![]() ![]() Love ’em or hate ’em (or promise to do vicious, violent things on their behalf), One Direction have some serious momentum with their new single “Best Song Ever,” which sold 322K in week one. ![]() 1 on the Hot 100 chart for an eighth consecutive week (making it the most successful song of 2013), but there’s change in the air. New Direction? Robin Thicke’s grandpa-approved “Blurred Lines” is No. 9, and Justin Timberlake’s The 20/20 Experience is straight chillin’ at No. 8), followed by two glimmers of hope: the Young Money and Cash Money compilation, Rich Gang (24K), is in at No. Then something called We Came as Romans happened ( Tracing Back Roots, 26K, No. And because there’s some sort of conspiracy or deal-with-the-devil happening, Florida Georgia Line ( Here’s to the Good Times, 30K) and Imagine Dragons ( Night Visions, 27K) lurk at Nos. Then it’s Kidz Bop 24 for some reason (39K), followed by Mark Anthony’s latest album-en- español 3.0 (39K). 3: the Teen Beach Movie soundtrack (57K), which leaps up five positions and 128 percent in sales from the previous week. The infiltration of that former Spy Kid above has seemingly poisoned the well this week, with another Disney Channel commodity landing at No. 2 (77K) courtesy of a 40 percent sales dip. Remember when SPIN talked to Vanessa Hudgens about Gucci Mane? Let’s do that again.Ģ to 10: After two weeks on top, Jay Z’s Magna Carta Holy Grail slides down to No. The Hollywood multi-tasker has climbed her way to this point, selling a few more thousand copies and rising a notch or two with each of her four albums thus far. ![]() The former Disney star and Spring Breakers break-out bad girl is back (!) with Stars Dance - 97,000 sold according to Billboard - an album whose title seems tailor-made to nab a little Dancing With the Stars crossover SEO. ‘Crème Brûlée’ is available to stream on Spotify now.First! Stop the presses: Selena Gomez is No. They’ve gone straight to dessert, so you’d better have left room for more. If you’ve seen the band live, you’ll probably be aware that, although this is a spectacular starter, it’s just a glimpse into what King Hannah can do. With a moreish, deceptively simple, country-meets-indie flow set around Merrick’s deadpan Nico-style vocal delivery, ‘Crème Brûlée’ is an impressive choice for a debut release, particularly clocking in at a mammoth six and a half minutes – half of which is pure instrumentation. It all lends an aura of other-worldliness around a group who seem as tight, implacable and hypnotic on record as they do live. ![]() And they’ve got form – in one interview, Merrick described the band’s mixture of sorrowful Americana (in the vein of Lera Lynn) as a fusion of “Flashdance and MC Hammer”. That wouldn’t be too out of character for the band, whose approach to self-promotion could be described as somewhat reluctant, especially by today’s standards. It’s also entirely possible that the title and Hannah’s comments about it are merely deflection, a culinary tongue-in-cheek. Even how the thing is made: the burning of caramel laid in custard, not entirely dissimilar to the way Hannah’s vocals mix into the song’s thick layers of ethereal backing before a flambé of a guitar solo from guitarist Craig Whittle finishes off the song. But, even if that’s true, there’s still a lot to read into ‘Crème Brûlée’: the dessert itself consists of a tough skin sitting on top of a softer side, not unlike the passionate longing of the song’s lyrics. Let’s get it out of the way – King Hannah ‘s lead singer, Hannah Merrick, insists that this wonderful, mournful lilt is really, genuinely about the 1980s dessert fave. ![]()
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