When Epik High returned with their ‘Strawberry’ EP back in February, it wasn’t obvious at the time how one lyric would become something of a self-fulfilling prophecy. Looking back at the hip-hop trio’s year now, though, and “It’s an all-time high / Baby, I’ve been on one” from ‘Catch’ feels like the perfect summation of their 2023.

• READ MORE: Epik High: “We’ve mastered our craft – now we need to go back to being more childlike”

It’s rare that you find an artist in any genre celebrating their 20th anniversary in music while feeling like they’re still moving forward, not yet stuck in a nostalgia loop of doing victory laps for past glories. But Epik High still feel like they’re continuously growing, still making big, exciting, new strides, still have plenty left to show us, even after two decades of doing just that.

Although 2023 has been a little quieter for the three-piece in terms of music – just one EP and one single – what they have shared hasn’t found them merely resting on the laurels of their previous work. Across the ‘Strawberry’ EP and November’s ‘Screen Time’, they gave us new collaborations, new perspectives and new sounds. ‘God’s Latte’, the final track on ‘Strawberry’, moved them into an atmospheric, reflective space that gently underpinned lyrics that wrestled with ideas of heaven and hell, good and evil, and God. On ‘Screen Time’, they explored loneliness and separation through the smartphones we’re all glued to – a new evolution in Epik High’s knack for big, broad topics feel specific and relatable.

When they haven’t been gifting us new tunes, the trio have been touring the world, lighting up each spot they visit with electrifying performances. They are shows so full of life and energy that it seems like there must have been a mistake made somewhere – that they couldn’t possibly be hosted by artists two decades into their career. For every dynamic concert, the world has responded in kind – with more interest and enthusiasm, with bigger venues, sold-out crowds and invitations to perform in places Epik High have previously never been. At festivals, they’ve raised the bar for other acts on the line-up and, at their own headline gigs, given fans perfect nights to remember.

Epik High’s year is culminating with two big moments on the live side of their story. First, the introduction of their own official lightstick. In their typical irreverent style, it’s shaped like a raised middle finger and forms a playful, tongue-in-cheek way for fans to show their continued allegiance to Epik High’s story. Last weekend, Seoul’s Olympic Handball Gymnasium was lit up by hundreds and thousands of the new item as the group celebrated its 20th anniversary with three concerts that highlighted their standing in the industry.

Taking place at the 6,500-capacity venue, the shows constituted Epik High’s biggest in their home country for years, adding to that feeling that they’re far from done yet. At these three-hour extravaganzas, they commemorated their catalogue so far, pulling out fan favourite hits, deeper cuts, their newest releases and – on one night – an unreleased track. Each show boasted two guest appearances, including legends from across the spectrum of Korean music, like Dynamic Duo, NELL, Psy, ballad singer Sung Si-kyung, Younha and Ha Dong Qn. The stature of the line-up highlights not just the connections they’ve made in the past, but the respect the industry still holds for them – that such artists would be willing to show up to celebrate them.

Although these concerts looked back on 20 years of Epik High, they were far from a full stop on the group’s whole story, but just on one chapter. At the end of each night, Tablo teased the crowds that there was still plenty to look forward to. “Epik High reborn,” he declared of their 2024 on the second night, promising 24 hours later that their fans could look forward to “a lot of new shit” after the turn of the year. The last 12 months might have been an all-time high for Epik High, but it doesn’t look like they’re coming down anytime soon.

The post Two decades into their story, Epik High don’t look like they’re coming down from their “all-time high” anytime soon appeared first on NME.

In partnership with Beyond the Valley

When you think about the world’s calendar for music festivals, December isn’t a month that springs to mind – but Beyond The Valley is changing that. Over a few years, the music festival has established itself as a New Year’s Eve tradition not just for Australians but increasingly for lovers of good music worldwide.

What better way to shake off the year-end blues than by soaking in a southern-hemisphere summer, taking in top-notch performances at world-class stages and indulging in all the perks that a good festival has to offer? It’s no surprise that Beyond The Valley’s eighth edition is officially sold out, with tens of thousands of fest fiends ready to party in the Barunah Plains in Victoria next week.

If you’re wondering what the fuss is all about, read on to find out why Beyond The Valley is a special festival. Of course, nothing beats actually being there, but this list is a close second…

Beyond The Valley’s stunning location is almost beyond belief

You’ll be hard-pressed to find a music festival elsewhere in the world with a more picturesque location than Beyond The Valley, which takes place on the Barunah Plains, on the lands of the Wadawurrung and Eastern Maar Peoples. BTV makes full use of a gorgeous natural amphitheatre that makes you feel like you’re doing more than just rocking up to a festival – you’ll be entering a haven with your fellow music lovers for an ecstatic celebration of community and good vibes.

This little idyll isn’t inaccessible, either – Beyond The Valley is just a 90-minute drive from Melbourne (the festival offers buses from the city’s CBD if you’re not planning on taking your own car). And BTV allows you to customise your festival experience: either use day passes and leave the fest each day, or take advantage of top-of-the-line camping facilities and enjoy your time on-site to your heart’s content.

Mix up your festival experience with all the different stages

Beyond The Valley, like any good large-scale festival, has multiple stages – but what differentiates BTV is that organisers really make them worth your while. All stages have been kitted out with unparalleled tech and production that mean wherever you go, you’ll have a NYE blowout to remember. Of course, you can’t miss the massive Valley Stage with its lights, pyro and huge soundsystems, nor the custom-built Dance Dome for the ravers and players (where you can also expect two secret sets this year – keep your eyes peeled).

But make time for the more idiosyncratic and intimate stages too. At the Dr Dans stage, which was named in loving memory of fest friend Daniel Christidis and has garnered itself a cult following from BTV diehards, you can expect to dance your arse off to incredible DJs and thrilling takeovers (such as the Poof Doof’s pinktastic Barbie Party on day 4).

Or find the hidden entrance and squeeze yourself into Schmall Klub, a concealed, limited-capacity party that will transport you to an industrial European club. This space was proposed in 2019 by RÜFÜS DU SOL, the homegrown heroes who are headlining the festival this year. Will you see them in the venue that was their brainchild? Well, you’ll have to find it first…

You-had-to-be-there performances from a world-class line-up

Beyond The Valley isn’t any ordinary music festival – you can expect to make some massive memories here. Expect performances you’ll be talking up to your mates for months – you’ll be telling them, “you simply had to be there.” Last year BTV played host to pop queen Nelly Furtado’s first-ever performance in five years, and she had a special treat for revellers: a rendition of her TikTok-viral collab with Dom Dolla, the slinky ‘Eat Your Man’.

And for 2023, the fest has secured not only stellar performers but also culture-changers who’ve made songs that have defined our year: UK rap frontrunner Central Cee spun gold with Dave on the massive single ‘Sprinter’, and Seoul’s finest Peggy Gou made our 2023 when she dropped the fresh-yet-classic banger ‘(It Goes Like) Nanana’. RÜFÜS DU SOL, the only act nominated at the 2023 Grammys, will stage the transcendent live show that has made them a name the world over.

The BTV line-up, overall, is world-class. Some of Australia’s best and most beloved artists will be here this year – from pop-rock legend, queer icon and drummer extraordinaire G Flip to beloved duo Flight Facilities, who will present their Decades Show at BTV – alongside local rising stars you’ll be bragging about seeing on the smaller stages, like Yolŋu surf rock stars King Stingray and the larger-than-life ‘slut-pop’ provocateur Big Wett. And we haven’t even mentioned the likes of Ferg, Jayda G, Mall Grab, DMA’S, Overmono… This is canny curation of the highest quality.

Eclectic experiences to keep you guessing

BTV makes it a point to go above and beyond – which means that there’s heaps of fantastic extramusical experiences to complete your time at the fest. Yearning for a bit of pool time? Head to the Better Beer Beach Club and grab a pint while you’re at it. Itching for some retail therapy? Check out the Market Village. Want some food for thought? Be a fly on the wall at the Podcast Stage, which makes a splashy return after its well-received debut last year, and attend live and interactive recordings with a line-up of podcasters curated by The Daily Aus. Talk about the footy at The Mason Cox Show, contemplate community with Yarning Up First Nations Stories with Caroline Kell and get into Scheananigans with Vanderpump Rules personality Scheana Shay.

There’s tons more fun to be had too with Poof Doof, who’ve been curating iconic queer programming for BTV since 2018. Expect games and giveaways, drag performances from Jimi The Kween, Justin Teliqure and more, and even dance classes. Memorialise your BTV experience by booking a festival tat with Dylan Davis Tattoo – and if you’ve been meaning to tie the knot or renew your vows, why not do it at BTV with its pop-up inflatable wedding chapel? Remember to bring your own dress and suit…

Rest, relax and recharge for 2024

When the final pyro fires and the last stage light powers down at Beyond The Valley, you’ll inevitably be dreading a return to the real world – and a whole new year. But you’ll be leaving only after having experienced the finest of BTV hospitality with its New Year’s Day Recovery program. For the first time, organisers will keep food, hydration and wellness activities open until 6pm on New Year’s Day so you can recover from the festivities before heading home.

Stretch or be stretched with yoga, pilates and massages – or commune with your fellow fest attendees with communal art activities or lawn games on the Main Street. If you’re in dire need of a straightforward lie-down, drop by the fruit and hydration station before commandeering a beanbag or hammock – or your corner of the pool at the Better Beer Beach Club.

And if the year has really run you ragged and you need that r’n’r before January 1, you can head to the Sanctuary throughout BTV for a plethora of fun and restorative activities. Get in touch with your body through yoga, pilates, dance classes, meditation, massages and breathwork – or exercise your mind with trivia and mindset coaching. You could even meet the love of your life at Beyond The Valley with its speed dating program. They do say ‘new year, new me’ after all…

Beyond The Valley takes place December 28, 2023 to January 1, 2024. Find out more about the line-up, stages and experiences on the official BTV website

The post Only one in the world: 5 reasons Beyond The Valley is the Australian music festival you can’t miss appeared first on NME.

There were very few, if any, empty seats at the glorious Gocheok Sky Dome in Seoul, South Korea. The throngs of fans, eagerly awaiting to see the showdown between China’s Weibo Gaming and South Korea’s T1 at the League of Legends Worlds 2023 Finals, filled the stadium with an energy that was immensely palpable. We were ready for the esports event of the year, but Riot Games knew how to turn up the hype even more.

• READ MORE: The 25 best K-pop songs of 2023

Star-studded performances kicked off the Worlds 2023 Finals opening ceremony on a high – being able to watch it live was definitely a core memory moment. Heartsteel were up first with their debut single, ‘Paranoia’. Featuring League of Legends characters Ezreal, Kayn, K’Sante, Sett, Yone and Aphelios – with the first four having real-life counterpart musicians that provide their vocal talents: EXO‘s Baekhyun, Cal Scruby, Tobi Lou and OZI, respectively. The clever mix of augmented reality and computer graphics with real life performances heightened the experience in a way that allowed Riot Games to put on a truly unique show that showcased the League of Legends IP.

Maria Egan, head of music and live events at Riot Games, tells NME that the “Baekhyun and Ezreal collaboration was a dream from the beginning”. When it comes to matching up the artists to the Heartsteel members, it’s usually a trial and error process that takes months. “You want to make sure that the artist is super invested,” she said. “We ended up in a place where they all feel very connected to the champions that they ended up performing.”

All four musicians appeared on the main stage to perform their parts, but what happened during the final chorus of ‘Paranoia’ was the biggest surprise. While you couldn’t tell just by watching the main stage, on the screens to the left and right, you could see the virtual counterparts of Heartsteel pull up in a car and join their real-life ones on stage together. The transition was incredibly smooth and, expectedly, the crowd erupted.

Virtual avatars have been around for over two decades, but have started to become increasingly popular – especially in the world of K-pop, with the likes of aespa, MAVE:, Superkind and more. Egan emphasises that many successful virtual bands don’t appear out of nowhere, and uses Gorillaz as an example. Musician Damon Albarn and comic artist Jamie Hewlett were already at the peak of their careers. Albarn was the frontman for the influential rock band Blur while Hewlett worked on comics such as Judge Dread and Doom Patrol. Together with their talents, the two created the idea for Gorillaz.

Egan also mentions the Japanese vocaloid, Hatsune Miku. She is one of the few virtual avatars that was able to gain massive popularity without an existing fanbase. Hatsune Miku was originally just a voice synthesiser where people would enter the melody and lyrics of a song, then be able to sing in a synthetic voice. However, Hatsune Miku’s personification and character design as a cute girl with blue hair on the outside of a box made Yamaha Corporation’s Vocaloid 2 product stand out amongst its competition of other vocaloid software.

Since then, Hatsune Miku has been treated like an actual artist rather than just a mascot of a piece of computer software. This is all thanks to fan and community support, where fans created original music and Hatsune Miku covers of popular ones. “So Gorillaz has had its own story, and then Hatsune Miku’s is really about the community and about co-creation,” Egan explains. “So that’s a very different thing where the community is at the center of it, and not necessarily an artist.”

League of Legends‘s success with its virtual music groups is a mix of both Gorillaz and Hatsune Miku’s approaches. The community is already passionate about the champions in League Of Legends – they’ve become invested after years of gameplay, learning all about their backgrounds, lore, play styles and more – and seeing Riot reinvent them is just the cherry on top. The fans’ adoration for these characters extend into other ventures that they are placed in, including music.

“For us, it’s this beloved, massive IP at the centre of it. And that’s really what the core of all of our projects are like, telling stories of Runeterra and telling the stories of the League IP in a new context in a new world that’s more accessible in pop culture,” Egan adds. She also notes how difficult it is to even make one song. While technology has made the motion capture process easier, it’s not enough to just drop one piece of cool animation and call it a day. There needs to be a fanbase or audience that really loves what you do.

The moment that a new virtual band is revealed needs to feel special, and to do so took many departments at Riot Games banding together just to create ‘Paranoia’. “Just making Heartsteel takes almost a year, with a lot of people touching it like composers, songwriters and producers crafting and getting the sound right,” Egan says. “There are many different versions of that song on the cutting room floor.”

Heartsteel is a good example of surprising fans with new experiences that keep them engaged and coming back for more League of Legends content. “Nobody saw that coming. Our goals are just to continually elevate and raise the bar of what we’ve built on before,” she says. Now that Heartsteel joins the ranks of K/DA, Pentakill and True Damage, fans are wondering if some of the other groups are due for a comeback soon.

“Stay tuned on that front,” Egan says In response to whether K/DA would return. “Everyday, we’re figuring out how we meet players’ expectations and also blow them away.”

League of Legends is available to play on PC and Mac.

The post Riot Games on Heartsteel: “The Baekhyun and Ezreal collaboration was a dream” appeared first on NME.

Mark out 2023 as the year of the octogenarian filmmaker. Think Ridley Scott with Napoleon, Martin Scorsese with Killers Of The Flower Moon and now Michael Mann. The director of such confirmed classics as Manhunter, Heat and The Insider is back with Ferrari, a powerful portrait of automobile pioneer Enzo Ferrari. Eight years since his last film, the commercially disappointing cyber-thriller Blackhat, that number pales next to the three decades that Mann has toiled to bring Ferrari to the big screen.

“I’m looking forward to having people see it,” he says, with typical understatement when NME meets him at this summer’s Venice Film Festival. Sitting in the ballroom of the Hotel Cipriani, dressed in a pale shirt and slacks, the 80-year-old filmmaker is still as fiery as ever. “A fascination with cars?” he grunts when his passion for automobiles in movies is raised. “That doesn’t mean you make a movie about it. I have a fascination with motorcycles too. But there’s no motorcycle movie.”

Nevertheless, he can still remember the day, back in 1967, when he was living in the UK, studying at the London Film School. Emerging from an underground station one day, a sleek Ferrari 275 GTB four-cam rolled past him. He was only 24, still a dozen years away from making his first movie, the prison yard drama The Jericho Mile, which came after a spell working in advertising. But he was immediately smitten with the beauty and elegance of the Italian sports car.

In the same year, he went to Brands Hatch to make a student film with Mike Hailwood, a world champion motorcycle racer. Maybe there is “no motorcycle movie”, but Mann is a born petrolhead. He’s raced too, at an amateur level, in the late 1990s and early 2000s. “It’s not so gentlemanly,” he grins, calling it “risky amateur racing”. Every time he got behind the wheel again, he was “interrupted” by the lure of filmmaking. “You go make a movie. And then you forget everything you knew and you have to start over at the bottom.”

Mann has been involved in the Ferrari project since the early 1990s, when Brock Yates published Enzo Ferrari: The Man, The Cars, The Races, the true-life account that would become the basis of the script. As a director, Mann helped shape the late ’80s, culturally at any rate, with his pastel-hued TV cop show Miami Vice, following on from his acclaimed, era-defining, Tangerine Dream-scored films Thief and Manhunter, the first ever movie to bring Thomas Harris’ serial killer Hannibal Lecter to screens. Ferrari, however, would send him back to the ’50s.

The film takes place in 1957 over three crucial months in the life of Ferrari (played by Adam Driver), as his automobile business is heading out of business, with drivers even dying on the track. Meanwhile his personal life is about to implode. A year earlier, his 24-year-old son Dino died of muscular dystrophy. His marriage to Laura (Penélope Cruz), his company’s chief financial officer, is on the rocks. And hidden away, he has a son with his mistress, Lina (Shailene Woodley), his true love.

“Enzo Ferrari made for a very human character”

What was it about Ferrari that so intrigued Mann? “I don’t want to say duality, because there’s more than two sides to him, but it’s the complexity,” muses the director. “There’s so many active components to who he is and his personality, which bare no relation to other parts of him that made for a very human character – who happens to be in a three-month period that’s critical. And that’s where the drama comes in. But, I mean, some of his thinking has the precision of an engineer. It’s there in his penmanship.”

Mann read through his diaries and poured over the ledgers Ferrari used to keep. “Everything is so precise and rational,” he says. But then he speaks of the character’s cantankerousness and his unchecked libido and his penchant for the dramatic, as demonstrated by the title of his autobiography, My Terrible Joy. “Which is typically Enzo,” says Mann. “He can’t just say ‘I’m a happy guy, I’m filled with joy.’ It’s got to be dramatic, it’s very operatic – this is terrible!”

For Driver, the acclaimed American actor who has already worked with those other 80-something legends Scorsese (on Silence) and Scott (House Of Gucci, The Last Duel), was a huge Mann fan going into the project. “His films, they just get, for me, more and more rich, the more I understand filmmaking. And the time that they were made in, it just seems like they’re rare.” Driver did his part, from adopting Ferrari’s slicked-back grey hair look to working on an accent suitable for Italy’s Modena region. He even test-drove contemporary Ferraris to prepare and experience the rush of the track.

“You just accept the character when you see the film, but what it took Adam to build himself into – what we did together, but, primarily, what he did – is extraordinary,” says Mann. “Adam is a fantastic athlete, but the awkwardness… when you’re heavy like that, you breathe differently, you move differently, you pick something up differently. There is a pointedness to his gestures. So every aspect of it. Adam did three-and-a-half hours every morning, to be in preparation for the character.”

Naturally, the biggest thrill was watching Mann work. “He’s so prepared, years in advance, and in this [case] 30 years in advance, off and on. There isn’t a question that you’re going to ask him that he won’t know a historical reference. But at the same time as technically proficient as he is with sound and where you put the camera and colour… he’s very much about the abstract. It’s not something I always thought about when I watched his movies. I would rewatch Heat when I was older and you see that he’s someone who is centred around character and performance.”

With Ferrari entering his team into the Mille Miglia, a deadly thousand-mile endurance race across Italy, in the hope that it’ll save his business, the film saw Mann go the extra mile to shoot the race scenes. The Ferraris and Maseratis were built especially for the production, capable of speeds of around 140mph. “I felt like I had to drive it fast,” says Driver, “just to kind get the sense of ‘Oh, if we flip it, that’s it.’ So that permeated everything, how we played it.” Despite recreating the vehicles, using accurate 3D scans, Mann did borrow one car, a Maserati. “That’s Nick Mason’s car – the Pink Floyd drummer,” he reveals. “So that one’s not a replica, that’s historical.” Such is its pedigree, Mason’s Maserati 250F has even been driven by racing legend Stirling Moss.

“We borrowed a car from Pink Floyd drummer Nick Mason”

So through all the crashes and the heartache, did Mann come to a conclusion about Ferrari? Was he – like his peers – obsessed with racing at all costs? “It’s less than obsession. Obsession sounds irrational,” he replies. “I think the best understanding I got from that came from Jean Behra, who drives the Maserati in the beginning [of the film, played by Derek Hill]. And he wrote a paragraph about how our addiction to the ecstasy is so foolish and insane. But we are. We have this addiction. We make life miserable for our wives and our children. It takes our lives.”

Mann, who has been married to wife Summer since 1974 and has four children, including director Ami Canaan Mann, must surely appreciate this. He’s known for his exacting behaviour on set, his precision and his control freakery. Even today, as he does with every interview, he puts a digital recorder on the table, capturing every word he says to ensure there are no disputes or inaccuracies down the line. In fact, you could almost feel as if Mann is a character from one of his own movies: committed to their line of work above all else.

“I don’t think I’ve had a leading character who’s not aware of life, his own life and what’s around him,” he says. “I’ve never done a film where the lead character is just kind of stumbling through and things happen, whether it’s [boxer Muhammad] Ali, or Hawkeye in Last Of The Mohicans, or Neil McCauley and Vincent Hanna in Heat or Lowell Bergman [from The Insider]. They know what’s happening in their life. They’re conscious of it. They’re know the struggle that they’re in and they question themselves. They’re aware of their condition, their human condition.”

Talking of Heat, Mann is aiming to adapt Heat 2, the best-selling novel he co-wrote with Meg Gardiner and published last year that acts as both prequel and sequel to his 1995 crime epic. So will it definitely happen? “Heat’s a huge brand,” he nods. “And there’s some studies that I’ve done within the industry… people are kind of getting tired of superhero movies and are becoming more interested in pictures like Heat, if you like. But it’s been a huge brand in Warner Brothers home video for the last 20 years in terms of rentals. So we found that out when I wrote Heat 2, the novel… it was the first week out, it was instantly a number one New York Times bestseller.”

Driver confirms that he’s already spoken to Mann about potentially playing the young McCauley, the character played by Robert De Niro in the original. “I would do it in a second,” the actor says. For Mann, it represents another high-stakes environment to plunge into, with his characters pushed to extremes. Fans wouldn’t want it any other way. “I’m really not interested in a guy who’s ambition in life is to kick back in a Bronco lounger and watch daytime TV,” he laughs. “I mean who would be?”

‘Ferrari’ is in UK cinemas from December 26 and comes to Sky Cinema in 2024

The post Michael Mann returns to save the movies: “People are getting tired of superheroes” appeared first on NME.

The songwriter behind a protest song aiming for Christmas Number One has told NME about how her campaign is about “how climate change affects us all”.

Louise Harris released the stirring ‘We Tried’ in November, with the track already having topped the UK iTunes singles chart. Broadcaster Chris Packham has got behind her bid for a Christmas hit, while iconic musician and producer Brian Eno describing the song as “a powerful weapon”.

Harris, 25, from Hertfordshire, was arrested after performing the track at a peaceful protest outside Prime Minister Rishi Sunak’s home at the end of November. Her bail conditions mean she cannot currently enter the area within the M25 motorway, preventing her from performing gigs in London.

This week, the song will aim to go up against the likes of Sam Ryder, The Pogues and WHAM! all bidding for the UK’s festive top spot, with proceeds from ‘We Tried’ are going towards a range of climate action causes.

Harris told NME: “For me, it’s about the power of music – to move people, to get them to emotionally connect with the climate crisis – and what it means for them.”

The artist, who has previously collaborated with major producers like SOMMA and Paul Schulze, made international headlines when she climbed a gantry above the M25 motorway as part of a protest in 2022. Her tearful testimony about her action became a viral moment. NME caught up with Harris to talk about her track, and why action is needed now.

NME: Hello Louise. How’re you feeling about the response to ‘We Tried’?

Harris: “It feels surreal. I didn’t expect it. I’m grateful the climate crisis is actually now being given so much attention – a climate song has now entered the radio charts. It was Number One on the iTunes chart. That’s really exciting. For me, it’s about the power of music – to move people, to get them to emotionally connect with the climate crisis – and what it means for them. It just shows how important this issue is to so many people. How it affects us all.”

You sang the song outside Prime Minister Rishi Sunak’s house a couple of weeks ago. Why did you do that and what’s happened since?

“Yes, myself and a group of Just Stop Oil supporters. We literally just gathered outside Rishi Sunak’s house. I sang my song ‘We Tried’. We did a couple of speeches. The point of that was to bring to his attention that we are in a climate crisis. And if he doesn’t act, then we’re all going to face water and food shortages, war, conflicts and a mass migration crisis over the next couple of decades.

“I sang the song to send him that message directly. I had no intention of being arrested. We completely complied with all the police. They still decided to arrest us which was shocking. I was issued bail conditions which prevented me from going to London for the past two weeks, even though I’m a singer-songwriter. My career and my living depends on going to London for gigs, open mics and interviews. It’s outrageous.”

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A post shared by Chris Packham (@chrisgpackham2)

What’s the latest?

“At the moment, my solicitor is saying it might be until the 22 February [2024] that I’m not allowed within the whole area within the M25. That’s months out of work. I’m waiting for an update. Hopefully, that will be appealed. The police haven’t been responding to my solicitor.”

In theory, right now, if you were to step on stage to perform in London you’d be arrested?

“Yeah, within the M25 then absolutely. Even just going into that area, just walking around. That’s illegal now for me.”

Tell us about ‘We Tried’ – how and why you wrote it.

“I wrote ‘We Tried’ in July 2022, a few days after my 24th birthday. At the time I wrote on Instagram, ‘This is an age that children born today may never reach’. That’s how urgent and severe the crisis is. It was inspired by my first time activism with Just Stop Oil and Animal Rising – non-violent direct action.

“The song was an expression of grief, anger and despair. I wrote it from a future perspective – our currently projected future perspective – of irreversible climate catastrophe. I wrote it to invite people to emotionally connect with how they would feel if we all allowed that to happen, but then use that feeling to spur them into the solution – which is collective climate action.

“I think the only solution left is to stop the people in power – which are only a few handfuls of people – causing this harm to everybody else. Everyone in the world needs to come together and join collective action. We are so much more powerful than the people in power.”

And you’re aiming for a Christmas hit… 

“I didn’t intentionally plan it around Christmas, but then the response to it was like, ‘Oh, wow this in the charts and stuff!’ I thought we might as well go for Christmas Number One, because it’s famously a time when charity singles and good causes are platformed. The proceeds from the song are going towards climate causes – that’s why I urge people to buy it on iTunes, Amazon or Bandcamp before midnight on Thursday [December 21].

“The climate crisis is not reported as an emergency in the way that COVID-19 was – we’re all in a life threatening emergency. If it could get to Christmas Number One… the radio and media are forced to report on this crisis. It’s the most important issue of our time. I want to continue having decades of Christmases listening to lovely songs, but we need to have a liveable future in order to do that.”

Some notable people have got behind your campaign…

“Chris Packham – absolute legend in the climate scene – he’s calling for it to be Christmas Number One. The legendary Brian Eno, he’s behind it as well. He was really moved by the song. Christiana Figueres – who was the key negotiator on the UN’s 2015 Paris Climate Agreement – said the song inspired her.

How can music play an important role in the climate crisis?

“Art in general, but particularly music, has a unique power to move people. To touch people’s hearts and emotionally impact them in a way that speeches or scientific evidence doesn’t. It has the power to bring people together, empower people into collective action. Where are all the songs, films and plays about the life-threatening emergency that we’re in? Historically music has been instrumental in bringing about social change and sparking revolutions. It’s time to do it again. If all music can’t change the world, I don’t know what can.”

You’re asking people to support you in order to make and release an album of climate songs?

“Yeah, I have six or seven climate and activism related songs in total. I’m hoping to release a climate album as soon as possible. Because we’re running out of time. There’s a rapidly closing window of opportunity in which to secure a liveable and sustainable future for all. If people want climate action, then getting it into the mainstream and getting it into culture is one of the most powerful ways to do that.”

Speaking of climate action. Any reflections on the outcome of the UN’s recent COP28 climate talks? 

“Many people have said this, but it’s a cop out. They still haven’t decided to phase out fossil fuels, even though the science is clear. The COP28 president was an oil CEO – it’s like we’re living in a satire. There have been more COP conferences than years I’ve been alive, and every single year emissions have gone up. The damage keeps getting worse. It’s down to ordinary people like me and you to change things.”

Finally, if someone wants to gift ‘We Tried’ this Christmas – who should they give it to?

“Definitely buy the song for yourself for 59p – that’s your contribution to the charts. Tell 10 friends to do it, and share the music and video on social media. But if you want to send a direct message to Rishi Sunak then you can Google his email address, go on iTunes and gift it to him. He’ll get an email with the song.

Perhaps Rishi will be listening to the message of ‘We Tried’ this Christmas?

“On repeat. We can only hope.”

‘We Tried’ by Louise Harris is out now.

The post Christmas Number One hopeful Louise Harris says song tackles “how climate change affects us all” appeared first on NME.

The end of each year might feel like a celebratory moment and a chance to remember all the greatness that has filled the previous 12 months. To look back on only the positives, though, would be to forget the many musical legends that sadly left this mortal coil. In 2023, there’s been a lot of them, all of whom have had big impact – whether on a breadth of modern music or in the scenes that raised them.

Gangsta Boo (August 7, 1979 – January 1, 2023)

Lola Chantrelle Mitchell – known professionally as Gangsta Boo – first rose to fame as a member of Memphis hip-hop group Three 6 Mafia, whom she joined at the age of 14 after being discovered by founding member DJ Paul. She appeared on five of the outfit’s albums before leaving to focus on solo projects and quickly became a star in her own right. Her second album, 2001’s ‘Both Worlds *69’, entered the Top 40 of the Billboard 200, while the rapper became a go-to collaborator for many of hip-hop’s biggest and brightest names, from Eminem and Run The Jewels to rising stars like Latto and GloRilla. Mitchell died of an accidental drug overdose in January at the age of 43.

Jeff Beck (June 24, 1944 – January 10, 2023)

One of music’s most revered guitarists, Jeff Beck influenced many of the last six decades’ axe-wielders – and beyond. The guitarist replaced Eric Clapton in The Yardbirds in the ‘60s and first made his mark on the world as a pioneer in psych rock and early hard rock. He was later fired from the band and struck out on his own once more, first with The Jeff Beck Group and then simply as Jeff Beck, consistently impressing with his distinctive and masterful guitar playing. Beck died in January from meningitis, aged 78.

Lisa Marie Presley (February 1, 1968 – January 12, 2023)

Although better known as Elvis’ daughter than an artist in her own right, Lisa Marie Presley followed in her father’s footsteps as a singer and songwriter in 2003. That year, she released her debut album ‘To Whom It May Concern’, kickstarting a 15-year career of hit singles and big-name collaborations. Throughout her time of releasing music, Presley often paid tribute to Elvis, including on her final release, ‘Where No One Stands Alone’, which found her “duetting” with her dad. The star suffered a fatal cardiac arrest in January at the age of 54.

David Crosby (August 14, 1941 – January 18, 2023)

Throughout his career, David Crosby was a pioneer – first, of folk rock and psychedelia with The Byrds and, later, of the Laurel Canyon sound with Crosby, Stills & Nash. He also enjoyed an illustrious solo career – particularly in his later years – in which he kept innovating, crafting new trends in freak folk and weaving elements of jazz into his compositions, and speaking out on societal and political issues. His final album, ‘For Free’, arrived in 2021 and reunited him with another luminary of Laurel Canyon in Joni Mitchell. Crosby died in January at the age of 81.

Tom Verlaine (December 13, 1949 – January 28, 2023)

A leading light of the early New York punk scene, Tom Verlaine was a founding member and the singer/guitarist of the seminal Television. A regular fixture of CBGBs and Max’s Kansas City, the band swiftly became a cult favourite in the city before spreading their influence far and wide with ‘Marquee Moon’, one of the era’s defining albums. Television split after their second album ‘Adventure’ (although later reformed in the ‘90s) and Verlaine continued on his own, releasing 10 solo albums between 1979 and 2006. In January, at the age of 73, he died following a battle with prostate cancer.

Burt Bacharach (May 12, 1928 – February 8, 2023)

Often cited as one of the most influential figures in music in the 20th century, Burt Bacharach composed countless songs with his songwriting partner Hal David across seven decades and penned 73 US hit singles and 52 UK ones. His songs have been recorded by the likes of Dionne Warwick (‘Walk On By’) and Tom Jones (‘What’s New Pussycat?’), and Dusty Springfield (‘The Look Of Love’) and Neil Diamond (‘Heartlight’). Bacharach’s own releases also bore a huge influence on easy listening, while he frequently contributed to movie soundtracks. He died in February at the age of 94.

David “Trugoy The Dove” Jolicoeur (September 21, 1968 – February 12, 2023)

While he is best known as one-third of De La Soul, David “Trugoy The Dove” Jolicoeur’s story started with individual undertakings. The Long Island rapper forged his own path initially before teaming up with Vincent “Maseo” Mason and Kelvin “Posdunos” Mercer to form the hip-hop group. Together, they brought positivity to rap, releasing nine albums since 1989’s ‘3 Feet High And Rising’. They went on to collaborate with Gorillaz on their 2005 single ‘Feel Good Inc.’, picking up a Grammy along the way. Jolicoeur was diagnosed with congestive heart failure towards the end of his life. He died in February at the age of 54.

Steve Mackey (November 10, 1966 – March 2, 2023)

Sheffield’s Steve Mackey joined Pulp in 1989, playing bass for the band from their ‘Separations’ album and appearing on every album through 2001’s ‘We Love Life’. The group split after that record but, when they reformed in 2010, Mackey was with them, touring the world with his bandmates until he decided to bow out of their planned 2023 dates to focus on other projects. Outside of the Britpop act, the musician turned his hand to production and songwriting, collaborating with the likes of M.I.A., Florence + The Machine, Kelis, The Horrors, Palma Violets, and others. Mackey died in March from an undisclosed illness. He was 56 years old.

Wayne Shorter (August 25, 1933 – March 2, 2023)

A titan of jazz and funk, Shorter lived and performed with them all: he played crucial roles in Art Blakey’s Jazz Messengers, Miles Davis’ Second Great Quintet and of jazz fusion band The Weather Report. Over a 70 year performing career, he was considered a saxophonist and composer that few could match, and inspired rising talents such as Domi and JD Beck, London Brew and more. He died aged 89. Thomas Smith

Ryuichi Sakamoto (January 17, 1952 – March 28, 2023)

Acclaimed Japanese composer Ryuichi Sakamoto was one of music’s great innovators. He consistently expanded the scope of electronic music and created film soundtracks for the likes of Merry Christmas, Mr. Lawrence and The Revenant that were as moving and thrilling as the action on screen. An artist with a voracious appetite for the works of other creatives, he collaborated with musicians from different worlds – like Japan frontman David Sylvian, Senegalese singer Youssou N’Dour, and BTS rapper Suga – and was a member of seminal Japanese group Yellow Magic Orchestra. Sakamoto died in March at the age of 71 following a long battle with cancer.

Seymour Stein (April 18, 1942 – April 2, 2023)

US music executive Seymour Stein’s impact on the music world was considerably large, even before he had landed his first job in the industry. As a teenage intern at Billboard, he was involved in the creation of the Billboard Hot 100 – still America’s reigning singles chart with influence across the globe. When he later co-founded Sire Records, he turned music fans around the world on to now-legendary artists like The Ramones, Talking Heads and a little pop star called Madonna. Stein was recognised for his impact with an induction into the Rock And Roll Hall Of Fame in 2005. He died from cancer in April at the age of 80.

Paul Cattermole (March 7, 1977 – April 6, 2023)

Though once the founder of heavy metal band Skua, Cattermole found fame as a vocalist in the ‘00s pop group S Club 7 between 1998 and 2002 and contributed to all but their final studio album. In February 2023, the group announced a reunion tour with Cattermole set to feature in the line-up. He died suddenly in April from heart failure aged 46. TS

Ahmad Jamal (July 2, 1930 – April 16, 2023)

The Pittsburgh pianist was a master of his craft. His 1958 live album ‘At the Pershing: But Not for Me’ was recorded at his residency at the Chicago hotel and was an immediate best-seller, his mastery best encapsulated on the hypnotic tinkle on the standard ‘Poinciana’. His skills as a bandleader and performer were on display for much of his life, and he released his final studio album in 2019. He died from complications following a prostate cancer diagnosis aged 92. TS

Moonbin (January 26, 1998 – April 19, 2023)

South Korean singer and actor Moonbin got his start in the entertainment world early on, appearing in TVXQ’s ‘Balloons’ music video and the K-drama Boys Over Flowers before he turned 11. These initial appearances led to a celebrated career straddling music and TV, with the star debuting as a member of boyband ASTRO in 2016. He quickly became known for his all-round talents – including smooth dance skills and distinctive voice – as well as his songwriting chops, as seen on the likes of ‘Candy Sugar Pop’ and ‘By Your Side’. In the midst of a tour as part of ASTRO sub-unit Moonbin & Sanha, Moonbin was found dead in his apartment in April, aged 25.

Harry Belafonte (March 1, 1927 – April 25, 2023)

New York singer, actor and activist Harry Belafonte worked with genres across the musical spectrum in his career, but he is often credited as one of the artists who popularised calypso music in the mainstream. His third album, fittingly titled ‘Calypso’, reinforced that fact – it became the first LP to sell over a million copies by a single artist. Over his journey, he released 30 studio albums and was inducted into the Rock & Roll Hall Of Fame’s Early Influence category in 2022. He died in April from congestive heart failure. He was 96 years old.

Andy Rourke (January 17, 1964 – May 19, 2023)

The Smiths might not be typically associated with funk, but co-founding member Andy Rourke used influence from the genre in his bass playing – both in the band and in later projects. Rourke’s melodic style would help him become regarded as one of the best bassists of his generation and would earn him collaborations with stars such as Sinéad O’Connor, The Pretenders and, in the band Freebass, fellow Manchester legends Mani and Peter Hook. Between 2009 and 2014, Rourke hosted a weekly radio show, Jetlag, on New York’s East Village Radio, showcasing his voracious appetite for music. He died in May at the age of 59 from pancreatic cancer.

Tina Turner (November 26, 1939 – May 24, 2023)

The “Queen of Rock’n’Roll” might have started out as part of ex-husband Ike’s The Kings Of Rhythm, later gaining more attention as one half of the duo Ike & Tina Turner, but she hit her dizziest highs all on her own. After largely unsuccessful solo releases in the ‘70s, her 1983 single ‘Let’s Stay Together’ became an unexpected hit, sparking not just one of the most stunning comebacks in music history, but a wealth of beloved and beguiling records to follow. Turner went on to become one of the best-selling artists ever and is considered one of the greatest artists of all time. She died in her home in Switzerland from natural causes in May at the age of 83.

Astrud Gilberto (March 29, 1940 – June 5, 2023)

The voice that lit up ‘The Girl From Ipanema’. Astrud Gilberto’s contribution to ‘Getz/Gilberto’ – one of the best-selling jazz LPs of all-time – is immeasurable, her cool vocal delivery chiming alongside the smooth bossa nova played by her husband João Gilberto, Stan Getz and Antônio Carlos Jobim. The worldwide smash gave Gilberto a life-long career and in 2008 she was awarded the Lifetime Achievement Award at the Latin Grammys. She died at her Philadelphia home aged 83. TS

Dan Lardner (August 22, 1991 – June 12, 2023)

Capturing the scuzz and sleaze of New York City is daring work, but few bands in the 2010s did it with such style as QTY. Signed to Dirty Hit, the duo released their sole debut album in 2017 which was produced by Suede’s Bernard Butler. He most recently toured with The Lemonheads’ Evan Dando as his guest of honor opening for the Psychedelic Furs. He was 31. TS

Tony Bennett (August 3, 1926 – July 21, 2023)

One of America’s finest crooners, Tony Bennett’s talents spanned decades and generations. After serving in World War II, the star returned home and began his music career on an instant high – his debut single ‘Because Of You’ hit Number One on the charts, setting the bar high. In the ensuing decades, Bennett didn’t disappoint – even when he fell out of favour to rock’n’roll, he found a way back by sticking to timeless sounds. His influence never wavered since, and he found a close collaborator in pop star Lady Gaga, with whom he released two albums. Bennett died in July after a seven-year battle with Alzheimer’s disease.

Sinéad O’Connor (December 8, 1966 – July 26, 2023)

Sinéad O’Connor was known for her powerful voice – both in her music and in her commitment to speaking out on the issues she believed mattered. When she appeared on SNL in 1992, she tore up a photo of Pope John Paul II in protest of child abuse in the church. Throughout her career, she spoke openly of her struggles with mental health, using her platform to raise awareness and to advocate for other female artists, like Britney Spears. After releasing 10 albums and scoring five Top 40 singles in the UK, O’Connor died in July at the age of 56.

Rodriguez (July 10, 1942 – August 8, 2023)

Sixto Diaz Rodriguez spent much of his life and career as a relative unknown in his home country of the US but, unbeknownst to him, became a huge star in South Africa. The Detroit musician was so beloved in the country, he is said to have sold more records there than Elvis Presley and, inspired by rumours about his fate, fans set out on a hunt to trace him. The results of their search saw him finally get the recognition he deserved, with the Oscar-winning documentary Searching For Sugar Man sparking new interest in the folk and psychedelic rock artist. He died in August, aged 81, after suffering a stroke in February.

Robbie Robertson (July 5, 1943 – August 9, 2023)

Before Robbie Robertson guided the birth of Americana with The Band, the Canadian guitarist (and his bandmates) backed up Bob Dylan. The troubadour wasn’t the only musician on stage at his shows touched by greatness – in the spotlight, Robertson proved his own inimitable talents through rich and deep songwriting, and guitar playing that has since seen him declared one of the greatest guitarists of all time. After establishing The Band, the musician began collaborating with Martin Scorsese, crafting soundtracks and scores for his movies, like Raging Bull, Gangs Of New York, and, before his death, Killers Of The Flower Moon. Robertson died in August at the age of 80 after a battle with prostate cancer.

Magoo (July 12, 1973 – August 13, 2023)

Melvin “Magoo” Barcliff first met his musical partner Timbaland as a teenager in Norfolk, Virginia and, in 1989, became a hit rap duo together. Their debut album ‘Welcome To Our World’ spawned the chart-conquering single ‘Up Jumps Da Boogie (feat. Missy Elliott and Aaliyah)’ and served as the first part in a trilogy of releases. In 2003, they shared their last release – ‘Under Construction, Part II’, intended as a sequel to Missy’s own ‘Under Construction’. Magoo died in August from a heart attack. He was 50 years old.

Jimmy Buffett (December 25, 1946 – September 1, 2023)

Few artists are as synonymous with the laidback idea of island life as Jimmy Buffett. Through his tropical sound and pursuits outside of music, like the Margaritaville resort chain, he portrayed a lifestyle of breezy joy. Among his hits were “The Big 8” – eight songs that he never neglected to play, including ‘Margaritaville’, ‘Cheeseburger In Paradise’ and ‘Why Don’t We Get Drunk’. But his songwriting palette was made up of far more than those tracks exhibited, with his talents stretching beyond feel-good hits to character sketches and observational lyricism. Buffett died in September due to complications from a rare and aggressive form of skin cancer.

Steve Harwell (January 9, 1967 – September 4, 2023)

After leaving his position as rapper in F.O.S. (Freedom Of Speech), Steve Harwell formed Smash Mouth with Greg Camp, Kevin Coleman and Paul De Lisle in 1994. Their debut single, ‘Walkin’ On The Sun’, was released in 1997, earning them early success, before ‘All Star’ gave them their biggest hit two years later. That track went on to feature on the Shrek soundtrack, keeping the band in the public consciousness for years to come. Harwell retired from Smash Mouth in 2021 citing health issues and died in September this year of liver failure.

Rudolph Isley (April 1, 1939 – October 11, 2023)

Alongside his brothers Kelly, Ronnie and Vernon, Rudolph “Rudy” Isley formed The Isley Brothers when he was a teenager in Cincinnati. Together, the brothers (minus Vernon, who died in 1957) illuminated the R&B and funk scenes with hits like ‘Shout’ and ‘It’s Your Thing’. Despite their success, Isley decided to leave the music industry in 1989 to become a Christian minister. He was inducted into the Rock And Roll Hall of Fame in 1992 and died this October from a heart attack at the age of 84.

Kevin “Geordie” Walker (December 18, 1958 – November 26, 2023) 

After joining Killing Joke in 1979, Kevin “Geordie” Walker quickly became known for his unconventional style of guitar playing. It was a technique that added electricity to the band’s albums, on which Walker played on 15, beginning with their 1980 self-titled debut. Outside of Killing Joke, Walker was also a member of Murder Inc, and The Damage Manual, while he also dabbled in producing. He died in November aged 64 after suffering a stroke.

Shane MacGowan (December 25, 1957 – November 30, 2023)

Irish punk poet Shane MacGowan might have had a reputation for his destructive personality, but beneath it all, he was also a master at crafting evocative lyrics that pulled you into the worlds he wrote about. In 1982, he co-founded The Pogues, with whom he would become best known, penning the seminal album ‘Rum Sodomy & The Lash’ and making an indelible mark on the Christmas music market with Kirsty MacColl collaboration ‘Fairytale Of New York’. In 2018, he was celebrated in Dublin for his outstanding contribution to Irish life, music and culture while, upon his death, Irish president Michael D. Higgins described him as “one of music’s greatest lyricists”. MacGowan died in November at the age of 65 from pneumonia.

The post Remembering the musical greats we lost in 2023 appeared first on NME.

For a second year in a row, the ladies are leading the charge in K-pop. It didn’t matter if their songs were vulnerable confessions of love or empowering, tongue-in-cheek anthems, whether the groups were rookies itching for their first hit or seasoned veterans showing everyone how it’s done, they were all one simple thing: inescapable.

• READ MORE: The 50 best songs of 2023

Beyond their popularity and catchiness, these girl groups also managed to capture the essence of pure joy in their songs. While music can teach important life lessons or impart sage advice – and these tunes accomplish those as well – who’s to say they can’t do all that while having us, say, twerking on the runway?

While the boys did try to put up a fight – special shout out to the likes of Key, SEVENTEEN, Kai and more – 2023 was a girl’s world, and we were all just living in it. From hypnotic Jersey club bangers to macabre love stories, here are the 25 best K-pop songs of the year.

Puah ZiWei, Commissioning Editor (K-pop)

Words by: Daniel Anderson, Tássia Assis, Sarina Bhutani, Carmen Chin, Sara Delgado, Rhian Daly, Lucy Ford, Tamar Herman, Joey Levenson, Ivana E. Morales, Puah ZiWei, Tanu I. Raj, Abby Webster, Gladys Yeo

25. RIIZE, ‘Memories’

In many ways, RIIZE’s ‘Memories’ is less one song than three – which makes sense as a boyband under SM Entertainment, whose groups have made a trademark of whiplash-speed tempo and melodic breaks in their tracks. ‘Memories’ builds on that legacy, with distinct verses, pre-choruses and rap breaks all building towards one of the most euphoric choruses of the year.

• READ MORE: RIIZE carve out a refreshing, distinct sound for themselves on ‘Get A Guitar’
  

If the start of this year was all about Y2K, we’re rounding it out with a move slightly into the future. The song’s stellar chorus screams 2010s pop euphoria, all sun-drenched key changes that sound like the promise of a never-ending summer. LF

Best bit: The joyful crash of the very first chorus. It makes way for one of the finest, bounciest, most ‘ain’t life grand’ choruses of the year that will have you punching the air.

24. IVE, ‘I AM’

The soaring sound of a jet plane doesn’t typically open up glittery dance tracks promoting self-love and discovering one’s best life, but IVE leaned into the high-flying journey towards finding one’s own way in ‘I AM’.

Built on thumping beats and shimmering synths, ‘I AM’ spends its time pushing and pulling between back-and-forth harmonising and building high notes. It’s as if the song is pacing itself with moments of melodious contemplation and bursts of dynamism, before ultimately deciding that it wants to surge forward once and for all, declaring itself a high-octane pop declaration to find out who ‘I AM’. TH

Best bit: The phrasing of lines like “Life is a beautiful galaxy” and “Be a writer, the genre is fantasy” bring a sense of wonder to the intimate journey towards self-discovery and self-love.

23. Jeon Somi, ‘Fast Forward’

Who said K-pop has left house music behind? Jeon Somi’s ‘Fast Forward’ kept the beat pumping and our heads banging. The singer quite literally cycled through aesthetics and eras in the search for true love – going from anime-core barbie to futuristic fantasia.

Ironically, it seems this search would also be an endless loop much like the progression of the song – keeping us trapped in a melodic prison of longing and loneliness. Ridiculously catchy, fast-paced – ‘Fast Forward’ was a much-welcomed throwback to the era of crying in the club. TR

Best bit: Somebody crown Somi as the queen of the catchy chorus, because it took us a while to get this one out of our heads.

22. NMIXX, ‘Roller Coaster’

NMIXX may have fallen off the radar for many K-pop fans, but not us – and so the underrated ‘Roller Coaster’ has not gone unrecognised. The song evokes the tropical house mastery of classic K-pop bangers – think SHINee’s ‘View’ and f(x)’s ‘4 Walls’ – but lends it a tinge of innocence and girlhood that makes it feel like a spritz of cool water in the hot summer.

NMIXX’s roster of gifted vocalists are given plenty of space to prove their mettle and absolutely do; Lily and Sullyoon in particular lift this song to breathtaking heights. Some may argue that ‘Roller Coaster’ doesn’t exactly fall under NMIXX’s brand of experimental music, but it’s hard to fight against a feel-good tune evoking the inherent romance of summer. CC

Best bit: The song could not have ended on a better note than the outro performed by Kyujin and Jiwoo.

21. Jungkook, ‘Standing Next to You’

Few times has a song hit the bullseye of “K-pop with a Western focus” like Jungkook’s ‘Standing Next to You’. In fact, this might be the best example that K-pop can export uniqueness without losing itself in the process – even when sung entirely in English.

• READ MORE: Jungkook – ‘Golden’ review: a new pop king prepares to take his throne
  

It envelopes the listener in brass, bass and glitter, and the BTS maknae has never sounded so confident. Although largely inspired by Michael Jackson – complete with falsettos and dance moves – it’s Jungkook’s star power that shines through, and ultimately asserts him as a global pop prince in the making. TA

Best bit: The second part of the chorus, where Jungkook is passionately proclaiming the deepness of his love (“You know it’s deeper than the rain / It’s deeper than the pain”), yet finds the time to cram in a BTS reference (“When it’s deep like DNA”) into the mix.

20. IVE, ‘Blue Blood’

Pulsating percussion forms a steely spine throughout this number, elevating the frosty anthem into a marching battle hymn. Each member’s husky voices adds delicious layers to their sibilant siren song, crescendoing with piercing strings that are as every bit as haunting as the resolute declarations of “I’m blue”.

• READ MORE: IVE: “We’re going to shine at the top, we belong at the top”
  

While ‘Blue Blood’ had the unenvious responsibility of kicking off IVE’s much-anticipated debut studio album, ‘I’VE IVE’, it delivered aloof seduction as the girls wrap South Korea’s curiosity about blood types around their manicured fingers. DA

Best bit: Each time they ask, “What’s your blood type”, but you know it’s rhetorical because they are too cool to ever be a match with you.

19. NewJeans, ‘ETA’

There’s an inherent paradox in ‘ETA’. The poppy, uplifting beat belongs right at the heart of a Brazilian baile funk, mixed with influences from Baltimore club classic ‘Samir’s Theme’ and a deconstructed ‘Think’ break sample. It’s a pocket-size dancefloor hit meant to be played on loop.

But then, the lyrics coax the listener to break up with a cheating boyfriend, all in intimate, journal-like anecdotes. “The day you couldn’t come to my birthday party / The day Hyejin got in so much trouble,” the quintet whisper in angelic voices, as if we were just there, living through these moments with them. It’s that relatability that makes ‘ETA’ another instant classic by industry-igniters NewJeans. TA

Best bit: The addictive “What’s your ETA? What’s your ETA? (Mm-mhm-mm)” chorus. Good luck not getting it stuck in your mind for months.

18. KISS OF LIFE, ‘Sugarcoat’

There have been many attempts by K-pop acts to recapture the magic of ’90s R&B, but Natty’s ‘Sugarcoat’, which served as a precursor to KISS OF LIFE’s banger debut, hit the nail right on the head. The groove of ‘Sugarcoat’ hinges almost entirely on Natty’s smooth but powerful vocal delivery, of which she offers up plenty.

She fully leans into the sound and takes control of the music, letting her voice come to the forefront. Not only does it highlight how adept Natty has become as a singer, but KISS OF LIFE’s general musicality as a four-piece that’s unafraid to steep themselves into nostalgic genres and reinvent them for new and old audiences alike. CC

Best bit: Natty hitting every single note of that beautiful rapid-fire, falsetto pre-chorus with razor sharp accuracy.

17. BIBI, ‘Hongdae R&B’

In this moody R&B number dedicated to Seoul’s famed Hongdae street, BIBI peels back the vibrant exterior of its bustling nightlife and promise-filled music scene, diving into its gritty underbelly.

The song takes us on a journey through the “toothless, needlessly pricey” neighbourhood, introducing the motley cast of characters lurking in its background: the half-hearted indie guitarist and his intoxicated girlfriend, “gangster” underground rappers and celebrity oppas notorious for seducing young women. A tragically astute exploration of youthful aspiration and where it goes to die, BIBI’s soulful, vulnerable pen and voice are the perfect instruments for bringing that image to life. GY

Best bit: The languid, seamlessly fluid sing-rap delivery in the second verse.

16. fromis_9, ‘Attitude’

Born of humble beginnings, fromis_9 have truly come into their own, and ‘Attitude’ is an emblem of their newfound carefree confidence. The song feels like a spell wrapped in a satin veil that unfolds into a risk-taking adventure for the ages – those that go into the unknown but linger forever in the memory.

• READ MORE: fromis_9 – ‘Unlock My World’ review: a treasure trove of pop gems
  

Vivid yet seductive, with an air of burning desire, fromis_9 declare their intent to take on the liberation that’s just within reach: “Don’t stop me now / Watch me / My flame that explodes silently.” IM

Best bit: The delightful pre-choruses where Jiwon and Hayoung give us the track’s most unabashed declaration: “Waiting for the show / now count to three and throw me all.”

15. ATEEZ, ‘Bouncy (K-Hot Chilli Peppers)’

What would K-pop be without a little earworm? Whether you love it or hate it (or Stockholm-syndromed yourself into liking it), there’s no denying that ATEEZ’s ‘Bouncy (K-Hot Chilli Peppers)’ will leave an impression that won’t be easy to forget after just one listen.

ATEEZ have always trafficked in extremes, with a penchant for irreverence and sonic noise, but ‘Bouncy’ takes it a step further. Undoubtedly their most playful and successful title track to date, ‘Bouncy’ revels in chaos, mixing distorted arrangements with aggressive autotune and, somehow, it pays off. SD

Best bit: The infectious trifecta of pre-chorus, Hongjoong-led chorus and post-chorus.

14. aespa, ‘Drama’

The K-pop canon has no shortage of badass anthems but, in November, aespa offered up one of 2023’s strongest, most intriguing additions to the collection. ‘Drama’ put the girl group in the driver’s seat, confidently taking the wheel as they warned the world of what to expect from them. “I bring all the drama-ma-ma-ma,” they cautioned over a metallic, ominous instrumental that was both experimental and accessible.

In case you didn’t get the message the first time, Winter made it crystal clear in the outro, with a declaration that could double as a comment on aespa’s trajectory this year delivered in deceptively sweet tones: “You know, I’m savage / Unstoppable, baddest.” RD

Best bit: The whole first verse is packed with lines that scratch your brain exactly the right way, from Karina’s “Ziggy, ziggy, zag, I’m new” to Ningning’s infectious “I li-li-like me when I roll / Li-li-like me when I’m savage”.

13. NCT Dream, ‘Broken Melodies’

Leave it to NCT Dream, the cheeriest of the NCT units, to gift us with an unexpected glam rock-leaning gem. ‘Broken Melodies’ is NCT Dream at their most anthemic, showing a sonic side of the septet we’d never quite seen before.

Soft-strummed guitar riffs lead the arrangement, intermixing with skittering drum beats and honeyed harmonies. Though the bridge might seem slightly out of place with the guitar-drum patterns upon first listen, the impossible-to-resist melody of the staccato chorus fully seals the deal. SD

Best bit: Chenle’s final high note.

12. VIVIZ, ‘Untie’

Remember when GFRIEND dropped the magnificent ‘Mago’ and (sadly) dipped? It’s taken VIVIZ a moment, but Eunha, SinB and Umji have finally picked up where their original group left off, and the result is a provocative, bewitching runway banger that feels like a natural evolution for the beloved trio.

While you’re hypnotised by the four-on-the-floor beat, VIVIZ cast a spell with their raspy, whispered vocals, compelling you to keep the song on repeat – not that we’d have refused – all while commenting on the hollowness of social media. No notes. PZW

Best bit: Try to resist the urge to go “Ta-ta-ta-ta-ta-ta, all tied” randomly after listening to this masterpiece.

11. tripleS, ‘Speed Love’

In tripleS sub-unit LOVElution’s B-side ‘Speed Love’, crush-induced nerves verge on panic, as sparse piano chords capsize into flighty woodwinds and slick drum ‘n’ bass. Stumbling through a romantic confession, the girl group seem impatient to get it all out of their system: “I just want to rush this,” they sing, and the giddy production is all too happy to oblige.

• READ MORE: tripleS LOVELution – ‘ↀ’ review: a dizzying, enthralling kaleidoscope
  

Clocking in well under three minutes, ‘Speed Love’ extends the experimental rookies’ run of short bops with real staying power. (Even sans their usual ‘la-la-la’s, this chorus is guaranteed to race through your head for days.) The group’s breadth of releases this year have ranged from good to great – and if K-pop is an endurance sport, surely that qualifies them for both marathon and sprint. AW

Best bit: The mercurial flute that quite simply runs laps around the already impressive instrumentation.

10. Kai, ‘Rover’

‘Rover’, a remake of Bulgarian singer Dara’s song ‘Mr. Rover’, is, to put it bluntly, a song to shake ass to. Kai has an airy, husky timbre that pairs beautifully with the stripped-back nature of his previous releases, but, with ‘Rover’, the incubator of this year’s most infectious hook and dance challenge, he shows how addicting it can be while floating above something more thunderous and demanding.

• READ MORE: Kai talks NME through his ‘Firsts’
  

The song, dripping with confidence and sex appeal, is a showcase of how well his voice can meld to what’s beneath it, as it bobs and weaves between sultry R&B verses, Reggaeton-thumping choruses and a spine-tingling bridge that gives his stunning lower register a moment to shine. LF

Best bit: The final chorus and outro that is a feastful tour of what Kai can do with his voice, as it blends from a rapturous riff over the song’s main hook into some ASMR-adjacent speak-singing straight from his lower register.

9. Red Velvet, ‘Knock Knock (Who’s There?)’

One thing about Red Velvet? Every one of their songs takes you into a world of its own, whether it’s a jungle safari bursting with life or a violently kaleidoscopic theme park.

• READ MORE: Red Velvet – ‘Chill Kill’ review: deliciously dark, delightfully macabre
  

With ‘Knock Knock (Who’s There?)’, the quintet combine an eerie sample of ‘Dance of the Sugar Plum Fairy’ with the sophisticated harmonies often associated with their sensual “velvet” side, lulling listeners into a fantastical yet desolate supernatural realm where Halloween is forever. Musically and lyrically, ‘Knock Knock (Who’s There?)’ is an atmospheric track overflowing with artfully constructed imagery, making it one of their strongest offerings to date. GY

Best bit: The angelic harmonies towards the end of each chorus as they sing: “Got a devil, on my shoulder / A gently whispered voice.”

8. NewJeans, ‘OMG’

NewJeans’ deeply-infectious ‘OMG’ perfectly encapsulates the group’s spirit. With a touch of sass, the song’s prominent bassline and funky drumbeat do all the moving while their vocals take on a more laid-back, effortless approach.

• READ MORE: NewJeans: “We want to show the industry that music shouldn’t be divided by language”
  

Their perennial cheeky lyricism is also on full display here, as the girls pine hopelessly: “Oh my, oh my God! 예상했어 나 (I knew this would happen) / I was really hoping that he will come through.” When you inevitably catch yourself singing along, you can’t help but feel as though you’re in a back-and-forth with all five members. It’s a masterclass of immersive world-building in a simple, short-and-sweet track. JL

Best bit: The surreal, yet somewhat beautiful music video that accompanied the release of the song.

7. SEVENTEEN, ‘Super’

“Feels like I turned into Son O-gong,” SEVENTEEN shared on ‘Super’, a statement that, by the end of 2023, became something of a self-fulfilling prophecy. The mythical Chinese character is known for his colossal strength and ability to defeat the best warriors and, while the boyband might not have gone into battle, this year they dominated K-pop, racking up record-breaking sales and their first Album Of The Year award at MAMA 2023.

• READ MORE: Exhausted by the grind? ‘Second Wind’ by SEVENTEEN trio BSS is a perfect pick-me-up
  

Is it any wonder when the music was as good as this blistering single – a high octane ode to the group’s resilience and determination whose power never weakens, no matter how many times you listen to it. RD

Best bit: It’s a toss up between every gleeful “Da-rum da-rim-da” and Woozi’s ending moment full of “ener-energy”.

6. FIFTY FIFTY, ‘Cupid’

FIFTY FIFTY’s meteoric rise in the K-pop scene was marked by both triumph and adversity. Their retro-pop breakout hit, ‘Cupid’, took the entire world by storm with its infectious bubblegum vibes and disco-inspired synths. An equally catchy (if not better) English version catapulted the song to even greater success, thanks in-part to a reworked bridge and the quartet’s flawless English pronunciation.

• READ MORE: FIFTY FIFTY on joining K-pop’s new wave of powerhouse girl groups: “We wanted to show ourselves and stand out”
  

However, behind the scenes, the group faced challenges with their agency ATTRAKT, with three members – Sio, Aran and Saena – now no longer part of the group. Despite these setbacks, FIFTY FIFTY’s musical impact with ‘Cupid’ remains undeniable, proving that their talent and resilience shine through even in the face of adversity. JL

Best bit: (Former) Lead singers Sio and Aran flexing their talent with powerful vocals across the song’s bridge.

5. Key, ‘CoolAs’

From its sparkly opening notes to the a capella final seconds, ‘CoolAs’ is one of 2023’s masterpieces. It grabs you with a slinky bassline, reminiscent of Beyoncé’s ‘Virgo’s Groove’ and Moloko’s ‘Sing It Back’, and grounds the boat while Key is, well, being Key. By that, we mean to repeat his own lyrics: “I’m impeccable, I’m exceptional.”

• READ MORE: Key – ‘Good & Great’ review: exactly what it says on the tin
  

Thankfully he knows, because this B-side (that should very well have been a single) captures his versatility, sass and panache like few others. And his confidence is contagious – once it’s over, you may not be “dripping ice” or hearing a “choir full of angels”, but you’ll feel at least a little bit as cool as one of K-pop’s best soloists. TA

Best bit: The conviction with which he delivers lines like “Turning these heads like spectacle / Green with envy like vegetable”, making them iconic instead of ludicrous.

4. NCT DoJaeJung, ‘Perfume’

Though NCT’s sound is typically that of sensory overload, sub-unit DoJaeJung find their calm in the chaos with ‘Perfume’, the group’s sweet, yet sultry debut single.

The track’s top notes are the trio’s honeyed harmonies, with each member’s vocals perfectly complimenting that of the others, while the base note, the soul of the track, is its musky, R&B melody that can’t help but linger in your mind. Together, Doyoung, Jaehyun and Jungwoo create impact through surprising softness, uncovering new layers to the beloved veteran boyband. SB

Best bit: Jaehyun’s silky smooth solo during the interlude hits all the right nerves (and is even better when accompanied by its equally satisfying choreography).

3. LE SSERAFIM, ‘Eve, Psyche, and the Bluebeard’s Wife’

What’s so great about ‘Eve, Psyche, and the Bluebeard’s Wife’ is how understated it is. The Jersey club-inspired, uptempo track rests on a consistent electro progression, rarely deviating from a beat that’s nothing short of addictive. To this, LE SSERAFIM add almost laid-back vocals, weaving a story of power that fosters and simmers in silence rather than break down the door with a bang.

• READ MORE: LE SSERAFIM: “Walk your own path, even if you might become the villain”
  

The steadiness is a spell meant to keep us bound; the lyrics, our call to wake from the slumber of submission. But what’s more devastatingly beautiful are moments building up to it – the “boom, boom, boom” of your heart when you go from wishing for “what’s forbidden” to actually breaking the rules. TR

Best bit: Yunjin’s deep vocals kicking off the song with “I’m a mess, mess, mess – safe to say, we were left “mess-merised”.

2. (G)I-DLE, ‘Queencard’

After last year’s ‘Nxde’ and ‘Tomboy’, (G)I-DLE returned in May with yet-another tongue-in-cheek take on bold femininity, challenging the status quo with confidence-booster ‘Queencard’. A sassy, campy ode to loving oneself and being the queen bee of your own life, this tune masquerades as hot girl shit while letting listeners in on the joke regarding double-standards about women, especially those living in the spotlight.

• READ MORE: (G)I-DLE – ‘I Feel’ review: destined to be their most divisive release yet
  

Quirky, tempo-shifting pop-rock drives the push-and-pull of the melody, as the members drop deadpan, sassy one-liners, conversationally driving the song towards the rousing chorus that celebrates twerking on the runway. TH

Best bit: “Queencard, I’m hot / My boob and booty’s hot” – but I’m still wondering… Which boob?

1. NewJeans, ‘Super Shy’

When NewJeans arrived in 2022, it was both swift and surprising – without any lead-up, Minji, Hanni, Danielle, Haerin and Hyein entered into our lives and held us rapt with lowkey, ’90s-inspired R&B singles, a shock to the K-pop ecosystem. Their sophomore EP, ‘Get Up’, is likewise understated: NewJeans moon over boys and catch all the feels to minimal club beats. Each offering is chock full of that girlish magic, but the soft, dreamlike drum ‘n’ bass of ‘Super Shy’ has its own special way of worming into hearts (and minds).

• READ MORE: NewJeans – ‘Get Up’ review: no one can hold a candle to K-pop’s rising wonder girls
  

In their quest to court a crush, the quintet serve up schoolgirl doubts with a quiet confidence: “I’m super shy, super shy / But wait a minute while I make you mine, make you mine”. Their hushed talk-singing charms the most, and that’s part and parcel of NewJeans’ success – they’re able to make themselves heard with only a whisper because everything from the marketing to the music itself beckons you to lean in and listen. ‘Super Shy’ comes together as the perfect K-pop package, solidifying NewJeans’ status as the girl group we’re sure to be talking about for years to come. AW

Best bit: Hyein and Minji’s staccato ask-out: “Find a lil’ spot, just sit and talk.” Name the time and place.

The post The 25 best K-pop songs of 2023 appeared first on NME.

Brandon Flowers has spoken to NME about what’s next for The Killers, as well as teasing a ‘Hot Fuss’ anniversary tour and exclusively revealing work on a new solo album. Check out our full interview below.

• READ MORE: The Killers on the cover: “There are a lot of young people unsure of their place in this world”

The frontman was speaking to NME just as news broke that the Las Vegas indie veterans’ new ‘best of’ collection ‘Rebel Diamonds‘ had hit Number One in the UK – marking their eighth chart-topping LP and a feat that Flowers described as “pretty amazing”.

“It’s hard to fathom,” he explained. “I’ve been caught up in this whirlwind for 20 years; in this cycle of touring, writing, touring and writing. The most time we had to reflect was during COVID, and it was quite an awakening process to get time to look through all that we’d done. I’m really proud of the band and the work.”

As well as looking back on their work so far, Flowers opened to NME about settling past feuds, the band’s “rock n’ roll” future, an anniversary tour for their seminal debut ‘Hot Fuss‘, and work on the follow-up to his two solo albums ‘Flamingo’ and ‘The Desired Effect’.

NME: Hello Brandon. When you first emerged with ‘Mr Brightside’ in 2003, did you imagine that you’d be here 20 years later celebrating your second greatest hits record? 

Flowers: “We were always little different from the other Vegas bands back then because I noticed that there was this competition and rivalry between local bands. I wasn’t thinking about them – I was thinking about The White Stripes, The Strokes, and Oasis. I didn’t allow myself to get to U2 just yet, but I asked myself, ‘What is it that these bands are doing and why are they not still in their hometown?’ That’s what set us apart quite early on.

“We were different, and we were ambitious. Ambition can be seen as an ugly thing to some people but it has served us well. We were able to persevere and it’s kind of unbelievable.”

You would famously  kick off feuds with the likes of The Bravery and Green Day back then. Do you feel regret over your past outspoken ways? 

“I’m over it now! But it nagged at me quite early on. Some of the things that I would say weren’t really representing my true self. I was a little green, not ready to be interviewed, and socially awkward, so I just resorted to name-calling! I’m a little bit embarrassed by it now, but I’ll live. I’ve apologised since.”

‘Rebel Diamonds’ is now out in the world. Do you learn anything about your legacy when you lay out your past like this? 

“Personally, I’m my own harshest critic. I’m still doing that thing I did 20 years ago where I’m looking at our best of and then looking at Tom Petty’s best of and seeing where I’m falling short! But at the same time, I’m looking at it and thinking, ‘You can really see this band striving, maturing, growing and representing ourselves as honestly as possible while still making great music that I’m really proud of.”

New tracks on a best of are usually a band’s way of saying, ‘This is where we’re going next’ – but these four on here are actually you saying, ‘This is where we’re from, now wait and see’, right?

“Yeah. It’s nice to wrap it all up. If you look at a song like ‘Boy’, it’s definitely got these nods to the early influences and has a little bit of that nostalgia, but I feel like that we still have places that we’re going to go. I’m still excited about the future.”

When we spoke just before you debuted ‘Boy’, you made it sound like it was the genesis of a new record. But we’re past that point, now right? You’re headed in a new direction?

“Yes, I realised that the vehicle that I want to ride in had less synthesisers and less laser beams! I’m trying to figure that out. It’s not uncommon; we’ve made records like ‘Sam’s Town’ [2006], ‘Battle Born’ [2012] and definitely ‘Pressure Machine’ [2021] where there’s less presence of that kind of sound. I’m not disparaging that sound – a lot of that music has shaped who I am – but as I get older I want to be authentic to who I am and how I’m feeling. I have to follow that, and I just feel like that’s leading more towards guitar music, rock n’ roll and Americana music.”

The Killers’ last two albums marked your most personal writing. Will the next album follow suit?

“You know how people say, ‘Oh, I don’t know what I’m doing’? Bands are always self-deprecating but I’m going to be honest – I’m starting to know what I’m doing! Once you get to that point, it’s tough to lie and make music that your heart isn’t really behind. I discovered something while making ‘Imploding The Mirage’ [2020] and ‘Pressure Machine’; two highly conceptual records that had this continuity, drive and conviction to them. Once you make a record like that, it’s hard to do it any other way. It’s not easy, but it’s something I’ve signed up for.”

What’s lyrically inspiring you at the moment?

“Right now, I’ve been gravitating towards relationships and singing about what it takes for people to really make it, while still having empathy for the things that people go through that break them and trying to work through that. Every time I go into this kind of territory, it makes me stronger in my own relationships through realising what I need to do to make them work and what I need to put into them. It’s a really important process for me because it makes me a better person.”

You told NME that your hope for the next album would be to have all four members on board to make it together. Is that looking likely?

“I’m making a solo record right now! I almost had it wrapped up. The goal has always been to get all four original members to take ownership and be proud of what we’re doing, but it’s so difficult with all four of us living in different cities. It’s not impossible. It’s weird to be talking to you about it, but I’d definitely like to do that.”

Hold up, a new solo record?

“Yes, I’m writing a third solo record.”

Wow, will that be heading in that same rock ‘n’ roll dreamland direction?

“It’s different. I feel like it embodies a little bit of my first two solo records, but obviously there’s so much more living that I’ve done in the seven years since my last effort. I’ve got a lot more insight and things that I’ve absorbed. I’m really loving how it’s turning out.”

When do you think we can hear it?

“The ‘Rebel Diamonds’ tour put a little bit of a wrench of things! We’re also going to announce some kind of ‘Hot Fuss’ anniversary shows, so I probably won’t be able to release it until 2025. I’ll have to sit on it for a while.”

Will those ‘Hot Fuss’ shows be more of a sweaty and intimate affair like back in the day?

“I guess I’m not at liberty to tell yet, but people can put two and two together. I think we’re going to announce it shortly after the new year. The arena shows are for ‘Rebel Diamonds’, but this will be specifically a ‘Hot Fuss’ extravaganza.”

Maybe you could pop up at Glastonbury again?

“Yeah, sure!”

Here’s hoping. Merry Christmas, Brandon.

“Merry Christmas!”

‘Rebel Diamonds’ by The Killers is out now. A lengthy UK and Ireland arena tour kicks off in June. Visit here for tickets and more information. 

The post Brandon Flowers tells us about the future of The Killers and confirms new solo album: “I’m starting to know what I’m doing” appeared first on NME.

Tucked inside a booth in a snug Peckham pub, drinks in hand, NewDad talk calmly about things that would typically remain within a band’s inner circle: from overcoming protracted periods of creative tension to growing pains and anxiety. It’s only when bassist Cara Joshi’s phone begins to vibrate that the table suddenly feels on edge. “Shit,” she says with a look of amused mischief, pushing her pint to the side. “My Addison Lee [cab] is waiting outside. What should I do?!”

As a measure of NewDad’s current day-to-day routine, this moment of innocent, wide-eyed panic feels illuminating. Having recently signed with Atlantic [Ed Sheeran, Fred Again..], the Galway four-piece – Joshi, guitarists Julie Dawson and Sean O’Dowd, and drummer Fiachra Parslow – are still adjusting to the perks that come with being a major label act: indulging in every swanky dinner, party and pre-booked taxi ride that’s arranged for them.

The way in which NewDad’s music untangles the minutiae of major life changes has won them the hearts of a young, devoted following to whom they are somewhere between friends and emergent rock heroes – awe-inspiring and aspirational, but also accessible. The band’s vision for their remarkably self-assured debut ‘Madra’ (out January 26) is the result of pushing themselves to new and uncomfortable limits. As O’Dowd puts it: “With this new album, we have something that will stand the test of time.”

Having previously self-released their music, being offered extensive resources to complete ‘Madra’ feels like a wholly deserved step-up for one of the most distinct new bands of recent years. Where their EPs (2021’s ‘Waves’ and its follow-up ‘Banshee’) leaned into a gauzy indie-pop sound, their debut pairs sudden changes in tempo with duelling guitars and Pixies-like bursts of dissonance, and also finds space for moments of textured shoegaze (‘Sickly Sweet’, ‘Nosebleed’). It’s a blazing display of skill and bravura.

“We had gone as far as we could completely on our own,” says Parslow. “But this album feels streets ahead of anything we’ve done before. We may have been given funding and better equipment, but the fundamentals of our work? They’re the exact same.”

“With this new album, we have something that will stand the test of time” – Sean O’Dowd

Adding to the intimacy of the record is the way it was made: across a two-week period at the legendary Rockfield Studios, Monmouth – which has previously played host to Queen and Oasis – the band watched zombie films, played board games and shared wine while penning songs. “Recently, I was listening to our early discography and I was like, ‘I don’t know who that is.’ It was almost like an out of body experience,” says Dawson. “But with ‘Madra’, I understood where I was going with the songwriting. I know her.”

Teenage insecurities cohere into genuine emotional clarity across ‘Madra’. By the ninth song, ‘In My Head’, Dawson is lying awake, detailing her panic attacks with startling intimacy: “I’m buried under blankets / Descending into madness / And there’s no escape from the thoughts burned in my brain.” This disquieting lyrical edge is only further emphasised by the record’s dark and bewitching visual identity. For their NME Cover shoot, the band chose to travel to the eerie-looking Wistman’s Wood in Dartmoor, over 200 miles from their London base; the ancient forest’s name is thought to have come from the dialect word ‘wisht’, meaning pixie-led or haunted. A true commitment to the aesthetic, you could say.

“We’re not cool. We’re not perfect. But we make really good music,” says Dawson, before going on to explain how the band were afforded the opportunity to work with Alan Moulder, who has produced records for some of NewDad’s own personal heroes: from Ride to My Bloody Valentine. “Sometimes it’s hard to be proud of the stuff you create, but these songs sound fucking amazing.”

NewDad’s burgeoning confidence in themselves is testament to their scope as musicians; the shyness they occasionally exude when they talk appears to be in opposition with the wilful experimentation of their material. They are voracious pop fans, too, having previously released a cover of Charli XCX’s ‘ILY2’, alongside reworking ‘Angel’, PinkPantheress’ contribution to the Barbie soundtrack.

This form of genre-traversing, they say, has been the result of necessity: while the much-celebrated rise of Irish post-punk bands in recent years – The Murder Capital, Gurriers, ‘Dogrel’-era Fontaines D.C. – has been “inspiring”, NewDad feel as though critics have grouped them in with these acts based on their geographical location, rather than their sound. They were essentially defined by the outside world before they could become what the band they wanted to be.

“It’s something that I have noticed happening, especially being from England,” says the south London-raised Joshi, who joined NewDad in March 2022 after her bandmates moved to the capital. “It’s an honour to be associated with these bands as we love them, but our vibe is so different. I’m not sure why it even needs to be said that we’re from the same place,” Parslow adds.

“Fiachra! You’re on fire today,” O’Dowd tells his bandmate, laughing. Perhaps that glass of liquid confidence is starting to do the trick.

NewDad’s relationship with Ireland is complex and emotional. A harbour city with a population of 80,000, Galway didn’t offer so much a fertile music scene for Dawson, O’Dowd and Parslow to become involved in as teenagers, but instead inspired them to look beyond their surroundings in search of opportunities to connect with other bands their age.

Going to see The Cure at Dublin’s Malahide Castle in June 2019 would turn out to be a lightbulb moment for the trio, who were college students at the time: support act Just Mustard – an acclaimed noise-rock band from Dundalk, north-east of Galway – “opened up doors” for NewDad, says Dawson. “Watching Just Mustard perform was akin to an epiphany for us,” she says. “The Cure are the best band ever; to see some kids from a similarly rural part of Ireland open up for them was amazing. They got there through hard work and made us really want to go for it.”

“We wanted to make something out of all the epic Irish mythology” – Fiachra Parslow

Dawson, with the support of O’Dowd, Parslow and former bassist Áindle O’Beirn – who left the band amicably before they signed their record deal – decided to email Chris Ryan, who mixed Just Mustard’s 2018 debut ‘Wednesday’. He would go on to help NewDad master their early homemade recordings, and has continued to work with the band since.

What they have learned from this relationship with Ryan is the importance of valuing long-term collaborators, as well as keeping as much control as possible over their creative decisions. It’s lessons like these that have been reiterated to the band by the friends and mentors they’ve connected with while touring: Paolo Nutini, Fontaines D.C. and Shame. “When we moved to London, it was pretty intense, but it’s gotten progressively more difficult. It’s a chaotic place to live after growing up in a quiet place,” begins Dawson.

“But the people we have met here have made things a little easier. All artists are in the same boat: you feel such intense highs and lows in this industry, so it’s important to have people around you who understand that.” She goes on to describe Fontaines D.C’s 2022 LP ‘Skinty Fia’, which unpacked the band’s feelings of displacement and guilt toward leaving Ireland, as “so beautiful and relatable.”

She continues: “It spoke to anyone who’s moving to a place they don’t know, and the conflict between loving your home and also being ashamed of it. I think the way that [Fontaines D.C. frontman] Grian [Chatten] voiced all of those big ideas was so dead-on; I truly believe he is one of our best songwriters.”

The weekend prior to our chat, NewDad played an intimate show at their hometown’s 150-capacity Róisín Dubh venue to air some of the unreleased tracks from ‘Madra’. The album’s title translates from Irish Gaelic to ‘dog’; a nod to how three quarters of the band spoke the language at school while also serving as a metaphor for how “heavy feelings can follow you around like an obedient pet,” says Dawson.

Parslow says that while the band don’t return to Galway often, upholding references to the Irish language in their music, no matter how subtle, “offers a genuine connection to home.” He adds: “We have a great saying in Ireland: ‘Is fearr Gaeilge bhriste, ná Béarla cliste’, which means ‘broken Irish is better than clever English’ – more people should make the effort to speak it and encourage others to do the same.

“I think being over here has made me even more connected to the language. People outside of Ireland think of the country in the context of leprechauns and all that shite – but that’s not right, you know? We wanted to make something out of all the epic Irish mythology instead.”

There’s something genuinely refreshing about the directness with which NewDad communicate their ambitions, and how they stay true to their word. The artwork for their recent single ‘Let Go’ depicts the woven St Brigid’s cross, an ancient Irish symbol of protection that is thought to represent peace and goodwill. They’re honest and proud, a young guitar band who truly matter.

In conversation with NME, meanwhile, there may be moments where these four twenty-somethings come across quiet – but never self-conscious, or uncertain. “I find it easy to have faith in us,’ says O’Dowd. “We’ve had rough times and haven’t always got on with each other. But the fact that we still keep going is amazing: we want to experience everything together.”

As Joshi finally attends to the cab she has left waiting outside, the rest of us finish our pints and exchange hugs. Dawson offers a definitive mission statement for ‘Madra’ before she gets up to leave: “I’m not a confident person day-to-day, but I am confident in our music,” she says. “It’s the only thing I am sure of.” Her bandmates nod in unison: it’s true.

‘Madra’ will be released on January 26, 2024 via Atlantic Records

Listen to NewDad’s exclusive playlist to accompany The Cover below on Spotify and here on Apple Music

Writer: Sophie Williams
Photographer: Joseph Bishop
Styling: Clothes loaned by Simone Rocha
MUA: Tina Khatri
Label: Atlantic Records

The post The future is NewDad’s for the taking appeared first on NME.

Intensity, that’s the underlying thread that ties together all the best Korean dramas of 2023. Whether it was an allegory of how society turns its back on those most in need or a revenge-driven journey of terrible people getting their just deserts, this year, 10 powerful K-dramas turned the mirror on ourselves and made us reflect on the dark, unspoken fringes of human nature.

• READ MORE: The 20 best TV shows of 2023
  

Yet, it’s not all doom and gloom. Even in shows with the most morally questionable protagonists – looking at you, Mask Girl – they take the time to slow things down with tender moments of respite, showing how joy and love can be found in the strangest of places. Join NME as we recap the 10 best Korean dramas of 2023, and their impact on a fantastic year of television.

Puah ZiWei, Commissioning Editor (K-pop)

Words by: Daniel Anderson, Carmen Chin, Rhian Daly, Sara Delgado, Hidzir Junaini, Tani I. Raj

10. Crash Course in Romance

Season: limited series

Crash Course in Romance does exactly what it says on the tin but with an extra twist: a fully fledged romance story with a murder-mystery sub-plot. With the acting chops of Jeon Do-yeon and Jung Kyung-ho – both of whom have the ability to imbue any character they portray with life – Crash Course in Romance is a masterfully executed romcom sure to make you giggle and kick your feet, all while interweaving the murder well enough to have you on the edge of your seat too. The series balances the warm and fuzzy with the eerie and gory with mastery – there is no doubt that this K-drama has something for everyone to enjoy. CC

Biggest fans: Huge romance buffs who are still waiting for their Y/N moment.

9. A Time Called You

Season: limited series

A remake of the Taiwanese series Someday Or One Day, K-drama A Time Called You took us on a rollercoaster journey across decades as the lives of modern-day Han Jun-hee (Jeon Yeo-been) and ’90s schoolgirl Kwon Min-ju become entangled. When we meet Jun-hee, she’s mourning her fiancé, Koo Yeon-jun (Ahn Hyo-seop), who’s been presumed dead following a plane crash a year prior.

• READ MORE: ‘A Time Called You’ review: a body swapping, time loopy romance

Soon, though, she begins to receive strange packages – a photo of two people resembling the couple, and a Walkman with a cassette of Seo Ji-won’s ‘Gather My Tears’. As Jun-hee travels back in time, things get complicated, deadly and incredibly heart-breaking, marking this out as one of 2023’s biggest tearjerkers. RD

Biggest fan: The hopeless romantic who can’t let go of past loves.

8. Celebrity

Season: limited series

While we won’t fault K-dramas for playing things up, we’re all perhaps too intimate with influencer culture to really be shocked at how certain events in the show played out. Outrageous, scandalous, scintillating and even disturbing at times, Celebrity worked because it spoke to the basic instinct in all of us – the same one that, at times, ignores all common sense for wealth and status.

• READ MORE: ‘Celebrity’ review: a scathing Instagram story about the vapidity of influencer culture

As audiences, it stretched us to emotional extremes – celebrating Seo Ah-ri’s rise to fame and thriving on schadenfreude when it came to her enemies. We were appalled, disgusted and perhaps even a little bit curious about our own selves – after all, would fame have driven us down the same path? TR

Biggest fan: People who prefer scandal for dinner with a side of shock value.

7. Doona!

Season: limited series

There’s not a shortage of romance when it comes to K-dramas, but the way Doona! tackles the tried-and-true trope is not for the faint of heart. Based on the Naver webtoon of the same name and starring Bae Suzy as former K-pop idol Doona and Yang Se-jong as her fated neighbour Lee Won-jun, the show portrays love in the most carnal sense of the word.

• READ MORE: ‘Doona!’ review: an emotionally visceral, refreshingly grounded love story

Though Bae and Yang’s fiery chemistry undeniably takes centre stage, the show also poignantly depicts the trials and tribulations idols and celebs alike face while balancing their stage personas and private relationships. SD

Biggest fan: Those who need an extra dose of steaminess and reality in their K-dramas.

6. Revenant

Season: limited series

Following the death of her father, Gu San-yeong’s (Kim Tae-ri) body becomes host to an evil spirit – something she didn’t believe at first, but is slowly convinced of by more and more supernatural, murderous occurrences. Coloured with shades of The Ring and The Host, on the surface, Revenant is just another scare-filled spooky series.

• READ MORE: ‘Revenant’ review – a thrilling, immersive horror K-drama

But, if you dare to look beneath, you’ll find critiques of wealth inequality, child abuse and more. As San-yeong assessed early on in the series, it laid bare the truth that “humans are more terrifying than ghosts”. RD

Biggest fan: The horror junkie always searching for new scares.

5. Daily Dose of Sunshine

Season: one

Daily Dose of Sunshine is director Lee Jae-kyu’s olive branch to South Korean society, which has an infamous history of its struggles with understanding and accepting the realities of mental illness. Armed with the emotive and nuanced performance of lead actress Park Bo-young, this K-drama is an informative, heartfelt and layered story set in a psychiatric ward.

• READ MORE: ‘Daily Dose of Sunshine’ review: an earnest, destigmatising portrayal of mental health

Nurse Jung Da-eun learns to adapt to the less physical treatments of the patients under her care and faces the odds as someone who has been in her patients’ shoes herself. Daily Dose of Sunshine is one of the most poignant, worthwhile K-dramas released this year – the tears you shed after each episode is proof. CC

Biggest fan: If you need a reminder that there’s good in the world after all.

4. The Good Bad Mother

Season: limited series

If there were a ranking of K-dramas that should come with a side of tissues, The Good Bad Mother would take the top spot. What starts as the story of an estranged, strict mother and her son, who’s forced to return home after a tragic accident leaves him with the mind of a child, soon turns into a more complex web of intertwined fates and ploys.

• READ MORE: ‘The Good Bad Mother’ review: authentic and unapologetically raw

The show features stellar performances by veteran actress Ra Mi-ran and breakout star Lee Do-hyun as mother-son duo Young-soon and Kang-ho that will crash and mend your heart multiple times throughout its run. SD

Biggest fan: Plot-twist lovers looking for an emotional rollercoaster.

3. Moving

Season: one

Based on Kang Full’s webtoon of the same name, Moving intricately weaves a soulful web of family drama, espionage and superpowers across three decades. The series, featuring clever flight sequences and monstrous strength, remains grounded through its impressive ensemble cast, while tenderly exploring the bountifulness of love and the sacrificial consequences that come with it.

• READ MORE: Zo In-sung on ‘Moving’: “All that drives me is that I wanted to do it”

Every performer excels, but the heartwarming love stories between the adorkable pair of Bong-seok (Lee Jung-ha) and Hui-soo (Go Youn-jung) mirroring that of the composed Mi-hyun (Han Hyo-joo) and Doo Sik (Zo In-sung) was resplendently inimitable. DA

Biggest fan: The jaded Marvel Cinematic Universe enthusiast experiencing superhero fatigue, in need of a comforting, character-driven pick-me-up.

2. Mask Girl

Season: limited series

From its opening scenes, it was obvious Mask Girl was going to give us a commentary on beauty standards, but it quickly turned into so much more. Office worker Kim Mo-mi dreamed of being on stage all her life but, cruelly, society deemed her too “ugly” for a place in the spotlight. Instead, she turned to livestreaming – with a rose pink mask covering her face – and found a legion of adoring fans.

• READ MORE: ‘Mask Girl’ review: a captivating tale of murder and vengeance

But when one became a little too obsessed, things took a dark turn and the show dove into themes of misogyny, sexual and domestic violence, and more via sharp character studies and a three-act story that was gripping – if extreme – to the last moment. RD

Biggest fan: The extremely online person who’s on top of everything, from current trends to true crime horror stories.

1. The Glory

Season: one, part two

Not since Park Chan-wook’s acclaimed Vengeance Trilogy has a South Korean revenge narrative been so satisfying, or deeply disturbing. Brutally bullied when she was in high school, Moon Dong-eun (Song Hye-kyo) has been planning her retribution for the better part of two decades. In part one, we witnessed the trauma and consequences of her psychological and physical scars, as she laid her Machiavellian groundwork. In part two, her schemes bear fruit in twisted fashion when she ruins her perpetrators’ lives in cunningly sadistic ways.

While seeing these privileged bullies finally get their just desserts did taste sweet, Dong-eun’s methods often cross the line in uncomfortable ways, forcing the audience to grapple with the moral justification of her elaborate reprisals. There’s nothing subtle about The Glory – everything from its shock-filled plotting to its irredeemable villains are heightened. But it’s that maximalism that makes this show the most gripping K-drama of 2023. HJ

Biggest fan: Anyone who thought Edmond Dantès didn’t go quite far enough in The Count of Monte Cristo.

The post The 10 best Korean dramas of 2023 appeared first on NME.