Peter Robinson, editor of Popjustice recommends the best new pop acts
Now Britney has finally shown the world how pop can use dubstep for good as well as evil, the onus is on the class of 2012 to pick up the genre and run with it. Not run with it in the direction of a crap focus group, like some spectacularly crass major label projects in the pipeline, but maybe more towards the brooding sounds made by Yo Video.
Wisely, the band are already setting some agendas of their own; the ‘Fool’ video sets the Yo Video stall out brilliantly, and they’ve got more mainstream tracks up their sleeves too, as well as an Ellie Goulding cover in the style of Ginuwine’s ‘Pony’.
You may also care to turn your ears towards Britt Love, formerly one half of Mini Viva. Britt has now embarked on a solo career, working with production outfit Youth Kills. Single life suits her: unbothered by the apparent ‘necessity’ to secure daytime radio play and Top 10 chart positions she’s relaxed into her own electronic pop groove – early songs ‘Can’t Stop Loving You’ and ‘Playing The Game’ both do the business in the pulsating electro stakes and offer very strong hints of future incredibleness.
It’s not all bad news for fans of the non-ugly female pop duos, however, as Sweden has given the world Rebecca & Fiona. The Stockholm-based DJs-turned-singers toured with Robyn and scored last year’s biggest radio hit in Sweden; their thunderous second single, goes by the name of ‘Bullets’.
It’s extremely good and has the feel of a raved-up Ladyhawke. Which brings us to brilliant London-based solo singer-songwriter Wolfette, whose own nods to Ladyhawke come with a hint of Garbage and The Kills thrown in alongside skyscraping melodies that keep the whole thing firmly pop. She’s currently unsigned but is working with one of London’s busier music lawyers to put a stop to that ludicrous situation.
Peter’s top 5
Yo Video – Fool
Britt Love – Can’t Stop Loving You
Rebecca & Fiona – Bullets
Wolfette – Tribe
I Am Camera – Untitled
This article originally appeared in the February 12th issue of NME