So for those looking for a more dense run through of the best of Danish star MØ’s (Karen Marie Ørsted) discography I’ve broken it down here with links to the music that I obviously have to omit from a video for legal reasons. I’ve broken it down similarly to video.
Kamikaze is one of MØ’s most exotic sounding singles, with an off-swing that drives the whole song. It’s a party song about being self-destructive, one of her simpler songs lyrically but with the same amazing vocal delivery and catchy hooks.
Assuming you haven’t been living under a rock you’ve definitely heard this track, still one of her most fun to listen to. Using every inflection of Ørsted’s voice it is just catchy and a blast to put on. Major Lazer’s production with the killer vocals make it a track that is as hot now as when it came out.
Her latest track features a great backing track and some great vocal melodies. The track is a little weak lyrically and lacks either of her climactic chorus drops or smooth dance grooves. Despite this there’s enough in its fun bridge and great vocal melodies to tide fans over until the next release.
One of her most straightforward singles in a while, will sound more generic than her other singles but fans of her vocal work will love it all the same. Regardless of this it is actually one of her most listened tracks to date, especially as a solo artist, as it is still a great track despite being all too familiar.
Cold Water finds Ørsted working with Justin Bieber and Major Lazer, however briefly on the track. The track itself is a bit bland in my opinion, the chorus is as catchy as any Major Lazer song, they really do know their craft in that respect though. The shining moment of the song is MØ’s bridge where she uses her talents for killer vocal melodies to craft a section you will be humming when you least expect it.
No Mythologies To Follow Tracks:
The real meat of Ørsted work comes on her 2014 album No Mythologies To Follow, which finds her crafting dance tracks that mix pop and underground influences for an album that will move you as much as it impresses you, appealing to both pop fans and alternative fans with a taste for electronic music. The choruses rarely drop as much as they flow with the focus being less on a powerful explosion than amplifying the emotion of the moment and tying it together in each song’s most catchy hook. Honestly I could list every track here but I’ll save the tracks that take longer to grow for those of you who get hooked.
Never Wanna Know
A gut-wrenching breakup song, full of bells, harmonies and swelling synths. Harmonies go from calming ooo’s, singing along to wails of sadness, flowing with the intensity of the emotion of the song and enhancing it.
Driven by a hip-hop beat, a catchy trumpet line and a subtle bass-line, this track is one of the more low-key on the album. The vocals go from bassy to haunting reverb to intense and emotionally charged.
Don’t Wanna Dance
One of the more driving singles from the album, it ironically a great dance track with thumping drums and more piercing trumpets. The vocal highlights are as powerful as ever with intimate distant echo sections and pained vocal drops that lead into each chorus with energy. The cherry on top is the sudden drums and vocal bridge that brings the song to its climactic final chorus.
Waste of Time
Waste of Time is one of the most unique tracks on the record given its more unique use of its instruments. A high piano line drives the track with hip hop drums and vocals accenting the beat. Harmonies are on almost every line of the song, powering the starts rather than ends of phrases. This mixed with a glistening and distorted guitar create a powerful track with moments you won’t forget.
This Diplo produced track is more straightforward than other tracks on the record but the epic trumpet driven choruses are hefty especially with Ørsted’s attitude in her delivery.
Walk This Way
The off-beat kilter of Walk This Way make it a vicious anthem with some of the heaviest bass on the record. The harmony driven hook is processed in such a way it becomes contagious and the glistening guitars provide even more compliment to the sound.
My personal favourite on the album is this smooth and echo-laden club track. The falsetto vocals (which somehow sound just as good live) are goosebump inducing and have a mystic quality to them. The bass grooves deeply especially in the chorus and sparsely used guitars mixed with the synths provide a subtle ambiance that give the track its hypnotic quality.
The synth line to this track is like candy (with hints of Florence & The Machine) and its heavy bass contrasts it powerfully. It’s utterly simple but somehow the constant switching and mashing of different licks make it a constant treat to the ear.
The final track (outside of the interesting alternate Night Versions) of note is this synth-driven smooth banger. The vocal lines are commanding, bass and drums overpowering, and melodies extremely catchy. One her best live tracks this is one that will have you dancing from top to bottom.