The Heavy Resurrects Soul with “Can’t Play Dead”

As a self-professed anglophile and fiancee to one very cheeky Brit, I certainly appreciate the many aspects of our wry, Founding Fathers. From stodgy meals, statuesque cathedrals and sublime music, England is a nation enriched in all aspects: cuisine, culture and most importantly, creativity.

My most recent English example? Indie/blues/rock/soul/funk mash-up musicians known as The Heavy.

Hailing from Britain’s rain-sopped turf are The Heavy; four very talented lads who emerged onto the music scene circa early 2000s. Their most notable song, “How You Like Me Now?” has been featured in countless adverts, movies and video game trailers (and was the first tune that sparked my fan frenzy).

The Heavy reeks of rawness. They’re uncut and unparalleled artists who perform as well at gigs as they do on VEVO. I would know; I’ve frequented three of their concerts within the past two years, and have yet to be disappointed.

While The Heavy is relatively under-the-radar, their undeniable talent is worthy of high accolade. Take a peek at the ghoulish video for their new single, “Can’t Play Dead,” and let us know your take on this British, bass-heavy/bad-ass band.

Chase & Status: The Creative Concept Behind “Flashing Lights”

It’s hard to believe MTV started as a hosting platform for music videos. Flash-forward some thirty years and the channel is a mere shell of its piloting concept. Reality TV now dominates the slots that were once intended for ‘music television,’ but given our generation’s lackluster videos it may have worked out for the better. In recent years, creativity has taken a back-burner to the generic glorification of riches, bitches and “YOLO” fever. With all the ways to showcase talent, I don’t understand why I see the same stock models rotated around for different videos.

I’m a believer that creative video concepts can amplify a musician’s appeal. Visionary artists who detour from the ordinary will often generate intrigue due to their avant-garde approach. Just take the London-based duo, Chase & Status, as a prime example.

Chase & Status are music producers who have created a fortune by navigating away from the norm. The eclectic pair won ‘Best Video’ for their song, “End Credits,” at the 2010 Q Awards, in addition to several nominations for their original and collaborative mixes. Their 2011 “Flashing Lights” video is now regarded as a sinister success; coupling macabre undertones with a buildup of dubstep, break-beat rhythms.

I found “Flashing Lights” to be the perfect blend of drama and drums, but what’s your opinion? Is this video the new wave of creative expression, or the projection of your nightmares?

Songstress Delilah: Peaking the Charts and Piquing your Interest

For a country smaller than the state of Florida, England incessantly burgeons with musical talent. A modern “British Invasion” has emerged on this year’s music front, with radio charts offering an English mash-up of thumping bass and the thrum of banjos. From Alex Clare’s experimental drum-and-bass to Ellie Goulding’s indie pop melodies, the eclectic range of British influence has made an influential mark on the contemporary music scene.

Another innovative artist climbing the UK charts is twenty-two year old Delilah; a London-based songstress gaining notable praise with her debut album, “From the Roots Up.” The freshman LP skillfully combines ambient, electro-bass beats with sultry, R&B vocals; successfully achieving a bold range of genre-bending tracks.

Delilah’s first single “Go” samples lyrics from the 1983 Chaka Khan hit, “Ain’t Nobody,” while flawlessly incorporating her own edgy, carnal-driven undertones. The provocative track peaked at #21 on the UK Singles Chart, and amassed heavy radio rotation.

“From the Roots Up” is a candid showcase of Delilah’s lyrical versatility, offering realistic – at times haunting – accounts of love and lust. Physical expression is glorified throughout the album, highlighting her frank and unapologetic approach to sexuality.

Delilah is certainly an artist on the rise, presenting a fresh culmination of innovation and talent, but what’s your opinion? Take a peek at the creative video for her single, “Love You So,” and see if this English artist tickles your fancy….

From Across The Pond: Scouting for Girls, “Elvis Ain’t Dead”

Might as well keep the pop love flowing, right? Last week, I spotlighted The Hoosiers, and while Scouting for Girls haven’t gone the collect-’em-all route for their self-titled debut, they’ve certainly got just as many hooks to their name. Like all the best bands these days, they found success via a substantial internet buzz – in this case, via IntoMusic – and you can easily hear why they’ve received the attention that they have. Why can’t the kids in the States get into music this good…?

From Across the Pond: The Hoosiers, “Goodbye Mr. A”

You’d be well within your rights to be skeptical about the quality of music put out by a band that releases their debut album in four different color schemes. (Collect ‘em all, kids!) As it happens, however, The Hoosiers – a London-based trio that’s 2/3 British and 1/3 Swedish – are writing and releasing some awesome pop music. Someone suggested that their tunes approximate what The Feeling would sound like if they actually let loose once in awhile, and I can hear that. Dig their biggest UK hit to date: “Goodbye Mr. A.” Our good friend David Medsker will, within mere seconds after hitting “play,” understand exactly why I felt obligated to avoid the formalities and offer the song immediate inclusion in the WillPop 101 syllabus…yes, it’s just that damned poppy…and to go with a superhero-inspired video to boot? Well, that’s just an extra layer of sugar-sweet icing on the WillPop cake.

(FYI, the last time I embedded the video, it was deleted from YouTube, so if the same happens with this one, then this official non-embeddable version is right here.

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