We’re back with my Top Emerging Talents’ Track Round-Up pics, and this time, it’s a women-only edition, so let’s jump right into it!
“I Don’t Wanna Leave Your House No More” – Nana M. Rose
“I Don’t Wanna Leave Your House No More” is a pretty self-explanatory title for such an emotion-filled track by Nana M. Rose.
The combination of the artist’s voice, the melodic arrangement, and chill beats make this song one of a kind. The key emotion here is nostalgia: who would want to drive away from “these magic spots” that meant so much to us, even for a brief point in time?
A European Lana Del Rey–I don’t think it’s a coincidence that their names are so similar–Nana M. Rose knows how to create a bubble of melancholy lost in time and space. Though her singing is soft and ethereal, the instrumental doesn’t exactly match that. Rather, it presents quite a lot of elements layered over one another: the drums, the violins, and the extra harmonies on her vocals, for instance.
However, the track doesn’t feel “overdone” because each individual element is beautiful, starting with Nana’s melodies. I can’t describe the exact feeling, but they get into your head. And it’s impossible to get rid of them.
“Late Night Calls” – Imogen Mahdavi
Imogen Mahdavi has what I would call a unique voice, and she knows how to use it in a song like “Late Night Calls.”
The track starts softly, with low-key instrumentals to which more and more elements are added as we progress into it. Though the pre-chorus foreshadows an exciting follow-up, the first chorus merely consists of the same production as the one on the verse plus some piano chords that add rhythm to Imogen’s singing.
The second verse would sound almost identical to the first one if it wasn’t for some added beats. And that’s when things get exciting. The second chorus definitely stands out from the first part of the song, with a firework production exploding on your face as the artist repeats the same heartbroken lines over and over.
This explosive chorus enhances the hopeless meaning of the lyrics: “In my car, in the parking lot, I hope you pick up / Hope you give up that future with her.”
Rather than a parked car, however, the image I have while listening to this song is somebody trying to reach their ex-lover while driving through an empty city and blasting music at full volume.
Millie Blooms‘s ability to switch from high-pitched vocals to fast rapping and back is comparable only to an Olympic athlete competing in different specialties of the same discipline.
“Faint Of Heart” starts in a way that would send the faint of heart into panic mode. As a matter of fact, this song ain’t for them.
However, behind these sharp vocals and catchy beats, Millie is sending a clear message: hard work does pay off, and by “faint of heart” she may be referring to those people who can’t handle challenges–or fast-paced things like her rapping style. Some of the faster verses remind me of Eminem and his infamous “Rap God” verse, which I bet Millie would be able to cover.
We get to catch a breath after the second verse when she repeats “It ain’t something for the faint of heart” as her singing becomes more whispered and the beat drops a bit.
I like the “tight” tempo on the track, and how every element is calculated and strategically placed; also props to the producers for adding those extra vocal effects here and there that enrich Millie’s performance.
Cover image credits: @milliebloomsproductions / Instagram