LITM Pop Picks this week showcases musical gems from chill-pop, electro-pop and retro genres featuring artists like La Biche, Enitu, Darling Darling and others

In this edition of LITM Pop Picks we bring dreamy vocals, genius recreation of classics, timeless pop anthem, retro escapades and indie brilliance from artists La Biche, Enitu and Yul, Livi Jacobs, Darling Darling and Jesse Judies.

La Biche - Éther

French musician La Biche's "Éther" is a musical revelation, re-inventing dreamy chill-pop sounds. Through spoken word, poetic interludes, and ethereal melodies, La Biche's nonchalant vocals mimic ocean tides, rising and falling with masterful control, adding an intricate dynamism to the composition. The song's allure lies in its elusive sonic layers—featuring nether-worldly melodies, velvety piano interludes, resounding bass beats, and avant-garde sonic experimentations—that gracefully emerge and vanish, constructing a mythical staircase for listeners to ascend. Each layer invites exploration, giving the track an enigmatic quality. This track, emblematic of her unique discography, reshapes the contours of contemporary musical expression while providing the listener with an immersive experience.

Enitu and Yul- Si Maman Si

Enitu and Yul's electro-pop rendition of "Si maman si" is a stroke of genius, achieving the kind of musical quality that is rarely found. Navigating the delicate terrain of interpreting classics, the artists strike a perfect balance, infusing the track with their personal touch while preserving the essence of the original song. Gentle singing, muted bass rhythms, reverberating electronic chimes and the overall soothing ambience of the track, pack this song with a variety of flavor. The song also treats the listener to gooey saxophone tunes, soft whistling, and smooth guitar notes that are blended into the rhythm. This recreation is a testament to their artistry, achieving a perfect harmony between innovation and homage. The result is an electro-pop gem that adds a refreshing touch to a timeless French classic, exhibiting skillful musical fusion.

Livi Jacobs - Better That Way

Livi Jacobs' latest single, "Better That Way," marks her fifth release, channeling timeless pop vibes reminiscent of Taylor Swift. Exploring the aftermath of a closure-lacking separation, the lyrics navigate through angst, liberation, and bliss. Jacobs suggests that sometimes, circumstances, though challenging, lead to positive outcomes. The song features an infectious melody seamlessly looping in the background, accompanied by Jacobs' compelling vocals riding on a current of bass-heavy rhythms and warm ambience. With its varied textures and tempos, "Better That Way" maintains an engrossing quality. A definite addition to any heartbreak anthem playlist, the track offers a fresh perspective on the twists and turns in romance.

Darling Darling - Conversation Pit

Darling Darling returns with "Conversation Pit," a vibrant musical escapade that exudes warmth and color reminiscent of 70's retro aesthetics. This prismatic track fuses grandiose baroque pop sounds with nostalgic psychedelic melodies, creating an atmosphere of wonder. The song's vibey bass notes, catchy guitar hooks, swingy rhythm, and grounding vocals create an enticing and boundless musical realm. Echoing vocal melodies add a tasteful spatial dimension to the soundscape. "Conversation Pit" is more than just a musical journey; it delves into the joy and freedom of expressing oneself without inhibitions, celebrating radical self-acceptance and the embrace of love. This celebration extends to sharing the elation with close friends, making the track a tribute to uninhibited self-expression and the bonds of genuine connection. 

Jesse Judies - I’ve Been There Before

Jesse Judies, under the moniker Nick Bray, unveils his latest musical offering “I've Been There Before,” featuring Sasha March and Matthew Power. This Sydney-based indie artist's release showcases a masterful blend of silky guitar tunes, marbled bass notes, glossy distortions, and ethereal vocal harmonies. Judies' layered hazy vocals delicately sit atop a super lively rhythm composed of jazzy drumming adorned with fast-paced tempo, snappy grooves and suave solos. The track's theme delves into the courage to depart from the familiar, embracing the uncharted. Through this release, Nick Bray solidifies his standing as a noteworthy artist pushing the boundaries of indie music.

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Interview : Singer-Songwriter Ettie Talks to Us about her Latest Release, Marty McFly

1. We want to know the artist behind the art. Please tell us a little bit about the journey with music.

I started releasing music in 2019, with my debut single ‘fast cars and airplanes.’ I initially started out a pit more ambient and synthy, heavily influenced by Pale Waves and James Blake. As I kept developing my sound I realised that I loved leaning towards pop-punk. Pop-punk and emo music was the spark of my songwriting journey. I always loved writing and I’ve been writing stories literally since I learnt how to write, and then when I started to listen to bands like Paramore and Fall Out Boy and Greenday, I realised I can write songs and story-tell at the same time.

My release of my song ‘I’m Sorry to my Exes’ was a real turning point in my career. It was the heaviest pop-punk inspired song in my catalogue, and my first some to loudly proclaim ‘I’m queer.’ Ever since then my journey has consisted of making really gay, really emotive music.

2. Your latest single, ‘Marty McFly’ has just come out. What did you set out to achieve with it and what do you want your listeners to take away from it?

‘Marty McFly’ is such a special song to me, because it captures an emotion I’ve been carrying for a longtime, and one that is poignant to those in the queer community who were closeted for a long time. It’s this odd yearning to go back in time and tell your younger self that it’s okay to be who you are, you don’t have to suppress it. I gave it such an upbeat, fun production because I wanted to show people that it’s okay to be sad about the time spent not living authentically, because it’s made who you are today something to celebrate.

3. Can you tell us a little about your creative process? How do you go about songwriting and soundscape craft?

I write all of my songs almost exclusively on public transport. I don’t know what it is! Maybe it’s the fact it’s such a liminal, transient space. Like, I am stuck in this vessel taking me from one destination to another, and I have ample time to think. This is where I’ll get a concept or a melody, and I’ll try to record it on my phone the best I can without looking weird to the London commuters. After that I’ll get home and have a listen, and build the songs around that with my guitar in my room.

4. Who are some artists who played a vital role in influencing your style and why?

Hayley Williams from Paramore is my biggest influence. Her songwriting talent from such an early age, her loud political stance and just all-around presence on stage and in the music industry is untouched by any other artist out there. I also have to credit Taylor Swift, I grew up with her catalogue and all of her metaphors slap! And basically any female artist that prioritises lyrics and storytelling.

5. If you had to impart some words of wisdom to upcoming artists, what are some realities that you would alert them to?

Stream counts and numbers aren’t everything! The only numbers you should care about are the people who have genuinely been touched by your music, the people who show up to your shows, and those who care about the art you make.

6. What projects/releases do you have lined up for the near future?

I have been writing so much, and I have a little timeline in my head. All I can say is that there is much more where this came from.

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