This summer, the alternative music junkies from Humboldt County, CA. to Atlanta, GA. are turning up the volume for a musical battle from overseas—the United Kingdom versus Australia & New Zealand. Ripe with instrumentals that make you believe you can make the head bob look cool, and countless, catchy choruses, the Brits, the Aussies, and the Kiwis are showing Americans a worthwhile head-to-head—or vocal cord-to-vocal cord—matchup.
If your summer siestas have taken place at the nearby indie café, you might’ve turned your ears towards the stereo in order to hear Bastille’s new music over the crushing of coffee beans into espresso. Initially formed in 2010, the band is comprised of four men from London. This is further evidenced from their often skinny jean clad legs and mussed hair.
Dan Smith, the lead vocalist of the group, has a sound comparable to the fluid lead singer for The Lumineers, Wesley Schultz. However, Smith retains his own style in a wide vocal range that is supported by occasional hints at his English accent. While the band’s premiere studio album, Bad Blood, began to catch attention from the U.K. rdebut in March of 2013, the U.S. was not far from earshot. Early stand-out singles, like ‘Pompeii” with a rhythm made for summer, will have you and your slew of friends walking in step down the sidewalk; undoubtedly looking less British and rugged than the members of Bastille, yet enjoying yourself all the same.
Now, if you’re less of the café, siesta type of summer soul, and you like to cut straight to the nightlife, drink-in-hand technique, you might make fast friends with another U.K. band—Disclosure. Recognized for their addicting tempo that picks up when it should, and slows down just as you need to catch your breath from your own awkward interpretation of dancing, the electronic duo is coming into the American spotlight quickly.
Brothers Guy and Howard Lawrence, the duo behind Disclosure, hail from Surrey. Yet, the undeniable likeness of their music on U.K. streets and U.S. soil alike has led to appearances such as the stages at Coachella last April. “Latch ft. Sam Smith” (attached below) comes from their premiere album, Settle. This single has hit number one on U.K. charts, and number two on American electronic charts. Perhaps, electronic music does, in fact, have a place in 2013 and Disclosure stands tallest among the rest to make this argument.
To combat these two groups from England, are two solo artists from down under. The first is singer-songwriter, Lorde from New Zealand. With two number-one hits in New Zealand, her single, “Royals” is climbing the charts in the U.S. Upon watching the music video to “Royals” (attached below), and finding a striking fair-skinned, blue-eyed, brunette singing to you—directly to you—you’ll be left jarred just long enough to watch the music video at least once more.
This alternative pop maven also gleans popularity from her songs, “The Love Club”, and “Tennis Court”. These hits all tie together with bridges as equally tranquil as heard in “Royals”. The clarity in her voice and freshness in her look has jumped from the island and has us all in a kiwi tizzy. If you haven’t knelt to praise Lorde’s musicality thus far, then surely finding out that she’s but 16-years-old will make you throw in the towel and succumb to her fandom.
Lastly, Betty Who a native of Sydney, Australia lends listeners her own classic pop persona just in time for rolled down windows and topless… Jeeps of this season. Her overarching, popular single, “Somebody Loves You” was first premiered by American bloggers in late 2012. Now, her lyrical “ooh’s” and “aah’s”, that we’ve long associated with the work of Madonna and Whitney Houston are making a comeback. Betty Who is settling in as one of the most preferred artists to lose track of time to on hot summer days.
From innovation within electronic music and the revival of meaningful lyrics, these groups and artists from overseas are meant to stay awhile. Boys versus girls, Brits versus Kiwis and Aussies—call it what you will, surely we’ll all be singing along regardless.
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