Kate Bush wrote and produced this song for her 1985 album Hounds of Love, and it was released as that album’s lead single. That song was the ethereal yet catchy ‘Running Up that Hill (A Deal with God)’, a song which has only grown in popularity over the years. Thanks to its use in films and TV shows such as The OC and more recently, Stranger Things, it has become one of Kate Bush‘s signature songs.
Much like her predecessors Kate Bush and Imogen Heap, British vocalist Ellie Goulding stands at the forefront of independent-minded mainstream pop. With her unique soprano warble and knack for writing catchy yet emotionally earnest songs, Goulding quickly rose to the top of the U.K. charts with her 2012 debut album, Lights. Her folk-inflected electronic pop sound increasingly drew from electronic influences, touching upon dance music and ambient synth pop .
English pop sensation Ellie Goulding has dropped a new track titled “Easy Lover” featuring the renowned rapper Big Sean. The new single was released alongside an official music video directed by Sophia Ray.
Since the very beginning of her music making, the career of Blackpool singer songwriter Rae Morris has been one in continual ascension. Drawing influences from the Feist and Kate Bush, her emotive, electronic folk pop sound looks set to reach even more ears.
Now she returns with her first single since 2018, ‘No Woman Is An Island’. A perfect example of how honesty, truth and freedom lie at the core of this new songwriting phase for Rae – a celebration of self-love set to lush strings and sparse beats.
Despite having written more than 100 songs before the release of the first single, Kate Bush was only 18, in 1977, when she wrote her debut Wuthering Heights, inspired by Emily Bronte’s homonymous novel which was published more than a century before in 1846. Bush shares the same birthday as the book’s author, she also happens to be called the same as the Bronte’s most known character, Catherine. If the coincidences seem to be another excuse to justify the legitimacy of Kate Bush’s composition of the song dedicated to the book, the facts that she was a genius performer and an genuine talent remain undiscussed facts.
Wuthering Heights was the catalyst of an incredible career in the music industry and, in hindsight, she was right to insist for it to be her first release despite pushback from her record label; it gained her the title of first female performer to ever have a self-written number 1 hit in the U.K.
An obsession with money, an unfaithful lover, a friend’s accidental pregnancy, misogyny, loneliness, death… This is just some of the lighthearted subject matter that make up LONER––the darkly comedic second album from songwriter/producer Caroline Rose. Armed with an arsenal of new instruments and equipment, an ever-growing sense of “ahhh fuck it,” two years of exploration, and a wicked sense of humor, Rose delivers a set of serious songs wrapped in a sprightly, angsty pop burrito. Because, as Rose puts it, “Sometimes sad songs just need a cocktail”.
“I call it Schizodrift,” she says sipping on a martini with her pinky out. “I want to make music that sounds as manic as I feel.” Filled with catchy synth hooks, Ray Manzarek-esque Farfisa, surf guitar, depth of thought and a punk attitude, LONER captures the energy of bands like Le Tigre and The Cramps, and nods to the styles of Blondie and DEVO, the pop hooks of icons like Justin Timberlake, all the while being inspired by the artistry of Kate Bush.
Our muse of the week comes from the cold Norway and she’s gonna be today at Primavera Sound. There are few biographies that are as curious as that of the Norwegian singer songwriter Jenny Hval: she started in a gothic metal band, got into ethereal pop and experimentation under the moniker Rockettothesky and now under her own name she has established herself as one of the most original and committed voices in contemporary pop. On “Innocence Is Kinky”, her fourth album, she uses songs that oscillate between the vapours of Kate Bush and the abstraction of FKA Twigs to explore themes of gender and sexuality and to tackle political questions, but it is on “Apolcalypse, Girl” that she has taken her condition of performer, intellectual critique and creator of provocative pieces of distorted pop even further and her name is now a synonym for commitment and creative freedom.