The Big Three: The following tracks are a selection of those submitted through Musosoup that deserve your close attention!
By Marilù Ciabattoni
Discovered via Musosoup
Sabreen Islam – count me out
Release Date: 18/03/22
Location: New Zealand, Auckland
Sabreen Islam’s latest single, “count me out” starts very shyly, with the artist’s soft singing over a just-as-soft piano arrangement. She sets the scene from the very first line, as if she’s writing on a diary rather than speaking her thoughts out loud. In-between beautiful melodies and vocal harmonies juxtaposed to each other, she lets herself go to very innocent, very ordinary comments like, “and now I’m waiting for this brand-new dress to dry”. The track picks up rhythm from the second verse, when the beat kicks in. “count me out” is a satisfying springtime song that draws from the best of acoustic and electropop to make us dream with our eyes wide open.
Bota Butterfly – Drop
Release Date: 18/03/22
Location: United Kingdom, LONDON
Halfway between FKA twig’s “Cellophane” and Normanii’s “Wild Side”, Bota Butterfly mixes emotional vocals with sensuality and a killer beat in her new electropop single “Drop”. The instrumental features ascending and descending sound effects that recall a series of drops falling as the artist sings the lyrics of the chorus: “There must be something about me / You wanna love me, love me”, which, by the end, become a mantra repeated over and over. Her vocals are at times distorted, making the tension in the song even more powerful as we get closer to the end. It’s these little variations that break through the static instrumental of the song and contribute to keeping “Drop” enjoyable to listen throughout its ups and downs.
Elina Filice – Dont Let Me Fall
Release Date: 25/03/22
Location: Canada, Toronto
Kicking in with a beautifully hypnotic riff and an even more hypnotic first verse dominated by the artist’s vocals, Elina Filice’s “Dont Let Me Fall” soon transforms into a half-acoustic, half-electronic anthem, reminding of some mid-2010s hits like Robin Schulz’s remix of “Prayer In C”. Though it’s not rare to hear this type of tracks, it’s impressive how Filice’s voice adapts to both styles: the folkish, guitar-driven verses; and the 80s, dance-hall chorus and bridge. It’s the sweetness of the artist’s voice that hooks you until the end, distracting you from an otherwise repetitive chorus. Even with some of the autotuned vocal effects that can be heard at times, her voice remains expressive and full of feeling until the very last lines.
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