Jam of the Day – Impact 89FM | WDBM-FM: Recent Episodes
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I go through a lot of phases. No, not the typical teenage, angsty phases, but more so with my music. I’m definitely one of those all-over-the-place people. But there’s one band I come back to again and again, and I always wonder why I left them alone in the first place. There’s also a song — which happens to be the song that started it all for me.
I’ll quit being vague. The band is Pearl Jam, and the song is “Alive” — the song that brought us Pearl Jam.
Let me back up a bit. Imagine Seattle in 1990 — the golden era of the scene’s emergence. Mike McCready, Dave Krusen, Jeff Ament and Stone Gossard were making magic happen. They had everything they needed for their sound, but they had yet to unlock a key component — a legendary frontman.
Around Oct. 1990, the band members received Eddie Vedder’s legendary audition tape. A mutual friend, former Red Hot Chili Peppers drummer Jack Irons, connected them and got the guys talking. Vedder, a guitarist and singer, sent a tape filled with his vocals over their various instrumental tracks. They were especially impressed with one song Vedder had penned — “Alive.”
So, they flew him out. Guitarist Mike McCready noted in an interview with Mojo, “When Ed came from San Diego, the first time we all got in a room, I was so excited.”
Spirits were high, but the pieces hadn’t all fallen together. Early outside perspectives were not supportive of Vedder. He was seen as an outsider by friends of the band, but with the help of Soundgarden’s Chris Cornell, Vedder began to fit.
Time went on, and Pearl Jam’s first album, Ten, started coming together. “Alive,”as I mentioned before, was the song that started it all. The track appeared on Ten and was written as a fictional tale that, in part, was influenced by Vedder’s personal life experience. The song is meant to be the first in a trilogy of songs that Vedder would later call a “mini-opera,” or the “Mamasan” trilogy, including “Alive,” “Once” and “Footsteps.”
“Alive” is actually a deeply emotional and dark piece. Vedder compiled years of built-up grief, using this track as his final outlet. In Vedder’s own words from VH1 Storytellers, “The original story being told in the song is of a young man being made aware of some shocking truths.” The full idea is that a young man is confronted with the harsh reality that his father is actually his stepfather, and his real father was, well, gone. “The guy was me, but I barely knew me then. To be honest I was barely there to be known. So he took this to be a curse, like fine you told me this secret, but I’ve gotta figure a way to deal with this. Fine, the dad’s dead, but I’m still alive, and I’ve gotta deal with this.”
The lyrics give us a sense of Vedder’s internal thoughts, paired with his unique vocals that every fan of Pearl Jam is familiar with. The sheer emotion that Vedder is capable of and can portray through his work is substantial. This is what makes him such a standout figure in the “league of legends” in musical history.
“Is something wrong?” she said, well of course there is /
“You’re still alive,” she said, oh, and do I deserve to be? /
Is that the question? /
And if so, if so who answers? Who answers? /
I, oh, I’m still alive /
Hey, I, hey, I’m still alive /
Hey, I, hey, I’m still alive /
Yeah, I, ooh, I’m still alive! /
Yeah yeah yeah yeah yeah yeah yeah!”
It’s difficult to convey emotion through written lyrics, but you get the idea. I love this song so much that I can hear Vedder’s voice cutting through the back parts of my brain as I pore over the lyrics. That says something.
All in all, this really is the song that started it all. It brought Pearl Jam Eddie Vedder, who’s embraced the world with his unique styles and ideas for years. So, remember, listen to this song, and keep on keeping on. You’re still alive! Yeah, yeah, yeah yeah!
Tyler, the Creator’s eighth studio album just dropped, and it’s been gaining major traction, holding the No. 1 spot on the Billboard Top 200 for the second consecutive week. Chromakopia is packed with hit after hit, making it hard to pick a single standout. The track that has been on constant repeat for me is “Balloon,” featuring a captivating verse by Doechii.
“Balloon” opens with a whimsical, campy beat that perfectly channels Tyler’s playful and eccentric style. The track explores themes of nostalgia and personal growth as he reflects on his success, ambition and work ethic.
“(Okay, look) Why I work so hard? My soul profit /
Why I can’t settle down? I like options /
Why I hate small talk? I like topics /
House shoppin’, I’m a pig, I love coppin’, ugh”
Tyler kept the album’s features a secret for those who listened on release day, making each new voice a surprise. So when Doechii’s energetic verse took over, it instantly elevated the song to a whole new level.
She perfectly matches Tyler’s style, with an escalated energy that contrasts with Tyler’s easygoing verse. Together, they form a dynamic duo that feels like a brother-sister act, and I’m positive this won’t be the last time we see them collaborate.
Doechii delivers a verse with a touch of humor and playfulness that only enriches the song, creating something both whimsical and profound. It proves why she has been breaking new ground in the music scene — recently earning three Grammy nominations for her album Alligator Bites Never Heal, where her versatility as a rapper shines through.
To bring it all together, Daniel Caesar makes a subtle appearance, adding layers of smooth vocals in the background that beautifully complete the track.
“Balloon” is a unique blend of lightheartedness and introspection — a fun, creative, and layered song that’s already become an instant favorite.
China Anne McClain’s Disney hit “Calling All the Monsters” became an iconic Halloween anthem for our generation. Many listeners — like me — would consider it our generation’s “Monster Mash.” As we close out Monstober, It’s a good time to reflect on how much of a revolutionary Halloween song Disney gifted us.
Released in 2011, “Calling All the Monsters” promoted an A.N.T. Farm Halloween episode “MutA.N.T. Farm,” in which McClain starred. The song’s popularity was undeniable, especially in my third-grade classroom, where it went triple platinum
From the electrifying buildup of the pre-chorus:
“Gonna get your body shakin’ /
Wishin’ you could just awaken (here we go)”
To the catchy, spirited chorus that makes you forget this is a Disney song and not a club classic.
“Tonight, all the monsters gonna dance /
We’re comin’ to get ya /
Tonight, all the monsters gonna dance /
We’re comin’ to get ya /
If you’re only dreamin’ /
Why I hear you screamin’ /
Tonight, all the monsters gonna dance /
We’re comin’ to get ya, we’re coming to get ya”
This song is the perfect blend of spooky and danceable, making it a Halloween staple that will be enjoyed for generations and forever hold a spot on any Halloween playlist.
To celebrate its 10th anniversary in 2021, McClain’s band Triii, alongside her sisters Lauryn and Sierra, released an updated version of the song serving a more modern and mature approach while keeping the classic lyrics. McClain’s younger brother Gabriel, also known as “Messenger,” was featured with a very spooky and ghoulish rap verse that was the perfect missing piece to the song.
We better see you monsters on the dance floor tonight and happy Halloween!
Anyone who’s ever listened to the Cocteau Twins knows that their work is more than your run-of-the-mill music; it’s an immersive auditory journey, engulfing you in the haunting beauty of Elizabeth Fraser’s unintelligible lyricism. “Beatrix” is no exception.
Featured on their 1984 full-length album Treasure under 4AD, the Scottish dream-pop group defined themselves amongst the alternative and gothic-rock scenes by incorporating an ethereal and gossamer-like sound into their artistry. While the band speaks of the album as rushed and “dated” in its production, it became one of their most notable albums and has gained a resurgence of love from Gen Z listeners.
The song begins with an eerie yet enchanting loop, echoing throughout the song as if it were cascading against the walls of a dark fortress. Fraser’s vocals operate as an instrument — siren-like in their wailing — often described as glossolalia, or speaking in tongues. Sometimes, you don’t need to know what someone is saying to invoke a feeling; the dynamics of one’s voice can speak for itself. The instrumentation bellows as it reaches the later half of the track, as rhythmic bass creates a dark texture amongst the soundscape, perfectly encapsulating a spooky resonance.
Words cannot truly describe the musical tapestry coveted within this track, as each and every person experiences their own kind of intimacy with it. As redundant as the phrase might be, it really is a matter of “if you know, you know” when it comes to their discography. If you haven’t already done so, I highly recommend investing in some high-quality audio and making the time to let this song — and the rest of the album for that matter — take over the body, embracing the sensory experience that is the Cocteau Twins.
Released on Nov. 30, 1982, it’s a song everyone remembers wherever they were the first time they heard it. Who better to make such a smooth but creepy song besides Michael Jackson himself? In my opinion, nothing sums Halloween up better than “Thriller.”
So many different layers come together to create this chilling piece. The song kicks off with a load of samples, from creaky floors to howling wolves and ominous footsteps. From there, we’re snapped back into Michael’s reality — throwing us into it with a catchy horn that kicks off the funky groove you can’t escape.
But why would you want to? This groovy, creepy song encapsulates 1982 perfectly. Horror meets funk for the first time, and in the best possible way. There’s an ominous feel throughout the song, a mounting horror that builds and builds until horror actor Vincent Price swoops in with a chilling monologue.
“The foulest stench is in the air /
The funk of forty thousand years (Thriller night, thriller) /
And grisly ghouls from every tomb /
Are closing in to seal your doom /
And though you fight to stay alive /
Your body starts to shiver (I’m gonna thrill you tonight) /
For no mere mortal can resist /
The evil of the thriller /
(Maniacal laughter)”
Incorporating a Vincent Price monologue was an outside-of-the-box, fresh idea that truly brought the graveyards alive in 1982. It wasn’t something often done, but in the ’80s, anything went. It’s hard to imagine the song without it. The song was written by Rod Temperton who also wrote various songs for Michael, and had envisioned a section devoted to horror-like dialogue. Quincy Jones produced the song as well as the entire Thriller album.
Michael does his fair share of spookiness through the song. In the music video, he’s Michael until he becomes totally zombified. Somehow, this zombification ignites a sense of dance, and he leads his fellow zombies in a full dance routine through the alleys. Like I said before, this couldn’t be more ’80s and I live for it. His lyrics show us why we should be scared:
“It’s close to midnight /
And something evil’s lurking in the dark /
Under the moonlight /
You see a sight that almost stops your heart /
You try to scream /
But terror takes the sound before you make it /
You start to freeze /
As horror looks you right between the eyes /
You’re paralyzed”
In all, there’s no ignoring this Halloween classic. It’s the perfect blend of the spooky season we’re going through right now, and the grooviness of the ’80s. All I ask this Halloween is that you don’t forget about this masterpiece — and try your best not to turn into a zombie when you play it. No guarantees, though…
Happy Halloween!
At the tail end of last semester, I wrote about “Missing Out” by Maya Hawke, connecting her energy to the changing of the seasons as the snow melted and the flowers began to bloom. Now, I’ve somehow found myself back in the position to write about a song of hers, once again linking it to the changing seasons and those uncertain feelings.
With leaves hitting the grass and chilly winds blowing across campus, Maya Hawke has gifted us with a brief EP, Clipped Wings, to soundtrack the atmospheric change. Although I found something to love within each of the four songs on this EP, there was one that specifically stuck out to me — “Jack London.”
“Say you’re heartsick, say you’re sleepless /
Top ranking pound for pound /
Say you’re rugged, say you’re reckless /
Drag syllable from sound”
Jack London was a famous American novelist and journalist in the late 1800s, known best for The Call of The Wild. A fun connection to London would be Maya’s dad, Ethan Hawke, who starred in a movie adaptation of London’s White Fang.
From my perspective, I see her taking a lot of inspiration from his work for the lyrics and format of the song. The lyrics are chock-full of imagery and allusion to some of London’s pieces. There’s also metaphorical symbolism in the verses and literary terminology that ties the song together and strengthens the realistic fiction concept and allegory it presents.
“Though your purpose is no longer clear /
There’s little left for you to do /
Don’t know why the hell I’m here /
If I’m not here for you”
While my midterm-muddled mind had a harder time dissecting the lyrics of this song, there is still a general warmth and connection it brings. Released on Oct. 4, this song has already accompanied me across the chilly sidewalks of campus many times. Her chorus about purpose felt especially personal, particularly as a college kid still trying to figure out what to do with their future.
Although this may not be the real meaning behind the chorus, I like to believe it’s a conversation with yourself. Linking it to the current college experience, I feel it can be an anthem for everyone. You may not know what you’re doing, your purpose or why you’re here, but you’re here for yourself and the betterment of your future, getting closer and closer to your goals.
Sometimes, and perhaps this hasn’t happened to you but it most certainly has for me, describing why you appreciate a certain artist is perplexing. It might not be because of what they physically say in their songs, or even the sound of the music itself, but you still enjoy it thoroughly; leaving the most logical conclusion to be that it must be some “secret sauce.” I can’t say I really care much for the message Zelooperz is trying to convey in his newest single “Euphorbia Milli” — not that the title makes the task any easier— yet something about the composition of his melodies, matched with the cadence of his flow, captivates me. And this wouldn’t be his first track that has caught me in this confusing trance.
By no means am I insinuating that Zelooperz is a bad artist. It’s more of a compliment to his ability to combine rather simple ingredients and still formulate compelling works of art. Or maybe, I’m just full of it. I’ll leave that up to you.
Zelooperz is best known for his 2019 boom-bap style rap project Dyn-O-Mite, with the most notable track (which I previously alluded to) being “Easter Sunday” featuring Earl Sweatshirt. Perhaps Zelooperz “secret sauce” is his ability to capture a nostalgic sound through him and his producers’ chopping of samples along with a voice which, without reasoning, has tastes of early 90’s rap. This combination is found on both “Easter Sunday” and the track in focus here, “Euphorbia Milli.” Easy to say this window is where Zelooperz shines.
I would argue one of the most exciting periods of the song is the first 15 seconds, where a metronome sets the stage for Zelooperz opening his mostly-acapella verse. After a brief few seconds, the piano clocks in mid-verse, which really sets a warm and powerful sounding base for the lyrics to glide on. I wouldn’t be surprised if this song took inspiration from Kendrick Lamar, specifically his 2022 track “Father Time,” which has a similar introduction to the beat, while also offering that nostalgia-esque theme. Around half way through the track, the beat doesn’t necessarily switch, but rather evolves with additional soundbites. But in all honesty, probably lasting a little longer than it needs to.
Maybe you’re not on board this crazy train with me. But if you are, this song keeps a smile on your face, tasting a little bit like old times, but also filling you with optimism for what’s ahead. And we all could use that sweet balance of past and present in our life. Hopefully, this single is a precursor to more Zelooperz projects in the future (hopefully an album) which I will for sure write about if that happens. Thanks Zelooperz for making music that I can’t explain, but somehow takes me back to little TJ.
Love is something that everyone experiences and feels in different ways — negative, positive, neutral, you name it. It’s what makes us human, and that itself is something special. “After the First Kiss” is a song I first heard when I saw her in concert in July. It was right at the end of her set, and she brought out her girlfriend and sang it to her in front of the crowd. I just want to say, if that isn’t love then I don’t know what is. Listening to this song and seeing just how giddy Faye was around her girlfriend and singing this song to her was something special.
Regardless of how you’re feeling right now in your life, there’s something to be said about this song. You can pretty much apply it to anything that you love, like a hobby or the more directly mentioned person. Finding something or someone who just fits who you are is a feeling like no other. Maybe you find a sport and it just clicks, or you meet someone in one of your classes and hit it off immediately. It’s such a comforting feeling, and I feel like this song captures that feeling perfectly.
“I make plans to see her twice /
After the first kiss /
I take her picture when I close my eyes /
After the first kiss”
Not that Faye Webster’s songs are inherently sad, but this song is a pretty clear change in her usual tone, which can be more attributed to longing or a kind of melancholy. It’s a nice change of pace. There’s something to be said about her ability to portray a story and really give you that feeling of contentment through her music. While this is a change of tonal pace from her usual style, she absolutely nailed it, and you can tell this song means something to her.
Being a girl born in 2004 meant that I spent my nights playing Just Dance; sweat dripping down my face after getting a perfect score to Lady Gaga’s “Paparazzi” and Bruno Mars’ “Treasure.” Gaga and Mars ruled my childhood, and always made my mom bust out her awkward fist pumping dance move when their songs played on the radio. A collaboration between the two artists was not even a possibility that crossed my mind, but when I overheard someone talking about their new song, “Die with a Smile,” I opened my Spotify immediately.
Within the first three seconds of the song, I was hooked. The Mars songs I grew up with fell strictly into the upbeat pop category, and more recently, his and Anderson Paak’s album “A Night With Silk Sonic” was more R&B focused. This song however, was much more sultry; slow and extremely addictive.
This song already felt nostalgic due to the artists singing it, but if you’ve ever found yourself in love, then the lyrics could bring back fond memories.
“If the world was ending I’d wanna to be next to you /
If the party was over and our time on Earth was through /
I’d wanna hold you just for a while /
And die with a smile”
The chorus can make anyone who has ever been in love reminisce. You find yourself in love now, wanting to cuddle up on a broken futon in your dorm room next to someone who can make even the smallest, smelliest dorm feel like a fantasy. Or you may be stuck on the past, the what if’s and the almost relationship that still creates feelings of despair, and desire to end every night next to each other. The premise of having someone to call home, and feeling safe no matter what are the feelings that this song brings out of you. Then after Bruno Mars has cut open your heart and left you out to dry, Lady Gaga enters the song.
When I first heard Gaga’s entrance, my knees buckled beneath me and I almost had to reach for my roommate’s inhaler. Similar to Mars, Gaga is usually more associated with bold pop songs such as her hits “Judas,” or “Applause.” This song was more reminiscent of her vocals from the A Star Is Born soundtrack, which opened up millions of peoples eyes to see beyond the wild outfits and the infamous meat dress she wore and see her raw talent.
Lady Gaga enters the song similar to how Mars began it, then proceeds with,
“Lost in the words that we scream /
I don’t wanna do this anymore /”
With those two lines and Gaga’s smooth voice, I felt my shoulders loosen and the stress in my body float away. These lyrics encapsulate the struggles in a relationship. Once the honeymoon phase has ended and the reality of the hard work that a relationship is. These lyrics make everyone remember the urge to fight for the love they share with someone, but feeling exhausted from the pain the same love is causing. However, even with that pain, there is still only one person who you’d want to be by your side.
Then at the perfect moment, their voices come together and make it easy to believe that everything in the world is right. This entire song seems to be hinting at the idea that everything is right in the world when you find your person. However, if you are single and find yourself hating every couple, then never fear, because you can find that inner peace with the contrasting yet cohesiveness of Mars and Gaga’s voices in unison. Having such star power combined on one song was what the world — and the whole population — needed.
Regardless if your childhood was spent listening to these artists, there is always time to hop onto the Lady Gaga and Bruno Mars train with this song being the starting point, so stream “Die With A Smile” the next chance you get.
It’s finally getting cold outside — the leaves are changing, the sun is setting earlier and your cozy bed seems more inviting than ever before that dreaded 8 a.m. class. It’s time to put the shorts away and the sweaters back into rotation because fall is officially here.
Etta James’ “A Sunday Kind of Love” is a song that welcomes you into the cold air and golden sunsets, with her soulful voice making you feel like you’re being wrapped in a warm sun blanket.
The song comes from her debut album, At Last!, which, like this track, is filled with many songs perfect for your fall playlist. The song was originally written in 1946 by Barbara Belle, Anita Leonard, Stan Rhodes and Louis Prima.
James’ version brings a unique richness that allows listeners to feel the deep emotion she brings to every note in a way in which the audience can connect to the heartfelt lyrics. Her moving voice expresses the heartfelt lyrics of wanting a love that will last more than just one night — a Saturday night love that lasts through Sunday and many days following.
“I want a Sunday kind of love, /
I love to last past Saturday night, /
And I’d like to know it more than love at first sight, /
I want a Sunday kind of love”
For me, this song represents a slow Sunday morning when you’re winding down from the weekend but mentally preparing yourself for the week ahead. Sundays have always been a day to spend time with loved ones, to appreciate the people that matter most — and to take a moment for yourself, too. James’ delivery, with its lyrical depth and timeless feel, has become a staple for jazz and blues music.
So, next time you’re indulging in a Sunday rest, I encourage you to not only listen to “A Sunday Kind of Love” but the entire 39 minutes of her At Last! album. Let in the fall air, savor the cozy atmosphere and take a little time to reflect on the love in your life — both for others and yourself.
Until Sept. 26, The Cure had not released new music in 16 years. Yet somehow, their new single “Alone,” which will headline their new album releasing in November, is spectacularly similar to the music they released in their prime during the ‘80s and ‘90s.
When I heard that they would be releasing a new song, I was instantly dreading that it would become another attempted, and consequently failed, comeback from a band in their older ages. I was mainly worried that it would sound like The Cure — an imitation of their old music. However, within just seconds of my first listen, I realized that all of these fears were, thankfully, completely invalidated. The song begins with a three-minute instrumental introduction that is reminiscent of some of their most popular ‘epic’ songs, such as “A Forest” and “Pictures of You.” The long intro instantly had me immersed in the song as it could have been a brilliant track on its own. It evolves, builds up and down and is unmistakably The Cure.
While the intro was beautifully grand, I was eagerly waiting to hear what Robert Smith’s voice sounded like at this point in his life. I had seen some recent concert videos in which his voice sounded just like it did during the band’s height, but I was still skeptical because, after all, it has been about forty years. As the intro came to a close, Smith came in and absolutely shocked me. His vocals are practically indistinguishable from The Cure’s early albums. If someone had me listen to “Alone” and told me that it was one of the band’s songs from the ‘80s, I wouldn’t think twice about it. His voice is still as full of passion and youth as it was many decades ago, and as amazing as the instrumental elements are on this song, Smith’s voice is what makes this song so monumental.
Over the past week since the track was released, I have had it on repeat, and each time I hear it, I am just as shocked as before at how well this song fits into the rest of The Cure’s discography. The band doesn’t sound like they are trying to replicate their classic sound and style in the slightest. I was hoping to be pleasantly surprised by the track, but I am left feeling grateful that I get to be alive and aware of one of my favorite bands releasing truly spectacular music. Now, all I can do is impatiently wait for November to come around.
Fleetwood Mac is known by pretty much everyone — from your sister to your grandma — and for good reason. As my life has gone on, I find myself throwing the band on more and more. I think this might be because they seem to have just the song for every mood I could possibly have. Something I love about Fleetwood Mac is the pure, raw emotion felt not only through the lyrics, but even in the instrumental nature of their works. They simply play their hearts out. However, if we’re talking about emotion, there is only one song in their vast catalog that takes the cake. “Silver Springs” is the one — Stevie Nicks’ ultimate masterpiece.
Released in 1976, this song is purely Stevie’s. In fact, she was so sure of it that she actually gave the song rights to her mom in anticipation of its success. Bandmate Mick Fleetwood did not exactly agree; first making the song the b-side to “Go Your Own Way,” and having it later appear on the deluxe version of Rumours. In a 1991 interview on BBC radio, Nicks said she “started to scream bloody murder and probably said every horribly mean thing that you could possibly say to another human being and walked back in the studio completely flipped out.” Hey, I agree with you, Stevie! The song features strong, emotional lyrics, with an almost haunting nature that are paired with incredible harmonies, instrumentation and dynamics. With all that said, there was a reason for this, and it wasn’t musical success.
“Silver Springs” was written by Nicks as a tribute to a very personal slice of her own life. It is actually a breakup song about her falling out with guitarist Lindsay Buckingham. The two had a difficult and turmoil-filled relationship spanning back to the formation of the band. Stevie had the song’s name come to her as she was passing through Silver Spring, Maryland, and felt that it was the perfect fit for the song. Nicks wrote the song with a dagger in her hand, though. She knew exactly what she was feeling and what she was going to make clear to Buckingham. It’s kind of epic, actually. Some of my favorite lyrics are:
“Time cast a spell on you, but you won’t forget me /
I know I could have loved you, but you would not let me /
I’ll follow you down til’ the sound of my voice can haunt you”
Man, I’d hate to be Buckingham. Having Stevie Nicks, the singer and face of your own band, write a song about how you broke her heart and left it unresolved must… really suck. Especially because everyone knows exactly what’s up.
This song contributed, in part, to the band’s breakup. It was only a small puzzle piece, as the band had experienced internal conflict from the start. In the famous 1997 reunion concert, The Dance, the song was performed, and Nicks’ powerful performance actually brought the song back into the spotlight. She could be seen staring straight into the eyes of Buckingham during the performance; again highlighting the impact of the song. In a world of heartbreak and melancholy, the ability to capture it perfectly in such a beautiful piece of art like “Silver Springs” is something that should be recognized. I think this song should be heard and recognized on the same caliber as “Go Your Own Way” or “Dreams,” just purely for the emotional impact it can truly have. Give it a listen, and don’t be an idiot like Lindsay Buckingham.
The underground rap scene is full of many unusual and exciting new developments, but none over the past few years have captured my ears in the same way that the Haunted Mound collective has. Spearheaded by rapper-producer Sematary, their songs take much influence from 2000s and 2010s trap artists such as Chief Keef and Gucci Mane as they do the droning synthesizers of witch house and the discordant riffs of black metal. It’s an unusual combination, but when it’s topped off with horror-movie-esque lyricism and blown-out mixes, you get some of the most interesting music to come out of SoundCloud in the past half-decade.
Sematary certainly deserves credit as the driving force behind Haunted Mound, but he’s never worked alone. Back when it all started, back before the cult-like fanbase and tours, he had one partner in crime: Ghost Mountain. With his more emo-rap-derived vocal style and penchant for evocative imagery, he offered a strong counterpoint to Sematary’s abrasive production and subject matter. He would become a fan favorite through his features and contributions to collaborative projects despite his solo output being almost non-existent; consisting of a single song released in 2020. This led to him garnering an almost myth-like status among the fanbase, a reputation that would only be further strengthened after it was announced in early 2021 that he would be quitting music to focus on other personal pursuits.
While Haunted Mound would continue to grow — in both members and popularity — it was undeniable that something changed after Ghost Mountain left. Sematary and the new members were still releasing quality music, but it lacked the more emotive and genuine edge that made their older output so special. Fans, myself included, kept a small hope that Ghost Mountain would somehow return, but given his complete lack of an internet presence post-retirement, that seemed almost entirely out of the question. At least, that’s what it seemed like until this past week.
On Sept. 22, 2024, Ghost Mountain’s Instagram account would un-private and make a cryptic, captionless post. When other Haunted Mound members began sharing the post, fans began to wildly speculate that he may be returning to music. These rumors would be confirmed later that week with the single “Apollon,” Ghost Mountain’s first release in over three years.
The instrumental provided by oscar18 (one of the producers who joined the collective following Ghost Mountain’s departure), bears more resemblance to the gothic synthpop of an act like Depeche Mode than the standard Haunted Mound affair. However, it’s a more than welcome change of pace for the group. “Apollon” wastes almost no time getting to the point, with a brief drum intro leading into massive synth lines and densely layered vocals.
Ghost Mountain is just as strong of a performer as he was when he left, as his melancholic singing makes him sound like a specter haunting the track. He was always the strongest writer in the group, but his lyrics here show that his pen has only improved in his absence, being more poetic and mystical than ever. As “Apollon” builds to its chorus, he seems to reminisce about his departure from and subsequent return to Haunted Mound while simultaneously comparing himself to the Greek god of Apollo.
“With seven strong now I’m dead and gone /
Cut off my wings by the break of dawn /
I sang a song, now it’s said and done /
Keep a lyre and a bow like I’m Apollon.”
The song is less like a triumphant return and more like a bittersweet reunion between old friends. There’s still a sense of catharsis here, but it’s more like the sigh you let out at the end of a long day than anything else. As the song continues into its second verse, Ghost Mountain’s lyrics get even more abstract. He intertwines further references to Greek mythology with lines directly aimed at some unknown figure — potentially a representation of the other members of the group or the fans who were awaiting him.
“I feel alone when I speak to you /
Moirai cut the line from the old news /
Does it feel right how we live to you? /
I’ve been reaching out, but you never knew.”
I hadn’t considered another Ghost Mountain song releasing as something that was even possible until a week ago, but now that it’s here, “Apollon” is just about everything I would’ve wanted out of a new release from him. It picks up right where he left off, while still feeling like a progression of the more diverse musical influences that Haunted Mound has begun to incorporate since his departure. If the story of the group so far were to be made into a movie, this song would play during the end credits, with Ghost Mountain’s final cry of “let me go” echoing out as the screen fades to black. In reality, I hope it’s the opposite. I hope that “Apollon” is the beginning of a brand new chapter for one of the most exciting collectives to come out of the depths of the internet.
As the warm weather begins to deplete, the leaves begin to fall and the cold blanket of autumn begins to cover the earth, feelings of warmth and the freedom of summer start to feel like only a past memory. The overwhelmingly haunting angst and uneasy atmosphere of Fontaines D.C.’s single off their newest album perfectly embodies the feelings of nostalgia, melancholy and perhaps anxiety that come with the new season.
“It may feel bad /
It may feel bad”
The Irish post-punk band’s newest album, Romance, released in late August 2024, blends experimental instrumentals and rhythms, complemented by mesmerizing and drawing vocals, seeming to embody the lead singer, Grian Chatten’s, anxieties. However, the most intriguing track off the indie rock album is “Starburster.”
The song begins with heavy reverb and an atmospheric keyboard sound, almost foreshadowing the musical turmoil that is soon to come. As the booming bass and drums — the heartbeat of the song — join the other instruments, we are slingshotted into a mesmerizing blend of angst and anxiety, almost similar to feelings evoked by the ‘80s new wave sound of similar autumn artists such as The Cure or Joy Division. The verse begins with the singer’s stream of consciousness, as he attempts to describe the intensity he feels in the moments leading up to a panic attack. However, it isn’t until the chorus that we are thrown into the headbanging chaos.
“I’m gon’ hit your business if its momentary blissness /
I’m gon’ hit your business if its momentary blissness”
The existential meltdown we are shoved into is manifested in the aggression of the chorus as Chatten forces his anger toward the world in a loud, almost rap. As the heavy instrumentals and lyrics swarm, each chorus line is stopped abruptly by a gasp, as if Chatten is gasping for air and struggling to breathe. The raw energy of the chorus almost takes everything out of the singer, as if he is experiencing panic along with us.
“Starburster” is an experience rather than just a song. It embodies lively dread and angst, exemplified by the lyrics and instrumentals of a perfect autumn song. If melancholy, sadness, hope or dread are any emotions you experience during the changing of the seasons, “Starburster” is the perfect song to embrace the fall spirit.
If you’re looking for a song to make you feel like you’re serving and are looking good, then I might have something right up your alley.
“Untouched, XO /Young lust, let’s- (ah)”
Imagine a warm summer night, cruising around with friends, laughter filling the air with no worries on your mind. You find yourselves at a lively spot, dancing under the stars when you lock eyes with someone across the room. You go over there like something was calling you, and you start dancing, getting lost in your own rhythm. That’s the vibe of Addison Rae’s new song, “Diet Pepsi.” The song is effortlessly fun, capturing the magic of those spontaneous moments that make summer nights unforgettable.
Rae released her song on Aug. 9, and it quickly became a fan favorite, trending on TikTok, and everyone’s shook that she released a good song. The singer has released other songs before, but this is the first song released since she switched to her “good girl gone bad era,” which she is doing phenomenally well. This song entered the Billboard Hot 100 at 86, and was her first breakthrough into the charts.
“Diet Pepsi” sounds like Addison took her time on it. It truly captures her rebrand in a way that feels fresh and authentic. With “Diet Pepsi,” Addison Rae embraces a more confident, carefree vibe, reflecting the joy of living in the moment. The song’s infectious energy and playful lyrics resonate with listeners, making it the perfect anthem for those unforgettable summer nights filled with laughter, dancing, and new connections. It’s not just a track; it’s a celebration of the freedom that comes with being young and having fun. It makes you feel sexy and confident, and people love that from Rae. “Diet Pepsi” being released in the summer was such a good move, because it is such a song for a summer night.
“Summer love (ah, ah), sexy /Sitting on his lap, sippin’ Diet Pepsi”
It’s not only a song; it is something that shows Rae can stand on her own as a pop girl. Personally, this is one of my favorite songs right now, and I can’t wait to see more from Rae and see what else she comes up with. Now my question to you is: Are you drinking your diet Pepsi?
Trust me, I’m aware of the baggage I’m bringing to the table. If you’re fortunate enough not to know what I mean, opinions on Maroon 5 are as divided as American politics. To complicate matters, lead singer Adam Levine has attracted significant media attention in recent years. Ask any middle-aged woman about him, and you’ll likely hear an overwhelming amount of over-sexualized praise. But, if you ask Sumner Stroh, you might be shocked at the “game” a man over 40 can have. However, since it’s Throwback Thursday, let’s set aside Levine’s questionable taste in tattoos and take a trip back to a simpler time — the 2000s.
Maroon 5 is well-known for their numerous hits, particularly in the early 2010s. Tracks like “One More Night” (2012) and “Sugar” (2014) define an unforgettable era of Obama’s presidency and playing games on the Wii. These classics are embedded in pop culture, representing a sound that Maroon 5 would carry on for the rest of their career. While some criticized the repetitiveness and predictability of their later branding, as a Maroon 5 lover, I can attest that it wasn’t always this way.
After the lackluster release of their first album, the band, originally called Kara’s Flowers, disbanded in 2001 to focus on their studies. However, that same year, the addition of guitarist James Valentine revitalized the group, leading to the creation of their redemption project — “Songs About Jane,” under their new name, Maroon 5. Released in 2002, this debut album embraced a heavier, neo-soul funk-rock style that just sounds like the early 2000s. While some lighter songs from the album found their way onto the radio, many of the leftover tracks showcase a version of the band that has since faded away. One song that encapsulates this lost artistry is this Thursday’s highlighted track — “Through with You.”
“Heartache, heartache, I just have so much /A simple love with a complex touch /And there is nothing you can say or do /I called to let you know I’m through with you, oh.”
From the start, the layered guitar rhythms highlight the band’s unique musicality, setting a gritty tone for Levine to explore the theme of an emotionally absent ex-lover. One admirable aspect of their earlier work is its simplicity. Even if the song’s premise doesn’t resonate with you personally, many verses contain universally relatable themes, making it both musically and lyrically captivating. Although the song repeats its chorus with little variation, Levine’s vocal progression, paired with an increasingly dynamic guitar rhythm, keeps the energy passionate rather than monotonous. This builds into a stunning guitar-drum solo that will inspire you to take fashion tips from Diary of a Wimpy Kid’s, Rodrick Heffley.
“You ain’t ever coming back to me /And that’s not how things were supposed to be /You take my hand just to give it back /No other lover has ever done that.”
Whether or not I’ve changed your mind about the band, this week is more about commemorating what Maroon 5 once was. I’m not suggesting that they became incapable of making good music after leaving the funk-rock scene — they’ve certainly produced some catchy pop hits. However, their over-saturation in a competitive genre, along with a reluctance to return to their roots, has led to several forgettable projects and even a song with Cardi B. This would make anyone wonder: What could have been if they had revisited neo-soul?
And I know, considering Levine’s interesting past and rocky marriage, that there is PLENTY to sing about.
“Wonder how you feel /
Words cannot describe, baby /
This feeling deep inside.”
Have you ever felt an emotion so powerful, beautiful and extensive that there was truly no way to explain it? A feeling that encapsulates all your desires and is simply so fantastical you want to stay in that space forever? English musician FKA twigs has, and she has somehow found a way to explain it — “Eusexua”.
On Sept. 13, 2024, FKA twigs released “Eusexua” the title track and lead single for her upcoming album. The single marks twigs first solo release since her 2022 album CAPRISONGS. As a career-long fan of twigs, I could barely contain my excitement over her new project and I am delighted to say she did not disappoint.
“Eusexua” is a stunning piece of electronic music with heartfelt lyrics that so beautifully explain the feeling FKA twigs wants to illustrate. Produced by twigs with the help of Koreless and Eartheater, “Eusexua” encapsulates rave culture with fast-paced beats and arcane synths that make you want to dance, sweat, or even cry.
“Do you feel alone? /
You’re not alone /
And if they ask you, say you feel it /
But don’t call it love, Eusexua.”
But what exactly is Eusexa? It is a phrase FKA twigs created herself as a way to describe her state of being and what is at her core as an artist.
“Eusexua is a practice. Eusexua is a state of being. Eusexua is the pinnacle of human experience,” twigs said in an Instagram post announcing the single.
“Eusexua” is by far one of my favorite songs released this year. It is the expression of complete euphoria and what it means to be human. It is honest, exciting, mysterious and daring — which, in my opinion, is the definition of what music should be. Since her first project, 2014’s LP1, FKA twigs has been a pillar of the electronic/alternative music community, and “Eusexua” feels and sounds like the music she has been preparing to make.
Eusexua, the album, is set to release on Jan. 24, 2025.
Whether you’re getting ready for a fun night out with friends, needing a little pick-me-up, dancing in your room way too late at night, or just want to feel like a “girly girl,” I’ve got the perfect song for you.
“All the Girls are girling, girling /
All the Girls are girling, girling /
All the girly girls (what?)”
LE SSERAFIM just had their fourth comeback as a group with their 4th mini album, titled CRAZY. This is the group’s second mini album in 2024 after their smash hit — EASY — released back in late February. The title track of this album is the boundary pushing, energetic, electric song also named “CRAZY.” Whether you’re a long-time fan of the group, or a newcomer trying to dip your toes into the world of K-pop for the first time, I am sure you will love this song.
For those who are unfamiliar with the group, let me fill you in. LE SSERAFIM is a five-member girl group based in South Korea under Source Music, a sub-label of HYBE Entertainment (home to groups like BTS, Seventeen, NewJeans and many more). The group’s members are: Kim Chaewon and Hong Eunchae from South Korea, Miyawaki Sakura and Nakamura Kazhua from Japan, and last but not least, Huh Yunjin from the United States.
For this comeback, the girls deviated from their usual ‘fallen angel’ aesthetic and decided to go with something a little more… ‘crazy.’
“Crazy, crazy, crazy, crazy /
Crazy, crazy, crazy, crazy /
Act like an angel and dress like crazy (what?)”
“CRAZY” is a song like no other within KPOP. It is fast-paced, campy, strangely empowering and takes inspiration from Ballroom culture but with a retro-house sound. The beat is heavy and easy to follow, and will be stuck in your head for hours after listening to it. In addition, the members deliver catchy choreography that will have you shaking your shoulders, voguing, and just letting go. To ensure they represented ballroom culture correctly, the group collaborated with the Legendary House of Juicy Couture (a prominent Ballroom group), who trained the girls on proper voguing; including some staples of the style like duck walking and dips. Juicy Couture’s dancers were even featured in the music video; dancing and celebrating with the girls.
This song has blown up in South Korea, with the girls’ choreography trending on TikTok and the unusual beat resonating with the South Korean public. The girls have also seen huge success internationally, with the group achieving their first No. 1 on Billboard’s Top Album Sales Chart.
If you’re interested in campy, fun, dancing with your girls, feeling like a ‘girly girl’ (even if you’re a 20-year-old man like me), and living your life a little crazily, I highly recommend you check out this song. While you’re at it, I suggest listening to the rest of the mini album as well!
In a time when the lines between different genres are blurrier than ever, perhaps no one has shown the creative potential of these new frontiers than Jane Remover. First gaining prominence in the early 2020s in the burgeoning hyperpop scene, she’s already gone through more stylistic shifts than most artists will go through in their entire careers. Whether it be the chaotic sampling and rapid-fire club rhythms of her Dariacore series, the glitch-pop coming-of-age story that is her debut album Frailty, or the harrowing shoegaze of her sophomore effort Census Designated, any style she tries her hand at proves to be a fruitful new endeavor for her. To me, she’s something of a musical alchemist; effortlessly blending different genre conventions into intoxicating mixtures that are always uniquely hers.
Of course, the question still remains: when you’ve already covered so many diverse styles in such a short timespan, is it even possible to have more tricks up your sleeve? If “Magic I Want U” is any indication, then there’s no doubt that Jane is more than capable of still surprising in the best way possible.
“Magic I Want U” is the second single released by Jane Remover while she’s been on tour opening for the similarly eclectic underground rap icon, JPEGMAFIA. Her previous single, “Flash In The Pan,” smashed ethereal dream pop — à la Slowdive — into the bouncy hi-hats and stomps of recent developments in New York drill. This combination should’ve been completely incoherent, but Jane’s sonic wizardry somehow makes it work. While the sounds that “Magic I Want U” are pulling from aren’t quite as distant, the effect is just as strong, if not stronger.
After the repeating, ringing triangle opens the track, you’re met with the driving alt-rock riff and hypnotic breakbeats that make up the body of “Magic I Want U.” This mixture harkens back to Odelay-era Beck and other similar alternative electronica hip-hop crossovers of the ‘90s, albeit with a contemporary sheen. In the background, the sound of fireworks going off intertwines with record scratches and vocal snippets, creating an overall effect that is — as the title would suggest — magical, easily drawing the listener into a trance-like state.
The spell-binding nature of the song is only heightened once Jane joins the track vocally; sounding straight out of a classic 2000s pop/R&B hit. She radiates equal parts confidence and desperation, creating an uneasy conflict that matches the surreal sonic world that she’s created. The lyrics deal with common themes of romantic longing, but they are tinted with enough of the abstraction and urgency that’s characteristic of Jane’s songwriting to fully pull the listener into the world of the song.
“I think I’m getting down with something /
‘Cause when I’m playing I just want you around /
It’s been so long since you said you love it /
I’m the missing piece that you want to write about.”
Never content to let a musical idea overstay its welcome, Jane Remover evolves the initially basic structure of the song into something with a cinematic level of drama. The rhythm section is almost constantly changing, often going from frantic breaks to stripped-back, half-time grooves within the same verse. Additional guitars and keys are added to further propel the song along, providing even more ear candy than was already present. Later on, a deep voice joins the track, repeating the phrase, “Can you feel that?” throughout various breakdowns. For me, the answer to that question is almost always a resounding yes.
Just when you think the song has shown you everything it has to offer, “Magic I Want U” pulls the rug out from under you one final time. The sampled drum loops are replaced with equally danceable drum machines, and Jane delivers a coda that acts a final cry of infatuation to the subject of the song.
“I like the way he use his hands and his words /
I could be his new favorite think piece favorite girl /
Anything to tell me that I’m your number one /
‘Cause I’ll be your groupie baby.”
Jane Remover’s constant artistic metamorphosis has made her one of the artists I’ve paid the most attention to throughout the decade, and “Magic I Want U” feels like the culmination of everything she’s done so far and more. It’s a near-perfect piece of pop bliss that seems to reveal itself more and more to me with each listen. Whether she continues down the path laid by this song or not, the sky’s almost certainly the limit for what she can accomplish.
It’s often not like the movies. No big firework show. No declaration of inner turmoil. No late night riverwalk with the full moon above that changes your (or their) mind. Heartbreak is quiet and mellow – like a drive down the highway, with the distant city lights flickering and the radio muffled by the rolled-down windows to let your emotions simmer.
You know that yucky span of middle-America interstate where every exit is followed by a beat-up little town, hosting the old Taco Bell logo, sketchy gas stations, and potholes galore? Well, it’s probably most of America, but you can envision it, right? I feel like this scene and its idiosyncrasies are the exact ingredients MJ Lenderman uses to cook up his music. Common people, albeit weird and sometimes downright delusional, makeup most of the narratives that are sung on Lenderman’s work. It’s a combination of cynical humor and down-to-Earth observations of the world that creates a beautifully niche satire that resonates just right.
This Midwestern, yet universal experience is put to the max on Lenderman’s latest release, Manning Fireworks. The pandemic helped catapult Wednesday, the band Lenderman plays lead guitar for, and Lenderman’s own solo career into the spotlight following the sly wit of his 2022 release, Boat Songs. While a lot of his work seemed predominantly infatuated with humor in abstract scenarios (such as Michael Jordan having a hangover, a “stupid hat” straining a relationship and having a terrible time on the log ride at Six Flags), Manning Fireworks doubles down on this charm, with scattered melancholic zingers pumped up higher than Lenderman has ever woven so neatly before. This isn’t to say Lenderman has never tugged at the heart strings; it’s to say he’s perfected his writing on this new release.
Low-fidelity buzz and cracking vocals paint the soundscape, dripping with Southern influence, created with steel guitar lines and acoustic ballads. This homegrown style works so wonderfully with Lenderman’s words – something most apparent on the track “You Don’t Know The Shape I’m In.” Distortion takes the backseat on this tune, letting the acoustic melody playout with grace while the electric guitars aid in the percussion of the song. Sparse woodwinds float around our ears, creating an atmospheric breeze in line with the isolation in Lenderman’s lyrics.
“Everybody’s walking in twos leaving Noah’s ark /
It’s a Sunday at the water park.”
Bluntly profound, yet grasping for meaning, Lenderman describes a breakup where the two have found themselves at opposite ends from one another. Not mad, not bitter, just on two different paths. It’s as if the whole world around him is full of excitement and fantasy when compared to his somber situation, but the reality is a little less spectacular than that. Everyone around him is moving, but with a tunnel-visioned monotony that isn’t any grander than his own life.
“We sat under a half-mast McDonald’s flag /
Broken birds tumble fast past my window /
You don’t know the shape I’m in.”
The final moments these two share together are not picture-perfect frames to be filmed. It’s a sad sight to behold under a meaningless McDonalds establishment. Birds don’t sing like they do in a Disney movie. They tumble down the side of Lenderman’s home in the most poetic fashion. Does he see himself in these birds? Is he hopelessly lost in his self loathing? Or, perhaps as supported by his “duckwalks” later mentioned in the song, he’s content with moving on from knowing this other person, drifting apart in their own distinct ways.
Lenderman seems to know the limits of his emotional intelligence at his age. Things come and go all the time, and even if for just a moment you feel like you’re floating, eventually you have to come back down. A friend may not know how to comfort you, so Lenderman lets us interpret his words with a solemn optimism: life might not be a blockbuster film, but if you know the shape you’re in, at least you can make a keepsake video diary.
Check out “You Don’t Know The Shape I’m In” with a plethora of charming tracks on Lenderman’s latest release, Manning Fireworks.
I tend to argue an artist is only as good at their production. What is a song without production? A poem? Quality production doesn’t mean constant layering and throwing every subtle sound bite that comes to mind into the mix. It’s a matter of finding a balance between necessity and complexity that compliments the story being told. Leaning into either way can lead to a song’s inability to maximize its potential.
Do I personally make music and understand the difficulty and experience that comes with producing? Nuh-uh. I obnoxiously harp on the topic because it’s not common for you to find tracks, or artists in general, that find that sweet spot. But when they do, oh boy, when they do, it’s the most magical, ascending, audio-gold, luke-warm water at 4 am feeling you can experience. And the band, Magdalena Bay, has it in the bag.
Coming off their near 3-year album hiatus, Magdelena Bay released their sophomore project titled Imaginal Disk, an alternative, synth-pop cumulation of 15 tracks that builds on the band’s distinct sound. But this time, dialing it in and mastering it. Perhaps while doom-scrolling you’ve already heard bits of the more notable tracks such as the hottest of the bunch “Image,” or even “Death and Romance,” released early as a part of the album’s rollout promotion. Both these tracks deserve their praise and are worth listening to. Both are cut from a similar cloth; fast-paced, catchy chorus with beautifully directed build-up. But after the now countless repeated listens I’ve done of this album, I find myself constantly returning to one specific track that captivates Magdalena Bay at its peak, “Cry for Me.”
“Plenty of time here to nurture consequence /
If you don’t hear back, then God had other plans /
I leave all my dregs to all my progeny /
Cry for me /
Cry for me”
“Cry for Me” Is best described as a futuristic yet simultaneously retro drive on Mario Kart’s Rainbow Road. Pairing with a story that isn’t inherently obvious to the listener, but is still mysterious and intriguing. A contributor on Genius best put lead singer Mica Tenenbaum’s characterization in the song as nearly-villainous. The production backs this up with deep, rich synths that are given the reigns between verses. When Mica does get on the mic, it’s layered tastefully, with a composition of piano and reverb that twists a rather traditional sound into something that still flows with the experimental theme.
I hesitantly admit the song’s story goes over my head a good amount as I get sucked into the track’s sound. As mentioned in a previous article on the band, the band leaves much of it up to self-interpretation, yet the verses still make for some great singing in the shower karaoke. Overall, a great track to get on to set a badass tone for this upcoming fall. If you’re looking for a sound that teleports you to a disco floor in Blade Runner 2049, Magdalena Bay’s newest album Imaginable Disk will do that and more. Unfortunately, no promises you’ll run into Ryan Gosling while you’re there.
Isaac Dunbar is a Massachussets-native singer and songwriter who began producing music at a young age, drawing inspiration from a variety of artists such as Lady Gaga and David Bowie. His rise in the music industry has been largely driven by his online presence and strong fan base, as well as critical acclaim from those who appreciate his unique stylistic approach. Since his first release in 2018, Dunbar has traversed from classic pop to a more authentic and introspective style of alternative pop, showcasing a unique blend of personal storytelling and innovative soundscapes.
Dunbar’s new single, “Backseat Girl,” is a vibrant, theatrical lament of what it feels like to be the second best. The lyrics explore the emotions of feeling overlooked, expressing frustration with not being valued and feeling like efforts to connect are often in vain. The song highlights a desire for independence and self-validation with the repeated phrase, “You can’t be right all the time,” emphasizing the need for autonomy and acceptance.
“I’m just your backseat girl /
If only I could rule your world /
Every kiss, every ride, why do I even try?”
Throughout the song, there’s a theme of questioning and self-reflection, wondering why he continues to return to a relationship that brings him so much dissatisfaction. The chorus alludes to cycles of disappointment and change, echoing a struggle to break free from unhealthy patterns and seek fulfillment. Overall, the song captures the universal desire for recognition and understanding. These compelling themes in tandem with the lush guitars and intricate harmonies evoke a sense of nostalgia, making the song all the more intriguing. Backseat Girl is the second single on Dunbar’s upcoming EP “Beep Beep Repeat,” which is set to release on April 26, 2024.
It can be said that an artist may never find peace of mind for as long as they are aware of their artistic ability. How can one possibly rest in the presence of art – the natural beauty of the world and humanity’s indomitable spirit constantly inspiring creation?
Longingly gazing out a window, imagining untold stories unfolding across the fields outside, I find myself acutely aware of my infatuation with artists. I do wonder some days if I would find myself happier in an environment full of people moving faster than my own brain thinks. New York? California? Where will I end up? As I continue to age – as all humans do, to my knowledge – I question the integrity of my infatuation, curious as to whether the real world is founded upon the same passion I hold so dearly.
After five long years, American rock band Vampire Weekend arrives back from hiatus on the subway train with arguably their best piece of work to date. Only God Was Above Us marks the first release from the group written as a trio, following the departure of keyboardist Rostam Batmanglij. Their 2019 release, Father of the Bride, was marketed as a solo release, entirely written by lead singer Ezra Koenig. Self referential yet brutally vulnerable, Weekend creates a powerful tracklisting of nostalgic bliss and sweet melodies. From “Ice Cream Piano,” a strange burst of distorted synths and marching drums to open the album, to “Hope,” the eight-minute closer filled with glittering keys, Only God Was Above Us is a powerful display of artistic integrity.
Weekend extraordinarily creates room for reflection on past work and the fundamentals of being an artist, and no track does this better than “Mary Boone.” With tender string arrangements and choir chambered vocals, the depiction of an artist arriving in a buzzing city is imagined, coinciding perfectly with the album’s late 20th century cover art. Naivety is challenged when our narrator finds themself looking for something new, seeking a sort of omnipotent figure hypothesized in the distance. Our narrator amidst the buzz hunts for solitude, frustrated by the cost of living and perhaps the struggles of financial stability as an artist. Even surrounded by loud speakers in a theater, loud movements of the outside world leak into the room. Our narrator becomes infatuated with this distant figure whom they love, battling concepts of riches and fame.
“Mary Boone, Mary Boone /
I’m on the dark side of your room /
Mary Boone, Mary Boone /
Well, I hope you feel like loving someone soon.”
Mary Boone, a famous New York art dealer, becomes the beacon of light our narrator seeks out for guidance. Hiding in the shadows metaphorically, our narrator wishes to be seen at the same level as famous and wealthy figures such as Boone. With sorrow, our narrator never truly receives the respect they request, recognizing their desires as nothing more than a wish to not be forgotten in the fizz of the city.
After all, infatuation is nothing more than a phase. It comes and goes just as any other emotion does, sprinkled over your life’s narrative. Across the expansive sonic landscapes painted in “Mary Boone,” Weekend suggests there might be something more to it: unrest is the essence of our lives.
If you like the sound of twinkling keys, choir chants and indie rock drums, listen to Only God Was Above Us, the new album from Vampire Weekend.
Moonlight shines on glimmering black waves. An island is illuminated in the distance. Under the shadow of a palm tree, a figure emerges, crawling from the ocean. An eerie song leaks from its gaping maw. The creature rears its head. Bedazzled under the moonlight, she lies before us: Jojo Siwa.
What is beyond the bow? What mystery is shrouded behind the great pink curtain of glitter and veneered smiles? As she rolls on the beach, singing in autotuned harmony, it becomes very clear: not much.
In March, Siwa posted a cryptic advisory to her followers stating, “The following content is not made for children and may be disturbing or offensive to some viewers.” Following in the footsteps of many child stars before her, she announced her rebrand. No more manufactured bows. Throw out the pink rhinestones.
The song starts with the sound of strings — the calm before the storm. Then, it begins:
“I was a bad girl, I did some bad things/
I swear I did it all for fun and it meant nothing.”
In an interview with Billboard Magazine, Siwa states that, originally, she was scared of the lyrics. “I didn’t want to say I was a bad girl. Because I wasn’t a bad girl.” She talks of her transformation, like a butterfly emerging from its chrysalis. Except this butterfly wears excessive facepaint and proclaims herself the creator of the genre “gay-pop.”
“Oh, Karma’s a bitch/
I should have known better/
If I had a wish, I would have never effed around/
When I saw the pics of you and her, I felt the knife twist./
Karma’s a bitch, and she’s with you right now.”
We are never surprised by the level of vulnerability and truth poured into Siwa’s lyricism. This was her chance to surprise her audience, give them something real. Make herself more than just a headline keeping the Daily Mail’s snapchat story in business. Instead, it sounds as if a middle schooler learned what being “edgy” is and tried to write a song about their two week long relationship.
“This lonely room feels so empty, just me and my regrets/
And cold blue eyes look back at me, the mirror has no sympathy/
My guilt’s become a symphony that won’t let me forget/
Oh, karma’s a bitch.”
As the song ends in slow resolution, a singular thought enters my mind: Thank god. But although it is over, we are not free. For it is possible for a song to be really bad and still catchy. The tune haunts me. I’ll find myself humming it under my breath as I get ready for the day or singing it as I complete my homework. Then, it hit me — Jojo has won. It was never about being someone new; it was about being someone to talk about. We spent so much time trying to figure out what’s beyond the bow that we forgot that her hairline is receding. There is nothing behind the bow. Just a shiny bald head.
Swede Jonatan Aron Leandoer Håstad has worn a handful of different hats since his rise during the cloud rap era of 2013. Under the alias Yung Lean, he’s managed to carve a niche for himself as one of underground rap’s most enigmatic figures. Listening to his most popular song, “Ginseng Strip 2002,” gives one an idea of the kind of melancholic, hazy box that Yung Lean placed most of his music in. Throughout his career, he’s worked closely with another experimental Swedish art collective known as Drain Gang, frequently collaborating with its most popular members, Bladee and Ecco2k.
Not content with just making rap, however, Yung Lean has frequently explored alternative rock under the name Jonatan Leandoer96. With this project, he explores traditional alt-rock sounds as well as shoegaze and new wave with songs like “Blue Light,” “Wooden Girl,” and “Rivers of Another Town.”
Bladee, in the meantime, has been releasing some of the most cutting-edge music in the rap genre today with albums like Icedancer and Crest. So, it’s only natural that these two would collaborate on a full project. Sweden is only so big, after all.
Their collaborative album, Psykos, is a perfect blend of the sounds both artists have been exploring over the most recent arc of their respective careers. “Ghost,” in particular, captures the melodic, monotone hooks of Bladee’s most recent work in a net of Midwest-emo-flavored-goodness that only Yung Lean could cast.
Of course, with lyrics like “Only you can glue my blue and broken shattered, battered porcelain heart” and “Even hate from you would have me thankful,” one thing becomes incredibly clear: This is a piece for when you’re in your feelings. It is a perfect song for those classic gray-skied Michigan days or for worrying about what’s next after graduation. Give this one a listen when you’re in the mood to brood.
Every musician’s dream is to hit it off big and tour the world playing their music to all the loyal fans that support them and gaining some fans along the way. Not every band’s trajectory is linear though. In the case of Panchiko, the group dropped their dreams of being a popular band almost 20 years before they would eventually become relevant. The original members of Panchiko had gone their separate ways in 2001. Still, in 2016, the group’s first album released in 2000, “D>E>A>T>H>M>E>T>A>L,” would gain traction as it was passed around through online messaging boards after first being discovered by someone who found the CD at a thrift store. Today, the group has nearly 1 million listeners on Spotify and has been touring regularly. It is easy to see why people love the group. To me, after only one listen of the album years ago, nearly every track stood out, but my favorite might have to be “Sodium Chloride.”
“Sodium Chloride” is a showcase of the beautifully unique blend of sounds that Panchiko offers with every track. The group meshes elements of dream pop, indie rock, shoegaze and psychedelic rock that all create a hodgepodge sure to amaze listeners. The track starts softly, and a somber acoustic guitar strums as lead singer Owain Davies opens:
“Dry skin falling away /
How did green find the words to say?”
Listeners are left to fall deeper into space and the dreamy landscapes produced by the music. Shooting electronic backings fill the air as the guitar continues, and we are led into the chorus:
“Don’t let the tears build up the years /
Don’t let the tears build up the years.”
The empty and bleak background is soon filled following the chorus adding in some smooth drums only adding depth to the already multilayered and detailed composition. The emotion seems to only build as the band begins the second verse:
“Dry lips and tears in the rain /
No hips, you’re here to keep me safe /
Fall out and patches of blue sky /
No doubt we’re here to keep these lies.”
The chorus is repeated following a slim breather, but as emotions have already begun to build, they soon come crumbling down, all finally being unleashed in the outro. The singing is elevated in pitch and gives listeners the feeling of someone truly wearing their heart on their sleeve, feeling what all of us do at times with Owain releasing:
“‘Cause no one will notice you (When you’re gone) /
Notice you (When you’re gone) /
Notice you (When you’re gone) /
Will notice you (When you’re gone) /
Will notice you (When you’re gone) /
Will notice you (When you’re gone).”
The ending is far from happy, but it is nearly impossible not to be completely immersed in the diverse sounds provided by Panchiko throughout the track. Listeners can completely drift away before it is ultimately interrupted by the rampant emotions of the outro. The song stands out as something that doesn’t conform to just one thing instead blending the sounds of so many genres and influences to leave us listeners satisfied as we forget about the world for a moment and escape into a deep space that Panchiko takes us to.
A snake digests its food slowly. It eats its prey whole, lets its stomach acid deal with the bones. No scraps are left behind. No trace.
Tuareg singer and songwriter Mdou Moctar wishes to open the snake’s mouth and save this prey with not only his hand, but the hands of a full and united people. This prey, the Tamasheq language, springs forth beautifully from the tongues of many Tuareg people like Moctar, but Moctar believes the language is in great danger.
“People are just using French here,” Moctar said in a press statement. “They’re starting to forget their own language.”
This statement was released in conjunction with Moctar’s newest single, “Imouhar,” which is a plea to the Tuareg people to preserve and save Tamasheq. The Tuareg, who largely inhabit countries in the Sahara desert, are a minority in all those countries, and Tamasheq is a minority language as a result.
“Imouhar,” which invokes fuzzy riffs descended from the likes of Jimi Hendrix, is a powerful call. There is such passion in its fiery climbs, such pride. One should be careful when calling a piece of music “important,” and I have rarely taken more care with this label.
“Imouhar” is important, and language is important. Our language defines us; it speaks to who we are and what nurtured us. Think of the foundational stories you were told, and think about how their meaning might change if translated into an alternate, domineering language.
Translation can give you much of that story, but its heart will be slightly eroded. If that story were repeatedly passed down, and repeatedly drawn further and further from its original tongue, it could become a different story.
“Imouhar” yearns to breathe more life into the Tamasheq story. It yearns to stop the snake’s digestion before it is too late. As writers and readers, we must support the diversity of language; we must preserve those words and rhythms which keep the world rich and varied.
Yes, learn new languages and new words, but do not forget those which shaped you.
“Imouhar” is the second single off the upcoming album Funeral for Justice, which releases May 3.
Start by wrapping a string around the back of one’s palms, looping it over the front of the palms, and back out. Then, slide your middle finger underneath the loop that reaches out to the front of the palms. From there, your partner will grab the string by the x’s that are formed by the string. This game, called cat’s cradle, continues on until someone makes an error.
The obsession to create the perfect game of cat’s cradle can lead to a momentary state of bliss, only to be ruthlessly shattered by the fickle nature of the string attached to the player’s fingers. And speaking of strings attached to fingers, the red thread of fate is a fable from Chinese mythology where soulmates are joined by a small, red thread.
Canadian singer and songwriter Ruby Mckinnon, better known as Flower Face, combines these two, seemingly contrasting ideas with her song “Cat’s Cradle.” Despite titling it after the game, the imagery of the song and the accompanying music video lean into a darker interpretation of the fable.
Opening the song are three whistle notes. These whistles invoke imagery of The Hunger Games, and Rue’s whistle that kicks off many of the events of the later part of the series.
Lyrically and visually, the song touches on obsession. Specifically, the obsessions that we have with celebrities and celebrity culture — cutting out pictures of a favorite actor, purchasing and wearing clothes worn by this person. In the moment, the obsessions we have for various people can be innocuous. Once these obsessions become more pronounced and of a longer duration, they become harmful.
Flower Face’s guitar driven lyricism, coupled with her melancholic and somewhat-hypnotic voice, really drives home this point:
“You don’t know my name /
But I would die for you”
Teary eyed, the message of the song rings clearer with each passing day. Too often, we look at these celebrities as harbingers of what to become. Once we remove our rose-colored glasses, we can untie ourselves from the strings that hold our attention away from what truly matters.
Stereolab is arguably one of the most remarkable bands of all time. Throughout the ‘90s and early ‘00s, they constantly redefined the indie sphere, blending early post-rock with ‘70s motorik rhythms, ‘60s lounge instrumentation and ear-catching melodies. These aspects of their sound were wrapped up in a neat little bow in 1996’s “Cybele’s Reverie.”
Sung entirely in French, the song looks back on childhood through the lens of being in that mental age and slowly growing up. Lætitia Sadier laments the possibility of having done everything she set out to do in life:
“What to do when one has done everything /
Read everything, drunk everything, eaten everything?”
During childhood, I remember I had this idea that my life as I had known it would come to a halt once I graduated high school because I could not fathom what it would look like beyond that point. Everything felt more vibrant as a kid, and there was always this feeling of curiosity and glee that I know I will rarely experience again. The song reads like a eulogy for childlike wonder.
While the tune is quite bittersweet, the instrumentation is quite joyful, with its prominent string section and increasingly triumphant crescendos. Sadier’s vocals are also superb against the swift chamber pop backdrop. The song’s structure gives me the impression that it is spinning into itself with each crescendo, like the cyclone shape from the cover of Emperor Tomato Ketchup.
“Cybele’s Reverie” is easily one of my favorite Stereolab songs. Every sound is so precise, and it has one of the most affecting vocal performances I’ve had the pleasure of hearing. Stereolab continues to live on as an indie rock titan in part through their endless creativity on songs like this.
The internet is full of complications. You can share your personal thoughts, feelings and deepest secrets with people you’ve never met – and may never meet – in your entire lifetime. The question that comes from this is simple but difficult to answer: Is this relationship healthy for either recipient?
Porter Robinson is a pillar of creativity in the realm of electronic music. Beginning as a producer for electro and dance music, Robinson quickly left the scene after experiencing dissatisfaction and panic attacks on stage. Feeling frustrated with the lack of emotional transparency and depth of the EDM scene, Robinson released his debut project, Worlds, in 2014.
Praised by critics and fans of the EDM scene alike for changing the industry with powerful melodies, it seemed as though Robinson was the messiah of electronic music. Unfortunately, the excessive touring and public pressure brought Robinson to a dark place, waiting nearly seven years to drop his second release, Nurture, in 2021.
Combining his electronic experience with heavenly pop arrangements allowed Robinson to breathe new life into his work, and as we gear up for his forthcoming third release, it seems Robinson is once again trying to reinvent himself.
“Cheerleader,” released March 20, 2024, follows up the therapeutic creative pursuit that was Nurture with Robinson accepting his popularity and the consequences of it. Combining hyperpop vocal effects and fast drums of angsty emo rock, Robinson creates a fictional narrative that compares the parasocial dynamic of artist and fan to cheerleaders rooting for their team — in this case, their favorite person. This fan of Robinson is described as “obsessed,” drawing raunchy artwork of him as her way to express love. He notes that her form of love doesn’t draw boundaries, an unfair dynamic that Robinson opposes.
“Cheerleader /
Thought she needed me, but I need her.”
Conflict arises when Robinson comes to a difficult conclusion – although he finds the parasocial dynamic to be harmful, ironically, he relies on these fans of his to keep him afloat. For Robinson to be a successful musician, he needs these cheerleaders supporting him through thick and thin.
“It’s not fair /
‘Cause I knew you like the back of my hands /
Well, don’t you care? I gave you everything, ah /
Now I feel you even when you’re not there.”
With the chorus bringing bright synths and clean guitar, the perspective of the singer – either Robinson as the artist or the fans who worship him – is unclear. Both sides acknowledge a codependency, feeling as though they are known deeply by the other.
As the narrative paints the fan as living a rough life further into the song, the question of how healthy this dynamic is ends unanswered. What seems to matter to Robinson, at the very least, is becoming aware of the effects this dynamic could have and accepting it for what it is: complicated.
If you’re interested in a blend of pop and electronic music, stay tuned for the yet-to-be-announced third studio album from Robinson including “Cheerleader.” While you wait, check out his past works Nurture and Worlds.
Picture California, what do you see? Mountains, beaches, or maybe the beautiful oceans that line the coast? No matter what you see, it’s probably akin to the feeling of listening to The Story So Far. Mellow grooves mixed with perfect bursts of energy all blended together to make a band that perfectly encapsulates their home state. Hailing from Walnut Creek, California, the influence is obvious and bleeds deep into the sound of The Story So Far. The latest release from the group comes with much anticipation with their last full-length project released in 2018. That being said, the group doesn’t rush and is sure to always deliver a product held to their high standards, and “Letterman” is sure to impress fans of old and listeners just hearing of the pop-punk legends.
Smooth is how The Story So Far opens, just a simple drum beat and a crystal clear guitar riff played softly that is calling for the rest of the band to join in. The first to join is lead singer Parker Cannon, who smoothly enters:
“Look behind me then you’ll understand /
I’m not hiding any other man /
To be honest I don’t understand /
How you spin me like a ceiling fan /
(Just like a ceiling fan).”
There is no downtime as the band transitions to the chorus, intensifying themselves, taking away the mellow energy and infusing the track with the needed emotion to bring things together, singing:
“There’s no point in making nice /
I know the price /
‘Cause I know all about the down and out, I get it /
‘Cause even if I close my eyes and fantasize /
It’s never gonna help me admit that you’re gone and to just accept it.”
Just as soon as the fire gets going, it is quickly extinguished with the band swiftly leading listeners into the next verse. The calming instrumentals ensue as we hear:
“Wear your pride just like a letterman (Just like a lettеrman) /
Wrap me tight, I’m your rubber band, man (I’m your rubber band, man) /
I won’t try you еven though I can (Even though I can) /
Slide on by without a second glance (Without a second glance).”
Following the verse, the chorus repeats, but afterwards, we are greeted by a bridge that’s the highlight of the song, fueling the fire created by the verse as The Story So Far with Parker Cannon pour their hearts out:
“So don’t think that I’m excited at all /
And you know that I’ve been dying to call /
But I can’t get involved /
I don’t wanna be here at all (Don’t wanna be here at all) /
Do you notice at all?”
Just to get the point across to their lost love again, the band repeats the second verse just before pounding the final chorus straight at us:
“There’s no point in making nice /
I know the price /
‘Cause I know all about the down and out, I get it /
‘Cause even if I close my eyes and fantasize /
It’s never gonna help me admit that you’re gone and to just accept it /
(I know that you’re gone and I can’t forget it) /
Admit that you’re gone and just accept it.”
All together, we are at a glance provided with a somber ballad to a lost love. It’s on par with the topic of a lot of The Story So Fars’ past work but delivered in a different fashion. So often the band looks to let everything out, unleashing everything they have and wearing their hearts on their sleeves. This song seems to stray away from their normal formula and shows the maturity and development of the group as people and musicians, which culminates into a song that arrives just in time for listeners to enjoy as we cruise down the streets, windows rolled and scream along.
The electro-pop band, Colouring, released their newest single “Lune” in late August. With lead singer, Jack Kenworthy’s, voice of tranquility, the unique atmospheric undertone unveiled by lead guitarist, Sean Reilly, and bass player, Dom Potts, and the steady foundation provided by the band’s drummer, Alex Johnson, the London band produced a hit that impressed audiences...
Some days are just built for looking back at the past. You pass by a thrift shop and see a stuffed animal that reminds you of someone you had a connection with. Maybe you hear an old friend’s favorite song and hesitate about whether you should text them. Not every connection breaks with anger and...
Within these past couple of weeks, I’ve had time to reflect upon my life as a whole. The absurd quantity of changes made to my daily routine has significantly impacted my outlook toward my future and what I wish to see for myself. Throughout all of these developments, whether educational or social, the consistency which...
Since the mid 2010s, Bladee has been a staple of his genre, consistently creating music that’s unlike anything else out there and, for many, single-handedly defining the hyperpop-adjacent niche of electronic pop that he occupies. It seems with every new release — whether it be an album, single or ep — the rapper and Drain...
Last week, I started my Thursday morning in tranquil fashion, enjoying a serene walk and a scrumptious egg scramble before sitting down to do some textbook reading. After a calming and educational textbook session, I opened up Spotify. Little did I know the course of my day was about to change. My eyes lit up...
What I would consider to be the catchiest song ever written about crystal meth addiction came out 26 years ago as the first single of Third Eye Blind’s debut self-titled album. “Semi-Charmed Life” is absurdly catchy, opening with doo-doo-doo-doo’s in an almost One Direction-ish fashion. The upbeat pop-rock melody is juxtaposed with unexpectedly dark lyrics, telling the story of a relationship tainted by addiction.
“Semi-Charmed Life” was released in February 1997 and hit the Billboard Hot 100 in July of that year, debuting at 17. It peaked at number 4, spending a total of 43 weeks on the chart. The song had similar success on other charts, and it won a Billboard Music Award for Best Modern Rock Track. Notably, Dave Grohl of Nirvana and Foo-Fighters was once asked by Spin Magazine what ‘97 lyric he wished he had written, and he answered with the refrain of “Semi-Charmed Life.”
Despite the dark undertones, I firmly believe now is the time to listen to the alt-rock/power pop hits of the ‘90s and 2000s before summer is officially over. I’ll leave you with one of the few sweet lines in a song that is mostly a discussion of meth:
“I believe in the sand beneath my toes /
The beach gives a feeling, an earthy feeling /
I believe in the faith that grows.”
Summer is a period of stasis for students. At least it is for those who can’t secure internships and choose not to enroll in summer classes. Friends are in far away cities, and there’s nothing to do but embrace the inactivity. You try to be content in a space that’s far from ideal, which is...
Los Angeles-based multi-instrumentalist and producer Adrian Younge is set to release the 18th edition of he and Ali Shaheed Muhammad’s Jazz Is Dead, this time featuring legendary drummer Tony Allen. The late Allen, who Brian Eno described as “perhaps the greatest drummer who ever lived,” died in 2020, but even in death, his music continues...
Just months after Russia began its full-scale invasion of Ukraine, gypsy punk band Gogol Bordello traveled to the country to perform a secret concert for Ukrainian soldiers. Now, with the help of various esteemed punk rock and hardcore musicians, they’ve returned with a new single holding the same purpose of helping these soldiers. All proceeds...
George Clanton has been one of the internet’s true innovators for as long as the “terminally online” music scene has existed. Initially turning heads with the vaporwave moniker ESPRIT 空想 for his nostalgic use of self-production on 2014’s virtua.zip, Clanton has been slowly proving himself as a genuine auteur for a new era of musicians. Clanton has often been relegated to the vaporwave genre, but such a label hardly describes the depth of his musicianship. The synthpop/chillwave aesthetic of his duo Mirror Kisses allowed him to innovate on the genres with exciting new sounds that only he was privy to. Despite not releasing an album since 2013’s Heartbeats, Clanton ultimately continued the project’s sonic direction under his own name with 100% Electronica in 2015.
In 2018, Clanton released Slide to critical acclaim, largely considered by the musical underground to be a magnum opus of the chillwave and hypnagogic pop genres. From cuts like “Dumb,” “Livin’ Loose” and “You Lost Me There,” Clanton further cemented his own musical identity with an eclectic selection of whistles, deadstock synths and a sharp repertoire of 1990s music. These inclusions completely separated him from his peers, injecting once tired genres with a youthful, yet contrasting nostalgic vigor.
The inclusion of genres like trip hop, baggy and shoegaze into Slide made for a joyous listen through some of my personal favorite genres, and considering the stratospheric highs that he reached with his latest record, “I Been Young” shows that there’s quite a bit more height to be reached in finding the boundaries of his distinct sound.
“Chalk it up to them misunderstanding what I said /
Making up the rules to win a game inside my head /
Think I’m growin’ up but no (If I’m growin’) /
I’m just growing old.”
“Hanging on to every grudge I think I need to hold /
Can’t remember who I’m even fighting anymore /
You’d think I’d know my way by now /
(But I’m lost and) Now I can’t be found.”
Beneath his whispered, confident delivery is Clanton’s signature synth programming, beautifully contrasted by the dramatic hammer of a piano. The verse slithers around you like a snake, weaving in and out of each ear in a melodic hypnotism that takes control of your body. The baggy rhythm holds the atmosphere in place, marching alongside the slow burning atmosphere like a funky metronome.
With the jaunt of the piano chords, the track explodes, triggering a bellowing plume of sound. Wistful strings cut through the atmosphere alongside the sway of wah-wah guitar, introducing new limits to the melodic high and low end.
Clanton sings with emotive poise:
“And I been wrong /
And I been young /
Wrong enough to say I’m sorry /
Owning up to things I can’t undo /
And I been young /
Growing up is never easy /
Can’t you see how life is blinding you?”The wall of sound reverts, saving the highlights for the instrumental climax. Bongos supplant themselves for added rhythm beneath the drum pattern while piano roll is effortlessly keyed before the bridge:
“Young enough to start a life and old enough to pack /
Waste a couple of years while I make my mind.” A fuse ignites; fireworks explode above: An incandescent rain of electric glitter falls from the sky.
“And I been wrong /
And I been young.”
The violins, rhythm, guitar and synth coalesce into a captivating symphony of noise. Clanton pleads with the subject, his words fading into the ether: “Growing up is never easy, can’t you see how life is blinding you?” Whether he was heard or not, we’ll never know.
Clanton is correct — growing up is never easy. Continuing to grow with your art is even harder. But as shown with “I Been Young,” growth can be a beautiful, sublime thing.
Thanks for the memories, Impact. Here’s to the future.
Having a hard time with finals? Need a mood boost from the brain drain? “Dancing In The Courthouse” is the answer.
Dominic Fike has returned with a new single, finally. It is the first song released off his highly anticipated second album, which is expected to be released later this year. From the promotions that Fike posted on his Instagram, the backdrop for this album is his upbringing in Naples, Florida. “Dancing In The Courthouse” reflects a return to childlike energy. It’s about going forward, knowing where you’ve been and embracing it. In a video on Fike’s Instagram, he tells his mom, “I wouldn’t change my childhood for anyone else’s because that’s why I’m here.”
The vocals are free from the autotuned, distorted sound that made up much of Fike’s previous album. If this means anything for the album to come, perhaps Fike is stepping out of his experimental phase and leaning into a more natural approach.
But, that doesn’t mean he’s abandoning his sound. In typical Fike fashion, it’s short, clocking in at 2 minutes, 37 seconds. The instrumentals feature his signature electric guitar overlaid with a heavy bass, and the drum joins at the chorus. If you listen closely at 1 minute, 37 seconds, a high-octave piano melody makes an appearance. There are a few freestyle-like verses, reminiscent of Fike’s early music-making days, and, as usual, his lyrics hit home.
“We make the love that keeps our world spinnin’ /
We make the gods our friends by cursin’ em /
We make the wind our wings by raisin’ your arms /
At the top of the world, yeah.”
This is a song for dancing and celebrating life. It’s a song for handing in your last final and getting ready for summer break. For almost three minutes, you feel like you’re on top of the world. Fike, if you’re listening, please release the next album soon.
Whenever the sun manages to chase away the clouds and emerge from the gloom, I get the impulsive urge to beam. The rays lift my arms and legs like the strings of a puppet, and I skip and smile like nothing has ever hurt me. I’m a kid again, every color looks saturated, my music is turned up to full blast and I joyfully swing my arms, a little bound with every step. Michigan is dreary and dull for what seems like 80% of the year, and I live every gloomy day in anticipation for the next sunny one. I find that my music reflects this, most of my playlists longing and stupidly disheartening. But every once in a while I indulge myself in a gem like “Across the Universe” by Fiona Apple, like sweet strawberry sorbet dribbling down my chin to pair with my magnificently sunny days.
The song, originally written by John Lennon and performed by the Beatles for their final album, Let It Be, was covered by Fiona Apple in 1998 for the Plainville movie soundtrack. As a highly biased and unapologetic Fiona Apple devotee, I wholeheartedly believe that her version is better than the original. John Lennon himself said the song was not done justice; he was out of tune, and it was recorded hurriedly amidst the tensions within the band. It’s such a beautiful thing to take something that was unfinished and give it new light, and that’s exactly what Fiona Apple did nearly 30 years later.
The song starts with a jaunty guitar, which brings to memory warm days at summer camp, circled around a campfire while some counselor strums their guitar amidst the chatter of children. The tune and beat of the drum have this way about them, like if I played the song loud enough with the speakers tilted towards the heavens, that the clouds would part just so the sun could hear it. This song simultaneously depicts everything I am and the opposite of me. The lyrics describe these intense waves of feeling which I know all too well:
“Pools of sorrow, waves of joy are drifting through my opened mind /
Possessing and caressing me.”
I get this feeling a lot of the time that my emotions are too big for my mind to hold. They linger in my brain like abandoned pools, and when the pools overflow, they tumble out like the all-consuming waves of a tsunami. But Fiona is like a friend, clasping my hands within hers, letting me rest my head on her shoulder and reminding me that:
“Nothing’s gonna change my world /
Jai guru deva.”
I remember listening to this song for the first time, and hearing that line, “Jai guru deva om.” I called my mom, and she reflected on her childhood, reminiscing on the times when the saying was repeated by her teachers and parents. It was used as a greeting, farewell, mantra and blessing. The literal translation from Sanskrit is “Glory to the shining remover of darkness.” There is lore surrounding the original lyric in the Beatles song, but within the context of the song I think it takes on a much purer meaning. The mantra repeats in reassurance that the world is big, and nothing really matters. But at the same time, every little thing has meaning and we should be hopeful and eternally grateful to everything that has made us who we are.
The song “Across the Universe” at its very core, is a song about the human experience. Each one of our little bodies are tasked with the eternal dilemmas that are our emotions, mortality and the concept of the ever-expanding universe we call home. It’s a terrifying concept at first, that nothing matters in the grand scheme of things, but our individual lives aren’t “grand schemes.” The years that each of us frolic on this earth, we are the center of our own universe. Our circles of friends and family orbit around us with love, and everything we do holds its own personal meaning. The universe is large but we still matter within it. The sun still shows her love 93.493 million miles away from me, by turning my shoulders pink in the summertime.
As a big fan of women with soft voices strumming acoustic guitars, I nearly cried when I heard that Clairo would hop on Beabadoobee’s “Glue Song.” It’s been over two months since Beatrice Laus released what she describes as a “plain and simple, in your face, love song.” The soft guitar strumming, sweeping orchestra and drowsy horn section create a gorgeous instrumental background for Laus’ sweetest song yet.
This time around, Laus brought indie darling Clairo on to voice a new verse and to add additional harmonies. The two met when Clairo brought Laus on tour back in 2019. Bedroom pop fans everywhere are rejoicing; nearly four years later they finally get a track together.
Clairo’s airy tone and Laus’ clear, sugary voice pair beautifully together. The instrumental backing remains the same, but I somehow convinced myself that the horns near the end of the track were a Clairo addition, as they are reminiscent of her most recent LP, Swing. Yet, they were present in the first rendition of the song, highlighting how perfectly the two fit together.
With each listen, I find a new appreciation for Laus’ work and seem to pick up on a new element, whether that be a violin riff or drum alteration. “Glue Song” is like a gift that keeps on giving. The song fulfills a sweet tooth — or ear, I suppose — that I never knew I had.
New Jersey hardcore outfit GEL has returned with their highly anticipated debut full-length album, Only Constant. Kicked off by the song “Honed Blade,” Only Constant is a 16-minute ferocious blast of hardcore that showcases why GEL is one of the premier bands of the genre today.
At less than two minutes long, “Honed Blade” is a seething, guttural rager. Characterized by fat, stompy, heavy riffs and lyrics that promote positivity and self-improvement, it is one track that truly exemplifies the greatness of GEL. “Honed Blade” delivers a pummeling beatdown in the band’s serrated-edge style and offers a perfect example of how they make unrelenting, aggressive hardcore that’s somehow instantly accessible to any listener.
“Sharpen up your voice — it’s a matter of choice.”
Continue to work toward self-improvement until your mind, body and soul are as sharp as a “Honed Blade.” GEL fosters this mentality through their music; they create high-intensity songs, but they’re full of the kind of vulnerability that it takes to unabashedly be yourself. The song pushes the band’s aggression factor even further, but vocalist Sami Kaiser’s lyrics are deeply self-reflective, walking a fine line between rage and optimism. The riffs might compel you to jump offstage, but the lyrics reassure you that someone is going to catch you.
Even among so many talented hardcore groups, GEL stands tall as one of the finest in their field. Their name has been generating buzz in recent years, particularly since 2021’s Violent Closure EP and 2022’s Shock Therapy split EP with Cold Brats. Their newest release, Only Constant, continues their streak of quality releases and does not disappoint.
In only a quarter of an hour, this album makes GEL one of the most electrifying new-ish bands on the planet. Theirs is a hardcore that is often caustic, abrasive and scaldingly visceral, but also a thing of frequent joy. It brings a more positive release: a refreshing distinction from the common nihilistic tendencies of hardcore and punk rock in general. They combine harsh, unforgiving guitar riffs and Kaiser’s scorched-earth howls with lyrics about confidence, self-acceptance and their desire to transcend self-destructive tendencies with a kind of suppliant empathy, urging the listener to make the connections that will draw them even closer to the music. This unique combination teaches listeners that even amid the most violent there is a certain beauty that can always be found.
As the article’s title suggests, “al llegar” comes through the collaboration between a Eurovision winner and an otorhinolaryngologist. But who exactly are these people?
The Eurovision winner is none other than Salvador Sobral, who won the 2017 edition of the contest with the highest amount of points ever, at a measly 758. Since his victory, Sobral has been consistently releasing music, with his 2021 album, bpm, being nominated for the Latin Grammy for Best Engineered Album. While he didn’t win that award, he still remains one of the biggest names in the Portuguese music scene.
The otorhinolaryngologist, which is a doctor that focuses on head and neck surgery, is Jorge Drexler. Outside of medicine, Drexler has had an extensive and storied musical career, which began in 1992. Some of the Uruguayan’s many awards include an Oscar for his song “Al otro lado del río” and 13 Latin Grammys.
These two juggernauts of their respective musical scenes came together for the release of the heartbreaking ballad “al llegar.” The song itself follows the story of two lovers who realized that they weren’t a good fit for each other.
“Si la respiración se hace más corta /
Recuerda eso siempre nos dio igual /
Todos los propósitos cambian de forma al llegar.”
One of the things that is incredibly important for us as a society is open communication. At times, it feels like that is an impossible thing to have. This song basically says that changing things is okay. Sometimes you may have the pieces to a puzzle, but your friend/significant other may have Jenga blocks. And that’s okay, but you may only find that out when you decide to air your feelings.
Every summer I end up returning to playlists compiled years ago that make me feel like I’m a part of a coming-of-age movie with terrible acting but a killer soundtrack that can never escape from my mind.
“Romance is Boring,” off of the Los Campesinos! album sharing the same name, was released in 2010 and describes a couple utterly unhappy with the relationship they have created for themselves.
The couple is in a standstill relationship because they did not know what they were getting into.
One character is upset because they were expecting more; they want romance, and they want to be excited.
The other character is the narrator who does not think romance is worth the effort, so they refuse to put in any work to make their partner happy.
This is even further described in the music video for this track. While time appears to be looping, the first character grows more distressed and begins to cry, while their partner is uninterested in and growing irritated at their cries.
“You’re pouting in your sleep, I’m waking, still yawning /
We’re proving to each other that romance is boring /
Sure, there are things I could do if I was half-prepared to /
Prove to each other that romance is boring.”
The dynamic of the characters in this song, although incredibly unhealthy, allows the singers of Los Campesinos! to throw lyrics back and forth at eachother like an argument to further the immersion into the storyline they have created.
The bridge goes on to reference “The Theologian’s Tale,” by Henry Wadsworth Longfellow to describe how their meeting was just by chance and how the two of them should never have started a relationship with very different goals in mind.
“We are two ships that pass in the night /
You and I, we are nothing alike /
I am a pleasure cruise, you are gone out to trawl /
Return nets empty, nothing at all.”
This throwback is the perfect song to blare in the car and shamelessly play both characters and figure out your stance on romance and if it truly is all that boring.
It’s hard to put a breakup into words. There’s pain, relief, reminiscing and finally contentment. Hozier describes it all to me in a comforting way. “All Things End” surpasses the feeling of heartbreak to the stage of acceptance. I recently went through a breakup and the one thing I realized is that in the end, everything ends. You think the feeling of being in love will last forever, but it doesn’t. It feels as though your lover, who you knew so well, has died. In life when something ends, like a relationship, it brings new beginnings and discoveries. It is a rebirth.
“I have never known a silence like the one fallen here /
Never watched my future darken in a single tear /
I know we want this to go easy by being somebody’s fault /
But we’ve gone long enough to know this isn’t what we want /
And that isn’t always bad.”
This verse really called to me because when my relationship ended, I felt that silence. I felt the loneliness that was so new to me. It really was the small things that I missed — holding hands in the car, laughing at my jokes even when they weren’t funny and smiling at him because I knew that our love was unconditional. At the end of it all, I felt a harsh cold come over me. He was a part of me and after, I didn’t know who I was or how to act. It would’ve been easier if he was a bad person or if I hated him but that’s the thing — I don’t. Sometimes it just doesn’t work out, and that’s okay.
When Hozier brings us to the bridge, he announces an orchestra. The strings quietly spiral through the verse so peacefully then there is a sharp halt to the instrumentals. Cutting to the sound of a gospel choir singing with joyous clapping. When I close my eyes, I can see pews filled in a church with a bright light peeking through the windows, and there stands Hozier singing with a triumphant choir behind him and smiling, finally at peace.
During a breakup, it feels as though your other half is being stripped from you and you are left standing alone. But Hozier’s wise words bring comfort to a feeling so isolating. I finally found that in the end, there is hope for the future that we could “begin again.”
I am a girl who feasts on the slow, easy feeling of familiarity, and I eat Lana Del Rey’s love songs for breakfast, lunch and dinner. Her voice sounds like a mother in her youth, her acoustics play to the rhythm of a steady beating heart, her lyrics beautiful interpretations of thoughts I could never put into words. But it’s been a while since I’ve heard a song of hers that I truly devoured. My hunger is finally satiated with her new song “Let The Light In,” off the recently released album, Did You Know That There’s a Tunnel Under Ocean Blvd.
The song lures me in with a synth rhythm that brings windchime-filled gardens to memory; hummingbirds flitting through the harmonic metal forest, making music as they go. This introduction paints the world where the story begins to unravel. It is a place familiar and monotonous, yet beautiful; a place distinctly home. It is as if Lana emerges in your own garden, singing to the butterflies and broken hearts, calling them with every note.
The chorus of this song is a morning walk, consistent and neverchanging. Lana circles back to it constantly, singing it like a pleading prayer. It is heard in the background, repeating in the synth and strings.
“Ooh, let the light in /
At your back door yelling ’cause I wanna come in /
Ooh, turn your light on /
Look at us, you and I, back at it again.”
It is this chorus that speaks to me, this prayer that I know all too well. I sing for the sun, in its physical form out the window, and its metaphorical form within me. “Let The Light In,” “Forgive me,” “ See me as who I am.”
Father John Misty, the featured artist, makes his appearance in this chorus, harmonizing in a way that makes my skin prickle into goosebumps. His and Lana’s voices mix together like honey, gradual and sickly sweet. The strings in the background are incorporated so seamlessly with their voices, reaching its peak as they hit the octave. Every sound builds up to that moment. I am a physical listener, my body sways to the rhythm, and it is this peak that sent chills through me in waves.
Lana Del Rey and Father John Misty’s voices are rays of sunshine, finally breaching the stained glass window of conflict holding them back. Though at first listen the song sounds like a story of love, with its longing strings and its gorgeous voices, it was not until I read the lyrics written down that I became uncertain. Lana tells the story of a monotonous relationship, plagued by routine misunderstanding. She sings a list of things the couple does together in a noticeably somber way:
“Pick you up at home, quarter to three /
Ask you if you want somethin’ to eat /
Drive around, get drunk, do it over again.”
It isn’t until she sings the lines:
“‘Cause every time you say you’re gonna go /
I just smile ‘cause, babe, I already know.”
That I hear an almost-victorious smile in her voice.
Lana Del Rey is an artist that can perfectly capture the art of multidimensional and often misunderstood experiences. Everything coated in her sugary sweet voice and brilliant lyrical mind glimmers, and this song is no exception. “Let The Light In” is a vanilla cake, beautifully decorated, and like nothing I’ve ever tasted before. So take out your fork and have a bite, let the tasty goodness sink to the bottom of your belly, and let the tune become you.
In a crowded basement, with flashing lights and posters plastered across the walls, Pretoria performed with infectious energy last May for the opening night of a local house venue. The Treehouse, which highlights music and art in Grand Rapids, Michigan, has since grown in popularity and regularly hosts shows featuring local bands, but it remains a casual, intimate place. Seeing Pretoria up close, I realized how much of a difference listening to music live could make.
Five member indie-rock band Pretoria, from my hometown of Grand Rapids, has been one of my favorites ever since I first saw them perform at the MSU Spring Concert in 2022. Since then, they’ve released three new singles. The most recent of which, titled “Fat Chance,” is a preppy indie-rock song with catchy lyrics, rhythmic guitar solos and a nostalgic vibe that I can’t quite put my finger on. The guitar-driven chorus is the most impactful aspect of the song, but it has more experimental elements, especially with the melancholic ending, characterized by long harmonica notes and crunchy, reverberating guitar.
The song itself is upbeat, but expresses a spiteful sentiment toward a failed romance. It begins with a sweet yet somber intro, explaining how everything came to an end:
“You said you wanna turn your own way /
You said you wanna choose your own fate /
Gonna make it happen, gonna make it happen.”
However, a groovy guitar line cuts through the melancholy, and the mood shifts entirely, seemingly telling the story of how time can change emotions. The song becomes more carefree and cynical, yet triumphant. The lyrics proclaim a sense of freedom and relief, tinged with a feeling of self-satisfaction:
“Come down and let me see you /
I know what we could be /
You’re alone now, you’re alone now.”
Weighing options is always difficult. Whether it is in regard to what to eat for your next meal or what song to put on next, it always seems to be an incredibly difficult choice to make. But what if the choice puts your emotions on the line? That’s the exact dilemma Cornelia Jakobs pondered in the creation of “Bloody Mind.”
Jakobs is a Swedish singer who has music flowing through her entire family. Her father was the vocalist for the rock band The Poodles, and her grandmother founded the Folkoperan. Her career began in 2010 as a member of the pop group Stockholm Syndrome, which was formerly Love Generation. The group was produced by RedOne, the man behind many hits of the early 2010s, such as “Judas” by Lady Gaga and “Starships” by Nicki Minaj. The group would find middling success and would disband after six years.
In the years following Stockholm Syndrome’s disbandment, Jakobs released several singles. During this time, her releases didn’t fare too well and kept her well within the confines of Swedish indie pop. Her big break came in 2022, when she participated in the Swedish singing competition Melodifestivalen with “Hold Me Closer.” It was her first time in the competition as a soloist, and she won handily. With that victory, she would represent Sweden at Eurovision 2022, where she placed fourth and won her semifinal by a whopping 153 points.
Post-Eurovision, Jakobs has released a handful of singles. “Bloody Mind” was her first one of the new year. The piano-driven track is emblematic of her solo songs, with it leaning more toward the somber tone she’s made her staple. If you are like me, who can’t make up my bloody mind when deciding what songs to play next, this is one that I’ll recommend time and time again.
There is a beauty in the inexplicable nature of life. Those strange phenomena that can only be described as miracles. The miracle of life, the miracle of death — our entire existence is just as the title suggests, Miracle-Level.
Released on March 31, Bay Area-based noise-pop group Deerhoof have returned with their 19th LP titled Miracle-Level. Intact since 2008, the current quartet includes bassist/singer Satomi Matsuzaki, drummer Greg Saunier, guitarist Ed Rodriguez and guitarist John Dietrich. Miracle-Level is the first release from the group to be entirely recorded in a proper studio and their first to be sung in Satomi Matsuzaki’s native Japanese. Swapping languages opens up an entirely new realm of expression for the group and although many of their listeners may not speak Japanese, tracks such as “My Lovely Cat!” leap over any linguistic barriers that might appear.
You can’t go wrong with any song on this album, but “My Lovely Cat!” stood out to me. Deerhoof leader Matsuzaki wrote and sang the lyrics to the new song in Japanese, and she also designed the cover art. The song is as restless and off-kilter as you might expect from the band, but it also features a gentle, bittersweet hook and a sort of upbeat and unpredictable energy reminiscent of those precious feline companions.
Miracle-Level was produced and engineered by Mike Bridavsky who was the human caretaker of internet sensation Lil Bub. In 2019, the world mourned the death of the internet famous cat at the age of 8. Lil Bub became popular for her unusual appearance in 2012, becoming a beloved presence for her small stature, big eyes and protruding tongue. Matsuzaki wrote “My Lovely Cat!” due to her love of animals with lines including: “My lovely, lovely cat!/ I can’t even leave home/ Let’s monitor on pet-cam.”
The song also works as an ode to the life of Lil Bub and the love that not only her owner had, but also the love that millions of fans around the globe felt for the furry internet sensation.
“Lil’ Bub” by Indiana Public Media is licensed under CC BY-NC 2.0 .
Mike Bridavsky shared in a press release, “Satomi [Matsuzaki], Ed [Rodriguez], John [Dietrich] and Greg [Saunier] tried something different on this record and the result is Deerhoof at their most sparse and vulnerable.” Miracle-Level is experimental not only in its sound, but also in its language. Miracle-Level celebrates all of those tiny miracles in life and on “My Lovely Cat!” Deerhoof pays tribute to the life of Lil Bub, an adorable feline celebrity who captured the hearts of millions. If you have a pet then you understand that the bond and love that you share can only be described as Miracle-Level.
To listen to Tim Hecker’s latest album, No Highs, and to listen to track three, “Total Garbage,” is to feel as though you are rapidly ascending through layers of wisping clouds, but also to feel as though you are falling from the sky in slow motion, seeing the true expanse of the world below for far too long.
The world you see as you fall is tinted gray. Smog creeps around skyscraper needles in whirlpools; birds with smoke-laden wings sit stagnant on powerlines; highways forming gnarled shapes around high-rise after high-rise decay as you near the Earth’s surface.
After hours or years of falling, falling, falling, you finally arrive at the ground. But you do not hit the ground and explode into trillions of pieces. You do not become a sacrifice to the gray.
Instead, you find yourself floating inches from the pavement, inches from the water, inches from the grass. You see beauty in the ground’s minute details, and you reach out to touch it. You twirl a blade of grass between your fingers; you whittle your skin against asphalt; you run a hand across your sweating forehead; you ascend back into the sky.
The sonics of your rise are strange: There is a repeated clicking noise sourcing from below, guiding you up. A series of distant, streaking synths and strings and saxophone wails twist along your body as you grow more and more distant from the ground. There are tinges of alarm, tinges of uncertainty. Where the music will ultimately lead you, you do not know.
There is only one thing you truly understand in this odyssey: The clouds look different when you are rising into them.
I have kept a diary since I first learned how to write coherent sentences. My Tinker Bell diary harbors pages worth of hearts surrounding Gabby and the names of old crushes, along with stories about playground drama. My high school diary is brown leather. The leather strap tying it shut is almost worn through now, guarding my biggest insecurities, worries and dreams.
They are all kept in a box I try my best to forget about. They are not to be opened because opening an old diary is like inviting an old friend to come over to your house, but this friend eats your peanut butter straight out of the jar, talks about their ex nonstop and won’t let you forget that time you cried during Hotel for Dogs.
“The Cut” by Grace Enger is a page out of a diary.
“You don’t have to say it, I know the words /
So right before you tell me, just tell the floor /
But I watch you as your mouth is opening, feel it coming /
Roll it in slo-mo /
I don’t need you to make the cut /
‘Cause I know we’re breaking up.”
Enger’s lyrics turn feelings into words. Eloquently, she captures what it feels like to be in a relationship destined to fail. Wouldn’t it be nice if you could go back to the moment right before something you cherished was taken away? Before a breakup? Before betraying a friend’s trust? Before losing a loved one?
For something you cherished so much, you would go through the pain of opening up the old diaries. You would try to turn back time to when you couldn’t sense the end, reliving the moments when you felt this relationship would last forever.
“I try to call /
Think two months would make a difference /
You hope that we can be friends, and I’m fine /
As if I’m not mourning every old text message /
Tryna find the precise point you changed your mind.”
But, you’re confronted with the reality that reliving these moments won’t turn back time. It’s gone. You have to press play on the scene where that light is snuffed out, where your world turns gray. You have to move on.
“So go ahead and make the cut /
Cause the sooner that you break my heart /
The sooner I’ll get over us.”
Listening to “The Cut” is like flipping through those pages sealed in brown leather. Crying, screaming and laughing, you open to a blank page and keep writing.
Call Me If You Get Lost: The Estate Sale was just released this past Sunday and it is the perfect expansion of the original album. The deluxe version added eight new incredible songs; “SORRY NOT SORRY,” was one of them.
The album opens with the instrumentals from the beginning of “He Made You Mine” by Brighter Side of Darkness.
I love how raw Tyler, The Creator is on this track. Of course, Tyler is no stranger to showing emotions but, unlike his past projects where his rawness was an expression of anger and angst, this is something more complex.
Tyler breaks out a list of apologies for a plethora of people.
He first apologizes to his mother and sister for their strained relationship, his old friends who all fell out due to egos, the people he hurt while figuring out his sexuality and for his lack of perceived empathy and social awareness. I don’t know if regret is the right word to use, but Tyler definitely takes accountability for his actions and the listener can feel that.
There isn’t anything jaw-dropping about his flow, but I think that having a conversational flow allows the listener to really hear and understand his words. Tyler’s choice of tempo and cadence makes his words feel more genuine.
The music video is flawless. The video features current-day Tyler killing all of the other versions of himself from previous albums. He kills Cherry Bomb Tyler, Flower Boy Tyler, and even Sir Baudelaire. If I were to put my thinking cap on, I would hypothesize that Tyler killing every version of himself in the Tyler, the Creator cinematic universe is him teasing another album; CALL ME IF YOU GET LOST was released in 2021 and he usually keeps to a two-year gap between albums.
This song has been on repeat for me, and I am very excited for the possible album announcement sometime this year.
Last Tuesday, legendary composer and soundsmith Ryuichi Sakamoto passed away at the age of 71. While Sakamoto is known in his own right through his prolific work as a soloist, some of his most enduring works come as a result of his membership in seminal electro-pop group Yellow Magic Orchestra. This is for good reason.
Before the scores he wrote for Brian De Palma, Bernardo Bertolucci and Pedro Almodovar, before countless underrated reinventions of new wave, trip-hop and funk, before the avant-garde segues into minimalism and ambient music, before the original compositions for cellphones and Olympic ceremonies, before a career of electro-pop so spidery and precise that it couldn’t be confused for anyone else’s handiwork, there is “Firecracker”: a singular, perfect pop song. Yet one of the most fascinating histories of this song is one of the most elusive: It’s actually a cover!
Released in 1959, American composer Martin Denny’s “Firecracker” is a song so chintzy and orientalist that hearing it today conjures horrific flashbacks to Mickey Rooney’s yellowface visage in Breakfast At Tiffany’s two years later. Denny was a godfather of “exotica,” a subgenre of lounge and pop music fueled by mid-century America’s fetishization of the South Pacific, East Asia and elsewhere. Music scholar Shuhei Hosokawa classified it as “a fantasy of travel” designed to relax listeners as they drifted off into an imagined paradise.
The plucky percussion and swooning bass strings of the original “Firecracker” feel like the soundtrack to an Elvis Goes to Japan movie that was never released, or perhaps an ill-advised bachelor party hosted by Justin Trudeau. As a random Rate Your Music user writes in a comment box for Denny’s Quiet Village, “if you [didn’t] yet have colour tv i can see this being hot stuff.”
Yellow Magic Orchestra’s flip of Denny’s song into an instant classic is one of electronic music’s great miracles. Sakamoto notably took humor at the song’s absurdly fake, stereotypical image and decided to do it one better by giving it even more gloss. Assisted by bandmates Haruomi Hosono and Yukihiro Takahashi, “Firecracker” crackles to life by mixing live drums, synthetic chirps and funky keys into an unstoppable groove. The chord progression from Denny’s original is unmistakable once you’ve heard it, but the new version adds spooky bridges, luxurious piano solos and a barrage of vintage synth work to make it a creature unto its own.
While “Firecracker” is very much a record of its time, its influence is profound. The song found an audience everywhere from Soul Train to the pop charts, cracking Top 20 in the UK, although merely cracking the Top 100 in the US. Synth-pop acts from Duran Duran to Gary Numan have claimed YMO as an influence, and you can hear the “Firecracker” wiggle in everything from Pet Shop Boys to Madonna.
Both Michael Jackson and Eric Clapton would go on to cover the band’s 1979 classic “Behind The Mask.” This legacy makes Yellow Magic Orchestra’s contributions just as relevant to electronic music’s early development as Kraftwerk and Giorgio Moroder’s contributions around the same time. Much like how Filipino fast-food chain Jollibee recently opened its first location in Spain, Denny’s imperial aspirations bear a delicious irony now that YMO’s “Firecracker” has endured far beyond his creation.
Pop history is frequently defined by moments of artistic appropriation, sometimes even vandalism. A sample of a Rolling Stones rearrangement has the power to turn a Britpop song into a classic three decades later. Countless disco and pop classics have been flipped into even better rap songs. At its worst, this zone of exchange can produce sonic war crimes, such as David Guetta and Bebe Rexha’s recent defilement of an Italian techno classic. At its best, you have triumphs of pop creativity: moments that transcend time, place and genre. “Firecracker” is one such moment. Although this would be far from the last time Sakamoto would master his medium, it showcases a magic touch that bears a dual understanding of both the warm and the robotic, the tacky and the sublime. This instinct is part of what makes Sakamoto one of modern music’s great masters, and it ensures a legacy that will last far beyond his passing.
Former Cincinnati Bengals linebacker Vontaze Burfict is known as one of the dirtiest, hardest-hitting players in NFL history. Some point to his knocking out of former Pittsburgh Steelers wide receiver Antonio Brown to be one of the main causes of Brown’s apparent mental and emotional descent.
According to Timothy Gay, author of The Physics of Football, an NFL defensive back can produce 1,600 pounds of force with a tackle, and that’s just for a defensive back of NFL average speed and weight. Take a linebacker like Burfict, who, in his playing days, would have weighed about 50 pounds more than a typical defensive back, and you’d have even more force on top of that 1,600 pounds.
Imagine taking a hit of that magnitude to the head. Well, JPEGMAFIA and Danny Brown’s “Burfict!” off their new album, SCARING THE HOES, does a rather decent job of recreating such a hit. Hell, it may as well wear Burfict’s number 55 as separate cover art: The beat is dirty; it certainly hits like the former linebacker. Someone needs to throw it out of the game for unnecessary roughness.
Hopefully, “Burfict!” will be hitting mosh pits across the United States and the globe soon enough. Here at Michigan State, we were lucky enough to have opened the pit for Brown’s verse on March 28: I only wish for others to be partaking in the same. If you find yourself with “Burfict!” in a live setting any time soon, wear some pads, put in a mouthguard and prepare to be called for a 15-yard penalty.
Ah, summer. A time where responsibilities seem to wash away like a wave on a sandy shore. The calming blues that litter both the sky and sea are beginning to creep their way into everyone’s minds. So, what better way to welcome the summer than with this song that evokes memories of just that?
Joshu is the Antiguan artist behind the song. A guitar virtuoso, the track is the title track of his EP of the same name. Ocean Daze is his first solo project since 2019’s album Lines of Time. Despite this, he has been releasing music since Lines of Time. In 2021, he released a collaborative EP with English folk singer India Blue. And seemingly like clockwork, two years on, a new project has been revealed.
The same soothing guitar that Joshu has made his trademark permeates the sound of “Ocean Daze.” The atmosphere that comes out of the Antiguan’s guitar is reminiscent of the Caribbean itself; calm, laid back and gorgeous. The sole usage of the acoustic guitar helps to establish this. Spare from some claps and whistling, it is just this guitar.
“I find it hard /
But that’s okay /
I’m going back /
Back to my ocean daze.”
If you are reading this article, chances are that you are an indiehead, loving the most obscure music to come out from all pockets of the world. This artist is absolutely one for you then. Despite releasing music for the better part of 5 years, only 3 of them have over 10,000 streams on Spotify, which is criminal in my humble opinion. This song, like the rest of his discography, sounds like sun on the beach. As summer approaches, prepare yourself for the season with this song.
Some songs are so deeply relevant and incredibly apt that they can kill two birds with one stone and become anthems of March, not only as an ode to the gray skies and endless repetitive days, but also to Women’s History Month!
Le Tigre’s “Much Finer” — a longtime favorite of mine — seems to fit oh so perfectly as a throwback to immerse oneself in women’s rights, and their wrongs. It is also perfect for dwelling in seasonal depression for the final weeks of winter.
“Much Finer” was released on Oct. 16, 2001, as part of Le Tigre’s sophomore album, Feminist Sweepstakes. “Much Finer” is an upbeat, danceable window into frontwoman Kathleen Hanna’s struggles with depression and Lyme disease.
Hanna talk-sings the chorus:
“Do you want to stay in bed all day? (Yeah) /
Do you remember feeling any other way? (No).”
Hanna, throughout her career, has always had an uncanny ability to encapsulate the feelings of girlhood in their purest form, and with “Much Finer,” she’s also perfected my feelings as we enter April:
“I’ll make some coffee, put on some eyeliner /
I think I’ll find that things are fine /
And they’re gonna get much finer.”
Clairo teamed up with Phoenix this month to create a new version of “After Midnight” off Phoenix’s most recent album, Alpha Zulu. Speaking as someone who hasn’t dipped into Phoenix’s music since their big 2009 hits like “1901” and “Lisztomania,” this song was a blast from the past. I tuned in to hear Clairo and ended up being sent back to my childhood. The quintessential 2010s indie tone is still there, with layers of dreamy synths and a smooth, sweeping guitar led by a drum machine.
Clairo fits right in with this sound, her soft voice contrasting well against the emphatic synth. This single is reminiscent of her debut EP, yet again taking me back years ago. And Clairo wasn’t chosen randomly. The band had been fans of Clairo since the early days of her career. Clairo was a fan of Phoenix as well. With the two combined, the sound of “After Midnight” utilizes a synth soundscape to create an incredibly lively and nostalgic feel. This warmth welcomes old listeners, while being catchy enough to bring in the new. With the hypnotic bridge and repetitive melody, the tune is nearly impossible not to sing and dance along to.
Get ready for the 2023 Spring Concert, y’all. Hippo Campus is in town, and they just dropped a new single.
“Yippie Ki Yay” feels like the band’s usual indie-rock style with a country twist. It’s the second single pre-released from their EP Wasteland, which will be out on April 14. The concept for Wasteland is one that I wasn’t on board with at first. The first single, “Kick in the Teeth,” makes me feel like a lovesick cowboy. I couldn’t quite get down with the twang.
But I will gladly be a gunslinging outlaw for “Yippie Ki Yay.”
The drum intro gets me right away, and by the time the guitar comes in, my toes are tapping and my head is bopping. The lyrics pull me into a different world.
“Been chased for the last three weeks /
I move quick, got a bounty on me /
Outlawed in my prime, man /
No friends but the tumbleweeds.”
Suddenly, I’m a cowboy on the run.
The whole song builds up to an outro that I can imagine being sung by a mob of people (possibly in the Breslin Center). A celebration of life and youth.
“Yippie ki, yippie ki, yippie ki yay /
Riding high, riding high, riding highways /
Yippie ki, yippie ki, yippie ki yay /
Get on my, get on my, get on my way.”
I applaud Hippo Campus for trailblazing by staying true to themselves. Give “Yippie Ki Yay” a listen, go see the band perform live at the Breslin Center tonight, and maybe buy some cowboy boots.
Over three years since the release of their debut album, Silhouettes, Detroit garage-psych trio Shadow Show returns with their newest track, “Radiant Hue.”
Exploding with color, “Radiant Hue” is characterized by melodic vocals, fuzzy guitars and a steady, unbeatable rhythm section that marks an experimental and courageous step for the group. Sounding closer to shoegaze or dream pop than their normal garage-psych sound, “Radiant Hue” may be a preview of future releases from the group.
Listeners have the distinct fortune and pleasure of listening to this track whilst eagerly awaiting the release of Shadow Show’s upcoming sophomore album. This single’s release is also accompanied by a striking new music video which transports viewers to a hallucinogenic dream realm of kaleidoscopic insanity.
Shadow Show, composed of guitarist/vocalist Ava East, drummer/vocalist Kerrigan Pearce and bassist/vocalist Kate Derringer, came onto the Detroit rock scene in summer of 2018 and has since established itself as one of the city’s most promising acts. The female trio brings a Beatles-like melodic sensibility to energetic garage pop songs and combines otherworldly lyrical themes with mod pop melodies, psychedelic garage rock and layered group harmonies. The cover art for “Radiant Hue” actually reminds me of the cover art for The Beatles’ album Rubber Soul.
“Radiant Hue” is a tune you can listen to while happy or sad; it makes you want to get up and dance or lie dazed in a trance. It’s a colorful adventure, and the band’s future is bright. I can’t wait to see what comes next from the trio: If they continue to release music of this caliber, their rise to stardom is almost certain.
Shadow Show is currently on their spring tour across the United States, which included a stop at SXSW in Austin, TX and ends back in Detroit at UFO Factory on March 24.
The devastating new song from slowthai, “Tourniquet,” seriously crushed me when I first listened. The song’s title is a metaphor for cutting parts or people from your life to grow, like you would use a tourniquet to cut off limbs to save your life. Slowthai raps over a soft building piano with some wavy mellow guitars. He delivers raw rasping vocals where he’s almost screaming. I enjoyed how the beats and instrumentals were calming while slowthai rapped with such anger and emotion.
“You ever tried swimmin’ with your hands tied? /
I’m congested, lost in myself, with my senses diluted my— /
My inhibitions are lost, I feel confused /
You take everything I had to give /
I gave you more than I had to give /
What’s left? (Nothing), What’s left? (Nothing).”
As the music builds, slowthai is reflecting on everything he gave and everything that had been taken from him and eventually realizes that he doesn’t have anything left. Slowthai could be rapping about someone, his fans or even drugs that take everything from him and eventually realizing that he would give it all away anyway.
“I give you everything I’ve got ’til the last fucking bone I have (Aah) /
Take it all, take it all, take it and leave, take it and leave, take it and leave, please /
(You can have everythin’).”
Slowthai’s latest album, UGLY, is some of his best work yet, and I love his blend of British grime music, post-punk and rapping. Slowthai’s work always feels like such a personal listening experience. The messages he puts in his music feel personal to him.
The pints have been downed. The Chicago River is slowly losing its hue. Bottles of liquor from Bailey and James’ son litter the floors, and the bars have found more profit than on any other day. This holiday, which is to honor Saint Patrick, the patron saint of Ireland, has somehow morphed into an unofficially-official holiday of drinking until you drop in the United States.
The Feast of St. Patrick, which is what the modern holiday stems from, honors the not quite Irish saint. Much like the “Irish” pubs that dot the landscape, Patrick wasn’t truly Irish. St. Patrick was born in Roman era Britain, likely in Scotland. Patrick made his name converting the Emerald Isle to Christianity, but is now better known as a folk hero.
One of the most prominent stories featuring St. Patrick is that of him driving all the snakes out of Ireland. Considering that Ulster has yet to be reunited with the rest of the island, that hasn’t worked out. To honor him, a feast is held annually to his name.
Many of the St. Patrick’s Day traditions stem from the wave of immigrants that left the island after the Great Hunger in the 1840s. Pubs in the east coast of the United States were meeting hubs for the growing Irish population. This led to pubs and the Irish-American population being seemingly intertwined. One of the most prevalent Irish stereotypes in this current day is that of alcoholism. It isn’t clear how the holiday ended up being the way it is, but it would likely stem from that intertwining and stereotype.
So, how does any of this relate to this 40-second-long “song” from the unnecessary 2013 sequel of the film that spawned the bane of my existence? Well, that’s a bit of a story. You see, the song is a parody of the chorus of another song of the same name by Da Vinci’s Notebook. I’ll get into that later.
The scene in Despicable Me 2 features the Minions partying after a not-so-hard day’s work for Gru. They are all carrying steins of ice cream — remember, this is supposed to be a children’s film — while singing a drinking song. Drinking songs have a long and storied history in Europe, but especially in the nations of the British Isles. Traditions of drinking songs have carried on to this day, but not in the same vein. “The Star-Spangled Banner” is set to “The Anacreontic Song,” which was a drinking song created by the Anacreontic Society.
One Minion, who is carrying a tray of steins, also has shot glasses on the tray. Either this means that ice cream is intoxicating to the Minions or there’s something else going on here. Hell, there is even a full dry bar in the film. There are some antics that could be associated with drunkenness, such as a Minion wearing a knight’s helmet backwards swinging around a mace, a pair holding another stumbling Minion up and another Minion flirting with what appears to be a trash can with a face drawn on it.
Illumination Studios had set the bar so low: First they leaned into ethnic stereotypes — which I can’t mention without a nod to the main villain of the film, a Mexican villain named El Macho — and then they followed up with a film filled with war crimes. I wish I were making this up.
The lyrics of the original song reference many Irish stereotypes, not just alcoholism. Thankfully, the one good thing the film did in regard to this was make the lyrics indecipherable. But they didn’t have to bloody name it “Another Irish Drinking Song!”
This film has absolutely nothing to do with Ireland. What did we ever do to the French? The bar was on the ground and Illumination Studios brought out a shovel. I sincerely hope that when the Super Mario Bros. movie is released, we see as much of a lean into Italian stereotypes as they did with the Irish in the 40 seconds this clip comes from.
Today is a day that is often defined by excess, albeit in a form that cannot be fully contained musically. But if there were ever a song that captures that spirit of excess to me, it’s “I’m Shipping Up To Boston” by The Dropkick Murphys. Blasted at every sporting event in or related to Boston and in many movies set in Boston, this song is Boston in a bottle. And what city captures the spirit of St. Patrick’s day more than Boston? St. Louis? Certainly not, just because Saint is in the name doesn’t mean anything.
But the location of the Irish spirit of excess matters not, for it is everywhere on St. Patty’s day. For in every pint of Guinness there is something special that spreads holiday cheer, in a way we are all shipping up to Boston.
The sun is out again.
During the stretch between early December and late January, I can’t say that I saw the sun for more than a minute at a time. But the clouds often looked crimson and Crown Royal purple when it would sneak below the horizon for an even greater darkness than we had before, and that held me over for a while. I also developed an appreciation for the nighttime’s oft-starless sky as a counter to the daytime: It seems that winter can somehow make light pollution comforting.
But now the sun is out again.
As the winds of springtime begin to cut deeper and deeper into 30 degree days, I’m glad to have some warmth on my skin. With this warmth comes a song that echoes from forgotten summer nights — those nights forgotten because, in essence, not much happened. But they were warm, and that was enough for me.
“Hello Stranger” by Michigan singer-songwriter Barbara Lewis happens to be the song reaching out from those nights, and it is working to restore those fragments lost, those dissipating faces and insignificant moments lost to the great Midwest winter. It is working to reinvigorate the connection between memory and love.
“Hello stranger /
It seems so good to see you back again.”
Whenever the sun returns from its cloud-covered hibernation, it is easy to think about the past. Resisting those thoughts can grow to be a greater weight than thought possible. But this year, I feel differently about the past. And I feel differently about memory itself, about warm skies, about love. “Hello Stranger” is with me in this, perhaps as a guide, perhaps as a backdrop for thoughts of summer. But regardless, Lewis’ gentle, longing croons and the almost-intoxicating comfort of an organ tip-toeing in the background leave me at peace.
When I listen to “Hello Stranger,” I think of a handheld radio that used to sit on a ping-pong table in my grandparents’ basement. I think of how I’d extend and retract its antenna over and over and over, how I’d randomly turn every knob on it to build a wall of noise anyone around me must have found unbearable, how I wish it were with me now and for the summer ahead.
I would like to hear “Hello Stranger” on that radio, hiding somewhere behind me so that I’d only hear it as a whisper, as a faint tingling on my skin along with a summer evening’s breeze.
I would think about love, then. And by association, memory. I’d think about love as a collection of old photos, as a pile of empty beer cans, as an old radio going unheard in a train’s blaring by. When I’ve thought about love recently, and how I hope to think about it when it’s 70 degrees outside, I’ve thought about it through memories — nothing but memories. Memories of 10 years ago, one year ago, one month ago, one week ago, one day ago. And I’ve only recently come to understand the true importance of taking and saving photographs. Mom and Dad, I’m sorry for complaining so much about photos in the past.
Perhaps this year, I’ll take more photographs than ever before. Of what, I’m not sure, but perhaps they’ll end up being nice to have. And perhaps I’ll stumble on a memory of this spring and summer somewhere down the line, memories sure to be laden with threads both somber and vibrant. I know what I’ll never forget from this year, but I’d also like to remember bright skies and verdant hills, a city’s worth of hugs, the sound of a river flowing calmly by and gentle laughter in the wind.
“How long has it been? /
Ooh, it seems like a mighty long time.”
As someone who is very late to the Yeat hype, I never really understood it. I had always known of Yeat through his meme status online and the well-known Minions song “Rich Minion.” I never took him too seriously. I was inspired to listen to Yeat’s new album, AftërLyfe, after seeing some of the features, like Luh geeky and Krany Kranky, which were just himself. One night, I put it on while doing homework and had my “I get it” moment. The fast rage rapping from Yeat had me in a trance.
Yeat’s lyrics are practically inaudible and the beats are so bizarre and goofy at times, but it just works. The whole album has some of the craziest production I’ve heard, with sounds ranging from those that could be out of a Tron soundtrack to those from a soft psychedelic rock ballad.
The song “Sum 2 do” emphasizes the type of rapping you’ll hear throughout the record and takes it to another level. The song starts off with these aggressive flows that just keep building and going faster. Yeat sprinkles in some of the weirdest ad libs, and they never miss. Every time I listen to the song I hear a new ad lib that instantly trumps the last. One of the ad libs is just “Err, burp” and I love it. I would love to insert some lyrics here and dissect them, but even the people at Apple Music are having trouble with that:
Overall, I appreciate this album for introducing me to Yeat. I started off the year telling my friends that the world needs less meme and unserious music, but Yeat has made me make an exception to the rule.
Ayra Starr, Nigeria’s newest superstarr and self-nicknamed “sabi girl,” just released a song that established her place as one of the hottest artists coming out of West Africa right now.
I’ve written about Ayra on length back in October, and since then, “Rush” has charted in six nations as well as on the Billboard Global 200. Following that level of success is a tall order, but if anyone was going to be able to match it, it would be Starr. Almost as if to prove that she’s one of the next musical greats to come from the continent, she interpolated Awilo Longomba’s 1999 hit, “Coupé Bibamba,” as the basis for the instrumental of her track “Sability.” The track, which featured Jocelyne Béroard, became a staple in clubs across Africa in the early 2000s. The sampling of such a hit to create a feeling of nostalgia with the new song reminds me of songs like Nicki Minaj’s “Super Freaky Girl” and David Guetta and Ava Max’s “I’m Good (Blue).”
The track itself serves as Ayra’s self-empowerment anthem. Melding Yoruba and English in the lyrics, Starr carries her Nigerian heritage to the global platform that she has earned. In the lyrics, Starr compares herself to the legendary soccer player Shinji Kagawa, essentially saying that she is one of the best in her field.
This begs the question, “what does sabi even mean?” Sabi, a word from Nigerian Pidgin, roughly translates to “to know.” Her tagline, “sabi girl,” essentially means “I know you, girl.” “Sability” can then mean knowledgeability. If there is one thing that Starr knows, it is making songs that will become staples like “Coupé Bibamba” for decades to come.
We start in near silence with only the faintest of pulsating synths to let us know that yes, in fact, the song has begun playing. But there’s something wrong — maybe it was mixed poorly or released unfinished, either way this is too quiet and we need to turn it all the way up right now. And so we do.
The first slap of a snare hit announces the start of the track proper and you notice that things aren’t quite adding up. Gentle synthetic tones are clashing with acoustic drums that are jamming in the pocket. When vocalist Deedee’s confrontational shouting and the heavily processed electric guitars enter the mix 22 seconds in, the band’s sound becomes realized.
MSPAINT is the logical next step in the evolution of punk, fusing electronic textures with the stripped down, DIY sensibilities of a hardcore band to form a truly one of a kind sonic experience. Guitar strums can be mistaken for synth notes and vice versa. Influenced by digital landscapes that are ruled by binary code, MSPAINT inhabits a beautiful musical gray area.
With their sound being unmistakably from the 21st century, it only makes sense that their lyrics resonate with the present day as well. An attempt to reckon with a fracturing social climate where tragedy after tragedy washes over us, “Titan of Hope” stands firmly against the oh-so-alluring idea of shutting down and shutting out pain in the name of self-preservation. The comfort of isolation is rejected, because it is much better to feel and feel pain instead of feeling nothing at all.
“Opening up to the way that we feel /
The hardest things to speak on are real.”
With this comes caution and even fear, for to open yourself up is to make yourself vulnerable, but with that vulnerability comes strength. It isn’t the kind of strength that means you’re tough and can make it through anything — it’s the opposite. This strength is knowing that you can’t make it through anything, that you are susceptible to injury, but you live your life true to yourself anyways.
“We’re not scared anymore /
We’re not scared anymore /
and this mindset is a Titan of Hope.”
We have to believe it can get better. Not with lame platitudes but with action, and action only comes from hope. We hope we can make a change so we take action to do so. Hope is all the beauty of the world not yet realized, all the infinite possibilities of the word “maybe.” We aren’t scared anymore not because we destroyed our fear and pain, but because we carry it with us every day, and it is because of hope that those feelings become constructive instead of destructive. It is because of hope that change is possible. Hope is not just important, it is critical.
Because if we don’t have hope, then what else do we have left?
Five long years after the release of her debut album Take Me Apart, Kelela has returned with Raven. Taking such a long hiatus after a debut album is quite a risk, but Raven has proven to be more than worth the wait. The nearly five-month long album rollout began in September with opener “Washed Away,” and concluded just days before release with “Enough For Love.”
Though five songs were previously released, some of the strongest tracks came on the album’s Feb. 10 release date. The fifth track, “Missed Call,” in particular, is one of the album’s heaviest hitters.
Kelela glides over the LSDXOXO-produced beat, contemplating whether she wants to follow through with a relationship. Will she make the call? Will she send the text? It’s an extremely fun and addictive song, clearly deserving of the single treatment. If it’s not blasting on every radio station in the country within the coming months, then something is definitely wrong.
“Might be the time to make that call /
Start to text, I hit a road /
Do I wanna fall in love again?”
Though she is entering the tenth year of her career, there has never been a better time to get into her music. “Missed Call” is classic Kelela and a very easy jumping point for those who have never listened to her. Her stellar return to music with Raven has showcased her ability to push the boundaries of both R&B and electronic music in a way not many others can. 2023 is bound to be her biggest year yet, and the well-deserved love and success her return has brought is only the beginning.
There’s something in the water with artists who are associated with Friday as of late. First we got Rebecca Black’s debut album Let Her Burn, and now we have a new track from Miss FRIDAY herself.
DEBBY FRIDAY is a Nigerian-born Canadian rapper who throws all of the musical conventionality from the cultural canon of rap out the window. Her flow is aggressive, her beats are brash and in your face, and her lyrics tell her stories as a self-described “angry queer black woman.” She began her dive into the music scene as a DJ at parties in Canada, but after less than a year, she stopped and began working on making music on her own. Her first releases embodied those emotions of frustration, especially the track that led me to finding out about FRIDAY, “FATAL.” Her feature on clipping.’s track “Back Up 2021” helped to expose her to a wider audience. Conveniently enough, FRIDAY ended up signing to Sup Pop, the same label clipping. is under, to release her debut album, GOOD LUCK.
The first single off of GOOD LUCK, “SO HARD TO TELL,” was her first attempt at a subdued sound. “I GOT IT” threw that sound from “SO HARD TO TELL” out of the window, and went back to her earlier sounds. The brash instrumentation with her firebranded flow called back to tracks like “FATAL,” but unlike the bulk of her catalog, she is accompanied by an additional performer in Chris Vargas of Pelada under the stage name of Uñas. Uñas’ verse is entirely in Spanish, which is a somewhat unique element from an artist from Montreal. The pair combine to create quite a unique experience.
“Down on your knees, do you believe? /
Freaky Friday, Debby Tuesday, Debby heat /
You know where I stay /
Let mama give you what you need.”
Within the world of alternative music, many Black artists are rising to the top of their scenes. DEBBY FRIDAY absolutely has what it takes to rise to the top of the experimental scene. Her album is slated to release on March 24, and if the rest of the album is anything like the singles, GOOD LUCK will become a staple of experimental, boundary-pushing hip-hop-tinted music.
I’ll be honest, I only started listening to Rosalía recently. As someone who loves music in all different languages, especially Spanish, I’ve heard her name floating around for quite some time; however, it wasn’t until I actually sat down and listened to MOTOMAMI all the way through that I realized what all the hype was about. Rosalía doesn’t do anything the conventional way. I can’t even begin to describe the type of music she makes, though it’s somewhat of a mixture of pop urbano, reggaeton and traditional flamenco with a very experimental twist. She combines genres most people wouldn’t dare put together — as she combined reggaeton and jazz in “Saoko” — like some kind of mad genius, and somehow it works. Her newest single “LLYLM,” an acronym for “Lie Like You Love Me,” is her first release of 2023 and one of her only songs with a sizeable amount of English lyrics. It’s refreshing and different from many of her more recent projects, but still screams Rosalía.
The song begins with her signature percussion, traditional flamenco clapping, alongside slower, smoother R&B notes. When I first listened to the song, I had no preconceived notions, as I hadn’t seen her tease it on TikTok in early January; it simply popped up and, excited, I clicked it, and was genuinely shocked to hear her singing in English. With Spanish verses in between, Rosalía belts out an English chorus in an airy, melodic voice, introducing it by saying, “lo diré en inglés y me entenderás” (“I’ll say it in English and you’ll understand me”):
“I don’t need honesty /
Baby, lie like you love me /
Lie like you love me /
Cover me in a dream /
I’ll be yours, our fantasy.”
The song is a sharp contrast to the rebellious vibes of MOTOMAMI, as Rosalía softly implores someone to love her back. The desperate, candid lyrics express her sentiments in a very vulnerable way, while simultaneously being so catchy you just want to sing along. The Spanish verses and dramatic hymn of a bridge connected with the poppy, bright English chorus displays Rosalía’s uncanny ability to seamlessly fuse genres (and languages) together, creating something completely new.
We are only one month into 2023, but R&B is off to a solid start. Daniel Caesar released “Do You Like Me?” on Jan. 27, and it has already been streamed on Spotify more than 5 million times at the time of writing.
Caesar’s first two independently released EPs — Praise Break and Pilgrim’s Paradise — received worldwide attention, and his 2017 debut album, Freudian, was nominated for two GRAMMYs. His clean vocals and love for the guitar earned him celebrity.
He’s sticking to it this year.
Caesar is reviving R&B by taking traditional chords and stripping them back. One of the most used chord progressions in jazzy R&B — Dm | G | Cmaj — makes up much of “Do You Like Me?”
It’s also heard in Doja Cat’s “Say So,” but the songs are vastly different because Caesar slowed the chords down, added a soulful bass line and harmonized his vocals to create a rich, emotional song.
There are no fancy filters for him to hide behind. In a 2017 interview with Fender, Caesar said, “I feel as though my songwriting is stronger because (the acoustic guitar) is all I have.” It’s just him, and he owns it.
“Do You Like Me?” is peak Daniel Caesar. It’s smooth and a little bit groovy. It’s a song to listen to at 1 a.m. with blue LED strip lights on — maybe pink if you’re feeling saucy. Give it a listen, and let Daniel Caesar titillate your mind.
Boygenius released three new singles this January. The supergroup of brilliant songwriters is back. Julien Baker, Phoebe Bridgers and Lucy Dacus returned after nearly 5 years apart with three singles. Due to scheduling conflicts, the three songs were written individually by each member of the trio. Therefore, each song is closer in style to each individual’s music rather than the 2018 boygenius sound.
The first single off their drop, “$20,” was written by Baker. Starting off with smashing drums and a soft-punk guitar riff fans are welcomed in with a usual Baker special. She sings of self-ruin and escapism. Her other band mates join in to finish her sentences with scattered harmonies. The song concludes with Bridgers madly yelling “I know you have $20,” similar to her screaming album conclusion in her song “I Know The End” off her sophomore album, Punisher. Although this time, it’s merely the introduction. The two tracks following “$20” are far more melancholic when compared to the immediate turbulence encapsulating “$20.” It’s refreshing to tune into an album you assume will be filled with sad songs, only to find yourself bopping your head along to the beat. It’s surprising because their self-titled EP is filled with somber indie-rock songs. Additionally, it’s a fun listen before the gut-wrenching heart-destroying lyricism of the following two artists kicks in.
The three new tracks leave boygenius fans on the edge of their seats. Hopefully the three new tracks will be enough to last them throughout winter, before the group releases the album this spring. Their full length debut album, titled The Record, is set to release on March 31 with Interscope records.
In today’s musical climate, a remix is often considered to be the original version of a song with minor changes or a useless feature added for improved chart performance. It has become increasingly rare to find one that brings something new to the table. Luckily, Charli XCX and The 1975’s George Daniel have delivered a remix to Caroline Polachek’s “Welcome To My Island” that completely flips the song on its head. It is not just sped up in hopes of becoming a viral TikTok audio, and the feature isn’t useless — it is a completely new song.
Polachek’s second solo album, Desire, I Want to Turn Into You, is just weeks away, slated for a release on Feb. 14. “Welcome to My Island,” the opening track and fourth single, is an explosive pop song released on Dec. 5 which features a catchy hook and her signature vocal inflections. The remix was announced on Jan. 16 via TikTok, with a snippet of XCX’s verse, and quickly gained attention from fans.
Stripping away Polachek’s verses, the remix features XCX rapping over a Daniel-produced EDM beat while the original chorus is heard in snippets throughout. XCX describes the lavish life she likes to live and what she wants out of a relationship all while warning suitors of her “dangerous” nature. While this changes the entire feel of the original song, the new verses are filled with enough charisma and classic XCX-isms to carry the remix into greatness.
“I told him, ‘Catch a flight, see if you can handle it /
And if you can then welcome to my island, bitch.’”
This is the third time XCX and Polachek have teamed up, as this remix comes just over a year after the release of their track “New Shapes” off XCX’s Crash. While vastly different from the original version, “Welcome To My Island” is a much-needed reminder that remixes can still be great. Here’s hoping that more artists will take a note from Polachek’s book in 2023 — less TikTok pandering, more desire to change things up.
“Love Again” by The Kid LAROI is about rebuilding his relationship with a previous partner, but after the news of my grandmother passing away last week, this track took on a whole new meaning for me.
My late grandmother and my family have had our ups and downs, but with her passing I couldn’t figure out how I felt. Regret, disappointment and remorse filled me when I didn’t immediately feel sad. The Kid LAROI embodies these feelings when he sings:
“Can we find love again? /
Is this time the end? /
Tell me, how many more tears will drop /
Till you hit me with “Can we talk?” /
And try love again.”
This relates back to arguably The Kid LAROI’s biggest hit, “Stay” with Justin Bieber. In “Stay,” Laroi sings:
“I do the same thing, I told you that I never would /
I told you I changed, even when I knew I never could /
I know that I can’t find nobody else as good as you.”
“Love Again” tells the ending of the story he started in “Stay.” During his and his partner’s fight, The Kid LAROI tells them that he will change, although he knows he can’t. He says that nobody will ever be as good as them, but they still leave. “Love Again” shows that Laroi wants to keep pushing for this relationship to work, no matter “how many tears will drop.”
I wish I could have found the unconditional love for my grandma that I had as a child before life decided to push us apart, but the universe had a different plan. Through all of the adversity of The Kid LAROI’s relationship, he still wants to try to love his partner.
Whether you’re dealing with the heartache of losing a partner, or in my case a relative, The Kid LAROI’s “Love Again” proves you’re not alone in these feelings.
“Swear to shake it up if you swear to listen,” writes Ryan Ross, formerly of Panic! at the Disco. In 2005, a young group of Las Vegas artists hit the music scene with their first album release — A Fever You Can’t Sweat Out. “The Only Difference Between Martyrdom and Suicide Is Press Coverage” was the band’s first single. This underrated track is often overshadowed by the smash hit “I Write Sins Not Tragedies” off the same album.
The outrageously long title is a quote from Chuck Palahniuk’s novel Survivor. The band members were big fans of the Fight Club author, referencing Palahniuk’s work throughout the album. The song begins as the band beckons the audience not only to “snap your fingers for me,” but to “tap your toes to the beat,” underscoring the attention young artists want. The band is speaking directly to their audience throughout the entire song, introducing them not only to the sound of Panic! but to their public personas as well.
The band admits that the song is a rather pretentious introduction to the album because they had not accomplished anything yet. Blatantly revealing their need for recognition, Ross continues, “We’re still so young, desperate for attention.” The band members were only months out of high school by the time they were recording the album. They had been flung into the studio after lead guitarist Ryan Ross sent demos to Fall Out Boy’s Pete Wentz.
The most resonant lyric, “Swear to shake it up if you swear to listen,” is a cry out to the audience. Panic! really did “shake up” the music scene at this point. With A Fever You Can’t Sweat Out’s release, pop-punk became incredibly mainstream. They were pioneers of the early 2000s emo genre, even though they despised the title.
Just like the song alludes to, the press will say what they want to say and twist what they want to twist. Moreover, the band used influences that were rarely seen in the pop-punk scene at the time: The first half of the album has scattered electronic elements with use of synthesizers, while the second half includes baroque influences like organs. It was a creative and unique sound within the genre.
With Panic! at the Disco finally coming to an end this January, fans are left questioning if the band lived up to the promise they made with their first album. Panic! continued to shake up their sound, venturing into a Beatles-like sound for their sophomore album then progressing all the way to the pop-rock-Queen-cover-band sound of their newest album. Good or bad, the band definitely shook it up. Did you swear to listen?
Colombian-American R&B artist Kali Uchis has been making heart-touching, genre-bending music from the onset of her career in 2014; she has always embraced her Latin American roots, and the seamless blend of Spanish and English in her songs is proof of that. Kali’s new single “I Wish You Roses” is one of her first songs since the release of her 2020 album, Sin Miedo (del Amor y Otros Demonios). Last year, she mostly kept a low profile, with the exception of a few singles, “No Hay Ley” and “La Única.” This is the first track off her upcoming album, Red Moon in Venus, and the dreamlike quality of her discography paired with her melodic voice continues to comfort listeners, even in the face of heartbreak.
With Valentine’s Day coming up, Kali’s “I Wish You Roses” teaches us the value of releasing oneself from heartache and the ways to love yourself and others. In the song’s psychedelic accompanying music video directed by Cho Gi-Seok, Kali Uchis is painted in warm colors as she bathes in the petals of flowers, picking roses despite their thorns. The song starts with the slow build up of one note into a steady rhythm, the sounds of morning birds singing in the background. Kali’s captivating voice puts us under her spell as she laments about a past relationship, while simultaneously accepting the loss with grace and composure:
“Never thought I’d be without you /
I wish you love, I wish you well /
I wish you roses while you can still smell them.”
In a statement, Uchis says the song is about “how to release people with love — it could be a friend, a lover, or someone else, but the point is to celebrate releasing people from your life without being resentful or bitter.” While we may relish in revenge, sometimes being able to let someone go, accepting the pain and moving on, is the best way to live freely and authentically. This song has a stable beat and harmonious vocals, enveloping listeners in comfort. Nevertheless, it has a very melancholic feel, communicating a bittersweet sentiment.
“My love’s deep as the ocean /
Don’t you drown on me /
Just know any love I gave you /
Is forever yours to keep.”
Like the beauty of roses, love is fleeting; we should enjoy it while we have it, rather than waiting for it to wither away. This song represents a new era for Kali Uchis; she has teased on Instagram that she has been working on two new albums, one in English and one in Spanish. Despite the changing styles, her hypnotic voice has helped her develop a signature, and she knows exactly who she is. Red Moon in Venus is set to be released on March 3. Until then, I’ll be shuffling Kali Uchis’ discography to tide myself over.
“Maybae Baeby” is a tremendous return to form for Xiu Xiu. With Xiu Xiu having such a large body of work, it’s quite easy to see how their sound has morphed with time. For the better part of the last decade we have seen their experimental sound accumulate more pop influences with each release, most notably on FORGET, their 2017 album.
But the intensely dark and dissonant sound that once defined them has returned in a much more menacing form. What was once understated and partly subdued is now massive and all-consuming. If this single is anything to go off of, there is a lot to look forward to from Xiu Xiu and their newest member, David Kendrick — formerly of Sparks and Devo.
Xiu Xiu’s new album, Ignore Grief, comes out March 3.
What does a dream feel like? I don’t mean how does a dream make you feel after you’ve woken up: I mean how do you physically feel within your dream? How does it feel to touch something? Do you feel it at all?
I liken it to my leg falling asleep. I touch my leg with my finger. My finger feels my leg, but my leg doesn’t feel my finger. This is somewhat of a crude example, but it stands.
And now what if this was how you experienced life — this feeling washing over your body, mind and soul. The world touches you, but you don’t touch the world. You are awake and still dreaming.
“I wish I could get over this feeling of slipping under.”
Title Fight is in no way a stranger to depictions of sadness, loneliness and depression, yet there is something so salient about the lyricism of “Numb, But I Still Feel It.” Perhaps it is because the name of the track is so transparent about what the track will communicate: the contradictions inherent to the individual experience of sadness. On days that are hard to get through, I constantly struggle to reckon with what I know versus what I feel.
This internal dispute between knowledge and emotion is what perpetuates the dreamlike nature of existence that Title Fight is expressing here. I know that I exist in the world. I can affect my reality. I can make choices that affect my life. Where contradiction surfaces is in the acknowledgment of that reality while having the unshakeable, oppressive feeling that you exist at the whim of the world. Despite any efforts, you are a passive occupant in the universe incapable of living in it with agency. Things happen to you instead of you happening to them. The world touches you, but you don’t touch the world.
“I talk but no one listens /
Can’t make my own decisions.”
Talking with no one listening; decisions you make that aren’t your own; two directly opposing forces coexisting at once, in the same place, at the same time: Describing these feelings in words feels self-defeating. How can I sensibly convey a feeling which, by its very nature, is not sensible?
“Numb, but I still feel it crawling under my skin.”
If you’re numb, how do you feel? If you feel, how are you numb? Back and forth it goes forever, a cycle that keeps me in a syntactic stasis.
“I threw it all away /
But it still stays the same.”
Does this make sense to you? Does it even have to? After all, it doesn’t matter if a dream makes sense: It only matters how it feels.
“Every day I lie asleep /
Trying to wake up from this dream.”
Welcome to January, or as it’s known to fans of the Eurovision Song Contest, the beginning of the season. During the months leading up to the competition, numerous nations will hold competitions to select their song for Eurovision. More often than not, these preselections don’t have a lot of musical diversity, opting for a safer, radio-friendly option. This usually means that there aren’t a lot of songs that stand out in a good way. However, this year has seen one of the most exciting songs that is in the running to go to Eurovision.
Rakky Ripper is an artist from Granada who has been leading the charge of Spanish hyperpop ever since she released her debut album, Neptune Diamond. The aforementioned album helped to establish her footing in the industry, but it was her 2021 release of “donde stas??” that launched her to the face of Spanish hyperpop. She also began to reach fans outside of the Spanish-speaking world when she performed on stage with Charli XCX in one of Charli’s concerts in Madrid. Charli is someone who Ripper has cited as an inspiration to her several times, and that inspiration is easy to hear in “TRACCIÓN.” “TRACCIÓN” hits all of the same beats that hyperpop artists tend to in their music, with a pulsing synth leading Ripper’s autotuned vocals to our ears. Elements of breakbeat sneak its way into the verses. Once the chorus hits, the synth gets crunched and begins to pulsate, like a truck starting on a cold day. While the track doesn’t take the elements of her hyperpop sound to the same extremes that we get on tracks like “Faceshopping” by the late great SOPHIE, that’s also to be expected of a song from the style that’s competing for an intranational competition title. Ripper is currently in the running to represent Spain in the 2023 edition of Eurovision, which is to be held in Liverpool.
Since 2010, Spain has been a competing force at Eurovision. During that span, the nation — which automatically gets a free pass to the final — only managed to place in the top ten a total of three times; a pair of tenth places in 2012 and 2014, and a third place in 2022. Something changed within the delegation in 2022, as the method of selecting their entry underwent a massive change. Prior to then, the nation would choose their artist, and then have them write a song that fits what they were looking for, only changing this method twice. In these two alternative selections, the show Operación Triunfo, which can be likened to American Idol, had a special show where the participants made a song that would go to Eurovision if selected.
The selection method was changed to become a competition more in line with selections elsewhere in Europe. This selection was christened Benidorm Fest. Even in the first edition, a number of very unique artists were selected to compete to represent Spain in the Eurovision 2022, which was held by Italy after Måneskin — yes, the band behind “Beggin’” — won the 2020 edition with their song “Zitti e buoni”. Some of these artists include: Luna Ki, an artist who’s on the forefront of the blossoming hyperpop scene in Spain; Azúcar Moreno, a duo who burst onto the scene in the 1980s and have still kept up their popularity in the 40-or-so years since then; Tanxugueiras, a Galician trio that melds traditional Galician music and modern influences; and Chanel Terrero, a musical actress. The second edition has large shoes of musical diversity to fill, but I would dare to say that they have been filled. In the 2023 edition, you have the likes of Alice Wonder, a nonbinary balladeer; Megara, a band that invokes the likes of Set It Off and Falling In Reverse with their sound; Sharonne, a drag queen; Karmento, an artist who performs new interpretations of the traditional flamenco style; and Rakky Ripper, our hyperpop darling.
Eurovision has shown that more unorthodox styles will do better in the as of late, with half of the songs that placed in the top five in the past two editions being from styles that you wouldn’t often hear played on a stereotypical pop radio station, with glam rock, chanson, a folk-techno fusion, folk-rap, and art pop all finding their way to the top of the contest. Hopefully, Rakky Ripper will be the next in a long line of alternative artists who find success at Eurovision.
Rakky Ripper is slated to perform on Feb. 2, 2023 in the second semifinal at Benidorm Fest. The final is set to be held two days later.
The emos are on the rise again. My Chemical Romance toured last year, Paramore and Pierce The Veil announced new albums coming next month, Brendon Urie continues to drag Panic! At The Disco’s good name down with him and my beloved Fall Out Boy is back. Following 2018’s MANIA was some considerable backlash from diehard Fall Out Boy fans. Many dissed the band’s experimentation with a synth-pop sound, saying they missed the old Fall Out Boy.
Don’t get me wrong — MANIA had some bangers like “Church” and “Heaven’s Gate,” but it just didn’t feel the same as their pre-hiatus work. Maybe it’s just because I’m getting older and I miss how I felt when Save Rock and Roll came out — good lord, I was 11. But, regardless, Fall Out Boy listened to their fans — and guitarist Joe Trohman, as revealed in his recent memoir — and returned to their roots with their upcoming project, So Much (For) Stardust.
So Much (For) Stardust’s lead single, “Love From The Other Side,” was released Jan. 18 following weeks of cryptic social media posts from the band. I’ve personally listened to it about 50 times since its release and let me just say: I’ve never been more excited for an album based on a single. “Love From The Other Side” is the gritty, guitar-heavy song fans have been craving from Fall Out Boy.
The song opens with a one-minute orchestral arrangement before it punches you in the face with a guitar riff. The goosebumps I felt in the transition from classical to rock were insane. The lyrics begin with a picture of a dream life crumbling before your eyes, your expectations collapsing inward:
“Model house life meltdown still a modern dream letdown, it kills me /
You know I’m dying out here /
What would you trade the pain for? /
I’m not sure.”
The motif “What would you trade the pain for?” is repeated throughout the song, sometimes answered by an “I’m not sure,” sometimes left with no answer at all. This repetition seems to cement the fact that while the life the singer leads brings them anguish, they don’t know any other way to live.
The chorus is both catchy and complex. As the guitar swells to meet the chorus, singer Patrick Stump’s powerhouse vocals come through a cacophony of percussion:
“Sending my love from the other side of the apocalypse /
And I just about snapped, don’t look back /
Every lover’s got a little dagger in their hand.”
It’s been stuck in my head for a couple weeks, as the chorus is the only snippet Fall Out Boy released on Jan. 11. The high note Stump hits on “back” just scratches this itch in my brain that I can’t truly describe. It’s just — chef’s kiss — beautiful.
This song, from my individual perspective, seems to be about losing someone to a lifestyle you can’t escape but remaining in love with them. You want to reach out to them, from the other side of your personal apocalypse, but you’re afraid of how they might see you now. Lyrics like “But there’s no way off the hamster wheel on this rat race” and “Give up what you love before it does you in” confirm this for me, the latter being a warning echo to the past self.
Fall Out Boy’s So Much (For) Stardust is slated for release on March 24. Until then, you can catch me looping this song until my phone dies. If you want to enjoy it normally, you can stream “Love From The Other Side” wherever you get your music. The emo trinity lives again.
On Jan. 10, beloved pop-punk powerhouse Paramore released the third single for their highly anticipated album, This Is Why. “C’est Comme Ça” is a post-punk inspired earworm. Frontwoman Hayley Williams’ Talking Heads-esque talk-singing is a welcome addition to the track’s energy-filled choruses.
“C’est Comme Ça” translates to “It is what it is.” Williams’ lyrics convey this sense of wanting to get better, but thriving in chaos and disorder. As a fan, it feels like a natural progression from the After Laughter era of songs like “Hard Times” and “Fake Happy” about hiding struggles and feeling hopeless. “C’est Comme Ça’’ is uncertain and dynamic — it reckons with the future and what it means to make progress. Williams sings,
“I know that regression is rarely rewarded /
I still need a certain degree of disorder.”
The single’s sound may stray from the band’s Riot! days, but it undoubtedly sounds like Paramore. It’s danceable, catchy and alluring. Paramore has found success in evolving without losing touch with what makes them special.
This Is Why releases Feb. 10, and will surely be dense with similarly captivating tracks.
2023 is a year where many people have their eyes on Parannoul. The South Korean anonymous wunderkind has been touted as the budding voice of a new generation of Korean artists, inspiring many contemporary and future acts on account of his breakout sophomore effort, To See the Next Part of the Dream.
2021 and 2022 had Parannoul earning critical and listener acclaim with the split album Downfall of the Neon Youth, the collaborative EP Paraglow with Asian Glow and contributions to albums by Fax Gang and noun.
Paraglow, especially, has shown Parannoul to be moving away from the lo-fi, noise-drenched sound that he is known for. “Wheel,” the 14-minute epic that closed out Paraglow, was the largest indicator of this stylistic shift that Parannoul has been embarking on for the past year. Gone were intense walls of sound and heavy guitars suspended in a suffocating mix.
Given instead were instrumental flourishes of rich percussion: bells, chimes, xylophones and the like formed a much more careful arrangement of instruments as a unified whole. Rather than making a conscious effort to obscure a lack of skill, it seems his entire perspective had inverted into a careful demonstration of instrumental prowess.
For better or worse, the artistic footnotes that were stitched together to make To See the Next Part of the Dream a love letter to the shoegazing genre were gone. But in its stead is a much more eclectic, impressive, mature and personal composition, all of which carried over to “We Shine at Night,” the latest single teasing Parannoul’s third album, After the Magic. “We Shine at Night” is driven far more by a self-confidence teased through his most recent works, and all for the better. The track explodes with Parannoul’s voice in a youthful exuberance — it is clear and present in the mix: unwavering and defiant.
Carrying the multi-structural facets that Parannoul has been experimenting with, the track is composed with plucked guitars, a barreling rhythm and passionate vocals staggered between moments of instrumental brilliance.
“낯선 손을 잡고 서로를 이어 /
세상을 앞질렀던 여름밤 /
이젠 오지 않는 시간들 이후 /
우린 서로를 기억할까요.”
Between the clamoring gongs, pummeling snares and crashing cymbals, Parannoul makes his voice heard. The hook is clear and passionate: a resolute vision one might not have assumed of him had they only heard his juvenile work.
While Parannoul has cemented his mastery of “proper vocals,” he still wants to show the listener that the artist they fell in love with still retains his core sensibilities.
The instrumental strips itself in a second suite. Only linked together by a lethargic guitar lead, the plucked strings instigate the axis of this truly gyroscopic track.
A confessional whisper enters the soundscape and is then followed by staggered claps and decaying frequencies which drag themselves behind the whisper, which is slowly supplanted by a deep and convictive howl. The refrain transforms into an outro of pure conviction and beauty.
“끝나지 않았어 /
집으로 돌아가자.”
“La la la la,” he sings alongside fellow Korean musician Della Zyr. The track fades with their voices, but they become so lost in its rapturous bliss that time may as well be infinite.
When one thinks of music from the ‘90s, one of the first genres that come to mind is grunge. Nirvana had completely changed the cultural landscape with Nevermind, and made grunge a household name with “Smells Like Teen Spirit.” The catchy, fast-paced nature of Nirvana’s hit album glossed over a subject that had proven, unfortunately, foundational for many of the bands at the time. That being substance abuse and addiction, specifically heroin. While Kurt Cobain was relatively open about his relationship with drugs, it was rarely the forefront of Nirvana’s music, instead appearing as just a personal vice of the band’s frontman. However, there must always be yin to yang. While Nirvana was trying to distance themselves from the topic of drug abuse in the public eye, Alice In Chains was fully embracing it and making it a core part of the band’s identity.
Alice In Chains was doing something very different by embracing the unspoken devil of the grunge movement. Instead of dancing around the subject, they were incorporating it into their lyrics and using it as a creative tool for writing their music. This led to the creation of some of the grittiest and visceral music of the era. Their album Facelift would catapult them into the mainstream, marking the scene’s hunger for a darker subject matter that sadly hit close to home for many of the listeners.
The band’s creative prowess and popularity wouldn’t peak until the release of Dirt, possibly one of the most influential rock albums of all time. Songs like “Rooster” and “Them Bones” crawled their way onto radio stations across the worlds, giving the public listeners a taste for blood that was only sated by the lyrical prowess and haunting voice of singer Layne Staley. One track on this album stood far and away as the magnum opus of the band, exemplifying both the talent and genius of all members of Alice In Chains, and solidifying them as one of the greatest grunge bands of all time. Originally written as a tribute to Mother Love Bones lead singer Andrew Wood, who had tragically died of a heroin overdose years prior, “Would?” brings every part of what made Alice In Chains so influential and puts it into one neat package.
Opening with quite possibly one of the most notable bass lines in rock history, the listener is immediately transported into a hellish landscape where all hope is gone. Guitarist Jerry Cantrell’s voice quickly enters the mix, with Staley’s ghastly vocals echoing over Cantrell’s opening lyrics that would foretell Staley’s own fall from grace.
“Know me broken /
by my master /
Teach thee on child /
Love hereafter.”
A panicked drum beat meets a rising guitar as Staley’s gnarled voice claws its way onto the scene, breaking the listener out of the hypnotic trance caused by the instrumentals. The band comes together into a cacophony of noise that can’t seem to overpower Staley’s anguished cries. Cantrell’s otherworldly guitar riff fades in and out while tribal beats slam over an inverted version of the opening bassline, creating a haunting vessel for the chorus to ride upon. The chorus itself tells a story of addiction, judgment and hopelessness, common themes in many of the band’s songs.
“Into the flood again /
Same old trip it was back then /
So I made a big mistake /
Try to see it once my way.”
After the chorus, we’re returned to the familiar soundscape of the pre-chorus. Cantrell’s soothing voice returns, creating a moment to recuperate before the inevitable return of Staley’s anguished cries. The lyrics this time around create an image of an addict who’s not quite ready to quit, instead thinking that their only function is to further feed their addiction.
“Drifting body /
Sole desertion /
Flying not yet /
Quite the notion.”
The instrumentals and chorus once again burst back into the fray, creating the feeling of a cycle that is impossible to break. A short guitar solo breaks out, a welcome break from the pounding repetition of the chorus and the overwhelming lyrics of Staley. The chorus comes back around one last time, more powerful than ever. Finally, we’re brought to the song’s peak, with Cantrell’s powerful guitar chugging and Sean Kinney’s mesmerizing drumbeats ride alongside Staley’s desperate shouts.
“Am I wrong? /
Have I run too far to get home? /
Have I gone? /
And left you here alone?”
The vocals once again become the forefront as all instrumentals stop their rhythm in order to strike alongside Staley’s final line, branding the searing pain of uncertainty into the listeners mind in the form of an open-ended question.
“If I would, could you?”
The spring semester is in full swing. It’s the second week of classes, and professors aren’t joking around — they’re getting right to it. Does anyone else have papers due this week? On top of that, we’re surrounded by people again. Friend reunions are fun and dandy, but nothing gets the anxiety going like running into an ex or walking into a class and seeing that friend who ghosted you sitting in the front row. If you’re anything like me, you’ve been holding your breath this first week back on campus.
“Este Sentimiento” by Dariell Cano is a reminder to exhale. This indie sierreño ballad slows down time with its calming melody. It feels like a reprieve from life’s fast pace.
Cano is a 17-year-old, second-generation Mexican American living in a small town outside of Grand Rapids, Michigan, and his identity is infused into his music. Cano’s music is influenced from traditional norteño music, like Ariel Camacho y Los Plebes Del Rancho, by incorporating acoustic guitar and chord progressions inspired by regional Mexican music, like the most famous Am – G – F – E chord progression. His music is also influenced by his teenage experience. “Este Sentimiento” is a love song to someone who’s close to Cano but doesn’t know how he feels about them.
“Mis pensamientos /
Son mis secretos.”
Cano understands what it’s like to hold your breath in this type of situation, but this song is an invitation to exhale. You may feel like you’re trying to hold back a flood of emotions, but let them out. Slow down. Take a deep breath. Listen to “Este Sentimiento” by Dariell Cano and escape from the stress of the new semester.
All I wanted for the holidays this year was a homoerotic song about Santa Claus. I mean, come on — We all know Santa is a DILF, and with all of the songs about wanting to get into Santa’s sack flying around holiday radio stations, like “Santa Baby” by Eartha Kitt or “I Saw Mommy Kissing Santa Claus” by the Jackson 5 and the seemingly infinite number of covers each song has, we could absolutely use a version that adds a bit of fruitiness to the holiday song cake that we get fed every single year. Clearly, Kevin JZ Prodigy decided to give this gift early.
But who exactly is this giver of gifts named Kevin JZ Prodigy? Prodigy is a fixture of the Philadelphia ballroom scene, having gotten his start in the scene as a competitor in the vogue fem category at balls affiliated with the House of Prodigy. As of 2022 though, his chants and music have been the biggest focus of attention on him. It all started back in March, when a TikTok featuring a group of high schoolers voguing in their library, featuring his chant “BAM BAM SHAWAM ORIGINAL,” went viral. This marked the beginning of Prodigy’s rise to contemporary fame. He then followed this up by joining Billy Porter and several other icons of the Ballroom scene at the BET Awards in June. This would eventually result in his voice being featured in “PURE/HONEY” off Beyoncé’s newest album, Renaissance, chanting the intro to the song alongside fellow ballroom chanter, Kevin Aviance.
While both of the Kevins’ chants were taken from songs that were released prior, their inclusion definitely was important to Beyoncé, as the twenty seconds of just the Kevins’ chanting was used to tease the album. And right before the release of “Santr,” another one of Prodigy’s chants went viral. This one, “HERE COMES THE hURRICANE LEGENDARY KATRINA,” was a tribute to the fem queen performer Katrina Ebony. 2022 was the year of Kevin JZ Prodigy, but he isn’t the only one on this track. RealXman, the stage name of Brandon Hale, is a rapper who finds new ways to add his flair to the music he releases. He features his voice to the verses of the song, letting Prodigy chant over the chorus, while also giving him a verse of his own. The combination of these LGBTQIA2S+ artists lends itself quite nicely to the homoerotic overtones of this song.
Melding the Ballroom background of Prodigy with Xman’s rapping background created a beat in which both artists are able to showcase their chops in a way that is the most natural to them. And what would be a queer holiday song without a reference to Mariah Carey, who recently lost her trademark bid for the title of “Queen of Christmas”.
“At the end of each and every year /
Mariah says ‘Come for me if you dare.’”
Much like the annual defrosting of Carey comes with the end of Halloween, “Santr” I hope will become the next song to join the unspoken annals of wintertime traditions for the rest of time.
MICO has been flying under the radar of young pop rock fans, but this Toronto native is sure to make it on top hit playlists soon.
The 20-year-old musician started in 2019 when he was a high schooler with a dream. His first EP – 21st century heartbreak EP – released in 2020, and second thoughts EP dropped in June of 2022. According to Spotify, he went from 36,000 listeners in 2019 to 1.4 million listeners in 2022.
After listening to his new single,“cut my hair,” it’s easy to see why. The bassist’s steady rhythm leads into the lead guitar chorus effortlessly as MICO’s strong vocals drive the song. The lyrics aren’t going to give you the chills, but they’re powerful and relatable. MICO sings about a past relationship where he gave more than he received and ended up regretting it in the end.
“Why am I always the one that does the changing /
I lost tryna fix what’s wrong, while you go do the same things /
I wish I never cut my hair, or called all night /
Never let you love the songs I liked.”
Yes, “cut my hair” is a catchy teenage love song, but it’s imbued with the excitement of a new, up-and-coming musician. You can see it in his Twitter feed and his TikTok covers: MICO is eager to make new music. And he isn’t yet corrupted by the pop music industry.
If you need some innocent joy in your life, listen to “cut my hair” and give MICO a follow.
Singer-songwriter Rosie Thomas joined Sufjan Stevens this holiday season to create a new Christmas track. Thomas originally wrote the track “We Should be Together” with her fellow songwriter husband, Jeff Shoop. Adding Stevens to the track felt natural because both Stevens and Thomas have written Christmas albums. Thomas believes there’s a certain magic surrounding Christmas that brings out hope and togetherness, which is exactly what the song encapsulates.
The song begins with soft acoustic guitar fingerpicking as Thomas’ hushed vocals enter. Stevens’ voice is overlaid, creating sickly sweet harmonies that highlight the heartache of the song. The lyrics have wonderful imagery, using a sweater as symbolism for deep longing. Although a bit cliché, the sincere vocals give the song a deeply genuine feel. The catchy, repetitive chorus — which includes the classic jingling of bells — rounds out the track and makes it a standout Christmas song. If you’re missing a loved one this December, turn this track up and yearn right along with Thomas and Stevens.
In May 2020, we were greeted by the electrifying debut of Enitan Adepitan, better known as ENNY. Her debut had been put in motion by her performance on a freestyle 2 years prior, but the song failed to make much traction outside of London. But as the year came to a close, a remix of her second single was featured at her debut COLORS SHOW. ENNY, who was joined by fellow English singer Jorja Smith on the show, went viral. The song ended up creating a year that helped ENNY begin her natural takeover of the airwaves, with her singles that tackled a different issue plaguing Black Londoners. Same Old touched on the gentrification that has grown to plague London, and I Want, which ended up featuring on the FIFA 22 videogame soundtrack, makes mention of the issues of split identities caused by her upbringing as an English-Nigerian woman. The aforementioned songs were all featured on her debut EP, Under Twenty Five. The EP left her fans salivating for the next songs that she would release. And this song did not disappoint.
While 2021 gave ENNY a year that would make many of her contemporaries salivate, all that glitters isn’t always gold. Especially for an artist that got her big break during a pandemic, time can create a tumultuous spiral that can wreck anyone’s mental health. In Champagne Problems, ENNY raps about issues varying from mental health, to retail therapy, to misogyny and code switching and beyond. Even if the song doesn’t feature the singular focus that her prior songs had, the important messages that were present in her prior songs are still found here.
“I ain’t got a potion, I ain’t gotta code switch /
White folk love me like they love my culture.”
Referred to as South London’s answer to Lauryn Hill due to her combination of singing and rapping on her tracks, ENNY has all of the tools necessary to take over the airwaves in the United States, like Hill did in the ‘90s. Even if the music scene of the Western world is slowly opening up to female rappers, there really hasn’t been an artist like Hill that has left a lasting impact on their respective music scenes in the new millennium. With how popular rappers like Kendrick Lamar and Nipsey Hussle have become, with their lyrics that focus on societal ills, it is only a matter of time before ENNY becomes the next big name in that musical sphere.
Indie rock trio Yo La Tengo has been releasing critically acclaimed music for four decades, and they’re back for more. On Nov. 2, the group released their first single, “Fallout,” off their upcoming Feb. 2023 album entitled This Stupid World.
The song begins abruptly with a tight guitar riff layered above fuzzy bass, creating a large wall of sound the band is so familiar with, although the driving tempo of this song separates it from other Yo La Tengo tunes. I often associate the group with mellow melodies and slow-progressing layers, so I was surprised by the fast pace and jarring introduction.
Once the band’s typical hushed vocals were added, I began to relax. The vocals aided in melting all the layers together into the usual melting pot I’m used to. The distortion continues throughout the song, broken only by the high-hat of the drum. This leads into two beautiful bridges where crashing cymbals and synths are joined together under the warm guitar fuzz. The various breaks in the song are an escape from the wall of sound the listeners are presented with in the beginning, underscoring the song’s themes of escapism.
Near the end of the song, lead vocalist Ira Kaplan invites us to “fall out of time” with him. With Kaplan’s invitation, the listener can escape into Yo La Tengo’s energetic noise as the song continues to layer before closing with soft harmonies and various guitar riffs interjected sporadically. The song ends with one final guitar strum; the distortion carries into the silence, granting the audience a smooth transition out of the escape they found with this song.
This week, winter weather reared its head. When you’re stuck in your dorm room, consider escaping with Yo La Tengo and their newest song. Trade the relenting cold for the trio’s wonderfully unrelenting sound. Bundle up in the sound of warm fuzz.
I don’t remember exactly how I found the French pop rock band Phoenix, but I think it had something to do with invading my parents’ iTunes account, aimlessly scrolling through and adding songs to my blue iPod Nano indiscriminately. “1901,” off their 2009 album Wolfgang Amadeus Phoenix, was my favorite song of theirs by far, and I used to listen to it religiously — before I entered middle school and forgot it existed.
A few months back, however, I rediscovered Phoenix, and realized that I still really like them; indie pop is one of my favorite genres, and this band’s unique sound, mixing indie rock and synth-pop, does not disappoint. On Nov. 4, they released a brand new record, Alpha Zulu, their seventh studio album. “Tonight,” in collaboration with Ezra Koenig of Vampire Weekend, is my favorite off the album, and perhaps the most representative of the band’s growth while simultaneously nodding to their past.
Alpha Zulu is the combination of Phoenix’s tried-and-true style and their newer, more exploratory sound. The band represents a moment in time and music that has passed; many would say that they’re past their prime. However, this band is bringing about their own renaissance, and the Botticelli painting depicted on the album cover reflects that. Conceived during the COVID-19 pandemic, the album was recorded within the Musée des Arts Décoratifs, a branch of the Louvre in Paris, and this recording location inspired much of the album. In addition, the French quartet from Versailles collaborated with one member of Daft Punk, Thomas Bangalter, in order to incorporate that nostalgic, 2000s electro-pop feeling into their more indie energy on Alpha Zulu.
“Tonight,” Phoenix’s first ever song to feature guest vocals, invokes a feeling of nostalgia, mixing a melancholic vibe with their peppy, upbeat bassline. The whole song seems like an homage to years past — both Phoenix and Vampire Weekend flourished in the late 2000s and early 2010s, and the song seems to carry that energy to the present day. With a striking percussion line, bouncy vocals and their signature, bright guitar pop, it doesn’t sound dated, but instead seems like a refreshing take on a reliable formula. The poetic lyrics hint at a past relationship, going back and forth about mistakes and desires. In the song, Ezra Koenig and Phoenix’s lead singer Thomas Mars reminisce on the past, but dismiss it for new beginnings:
“I’ve played all the games /
And lost almost everything /
Now I talk to myself and it’s quite surprisin’ /
Roll with me.”
Despite the band forming over two decades ago in 1995, Phoenix still has it. Their music is all about inspiring a vibrant atmosphere — something you can vibe to in any situation. Phoenix manage to stick to their signature style while adapting to the ever-changing state of the music world, truly creating their own renaissance.
There has yet to be an opportunity in my life where I have passed up the ability to recommend Matt Watson’s music to someone. While I have been obsessed with his YouTube channel SuperMega since 2016, his serious music projects only started in 2020. The brains behind SuperMega, Matt Watson and Ryan Magee, have cooked up comedic viral hits like “Blonde Boyz,” but Watson’s debut album, SEE YOU THERE, is art. I mean, I think “Blonde Boyz” is art as well, but it’s all subjective.
SEE YOU THERE is reminiscent of his EP OUCH! in many ways. His lo-fi bedroom pop sound has been pretty consistent, but the production quality of SEE YOU THERE is noticeably better. Along with greater variety between songs, where most of the songs on OUCH! sounded as if they could blend together, Matt’s improvement in creating music can be heard through the two features on the album: rapper/indie label head Father and America’s sweetheart, Sarah Bonito. In past episodes of the SuperMegaCast, Watson has referenced his love for Kero Kero Bonito on multiple occasions. So, as a fan, watching my favorite creator get to work with one of his favorite artists makes me so proud.
“STARSTUD” is a lovely dream pop song about falling in love with both excitement and apprehension. Watson and Bonito sing about feeling so lucky to fall, but still feeling wary due to past experiences:
“Every single time that I’m falling in love /
I fall a little too hard and end up screwin’ it up /
And I got my fingers crossed that this stays the one /
And I promise not to break your heart, ’cause that ain’t no fun.”
The lyrics aren’t revolutionary by any means, but they don’t need to be. The point isn’t to make the listener dive deep into introspection. Music doesn’t have to change the world as we know it, sometimes just bringing people joy is enough. The story of the song revolves around the hope that new love brings; though one may not have the best history with it, there’s always optimism at the start:
“And I lay awake at night /
Wishing you were by my side /
And I know, I know, I know
I know this time will be alright.”
“STARSTUD” has been in my playlist since the day the single dropped. Add this song to your daily rotation for some danceable tunes and dreamy vocals.
Four years since the release of her last album, Canadian singer Nicole Dollanganger has finally promised us a new album and teased us with the release of “Gold Satin Dreamer.” This haunting ballad conjures images of dark summer nights spent in the softness of nature, but with the feeling of lurking violence just around the corner.
Once again, the true talent in Dollanganger’s lyricism lies in her ability to shock and disgust you. She will start with an image as delicate and feminine as her voice and follow with something gory. Her ability to make you feel safe then immediately uncomfortable shines through the lyrics:
“I feel the bath, while I dream of a lake /
I can smell the blood purged from raw steak /
By the barbecue on a summer day in the sun.”
Lyrics like these read like a gothic novel set in some rural dreamland, the setting so much like where we found ourselves in listening to Dollanganger’s 2015 album Natural Born Losers. This song feels like another page of the same story containing songs like “White Trashing” and “Alligator Blood.”
While the method of Dollanganger’s lyricism remains unchanged, there are a few aspects to this song that set it apart from her earlier work. There is clear improvement in the production, as Dollanganger’s first few albums were recorded and produced in her bedroom.
Also unique to this song is how the slow progression of her soft vocals, alongside the dreamy guitar reverb, never fully reaches the violence the song hints at. Instead, they bring to mind an open field under a purple starry night and a monster lurking somewhere within the vast darkness.
Listen to this song if you want to be sucked into the next chapter of Dollanganger’s terrifying and beautiful story.
The rise of most new genres of music are usually spearheaded by a handful of bands who best represent the sound being established. This is especially true for the grunge movement. However, one thing that the grunge bands of Seattle had that not many new genres did was a linking friendship between almost all members of all major bands on the scene. Andrew Wood, lead singer of Mother Love Bone, is generally seen as one of the forefathers of grunge. Wood was close friends with members of Soundgarden, Alice In Chains, and the yet-to-be-founded Pearl Jam, so his death was especially impactful as the Seattle music scene had just begun to attract commercial attention.
Wood’s death would hit Soundgarden lead singer Chris Cornell especially hard, as the two had been roommates and good friends throughout the ‘80s. This led to the creation of Temple Of The Dog, a Seattle supergroup named after a line from the Mother Love Bone song “Man of Golden Words.” Composed of Chris Cornell and future members of Pearl Jam Mike McReady, Eddie Vedder, Matt Cameron, Jeff Ament and Stone Gossard, they would cement themselves as one of the greatest rock supergroups of all time through the many amazing songs found on the album. Among them was “Say Hello 2 Heaven,” which was written by Cornell shortly after Wood’s death while touring in Europe. The song is notable for being one of Cornell’s most pointed, abandoning his usual vague lyrical style in favor of a more direct tribute to Wood.
An ethereal guitar introduction opens the song, followed by the rhythm guitar and drums following up with a quick burst before being overtaken by Cornell’s voice. The opening lyrics are sung from both Wood’s and Cornell’s point of view, with Wood’s sections lamenting the pain of life and Cornell’s bouncing between frustration and the deep sadness he harbors towards his friend’s circumstances.
“The words never listen /
And teachers, oh, they never learn /
My warmth from the candle /
Though I feel too cold to burn /
He came from an island /
Then he died from the street /
And he hurt so bad like a soul breakin’ /
But he never said nothin’ to me, yeah.”
The chorus begins, with the loudness of the first section being brought down in line with Cornell’s relaxed voice, calmly echoing “say hello to heaven” before returning back to his feelings towards his good friend’s death. While the second verse lacks the interesting perspectives of the first, it’s used as a sort of warning for anyone on a similar path. The line “seems like too much love is never enough, yeah / you better seek out another road, cause this one is ending abrupt” encapsulates it perfectly, as even the purest of us can be destroyed by the addictions that plagued so many of the musicians in the ‘90s.
The third verse is by far the most impactful of the whole song, as Cornell’s frustration apparent in the rest of the song fades away to nothing but a longing to see his good friend one more time. The instruments echo this sentiment, preparing a slight return to the dream-like state found in the introduction of the song. The lyrics found here are perhaps some of the most grief laden in Cornell’s entire catalog, singing as if he was talking to Wood himself.
“I never wanted /
To write these words down for you /
With the pages of phrases /
Of all the things we’ll never do.”
The acceptance seems to beam through his lyrics, acknowledging his peace in the situation and his hope that wherever his friend is, it’s a better place than where he left. The imagery of Wood simply going to sleep seems to line up with the newfound peace of the situation; an elegant way for Cornell to finally say goodbye to his old friend.
“Hey, so I blow out the candle and I put you to bed /
Since you can’t say to me now /
How the dog broke your bone /
There’s just one thing left to be said.”
Finally, the chorus comes around for an explosive finish, as the instruments switch back from dreamy to a climax fit for the late grunge legend, all the while Cornell’s earth-shattering high notes finally come out as a final cry to his lost friend, piercing through the instrumentals and background vocals to bring his grief to the forefront once more before the songs end. The repetition in “say hello to heaven” almost takes on a different meaning this time around, seeming more like a command from Cornell for heaven to open the gates to Wood. Finally, as the dust settles the dreamy electric guitar from the very beginning of the song makes its way back as the outro, bringing a sense of somber peace where moments before there was frustration, melancholy and devastation.
As one of the most influential artists of the last 30 years, Gorillaz — spearheaded by Damon Albarn — always seems to come out with an album with a punchy message at the right time. After a slight fall off during the 2010s, they had a resurgence with their sixth album, Song Machine, and look to be following it up with their newest album, Cracker Island. “Baby Queen” is the third single from this album and it seems to continue this return to form both in music and in message.
Gorillaz has always been a band that is deeply critical of the world and one that is unafraid to call out trends within it. Cracker Island, at least from what we have heard so far, is no exception. The first single, “Cracker Island,” opens the album with a scathing criticism of the current state of Hollywood, using an allegory of a cult. The second single, “New Gold,” expands on this criticism by comparing Hollywood’s rampant cosmetic surgery and drug abuse to fool’s gold. These tracks contain big name features and upbeat instrumentals by Thundercat and Tame Impala, respectively.
Branching off from these songs, “Baby Queen” has a much dreamier instrumental, slowing down the tempo from the glitz and glamor to that of a timid ballad. This complements the message of the song, which focuses on nostalgia and what could have been. The beginning of the song sets up a dream of a concert Albarn headlined in Thailand, which the princess of Thailand attended. This sets up the second verse, which shows their divergence. She risked everything and dove from her seat — surrounded by generals — into the crowd.
“She fell into the generals (Oh, Baby Queen) /
On the watch all around her.”
The next lines juxtapose this with Albarn’s apparent descent into the Hollywood lifestyle:
“I fell into the vanity /
The mirrored lights of our dreams.”
These two verses, along with the stripped-down instrumental, highlight a potential tonal shift of the album from a negative focus on the current world to a positive view of the past world only possible in nostalgic dreams. This view might be a continuation of the nihilism of Plastic Beach where, twelve years after, the issues of pollution and corruption that album focused on are just as rampant, and music has become even more corporate.
For as much as we have seen of Cracker Island’s message so far, it will be interesting to see how the other seven songs fill in the skeleton of what the singles have provided. Gorillaz always provides an intellectual listen with great collaborators, so it will be interesting to listen in February when the rest of the album is out. “Baby Queen” provides a great introduction to the calmer side of Gorillaz’ discography for anyone who hasn’t listened before.
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