Essential listening: dreamy new tracks to kick off your Tuesday

We perk up your Tuesday with some essential songs from Of Monsters and Men, Ellie Goulding and Shanghai

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Posted 17th July 2012 in Features & Reviews, Of Monsters and Men
Of Monsters and Men

Today could be the first day of good weather we've had in a while and days like this need the right music to kick things off with a bang. We've picked out some essential listening to perk up your Tuesday.

Of Monsters and Men: 'Little Talks'

Happy horns, chants and two voices in complete harmony with each other, that's the sound of 'Little Talks' from Of Monsters and Men. This is one of those songs you'll have on repeat all summer. A great track from one of the most exciting bands of the moment.

Shanghai: 'Wet Summer'

'Wet Summer' is the most appropriate song on this list for everyone in the UK. Shanghai's new song offers surrealist imagery, whispered vocals and retro synthesisers to brighten up your grey days.

Ellie Goulding ft. Tinie Tempah: 'Settle Down'

Ellie Goulding's debut album was one of the highlights of 2010, but nothing could have prepared us for this track. Her voice is breathlessly addictive to listen to and Tinie's turn doesn't feel intrusive like his appearance on Rita Ora's single. Expect to hear this all summer long.

The xx: 'Angels'

Released yesterday, 'Angels' develops the moody, introspective sound of The xx into an exciting new stage. If this is anything to go by, their second album could be as exceptional as the first and just as emotionally stark.

Kodaline: 'Lose Your Mind'

The video is a bizarre portrayal of a blue-collar man losing his mind. And the song? Well, the song is strangely upbeat summer listening with dreamy falsetto runs and harmonies. This could be the best song we've heard this week.

Worst track of the week: Conor Maynard's 'Vegas Girl'

'Vegas Girl' deserves special dispensation as the worst track we've come across this week. All of Conor's personality has been surgically removed and replaced with the label's patented Synthetic Timberlake (the pop equivalent of TruBlood). Leaving the sexy electronic bassline to one side, this is a vapid mess of meaningless, clichéd lyrics over the recycled drumbeat of his debut single. If love is supposed to be the language of pop music, Conor Maynard is suffering from aphasia. He should run from his producers as fast as his legs can carry him.