Superlove – Charli XCX

Since penning summer smash ‘I Love It’, Charli XCX has been the most in-demand co-writer around, boasting songwriting credits with Britney, Rita Ora, Sky Ferreira and Marina Diamandis. This week however, she previews ‘Superlove’ the first single from her much anticipated solo album.

For the album she has teamed up with the likes of William Orbit, Greg Kurstin and Dimitri Tikovoi. The production hones that distinctive Charli XCX sound, in ‘Superlove’ we hear upbeat jangling guitars  combine with glowing electric sonics.

‘Superlove’ sees a step away from her previous LP which had flavours of punkier, darker verses, and is very much in the same vein as the brighter, dancier ‘I Love It’ . Verse melodies are hooky, uplifting. and lyrically brilliant. The pre-chorus has a very cool chromatic descending melody, combined with some excellent use of acronyms (we love a good R.I.P/S.O.S spelt out in a pop song).

In comparison to the verse, the chorus is OH SO FAST. We can’t figure out if it runs away a little too quickly, we are left wanting more, perhaps a bit of space between lines to process it all. But Charli XCX somehow pulls it off, spitting out the rapid-fire lyrics rhythmically with panache and attitude.

Off the Hook – Counting Stars

Counting Stars – OneRepublic

Off The Hook takes the best ‘hooks’ from pop songs, so you can listen again and again and again and again…

PopSlutz loves everything about this record, from the whirling keyboard riffs to the delicate harp flourishes. But our favourite bit has to be this superb vocal falsetto hook that kicks off the bridge.

Miley Cyrus – Wrecking Ball

Before we get started, we’re not even touching on the whole video scandal. Let’s just focus on the song (this is a songwriting blog after all). Interestingly on an album titled BANGERZ, the song that stands out is a bonafide ballad. Writing and production for ‘Wrecking Ball’ was headed up by Dr Luke, Cirkut and a team of super-songwriters Sacha Skarbek, Stephan Moccio, and Maureen Anne McDonald.

Hooky from the get-go, the verse melodies bounce up and down playfully. The bridge introduces a beautiful descending melody that dramatically winds down to a complete halt, setting up the chorus to sound even bigger (as if it wasn’t humungous enough already).

Production, as is always best with a ballad, is kept tastefully minimal. Ebbing keyboards gently surround the anguished vocals, subtly doubling the melody in the bridge. No drums until the chorus, all very restrained, and that is what allows the song to shine.

But what really sets ‘Wrecking Ball’ apart is the lyrical content. I mean WHAT a metaphor. So simple, but so perfect at putting the idea across that love can smash you into a million pieces.  Totally one of those wish-I-thought-of-it moments.