / Oh, I’m not the girl I was or used to be, Uh, bitch, I might be better,” she says in her classic confidence, all set to a riff that would make Nile Rogers proud. The best thing is that this track also serves as a post-COVID anthem for those that are ready to get back out there after a couple of difficult years; when she says “Is everybody back up in the buildin’? It’s been a minute, tell me how you’re healin’”, we felt that.

“Barely on My Mind” by The Regrettes

The Regrettes are a punk rock band with a couple of albums to their names. But they seem to have taken a bit of a left turn with the dance-pop track “Barely on My Mind”. There are almost Phoenix-like turns of melody on the track, mixed with the magnetism of lead singer Lydia Night’s vocals. The track is part of their third album Future Joy, which was released in April 2022. We’ll surely be checking out the rest of the album with an introduction like this!

“Autopilot” by Dev Lemons

If you’re a TikTok regular, you are probably familiar with the work of Dev Lemons – not as a musician, but as the creator of the popular @songpsych page which boasts almost a million followers and 26 million (!) likes. On the page, Dev Lemons (real name Devon Schmalz) breaks down popular songs into the byte-sized format that suits the preferences of her Gen Z audience. However, not content with just being a music critic of sorts, Dev Lemons has now taken her insights into what makes songs popular (e.g., this video about the new Lizzo song that we also loved above) and has begun releasing original music too. Vaguely reminiscent of acts like Lily Allen, “Autopilot” amps up the synths on the chorus for a fun, catchy romp. Definitely check out Dev Lemons’ music – and of course her @songpsych channel if you’re on TikTok!

“Oh Algoritmo” by Jorge Drexler feat. Noga Erez

Jorge Drexler, the artist behind our final pick “Oh Algoritmo”, is one of the most interesting people you’ve never heard about. First and foremost, he’s a medical doctor – an otorhinolaryngologist (ENT) to be exact. Secondly, as if excellence in one specific skillset wasn’t enough, the Uruguayan won an Academy Award in 2004 for composing “Al Otro Lado del Rio” from the Motorcycle Diaries. This is not counting the numerous Latin Grammy Awards he’s racked up, including Album of the Year and Record of the Year. Suffice it to say, you owe it to yourself to at least give a listen to “Oh Algoritmo”, in which Drexler has paired up with Israeli singer-songwriter Noga Erez. The song immediately draws you in with a funky bassline and Drexler’s vocals set against a lively background of shakes, bops and beeps. By the time Erez’s confident English-language vocals come in, we’d bet that you’re hooked on to the angular, groovy vibes on this track. 

Charli XCX – Crash

6 Apr

Words by Raksha Thakur

Charli XCX knows that pop music isn’t about reinventing the wheel. In the age of social media ubiquity and its accompanying cult of authenticity, she doesn’t just play with the deja vu quality of pop music, but leans into it fully— a master of the art of making chart-friendly bops. In Charli’s hands, veering into radio-friendly territory is anything but conventional.

Charli is no stranger to pop music. She is a vocal fan of Britney Spears and the Spice Girls, and her smash hits “Boom Clap”, “I Love It” with Icona Pop, and Iggy Azalea’s “Fancy” dominated the 2010s. As a bankable songwriter, she has also penned some of the most indelible earworms sung by other singers like Selena Gomez, Camilla Cabello, and Blondie among others. Pushing against the constraints of being a Hyperpop singer – a genre she pioneered – Crash sees her return to form in a slick pop music vein.

Playing with the decidedly mass market image of the pop diva, Charli revitalizes mainstream pop through Crash. Anointed the queen of “the future of pop,” Charli slyly challenges this legacy with references to older pop music and audaciously sampling some of the most recognizable hits of the past twenty years. The album is informed by the illusion of the singularity of the major label pop star, all by herself at the very top. Charli hurtles into self-aware pop, with a sonic palette ranging from the ’80s, 2000s and 2010s. The result is an instant classic pop album.

Crash is bangers from the outset, clocking in at a little over half an hour, and opens with the slow, rhythmic adrenaline injection of the title track. The warm, synthy, and ‘80s inspired “New Shapes” featuring Christine and the Queens, and Caroline Polachek (formerly of Chairlift fame) may as well be a tongue-in-cheek kiss off to Hyperpop, if only for the time being. “Constant Repeat” is an arena-sized dance floor scorcher. Its title alludes to the behavior of someone obsessed with a person the way one would be with a song. “You could have had a bad girl by your side,” sings the iconoclast who has proven that she can play the pop game with finesse. “Good Ones” has an intro resembling Eurythmics’ “Sweet Dreams (Are Made of This)” and embodies a catchy ’80s revival sound of the 2000s that Charli grew up on.

Thematically, Crash spans a broad swathe, ranging from aesthetic odes to the witchy, from the occult to David Cronenberg’s risqué, critically-acclaimed movie of the same name. There is also a full circle aspect to Crash having an association with cars: many of her past songs have been about cars, such as “Vroom Vroom”, “White Mercedes” and the unreleased fan favorite “Taxi”.

Charli’s songwriting presents the pop staple of love and romance in all their different dimensions. Through the tracklist, she regularly interplays between provocative songs and softer, more ballad-like tunes. “Move Me” is a ballad with the tempo of a Justin Timberlake & Timba joint with some delicious R&B “oohs”. It is followed by the effortlessly sultry “Baby”, designed to make one do something between dancing and stripping. An unexpected guitar makes a startling appearance and contrasts beautifully with the melodious staccato of Charli’s occasionally manipulated voice at the end of the Kate Bush-by-way-of-New Order anthem “Lightning”.

Charli’s gift of using decade-defining sounds from synths to the scant use of autotuned vocal creates a sound all her own and totally new in the XCX world. For example, the posturing of a pop star in all its manufactured mass appeal goes one step further when Charli sings the chorus of “Beg For You” in a manner that’s a perfect mondegreen of the song she’s sampling from (“Cry For Me” by September). This track in particular (featuring our favorite Rina Sawayama) has all the best elements of Britpop aided by Charli’s touch: a nostalgic disc scratch, Jamie XX-like bass, the sampled breakbeat and melody of Milk Inc.’s “Don’t Cry”, and a duet about heartache that is irresistible to avoid dancing to. “Used To Know Me” takes the recognizably ‘90s club sound of “Show Me Love” and transforms it into a Britney-esque danceable bubble-gum pop bop.

In 2020, Charli released the raw, vulnerable how i’m feeling now – an album that closely involved Charli’s fans (or Angels, as they’re known across the internet), including features in in her music videos. In comparison, the contrast to her new era as a main pop girl baddie couldn’t be more extreme. With its carefully manufactured mystery and allure, this album is nothing short of an enormous pivot.

Pop stars are part of a larger commercial music machinery: cogs in collaborative efforts from record labels to songwriters, singers, and producers. In contrast, Charli is known for her collaborations with other musicians and producers as much as for her signature glitchy sound. Long resistant to the singularity of the pop star, Charli’s new album dives headlong into the illusory concept of the lone pop star while serving the very finest pop music out there. Crash shows a departure for a musician who refuses to be boxed into a genre at the top of her game making timeless catchy pop.

FKA Twigs – CAPRISONGS

31 Jan

FKA Twigs has made a habit of going from strength to strength over her career, a fact made even more incredible by how much she adds with each iteration and how strong she started in the first place. A mixtape like CAPRISONGS is naturally not going to be her strongest or most consistent work, but it is a space for her to stretch out and experiment a bit and it’s delightful for that.

To start with, she brings Afrobeats into the mix. “papi bones” is a lot of fun and has a lot of infectious energy to it reminiscent of Rihanna in her peak Barbados phase. However, there’s lots of innovation even in the more straight-edged pop. She brings in a fascinating high pitch for “minds of men” that elevates the track from merely good pop to something memorable. Similarly, while “ride the dragon” does have a slightly cliche flute and name tag, it’s mostly very intriguing music.

CAPRISONGS is also just good at being good music. “oh my love” is an excellent track and the chorus is a lot of fun. It is “tears in the club” though that is the real standout. Her collaboration with The Weeknd is a true superstar single. Both of the singers are absolutely at the top of their powers and they work so well with each other.

It’s far from a perfect album. The interstitials alone do more than enough to keep it from that. However, it is a lot of very good, very interesting music. FKA Twigs is always doing something new and always doing it very well and it’s a pleasure to try to keep up.

The Weeknd – Dawn FM

16 Jan

Superstardom was always a strange fit for The Weeknd, but Dawn FM is him conceding all the best parts of his music for it. Trading R&B for disco-pop isn’t necessarily a bad thing and he gets some good music out of it but the result is his weakest album yet.

The style works well for things like the extended and extremely danceable “Take My Breath.” It’s absolutely top-tier synth-pop and Abel gets to use his voice to its full effect in it. Similarly, “Best Friend” is a very good song and an excellent showcase for just how well The Weeknd can sing.

Going disco has highlights, but substituting it for the previous R&B really hurts something like “Less Than Zero” which ends up simply boring and bland. He’s also lost a lot of his edge here. He glories far less in self-destruction now that he’s won a Kids Choice Award.

Even something like the still quite good “Is There Someone Else” doesn’t carry the emotion that he once brought to bear. There’s no bite to this album. He’s much less scary and less debauched than he once was. I like what Wayne does in “I Heard You’re Married” and Abel has moments in there too, but it has replaced his razor blades with safety scissors. Also, while I love Jim Carrey, the interludes are the kind of bad poetry I expect at amateur singalongs.

The strangest thing is that The Weeknd has always been an artist defined by singles and not albums and this album has no single for me to really come back to. Dawn FM does come together in a way that none of his previous albums ever really came close to doing but that doesn’t do enough without the musical peaks that he once had. There used to be gold with the dross. Dawn FM is instead a pretty consistent bronze.

New Artist Roundup: Jul. 2021

3 Aug

Over the past few weeks, we’ve had tens of submissions from aspiring young artists from all over the world – thank you! It was a monumental task to pick these out, but here are our top tracks from New Artists for July 2021.

Interested in getting featured in our next New Artist Roundup? Don’t forget to email us your music at artists.tfr@gmail.com!

“The Absence of You” by The Islas

The Islas are a young band from Norwich whose sound is characterized somewhere between the Killers and the Smiths. Their most recent single “The Absence of You” features a gentle, lilting guitar melody that supports Nathan Baverstock’s slightly-nasal vocals quite well, and the song takes an even more Coldplay turn in the upbeat, high-energy chorus. “The single is not really a love-sick song about wanting someone back, just the sensation of feeling empty and realizing that that chapter of your life has gone,” says the band – a feeling to which any young person can relate, no matter their age. “The Absence of You” is the first single from the band’s upcoming 6-song EP Oblivion. Be sure to keep an eye out for that if you liked this track!

Links | Press

“Generations” by Gede

As eagle-eyed readers may realize, Gede has already been on our radar since our March 2021 edition of the New Artist Roundup, where we loved his electric blues meets rap meets jazz track “Sinners” from 2021 album Forward. The Washington DC-based artist cites a wide array of musical references from Gary Clark Jr. to Tame Impala. He’s now out with another EP, the two-song Generations. The title track from this EP starts off with Latin trap beats that bring to mind a sunny Miami summer, and the rapper’s almost grime-style verses are perfectly produced to sync with the music. “Generations” is a vibrant, catchy song that lies somewhere between Stormzy and Bad Bunny – a tough bridge to connect, but Gede somehow pulls it off.

Links

“Mercy” by KiNG MALA

KiNG MALA (born Areli Castro) is an up-and-coming singer-songwriter from Los Angeles, California who’s just on the verge of a break-out hit. Spotify listener counts, which often precede mainstream fame, confirm our thesis: this young artist that you may never have heard of has over 350,000 monthly listeners. Her stage name, KiNG MALA, is actually carefully chosen: “Both [her] music and visuals experiment with masculine tropes.. and these masculine threads weave throughout everything [she] does, hence King rather than Queen and ‘MALA’ which roughly translates to ‘bad bitch’ in Spanish,” she said.

A lot of her Internet fame came through her TikTok hit 90s-vibe pop hit “she calls me daddy”, but new track “Mercy” proves that she’s no one hit wonder. This is a lushly produced track that belies her relatively-underground status, with her soft melancholic vocals reminding the listener of Billie Eilish. The song itself is about her mental health struggles with the darker side of herself. “I have said things I will regret forever and every day I search for the good within me and search for the proof that those things are not who I really am. Sometimes all you can do is forgive yourself and look for the good… that’s what this song means to me.”

Links | Press  

“Brand New” by TARYN

TARYN is an Atlanta-based singer-songwriter whose music is influenced by old soul and modern pop, in her own words. “Brand New” is a beautiful track from the clear-voiced singer, beginning with striking finger snaps that transition into lushly produced, warm vocals. TARYN grew up in a music-loving household. Her parents “filled the house with the sounds of artistic greats like Norah Jones, James Taylor, Joni Mitchell, Van Morrison, and Cat Stevens,” and it’s easy to see those influences in her ethereal, timeless yet radio-friendly music. TARYN wrote “Brand New” while driving on the freeway and worked with producer Joey Burcham to turn it into a fully-formed track – and honestly, it’s the perfect feel-good summertime drive song.

Links | Press

“Headlights” by Sgmaniak

Sgmaniak (pronounced S. G. Maniak) is a hip young artist from New York whose music lies somewhere in the summery sounds of neo-soul jazz. The lovely “Headlights” is the diary of a budding, summertime romance. “We met a club downtown last week… got out at the curb then we got between the sheets,” he describes about their meet-cute. “Laying on the roof under the blood-red skies, I know we just met but I think we might just last…” Ah, young love. “Headlights” is a summery, light track that really showcases Sgmaniak’s lyrical prowess and storytelling ability. This track comes off the artist’s recent nine-song album The Global Heart Awakens.

Links | Press

Interested in getting featured in our next New Artist Roundup? Don’t forget to email us your music at artists.tfr@gmail.com!

Monthly Playlist: Jun. 2021

3 Jul

We are officially halfway through 2021 – somehow that feels too short yet not long enough. It’s been a rough year for some, a better year for others, but no matter where you are in life, these five tunes are sure to set your daily life on pause, even if for just a little bit.

5. “You Right” by Doja Cat feat. The Weeknd

Honestly, we are surprised that it took this long for Doja Cat and The Weeknd to collab. Both of these massively popular artists have a similar low-key, 80s-influenced vibe, and the confluence plays perfectly on this surprisingly poppy track from Doja’s new album Planet Her. Doja Cat carries the bulk of the first half of the track with her slightly raspy rapping style, and then The Weeknd steps in for his trademark wavering vocals. The entire track is a back-and-forth between two folks who are still in love (or at least lust), despite the fact that one of them is in a relationship. A tale as old as time, but not a bad version overall.

4. “LAW OF AVERAGES” by Vince Staples

Most people would have heard LA-based rapper Vince Staples from his star turn w hen a remixed version of his song “BagBak” soundtracked the landmark trailer for Black Panther. Since then, Vince has released his third studio album FM! in 2019, and is now set to release his next album – apparently self-titled Vince Staples – sometime in 2021. The first track from the new album is “LAW OF AVERAGES”, a meditative, slow-burn of a rap track that covers everything from bad friends to the heaviness of sudden wealth. You’re hooked from the first line: “Fuck a friend, I don’t want no friends with no open hands / Count my bands, all alone at home, don’t you call my phone / Everyone that I’ve ever known asked me for a loan.”

3. “Lost Cause” by Billie Eilish

The latest single from Billie’s upcoming sophomore album Happier Than Ever is very much on brand with the image that she’s beginning to cultivate. Earlier this year, Billie unveiled a newer, more adult, more body-confident version of herself, one that has outgrown the teenage angst and errors of her Apple TV documentary-era self. “Lost Cause” is a sneering goodbye to an ex that, in hindsight, was just not good enough for her. As always, props to Finneas’ fantastic, trip-hop production that amps up the cool detachment in her vocals.

2. “Venus Fly Trap” by MARINA

Welsh singer-songwriter MARINA (Marina Diamandis) has been leading up to her fifth album Ancient Dreams in a Modern Land for quite some time. Back in November 2020, we loved her track “Man’s World”, which was apparently the first single from this new album. Like most of Marina’s songs, “Venus Fly Trap” features her throaty vocals and a distinctive sense of outsider self-awareness that’s very unusual for a pop artist. “I never quite fit in to that Hollywood thing / I didn’t play that game for the money or the fame / I did it my way, baby / Nothing in this world could change me,” she boasts – although you could be forgiven for not paying much attention to the lyrics on this dance-pop track.

1. “Solar Power” by Lorde

Lorde is back! The young New Zealand singer first burst onto the scene with her debut album Pure Heroine, featuring the smash hit “Royals”. We quite liked her sophomore effort Melodrama as well, so we were excited to learn about her new track “Solar Power”, from the eponymous upcoming album. What we love about this track is the totally synchronous sunny vibe, from the title to the subject matter (“I hate the winter, can’t stand the cold… But when the heat comes, something takes a hold”) to Lorde’s bright yellow outfit on a sunny beach. This is a summer ditty about the simpler things in life, which hits particularly well after the bracing past year or two that most folks have had.

Xiu Xiu – OH NO

11 May

I’m so used to feast-or-famine with Xiu Xiu that it’s kind of hard to deal with OH NO. This certainly has none of the sheer brilliance of Fabulous Muscles or A Promise, albums which can define a career and forever make a fan. It is however listenable, something that can’t be said for at least half of Xiu Xiu’s music. OH NO is strangely relaxed and surprisingly likable. There’s nothing that tries too hard and so nothing that just falls flat. Instead, it’s just a solid collection of experimental pop.

There are definitely moments that stand out. There’s a percussive crash to echo the line “don’t trip on your skates” that then melds unexpectedly with the song. “Rumpus Room” is unironically a lot of fun and “Fuzz Gong Fight” is a beautifully edged evisceration. It’s a song with weight behind it. It has nothing for me to return to in the way his best music does, but it was a pleasant listen and as such a mildly unexpected surprise.

Lana Del Rey – Chemtrails Over The Country Club

5 Apr

So much of art rests on thin margins. Lana Del Rey has made a career out of evocative music, music that conjures a lot out of a few scattered pieces. This understatement was the core of her appeal. With Chemtrails Over The Country Club, the insubstantialness finally takes over and the magic just doesn’t hold and the result is hollow instead.

The biggest failure here is just the music. LDR was always languorous, but here the album is simply mired in tar. She has moved away from the hip-hop that underpinned her debut and suffers for the loss of energy that came with it and her stabs at punk rock are inexecrable. I respect that she loves Joan, so do we all, but the rest of us know to keep our imitations to the privacy of bathroom walls.

Normally, she is cinematic enough with her music that its magnitude gives it momentum. Here, the music is flimsy. The moments of pace and energy that dotted her previous work are completely missing here. Even more damningly though, the album just has far too little emotion.

It does manage some highlights. The title track is quite good and I love the drums at the end and the repeated “My Cancer is sun and my Leo is moon.” “Yosemite” is absolutely gorgeous and there’s a wonderful little Spanish string tilt in there. “White Dress” has the amazing “Men In Music Business Conference,” which I dearly wish she had expanded on more.

It’s a shame that the rest has nowhere near the same quality. Despite “Breaking Up Slowly” being her comfort zone and despite the brilliance of “Are these my good years, or do I have none?/Are there really good years for everyone?”, the song has no substance to it. It’s okay to be vague if you allude to something interesting, and the premise of this song is not. Even so, it’s substantially better than “Not All Those Who Wander Are Lost” or “For Free.” These are unnecessary songs which traffic in the most uninteresting cliches and do so in the most boring manner.

Norman Fucking Rockwell was excellent and showed Lana Del Rey as so much more than just her debut album. This album adds nothing to her legacy. With any luck, we’ll remember this as nothing more than an unfortunate speedbump, but it’s more likely that we just will not remember it at all.

Ariana Grande – Positions

12 Nov

Ariana has hit a productive streak of late, and a fairly solid one too. Positions isn’t the revelation that thank u, next was, but it’s still a fun pop album. “34+35” is a cute little sex jam and “my hair” is strong R&B in a Solange vein.

It’s not all what I would hope for though. “just like magic” is a little uninspired and a little grating. “off the table” does nothing by reuniting The Weeknd and Ari, which is a shame given how well their previous collaboration worked. “motive” is effective for most of the song, it’s both suspicious and tender and compelling for it, but sadly the Doja Cat feature detracts from the whole thing.

Still, any flaws are made up for with “positions.” It’s a magnificent song. Her voice is deeply alluring and the song takes an intricate opening and makes it an excellent beat.

Positions is just a good time. Ariana is having fun and being sexy and making frothy pop music that’s a pleasure to listen to.

Fresh New Voice: A Chat with Arham Fulfagar

22 Sep

“Make It Alright” by young singer-songwriter Arham Fulfagar really caught our eyes and ears this August. The gentle, lilting guitar melody syncs well with Arham’s mellow voice, from the stark chorus into the jangly verses. We took a spin through the rest of his discography, and couldn’t wait to find out more about him. Read on for a short interview with the Guwahati musician about his influences, his musical awakening, and his upcoming EP!

Top Five Records: Hi Arham! Thanks for meeting with us. Tell us a little bit about yourself?

Arham Fulfagar: I am a singer-songwriter born and brought up in Guwahati, and I also have been working as a freelancer video editor during this lockdown. I have been writing this way for about a couple of years, and I also write poetry and make spoken-word videos besides making music. I love to travel and explore just as much as I love to explore new and underrated music from the corners of YouTube and Spotify.

I also love to show magic tricks to people and I’m also quite good at it! I love doing and learning new things. I’m not really a “talker” in a group, but I love to talk about things like the universe, life, popular conspiracy theories, and of course, music. I’m a believer of “everything happens for a reason” and that every little decision I’ve made has lead me here – and I’m proud of it!

I believe that sometimes things fall apart, but it’s only to make way for better things. I’ve come a long way when I look back and I have a long way to go, but I’m more excited than scared, as the universe works in its magical ways.

TFR: Quite multi-faceted! You mentioned you’re from Guwahati… How much does the North East shape your music and your art?

AF: The North East defines who I am and how I’ve grown over the years. But on the other hand, traveling and moving cities is what has given me experiences of a lifetime without which my art wouldn’t exist the way it does. There are obviously more than one influence that has lead me here. My music and my art has absolutely a lot to do with my life most of which I’ve spent here in Guwahati, Assam.

The North East is a beautiful place with lots of positive vibes and people who have an incredible love for things like music and art; and thus it has a major role in shaping me as a musician, too. At the same time, living away from my parents and family, on my own and blending in with people from different cities has also influenced my art and my style of music.

TFR: We loved your recent jangly, poppy new single “Make It Alright”. Talk to us about the story behind the song! What’s the idea behind it?

AF: “Make it Alright” is an experiment to make a sad song sort of groovy (or poppy). When I was writing it for the first time, I had a thousand things messing with my head, and I had recently started having some anxiety attacks. This was when I was in college back in Bangalore, and I was living with my friends. I remember sitting in my bed and just strumming these basic four chords until I had this image in my head of a boy sitting in the corner of my room, sobbing. That’s when these words came out of my mouth, “I know what you’re crying about, just hold my hand let me make it alright” – and that’s how the song started! Later, I just started sort of blabbering and throwing out random words and recorded them on my phone’s recorder.

TFR: Very interesting. Coming to your musical influences: We hear snippets of everything from Jason Mraz to Ed Sheeran in your vocal and instrumental style. Who are your big influences, musically or otherwise?

AF: There’s this one musician that I look up to the most and want to be able to write and perform like some day. His name is Damien Rice and he is a major influence to the way I write my songs and perform them. Besides that I am also inspired by lots of underrated musicians like Anson Seabra, Roo Panes, Ray LaMontagne, Gert Taberner, and more. I listen to a lot of artists including Ed Sheeran and Jason Mraz, and keep looking to get inspired. Besides these, there are artists that I see around me who also influence me as an artist, such as Raghav Meatle, Anuv Jain, Osho Jain, and my artist friends – most of whom I’ve met in this lockdown.

TFR: Another track we love is “Waiting For You / Intezaar”, especially in the seamless way you switch between English and Hindi. Do you have a preference in either language? Do you relate different emotions or feelings to the two languages?

AF:Waiting for You / Intezaar” was a beautiful experience for me. It was the second single that I put out and the only single as of now to have crossed 10,000 and even 25,000 streams on Spotify. The lyrics are very honest and simple, and there’s no instruments in the song other than an acoustic guitar and very light keyboard.

Talking about language and what I prefer, I think it’s a lot easier for me to write in English but my listeners and even I love it when I write something in Hindi. I’m liking this mix that I have and I’m grateful to be able to use both the languages for my songs. Lately I’ve been trying to write more in Hindi as well. A song I wrote during the lockdown called “The Kabootar Song” is a Hindi song that has received the most love compared to all other songs, even though it hasn’t even been released.

I don’t always relate different emotions to the two languages, although I must say that lately I’ve been finding it easier to write happier songs in Hindi. But these are only phases and I’m pretty sure it’s all in my head.

TFR: It looks like you’ve been steadily releasing new songs all year, with “Red Wine” in February, “Waiting for You” in April, “Victim in Love” in June, and now this latest song in August. What are you leading up to? Is there an album in the works?

AF: I performed for the first time in October 2019 and it was the performance that changed my life. It was a DIY festival called The Yellow Festival and it took place in a place called Pulga in Himachal Pradesh. None of my songs were out and I performed my songs for the first time and it was so beautiful that I decided to start releasing music in 2020, which I did. I was living in Mumbai and I found an amazing studio and producer who helped me.

Thus, indeed I’ve been steadily releasing new songs this year and I am releasing my last single this year (in September) before I start working on my debut EP. The single is called “A Little More” and is one of the songs that I recorded back in November 2019 in Mumbai. I think it’s also one of the best tracks from that time!

The EP is going to be called Ham Chalein and it’ll be a Hindi EP with about five songs, and I’m super excited about it! I can’t wait to record them and get them produced and release them. I still have lots of original songs that I’m yet to record and put out. Moreover I’m writing new stuff almost regularly.

TFR: As a young, upcoming artist, how have you worked on building your fanbase at a time when the entire world is on lockdown?

AF: As you keep putting out newer stuff, you also build an audience for your past stuff, which is sort of what I’ve been doing. Moreover, I have been making friends by attending live events and shows. I have also been putting out poetry related content and even videos to reach more people. I have also joined some popular IG Lives such as that of Ehsaan Noorani, Armaan Malik and Remo D’Souza to reach more people with my talent. Staying connected with people who support you is also very important so it’s important to show my followers that I really am grateful for them, time to time.

TFR: If there’s one Indian musical artist you’d like to collaborate with, who would it be? And what about one non-Indian musical artist?

AF: I would love to collaborate with a lot of Indie musicians in the future and it’s really tough to pick one but if I had to, I’d go with Prateek Kuhad. As clichéd as it might sound, Prateek Kuhad is someone that has taken the independent music scene to another level, and a lot of us artist do look up to him. Moreover, his songwriting is so honest and simple and relatable.

If I’m to choose one non-Indian musical artists that I would like to collaborate with, it has to be Damien Rice. My admiration for Damien Rice is on another level, it’s almost like a crush. My friends have even started calling me “the long lost son of Damien Rice” because of how much I’m inspired by his style of writing and performing.

TFR: Haha, that’s funny. Thanks so much, Arham, for chatting with us! And best of luck for the release of your new track and the upcoming EP, too!

Listen to Arham wherever you get your music. And be sure to keep your eyes open for his new single this week!

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