Album of the month
August
Immunity - Clairo
The unlikely rise of Clairo has been one of the most spectacular stories of 2019. From the obscurities of the internet this young bedroom pop artist has rose tremendously through the fray and to the front of covers and trending lists alike. Immunity is a love letter to a younger Clairo to let her know that everything is going to be alright. With this album the young singer-songwriter has put herself in the small circle of lo-fi ambient pop. This coveted group is filled with heavy weights like Lana Del Rey, Soccer Mommy and Billie Eilish. From the outstandingly detailed production by Rostom to the poignant writing there is so much to love about Immunity.
Clairo’s career made waves under turbulent accusations. She was called an industry plant, privileged, and hanging from the coat tails of a parent who had ties to the industry. While the young artist never denied using her connections to get a leg up in the industry her track record on online music platforms like Bandcamp and SoundCloud demonstrated an artist who grew an authentic following from the ground up. Immunity comes thereafter as a counterweight to the superficiality that was painted over her rise. The album produces some of the most genuine indie pop and gorgeously euphoric lo-fi bedroom pop that has surfaced in 2019.
All throughout the album she is battling with choices. Her decisions vary from whether to harm herself while she’s at home, make a move on a girl for the first time, or see this newly developed romantic interest again. It’s a confusing position to be in, and only when the album closes is it clear why the project is even called Immunity. It’s a far cry to rise above the insecurities, the anxiety, and the shame from past decisions and current thoughts. Help could come from a friend, a lover, parents, or ones’ own conscience. No matter the struggle there is a chance to overcome, just look at Clairo. Her gorgeous harmonies on the last song isn’t just for her, it’s for the listener as well.
Despite the incredible vulnerability that is displayed on this album Clairo feels immune to the pitfalls that could come. This is largely due to the support she has in her relationships. Her poignant addresses to needing support are echoed by an absorbent children-led chorus on album closer ‘Wouldn’t Ask You’. While Clairo’s range is short she can emit a wide breadth of emotions in short bursts. This, in addition to the detailed airy production by Rostam gives each song a smooth texture and an epic feel. The duo made in heaven has made every song feel like it’s its own little world for Clairo to find herself lost in.
Immunity feels brilliantly fresh yet remarkably nostalgic; like a conversation with an old friend. Clairo has a powerful ability to connect to the listener on a visceral level. Maybe it’s because of the vulnerability in her songwriting, or maybe it’s because her message is incredibly universal. High school isn’t easy. In fact, for some it could be the hardest era of their life. Between the bullies and the pressure from parents the time spent in those hallways could feel like a prison cell. This is where the internet has paved a way for a new safe space. Like so many artists of this new generation Clairo speaks for the unheard, quiet, confused, and angst teenager (or adult) looking for their voice and the greater acceptance from the outside world.
Clairo’s career made waves under turbulent accusations. She was called an industry plant, privileged, and hanging from the coat tails of a parent who had ties to the industry. While the young artist never denied using her connections to get a leg up in the industry her track record on online music platforms like Bandcamp and SoundCloud demonstrated an artist who grew an authentic following from the ground up. Immunity comes thereafter as a counterweight to the superficiality that was painted over her rise. The album produces some of the most genuine indie pop and gorgeously euphoric lo-fi bedroom pop that has surfaced in 2019.
All throughout the album she is battling with choices. Her decisions vary from whether to harm herself while she’s at home, make a move on a girl for the first time, or see this newly developed romantic interest again. It’s a confusing position to be in, and only when the album closes is it clear why the project is even called Immunity. It’s a far cry to rise above the insecurities, the anxiety, and the shame from past decisions and current thoughts. Help could come from a friend, a lover, parents, or ones’ own conscience. No matter the struggle there is a chance to overcome, just look at Clairo. Her gorgeous harmonies on the last song isn’t just for her, it’s for the listener as well.
Despite the incredible vulnerability that is displayed on this album Clairo feels immune to the pitfalls that could come. This is largely due to the support she has in her relationships. Her poignant addresses to needing support are echoed by an absorbent children-led chorus on album closer ‘Wouldn’t Ask You’. While Clairo’s range is short she can emit a wide breadth of emotions in short bursts. This, in addition to the detailed airy production by Rostam gives each song a smooth texture and an epic feel. The duo made in heaven has made every song feel like it’s its own little world for Clairo to find herself lost in.
Immunity feels brilliantly fresh yet remarkably nostalgic; like a conversation with an old friend. Clairo has a powerful ability to connect to the listener on a visceral level. Maybe it’s because of the vulnerability in her songwriting, or maybe it’s because her message is incredibly universal. High school isn’t easy. In fact, for some it could be the hardest era of their life. Between the bullies and the pressure from parents the time spent in those hallways could feel like a prison cell. This is where the internet has paved a way for a new safe space. Like so many artists of this new generation Clairo speaks for the unheard, quiet, confused, and angst teenager (or adult) looking for their voice and the greater acceptance from the outside world.
July
Revenge Of The Dreamers 3
Revenge of the Dreamers 3 is a wonderful sign of growth from the formally enigmatic Dreamville label. Like the founder the group has done a spectacular job at building fans through the grass roots tour grind and showing off their popularity through impressive sales numbers. Not only does the album witness the star-studded team but it enlists their best friends in the industry, and they know a lot of people. So many in fact that the 18-track compilation doesn’t include several artist who were seen at the session and with invitations. This project stood out in July because through it’s myriad of collaborators the theme was crystal clear, and the execution was as elite as they come.
Revenge 3 has a ton of endearing qualities. One of them is the willingness to give producers the attention they deserve but tend to never receive. In addition to showing their names at the same font size as the artists ROTD3 also enlists underappreciated hip-hop board smiths of the past in T-Minus and Bink!. When veterans such as these come out and give up Hot 100 top ten smash ‘Middle Child’ and the infectious ‘Swivel’ it is no wonder that they’ve been respected in the game for so long. Their beats stand out on the album for these reasons.
While the album has a ton of A-listers it is the up-and-coming artists that stand out and do a great job at not being overshined. For instance, Dababy gives Cole a run for his money on greatest flow of the album on the opener ‘Under The Sun’. Also, Johney Venus of EARTHGANG gives one of the most exhilarating and mindboggling verses of the year on ‘Wells Fargo’. This well-balanced approach to sound making reaffirms what music is a lot about: fellow musician’s collectively creating and having fun in the process.
I would be remiss if I didn’t comment on how this project effects J. Cole’s legacy as well. As the founder and head of the Dreamville label with Ibrahim Cole took a noticeably active role in the tracks themselves and appears on a stunning 7 tracks -- around half of the album. In addition to giving us some of his most ferocious verses in years he also enlists friends from the past. From his old friend and rap partner Omen to the Warm Up’s main producer Elite it is these gems from Cole’s past that continue to ensure the success of his future. Elite delivers on the unbelievably funny track ‘1993’ and Omen gives us verse after thoughtful verse breaking down love tragedies in ways only he can. Despite the incredible and well-deserved success Cole has achieved in recent years when he continues to collaborate with the same folks it signals to longtime fans that he hasn’t changed.
Albums of the month are a dime in the dozen, or in The Man’s Jams case, a penny in a dozen. Revenge of the Dreamers 3 isn’t just entertaining but its inspirational. The fact that a hip-hop crew came from relative obscurity to the top of the charts without a single should motivate crews from around the globe to do the same thing. In addition to inspiration the music is great as well. Led by Captain Cole ROTD3 adapts boom bap beats from Raps golden era to modern flows and interesting subjects. When Revenge of the dreamers 1 dropped in 2013 there was a title track by Cole himself where he contemplates his position with the lines ‘should I feel an ounce of guilt that I outdid all my peers? or write my name in the sky and show them niggas I'm here?’. It turns out he decided on the latter not just for himself, but for his entire crew as well as the millions listening who will decide to unapologetically chase their dreams too.
Revenge 3 has a ton of endearing qualities. One of them is the willingness to give producers the attention they deserve but tend to never receive. In addition to showing their names at the same font size as the artists ROTD3 also enlists underappreciated hip-hop board smiths of the past in T-Minus and Bink!. When veterans such as these come out and give up Hot 100 top ten smash ‘Middle Child’ and the infectious ‘Swivel’ it is no wonder that they’ve been respected in the game for so long. Their beats stand out on the album for these reasons.
While the album has a ton of A-listers it is the up-and-coming artists that stand out and do a great job at not being overshined. For instance, Dababy gives Cole a run for his money on greatest flow of the album on the opener ‘Under The Sun’. Also, Johney Venus of EARTHGANG gives one of the most exhilarating and mindboggling verses of the year on ‘Wells Fargo’. This well-balanced approach to sound making reaffirms what music is a lot about: fellow musician’s collectively creating and having fun in the process.
I would be remiss if I didn’t comment on how this project effects J. Cole’s legacy as well. As the founder and head of the Dreamville label with Ibrahim Cole took a noticeably active role in the tracks themselves and appears on a stunning 7 tracks -- around half of the album. In addition to giving us some of his most ferocious verses in years he also enlists friends from the past. From his old friend and rap partner Omen to the Warm Up’s main producer Elite it is these gems from Cole’s past that continue to ensure the success of his future. Elite delivers on the unbelievably funny track ‘1993’ and Omen gives us verse after thoughtful verse breaking down love tragedies in ways only he can. Despite the incredible and well-deserved success Cole has achieved in recent years when he continues to collaborate with the same folks it signals to longtime fans that he hasn’t changed.
Albums of the month are a dime in the dozen, or in The Man’s Jams case, a penny in a dozen. Revenge of the Dreamers 3 isn’t just entertaining but its inspirational. The fact that a hip-hop crew came from relative obscurity to the top of the charts without a single should motivate crews from around the globe to do the same thing. In addition to inspiration the music is great as well. Led by Captain Cole ROTD3 adapts boom bap beats from Raps golden era to modern flows and interesting subjects. When Revenge of the dreamers 1 dropped in 2013 there was a title track by Cole himself where he contemplates his position with the lines ‘should I feel an ounce of guilt that I outdid all my peers? or write my name in the sky and show them niggas I'm here?’. It turns out he decided on the latter not just for himself, but for his entire crew as well as the millions listening who will decide to unapologetically chase their dreams too.
June
Patience by Mannequin Pussy
Mannequin Pussy has risen to the occasion in their latest and widely respected album. Patience is far from a slow burner. It takes pride in hitting you square in the face with its clear message, searing vocals, and energized riffs. At the center of the project is the idea of self-worth. To put it more simply it’s a break-up album, but simultaneously it is much more than that. Mannequin began to make a name for themselves in the Philadelphia punk scene in the early 2010’s. With ‘patience’ they have began to gain respect as a deviant punk rock group who are pushing the genre forward.
Patience reflects the hindsight of having the patience to change. Moreover, not only is it about the willingness to change to something new but it’s the willingness to change for the better against a past that has limited one’s capabilities. Some limitations directly come from men who are physically abusive or more verbal in their assault. In response lead singer Marisa struggles to give herself a much-needed pep talk. On ‘Cream’ one of those talks finally occurs. It’s very direct and doesn’t shy from being aggressive. She balances between sheer aggression and delicate affirmations throughout the album. On the more tender track ‘Who You Are’ Marisa’s serenades the song with the subtle tenor of a soul artists and does well to remind herself of her own worth. Through Patience the message of self-improvement ebbs and flows with the fragile delicacies of an insecure personality. Marisa is struggling between what she is and what she knows she can be.
In addition to the appeal of the albums message another impressive element to the project was its instrumentation. As charged up as some of the rocking on here was it was the unexpected marriage with roaring vocals from Marisa that gave the album a fearless edge. Most of the album is in hyper drive. Sometimes these transitions happen all in one song. For instance, on ‘Who You Are’ we are taken from a mid-tempo run-of-the-mill rock song into a charged-up juggernaut of a track. However, the album shines through its complexities. The contrast between her angelic falsetto and the instrumentations grittier textures really make for a magical mix and invigorating listen. These unexpected collaborations of sound and genres has attracted both hard rock and indie lovers alike to Mannequin’s latest serving.
There’s a lot to enjoy about Patience. Over time this album may shine for reasons we haven’t listed above. Overall however their impact on punk and its potential will surely be its largest legacy. While the journey to confidence is a hard and long one Mannequin showed that it’s worth the struggle.
Patience reflects the hindsight of having the patience to change. Moreover, not only is it about the willingness to change to something new but it’s the willingness to change for the better against a past that has limited one’s capabilities. Some limitations directly come from men who are physically abusive or more verbal in their assault. In response lead singer Marisa struggles to give herself a much-needed pep talk. On ‘Cream’ one of those talks finally occurs. It’s very direct and doesn’t shy from being aggressive. She balances between sheer aggression and delicate affirmations throughout the album. On the more tender track ‘Who You Are’ Marisa’s serenades the song with the subtle tenor of a soul artists and does well to remind herself of her own worth. Through Patience the message of self-improvement ebbs and flows with the fragile delicacies of an insecure personality. Marisa is struggling between what she is and what she knows she can be.
In addition to the appeal of the albums message another impressive element to the project was its instrumentation. As charged up as some of the rocking on here was it was the unexpected marriage with roaring vocals from Marisa that gave the album a fearless edge. Most of the album is in hyper drive. Sometimes these transitions happen all in one song. For instance, on ‘Who You Are’ we are taken from a mid-tempo run-of-the-mill rock song into a charged-up juggernaut of a track. However, the album shines through its complexities. The contrast between her angelic falsetto and the instrumentations grittier textures really make for a magical mix and invigorating listen. These unexpected collaborations of sound and genres has attracted both hard rock and indie lovers alike to Mannequin’s latest serving.
There’s a lot to enjoy about Patience. Over time this album may shine for reasons we haven’t listed above. Overall however their impact on punk and its potential will surely be its largest legacy. While the journey to confidence is a hard and long one Mannequin showed that it’s worth the struggle.
May
Igor by Tyler, The Creator
All of Tyler’s music has led him to Igor. Whether it’s the crazed poeticism of Bastard or the haphazard outlet that was Goblin Tyler’s core has never changed. He is past the point of blossoming, which is what Flower Boy was intended to show. He came out (albeit discreetly) as gay, took more risks on the production end of things, rapped better than ever, and received the respect he’s long been in search of. While Flower Boy is about self-love Igor is about the love of another album. In very Tyler fashion he grips with rejection in a toxic way and has an unhealthy obsession with his love interest. Luckily for us Tyler focused this crazed energy into the epic body of work he was always capable of making.
One of the numerous critiques about Cherry Bomb was that it was ridiculously unmixed. From the instrumentals to Tyler’s verses and the layering between the two the album consisted of too many songs that were hard to enjoy. This album confused a lot of casual listeners and frustrated fans who saw a lot of potential in Tyler’s career coming out of Wolf. Fortunately, Tyler learned from this experimentation (he admitted to leaving songs unmixed on purpose) and evolved into quite the technician on Flower Boy. Despite the disappointment of Cherry Bomb fans and casual listeners alike sped back into Tyler’s corner to celebrity the magnificence of Flower Boy. It appears that by the time the Igor sessions started Tyler learned from this sudden surge of success and merged the mess of Cherry Bomb and the technician of Flower Boy. On the one hand Tyler’s opening verse on ‘I Don’t Love You’ sounds more like a demo session than a final version. On the other Tyler masters an enraged chorus destined for metal heads on ‘New Magic Wand’. Instead of falling victim to his experimentation Tyler arranges the album like a puppet master and orchestrates just enough chaos for the more controlled moments to come across as more pronounced.
A lot of people in the music sphere are seeing Tyler’s Igor phase as a new awakening in the LA native’s artistic story arch. I believe Tyler’s recent coveted appreciation by the masses begs the question, ‘has he really ever changed?’. Yes, it’s clear and obvious that Igor SOUNDS different from his previous work. It doesn’t take connoisseur of the artform to hear how ‘Are We Still Friends?’ doesn’t sound like it came from the same artist who made ‘Yonkers’. However, there are a lot of elements to Tyler’s music that have remained the same throughout the through line of his career. In fact, some signature sounds and production moves from his career were missing on Flower Boy and pop back up on Igor. For instance, on the album opener the horror movie type keys that cascade around the ethereal track reference interludes and instrumentals on Wolf. Tyler seems to have figured out the formula to the pop love song that he was searching for on ‘Fucking you/Perfect’ when he made the single ‘Earfquake’. Furthermore, the drum pattern on ‘I Think’ is almost identical to the one on ‘Pilot’ from Cherry Bomb. Lastly, the instrumental on AU79 from Goblin contains a pleasant string section that could have had a placement on Igor’s closing track ‘Are We Still Friends?’.
As a longtime fan of Tyler it’s exciting to see the world accept him for the genius that goblins have appreciated for a decade now. Tyler didn’t make it easy on himself, however. Besides getting banned from the United Kingdom and cursing during his David letterman’s show live performance Tyler had made a name for himself as a rebel youth who enjoyed screaming every epithet he could muster on his songs. In turn he created a lot of enemies in the industries and really distanced himself from his contemporaries early on in his career. Tyler also never had a veteran in the game give him sound advice, other than his manager and Frank Ocean, but they weren’t big time rappers like others who came up around the same time Tyler did (Cole àjay z, Drake à Wayne, Kendrick à Dre). What appeared to be plenty of crutches early on into his career has made Tyler a self-made man and a marvel to follow as he singularly shines in the spotlight as a case for true growth as a musician.
Igor is a great album. No, wait, Igor is beyond great, it’s one of the best albums of 2019 thus far and should be in the conversation for great albums of the decade which is coming to an end in December. As a bad mouth teen coming from the contentious city of Los Angeles Tyler has grown, while not always linearly, in a profound way. Igor is the love album that was hiding inside of Wolf. It’s the idiosyncratic genius amongst chaos that was missing in Cherry Bomb. He flew past the beautiful realm of Flower Boy and overcame heartbreak in a personal way that only he can, lash outs and all. As the former leader of an avant-garde rap group Tyler spearheaded a DIY movement coming from the west coast that permeated across the music industry. With Igor he has planted his flag as a well-respected musician whose mastered his craft.
One of the numerous critiques about Cherry Bomb was that it was ridiculously unmixed. From the instrumentals to Tyler’s verses and the layering between the two the album consisted of too many songs that were hard to enjoy. This album confused a lot of casual listeners and frustrated fans who saw a lot of potential in Tyler’s career coming out of Wolf. Fortunately, Tyler learned from this experimentation (he admitted to leaving songs unmixed on purpose) and evolved into quite the technician on Flower Boy. Despite the disappointment of Cherry Bomb fans and casual listeners alike sped back into Tyler’s corner to celebrity the magnificence of Flower Boy. It appears that by the time the Igor sessions started Tyler learned from this sudden surge of success and merged the mess of Cherry Bomb and the technician of Flower Boy. On the one hand Tyler’s opening verse on ‘I Don’t Love You’ sounds more like a demo session than a final version. On the other Tyler masters an enraged chorus destined for metal heads on ‘New Magic Wand’. Instead of falling victim to his experimentation Tyler arranges the album like a puppet master and orchestrates just enough chaos for the more controlled moments to come across as more pronounced.
A lot of people in the music sphere are seeing Tyler’s Igor phase as a new awakening in the LA native’s artistic story arch. I believe Tyler’s recent coveted appreciation by the masses begs the question, ‘has he really ever changed?’. Yes, it’s clear and obvious that Igor SOUNDS different from his previous work. It doesn’t take connoisseur of the artform to hear how ‘Are We Still Friends?’ doesn’t sound like it came from the same artist who made ‘Yonkers’. However, there are a lot of elements to Tyler’s music that have remained the same throughout the through line of his career. In fact, some signature sounds and production moves from his career were missing on Flower Boy and pop back up on Igor. For instance, on the album opener the horror movie type keys that cascade around the ethereal track reference interludes and instrumentals on Wolf. Tyler seems to have figured out the formula to the pop love song that he was searching for on ‘Fucking you/Perfect’ when he made the single ‘Earfquake’. Furthermore, the drum pattern on ‘I Think’ is almost identical to the one on ‘Pilot’ from Cherry Bomb. Lastly, the instrumental on AU79 from Goblin contains a pleasant string section that could have had a placement on Igor’s closing track ‘Are We Still Friends?’.
As a longtime fan of Tyler it’s exciting to see the world accept him for the genius that goblins have appreciated for a decade now. Tyler didn’t make it easy on himself, however. Besides getting banned from the United Kingdom and cursing during his David letterman’s show live performance Tyler had made a name for himself as a rebel youth who enjoyed screaming every epithet he could muster on his songs. In turn he created a lot of enemies in the industries and really distanced himself from his contemporaries early on in his career. Tyler also never had a veteran in the game give him sound advice, other than his manager and Frank Ocean, but they weren’t big time rappers like others who came up around the same time Tyler did (Cole àjay z, Drake à Wayne, Kendrick à Dre). What appeared to be plenty of crutches early on into his career has made Tyler a self-made man and a marvel to follow as he singularly shines in the spotlight as a case for true growth as a musician.
Igor is a great album. No, wait, Igor is beyond great, it’s one of the best albums of 2019 thus far and should be in the conversation for great albums of the decade which is coming to an end in December. As a bad mouth teen coming from the contentious city of Los Angeles Tyler has grown, while not always linearly, in a profound way. Igor is the love album that was hiding inside of Wolf. It’s the idiosyncratic genius amongst chaos that was missing in Cherry Bomb. He flew past the beautiful realm of Flower Boy and overcame heartbreak in a personal way that only he can, lash outs and all. As the former leader of an avant-garde rap group Tyler spearheaded a DIY movement coming from the west coast that permeated across the music industry. With Igor he has planted his flag as a well-respected musician whose mastered his craft.
April
A New Illusion - Rose Elinor Dougall
Rose started her career out as a member of the indie pop group, The Pipettes. Since the band broke up and Rose started honing her craft as a musician, she’s developed an impressive solo discography. While her debut album was more bedroom pop the follow up Stellular was created for arenas. Which leads us to her latest project, New Illusion. Rose has reeled in her pop leanings and put pen to paper. This album still has a great number of instrumentation and collaborators, but the songs are more sharply focused. With songwriting being the focal point, she has crafted a beautiful album that blends genres with ease and sears through tough relationship woes with class.
New Illusion is surely a breakup record, however it’s not your grandma’s breakup record. Rose is neither sad nor petty about the way things ended. She’s found this remarkable ability to view her relationship and its mistakes at a bird’s eye view. There is no regret, only acceptance. On album opener ‘Echoes’ she croons about how ‘no matter how hard you try, sensations you can’t deny, they will go, you feel the echoes’. In the eyes of Rose the present is a culmination of past moments in one time, including those of our parents. These sentiments on the past shaping the future follow on the track ‘First Sign’. In this pleasant blues blend Rose sings about her retraction from commitment. There is no doubt that Rose is critical of this decision as she morosely sings ‘at the first sign of trouble, I took myself away…’. Through breakup, Rose exudes empowerment.
The crisp and professional production brings an eloquence to the songs more pessimistic tones. For instance, on ‘Christina in Red’ the track expands into a grand outro with echoing chords, a faint choir, and a dazzling lead saxophone. This is happening while Rose is giving us tales about the bad parts of the relationship, and the false hopes that kept it above water. Many would look back at these mistakes with malice or contempt. Instead of following the norm Rose uses these memories to conduct a new illusion. Her new illusion is backed up by sophisticated instrumentation and accepts the past for what it is, with a more diligent future on the horizon. As we learn on the album closer Rose knows that ‘The simple things are hardest to get right’ and that ‘love isn’t enough’. We can’t change the past, but we can do something about how we act in the present in order to affect the future.
Breakups aren’t easy. In fact they’re some of the hardest things to get over in the world. Interestingly enough during her last album cycle Rose explained during an interview how she might have to look outward in the future because the world was starting to look so bleak (it was 2016). The combination of Brexit and the American presidential election led her to believe that ‘moaning about one’s love life feels pretty irrelevant right now. It’s a really hard thing to get right, but I think there has to be more engagement.’. Fortunately for listeners she’s continued to turn inward and pull from her personal experiences. Her music proves how strong one can be in the face of failure and melancholy.
New Illusion is surely a breakup record, however it’s not your grandma’s breakup record. Rose is neither sad nor petty about the way things ended. She’s found this remarkable ability to view her relationship and its mistakes at a bird’s eye view. There is no regret, only acceptance. On album opener ‘Echoes’ she croons about how ‘no matter how hard you try, sensations you can’t deny, they will go, you feel the echoes’. In the eyes of Rose the present is a culmination of past moments in one time, including those of our parents. These sentiments on the past shaping the future follow on the track ‘First Sign’. In this pleasant blues blend Rose sings about her retraction from commitment. There is no doubt that Rose is critical of this decision as she morosely sings ‘at the first sign of trouble, I took myself away…’. Through breakup, Rose exudes empowerment.
The crisp and professional production brings an eloquence to the songs more pessimistic tones. For instance, on ‘Christina in Red’ the track expands into a grand outro with echoing chords, a faint choir, and a dazzling lead saxophone. This is happening while Rose is giving us tales about the bad parts of the relationship, and the false hopes that kept it above water. Many would look back at these mistakes with malice or contempt. Instead of following the norm Rose uses these memories to conduct a new illusion. Her new illusion is backed up by sophisticated instrumentation and accepts the past for what it is, with a more diligent future on the horizon. As we learn on the album closer Rose knows that ‘The simple things are hardest to get right’ and that ‘love isn’t enough’. We can’t change the past, but we can do something about how we act in the present in order to affect the future.
Breakups aren’t easy. In fact they’re some of the hardest things to get over in the world. Interestingly enough during her last album cycle Rose explained during an interview how she might have to look outward in the future because the world was starting to look so bleak (it was 2016). The combination of Brexit and the American presidential election led her to believe that ‘moaning about one’s love life feels pretty irrelevant right now. It’s a really hard thing to get right, but I think there has to be more engagement.’. Fortunately for listeners she’s continued to turn inward and pull from her personal experiences. Her music proves how strong one can be in the face of failure and melancholy.
March
When I Get Home – Solange
A Seat At The Table was a big album. A REALLY big album for Solange. It put her on the map as a once-in a-generation talent and not merely the little sister of one of biggest stars in the past 50 years. Solange has taken the baton from her sister and forebears and sprinted with it. When I Get Home is her love letter to those beginnings. It’s filled with scratchy DJ screw mixtape beats and fruitful Debbie Allen TV specials. Solange has done a magnificent job at shaping those influences into her own image. With this album she has projected these ideas as short digestible tracks. Tracks that are filled with so much sensuality and swag that our ‘trunks will knock’.
Rarely does any song on World extend past the three-minute mark. This is both a sign of the times and a risky move by Solange. What if the songs are forgettable? Or aren’t fleshed out enough? The opposite, however, turns out to be true. Although the songs are short in length each second is utilized to their full potential. Take the ‘S McGregor interlude’ as an example. The interlude is less than 30 seconds but by the end of the transition track we get Debbie Allen singing soulfully to her Pulitzer-nominated mother, chopped and screwed background vocals, and dizzying jazz chords. Then the next song starts off with a bang. It’s this niche attention to detail that pushes the listener to appreciate the album as a whole rather than having merely standout tracks. Instead there are sections of songs that are outstanding, like the spicy swangin’ cheering outro of ‘Sound Of Rain’, or the gorgeous symmetry between Sampha and Solange on the latter half of ‘Time (is)’. Seat At The Table was Solange’s big arrival to the music scene but Home is a much more ambitious project.
One of the many attractions to Solange’s artistry is her humbleness and honesty. On Seat At The Table she was open about not having all of the answers. In Home we get an inside look into Solange’s Houston roots and the sounds and people that shaped it. Not only does she champion fellow deep south icons like Gucci on song ‘My Skin, My Logo’ but she insulates them into her world so the experience is wholly Solange, and unmistakably her brand. Solange is firmly solidifying her position as a singular talent in the music industry. She doesn’t seem to just have an eye for talent but appears to share her personal relationships in entertaining sonic moments. Her line about not socking a girl because she has Gucci cleats is funny and precious. Additionally, Tyler’s adlibs to her far cries about finding the right partner is beyond touching and sincere. As an artist in her prime Solange has done a fine job at creating a space that is hard to mimic because it’s so interconnected to her as a person.
From the onset of the album Solange makes it clear that we are in for an experimental approach to R&B and jazz. Music connoisseurs are aware that she is not alone in this effort. With the influence of modern synthesizers artists from across the globe (shout out Hiatus Kyote) have taken a liberal understanding of the aforementioned genres. While there is a lot of collaborations, out of the box collaborations (panda bear) and unconventional song structures we are given more mainstream R&B in some parts of the album. ‘Dreams’ could have easily fit on Janet Jacksons critically acclaimed album, Velvet Rope. The track is one of the more linear songs lyrically that is consistent with the 90’s R&B that informs Solange’s musical style. While she is child of Houston Solange has gone the extra mile to use her influences to paint a sonic landscape of what R&B and Jazz could sound like in a more inclusive and diverse mainstream.
Last fall a lot of people in the industry were expecting Home to drop sometime before Christmas. Months passed and not a sound. Over a short period of time into the new year our wishes were met and Solange answered the call. Home doesn’t merely tell about black culture but shows us. She’s not hung up on injustices but is celebrating her culture. She sees herself as less of an elite amongst her people and just one part of a long history of beauty and complexity. The next question is if Home will be revered like her last album as a beacon for the culture and a pole for a new wave of R&B to turn to. My guess is that it will be.
Rarely does any song on World extend past the three-minute mark. This is both a sign of the times and a risky move by Solange. What if the songs are forgettable? Or aren’t fleshed out enough? The opposite, however, turns out to be true. Although the songs are short in length each second is utilized to their full potential. Take the ‘S McGregor interlude’ as an example. The interlude is less than 30 seconds but by the end of the transition track we get Debbie Allen singing soulfully to her Pulitzer-nominated mother, chopped and screwed background vocals, and dizzying jazz chords. Then the next song starts off with a bang. It’s this niche attention to detail that pushes the listener to appreciate the album as a whole rather than having merely standout tracks. Instead there are sections of songs that are outstanding, like the spicy swangin’ cheering outro of ‘Sound Of Rain’, or the gorgeous symmetry between Sampha and Solange on the latter half of ‘Time (is)’. Seat At The Table was Solange’s big arrival to the music scene but Home is a much more ambitious project.
One of the many attractions to Solange’s artistry is her humbleness and honesty. On Seat At The Table she was open about not having all of the answers. In Home we get an inside look into Solange’s Houston roots and the sounds and people that shaped it. Not only does she champion fellow deep south icons like Gucci on song ‘My Skin, My Logo’ but she insulates them into her world so the experience is wholly Solange, and unmistakably her brand. Solange is firmly solidifying her position as a singular talent in the music industry. She doesn’t seem to just have an eye for talent but appears to share her personal relationships in entertaining sonic moments. Her line about not socking a girl because she has Gucci cleats is funny and precious. Additionally, Tyler’s adlibs to her far cries about finding the right partner is beyond touching and sincere. As an artist in her prime Solange has done a fine job at creating a space that is hard to mimic because it’s so interconnected to her as a person.
From the onset of the album Solange makes it clear that we are in for an experimental approach to R&B and jazz. Music connoisseurs are aware that she is not alone in this effort. With the influence of modern synthesizers artists from across the globe (shout out Hiatus Kyote) have taken a liberal understanding of the aforementioned genres. While there is a lot of collaborations, out of the box collaborations (panda bear) and unconventional song structures we are given more mainstream R&B in some parts of the album. ‘Dreams’ could have easily fit on Janet Jacksons critically acclaimed album, Velvet Rope. The track is one of the more linear songs lyrically that is consistent with the 90’s R&B that informs Solange’s musical style. While she is child of Houston Solange has gone the extra mile to use her influences to paint a sonic landscape of what R&B and Jazz could sound like in a more inclusive and diverse mainstream.
Last fall a lot of people in the industry were expecting Home to drop sometime before Christmas. Months passed and not a sound. Over a short period of time into the new year our wishes were met and Solange answered the call. Home doesn’t merely tell about black culture but shows us. She’s not hung up on injustices but is celebrating her culture. She sees herself as less of an elite amongst her people and just one part of a long history of beauty and complexity. The next question is if Home will be revered like her last album as a beacon for the culture and a pole for a new wave of R&B to turn to. My guess is that it will be.
February
When This Life is Over – And The Kids
The Northampton band And The Kids is back and with newfound energy. After visa troubles and time taken out to help the youth the band has returned with a clear message. Life will eventually end, so let’s deal with all the nonsense on its face. They tackle age, religion, philosophy, forgiveness, adolescence, and much more on this blissful rock album. Their appeal supersedes the parameters of rock however. And The Kids have begun to figure out the beautiful balance between catchy songwriter and heavenly addictive melodies. As you listen to this trip of an album remember like all great things, including life itself, they must end.
The entire album can come across as either brilliantly sarcastic or unintentionally shallow. I prefer the former’s interpretation because that’s how the songs swayed me, but I understand the latter. Track after track are euphoric streams of existential reasoning. In album closer ‘Basically We Are Dead’ Mohan echoes her generations harsh critique of fake pious behavior and the true purpose of divine forgiveness. There are bread crumbs of these sentiments sprinkled in numerous tracks. From the more direct messaging in ‘Religion’ to the more subtle approach in ‘Butterfingers’ And The Kids have a nonchalant way of pointing out ill intent in religious practice.
In addition to their views on religion And The Kids also gives their thoughts about the haunting effects of age. With lyrics like ‘life is bastard, life wants to kill you, don’t get old’ we begin to see the forward approach to lyrism that makes this band special. Even though the lyrics are pessimistic the tone is hopeful and even a little inspirational. Mohan sounds like someone you can follow, because she’s so sure where she’s going. That line is immediately followed by the equally confident line ‘doing wrong but feeling right, at least you’ll get some sleep tonight’. When This Life Is Over is an expertly wise yet nihilist warning against age. Beware, because it’s convincing.
And The Kids is coming off of two charming albums with a lot to prove. Their ability to create euphoric spaces with dreamy lyrics that trigger the brains philosophical side is both impressive and disorienting. They’re a young band still sharpening their craft and yet they are still leagues ahead of many others trying to do the same thing. Songs are repeatedly complex and complete. While ‘Champagne Ladies’ contains a sophisticated electronic guitar led build up it crescendos into a euphoric climax and descends into a steady airy decline. Moreover, on ‘White Comforters’ we’re met with several acoustic solos that show off the layered talent this group brings to each track. Underneath the very standard rock instrumentation is pop appeal.
The trio has made it out from the echo chamber of the new sound wave in the northeast to the art rock and ambient global landscape. Halfway through the album I realized that the message is more than just for this society, it’s a cry for all humanities sake. If they could just make us aware of the terrible decisions we willfully walk into then I think they’d say the album was a success. This is because the religious and philosophical problems facing humanity are happening faster than we could process them. We’re making bad choices even ‘when we are fine?.’.
The entire album can come across as either brilliantly sarcastic or unintentionally shallow. I prefer the former’s interpretation because that’s how the songs swayed me, but I understand the latter. Track after track are euphoric streams of existential reasoning. In album closer ‘Basically We Are Dead’ Mohan echoes her generations harsh critique of fake pious behavior and the true purpose of divine forgiveness. There are bread crumbs of these sentiments sprinkled in numerous tracks. From the more direct messaging in ‘Religion’ to the more subtle approach in ‘Butterfingers’ And The Kids have a nonchalant way of pointing out ill intent in religious practice.
In addition to their views on religion And The Kids also gives their thoughts about the haunting effects of age. With lyrics like ‘life is bastard, life wants to kill you, don’t get old’ we begin to see the forward approach to lyrism that makes this band special. Even though the lyrics are pessimistic the tone is hopeful and even a little inspirational. Mohan sounds like someone you can follow, because she’s so sure where she’s going. That line is immediately followed by the equally confident line ‘doing wrong but feeling right, at least you’ll get some sleep tonight’. When This Life Is Over is an expertly wise yet nihilist warning against age. Beware, because it’s convincing.
And The Kids is coming off of two charming albums with a lot to prove. Their ability to create euphoric spaces with dreamy lyrics that trigger the brains philosophical side is both impressive and disorienting. They’re a young band still sharpening their craft and yet they are still leagues ahead of many others trying to do the same thing. Songs are repeatedly complex and complete. While ‘Champagne Ladies’ contains a sophisticated electronic guitar led build up it crescendos into a euphoric climax and descends into a steady airy decline. Moreover, on ‘White Comforters’ we’re met with several acoustic solos that show off the layered talent this group brings to each track. Underneath the very standard rock instrumentation is pop appeal.
The trio has made it out from the echo chamber of the new sound wave in the northeast to the art rock and ambient global landscape. Halfway through the album I realized that the message is more than just for this society, it’s a cry for all humanities sake. If they could just make us aware of the terrible decisions we willfully walk into then I think they’d say the album was a success. This is because the religious and philosophical problems facing humanity are happening faster than we could process them. We’re making bad choices even ‘when we are fine?.’.
January
Remind Me Tomorrow - Sharon Van Etten
Sharon Van Etton bloomed late. Her debut album came out when she was a ripe 28 years old. The album was known for its minimalistic production, direct lyricism, and layered harmonies. A lot has happened since 2009, and now Sharon is an established star in her own light. This month, she released her fifth studio album Remind Me Tomorrow. The album is far from minimalist and escapes the confines of rock that permeated much of her former work. With the help of new producers and collaborators Sharon expanded her sound into the electronic realm and made a cinematic and endearing project that has brought new life deep into her career.
Over the past decade, and perhaps since the dawn of the music industry, artists have hopped on trends to their detriments. We’ve seen popstars dip into the hip hop world, hip hop artist try out country, and rock stars try afrobeat. The very best of the bunch however can pull it off, with some help and a good team. This is what Sharon had in veteran producer John Congleton. John has been known to help out artist crossover into unknown sonic territories and land on their feet. For instance, St. Vincent has a Grammy as of a week ago thanks to John’s help on her critically acclaimed album Masseduction. He does the same for Sharon. In replace for the guitar he brought in keys and synthesizers. Her poignant lyrics stayed in tact and her ear for melodies were still paramount to the songs appeal. The production on the other hand took on a more mesmerizing appeal and even enwrapped the listener in their smooth and euphoric textures. The slow burning album highlight ‘Jupiter 4’ is one of those tracks. Sharon’s vocals feel icy and distant in precisely placed reverb while an incessant synth line crawls around the production. The song is dizzying and extremely evocative. John has a huge part to do with this which is why remind me tomorrow did a great job at adapting Sharon to current trends without compromising her image.
Sharon has accomplished a lot since her last album. In the past few years she stared in shows, wrote for soundtracks, and had a child. Not only does she believe she can juggle all of this, but she wants to take it one step further and go on tour now. Along the lines of her ambitions comes sacrifice. Sacrifice in the form of her relationships. During an NPR interview she cried during the telling of album closer ‘Stay’. Originally it was for her significant other and then the song took a turn towards an even more intimate relationship in her life, the one with her son. Stay is a tender track that builds off of shaky guitar chords into a blissful crescendo of emotions and hopes. As gentle and kind as Stella can be her attitude toward love is to love hard. She loves her child hard. This love is juxtaposed against a disdain for those who merely shadow her behavior, rather than make her better. With age comes the evolution of a person and Sharon seems to be taking everything in stride.
As artists grow as people their music should grow with them. This remains true with Sharon in remind me tomorrow as she explores the world through the lens of a mother, partner, accomplished artists, and busy professional. The added synths didn’t confuse her sound or even complicate her message too. The experimentation improved her message and at sometimes added needed emotional charge to her passioned lyrics. Starting late in the music game is no easy task and picking up steam and buzz is challenging enough when you don’t have a lot of other responsibilities. Sharon has taken on the challenge with audacity and inspirational devotion. Remind Me Tomorrow displays a mature artist confident they are still in their prime and willing to push their artistry to the next level.
Sharon Van Etton bloomed late. Her debut album came out when she was a ripe 28 years old. The album was known for its minimalistic production, direct lyricism, and layered harmonies. A lot has happened since 2009, and now Sharon is an established star in her own light. This month, she released her fifth studio album Remind Me Tomorrow. The album is far from minimalist and escapes the confines of rock that permeated much of her former work. With the help of new producers and collaborators Sharon expanded her sound into the electronic realm and made a cinematic and endearing project that has brought new life deep into her career.
Over the past decade, and perhaps since the dawn of the music industry, artists have hopped on trends to their detriments. We’ve seen popstars dip into the hip hop world, hip hop artist try out country, and rock stars try afrobeat. The very best of the bunch however can pull it off, with some help and a good team. This is what Sharon had in veteran producer John Congleton. John has been known to help out artist crossover into unknown sonic territories and land on their feet. For instance, St. Vincent has a Grammy as of a week ago thanks to John’s help on her critically acclaimed album Masseduction. He does the same for Sharon. In replace for the guitar he brought in keys and synthesizers. Her poignant lyrics stayed in tact and her ear for melodies were still paramount to the songs appeal. The production on the other hand took on a more mesmerizing appeal and even enwrapped the listener in their smooth and euphoric textures. The slow burning album highlight ‘Jupiter 4’ is one of those tracks. Sharon’s vocals feel icy and distant in precisely placed reverb while an incessant synth line crawls around the production. The song is dizzying and extremely evocative. John has a huge part to do with this which is why remind me tomorrow did a great job at adapting Sharon to current trends without compromising her image.
Sharon has accomplished a lot since her last album. In the past few years she stared in shows, wrote for soundtracks, and had a child. Not only does she believe she can juggle all of this, but she wants to take it one step further and go on tour now. Along the lines of her ambitions comes sacrifice. Sacrifice in the form of her relationships. During an NPR interview she cried during the telling of album closer ‘Stay’. Originally it was for her significant other and then the song took a turn towards an even more intimate relationship in her life, the one with her son. Stay is a tender track that builds off of shaky guitar chords into a blissful crescendo of emotions and hopes. As gentle and kind as Stella can be her attitude toward love is to love hard. She loves her child hard. This love is juxtaposed against a disdain for those who merely shadow her behavior, rather than make her better. With age comes the evolution of a person and Sharon seems to be taking everything in stride.
As artists grow as people their music should grow with them. This remains true with Sharon in remind me tomorrow as she explores the world through the lens of a mother, partner, accomplished artists, and busy professional. The added synths didn’t confuse her sound or even complicate her message too. The experimentation improved her message and at sometimes added needed emotional charge to her passioned lyrics. Starting late in the music game is no easy task and picking up steam and buzz is challenging enough when you don’t have a lot of other responsibilities. Sharon has taken on the challenge with audacity and inspirational devotion. Remind Me Tomorrow displays a mature artist confident they are still in their prime and willing to push their artistry to the next level.
December
X 100PRE – Bad Bunny
Bad Bunny is the popstar blueprint for the future. Whether you agree with his positions on issues or not his rise is undeniable, and the music is downright exhilarating. His genre influences range from denbow to raggeton and latin trap. These seeds of his foundation create the roots of which we are witnessing today. This is why the music comes across as so multi-dimension and tri-colored. He’s a make up of everything he’s come across. He also brings into the picture the confidence and audacity to dress how he likes, kiss who he likes, and speak on what he believes in. If you haven’t come across Bad Bunny yet, (I’m confident you have, but if not) be prepared for a ride.
Bad Bunny’s rise has been wildly exceptional, but it is also a sign of the times. As a cashier at a local drug store the twenty something posted songs online hoping to be heard. To his surprise, an A&R for a local label heard the music and loved it. The rest is history. After a series of local hits and then months of building a regional bass and eventually getting finely placed features (have you heard that one song ‘I like it’ by cardi b? Yeah bunny is on that). The young star eventually placed himself in a zone reserved for the greats. Just last year alone he was the 3rd most streamed artist on YouTube! If Bad Bunny’s lack of subtly surprises you, it shouldn’t. He’s reaching heights that 99% of artist don’t make and even the 1% who do, don’t reach before their debut album comes out. It’s therefore only fitting that his debut album XPree100 is stylistic for Forever. Bad Bunny plans to be here for a long long time.
The production on X100Pree is absolutely stellar. The veteran behind the boards is Tainy. It requires the expertise of a pro for the album to sound just this good. And I mean it, it sounds really good. Diplo provides a slick trap beat that’s complimented by a swag induced flow by Bad. The Puerto Rican superstar is simultaneously heartfelt and insanely confident in the smash hit ‘Caro’. He even holds his own with the ubiquitous mega star Drake and trades lines with the rapper/singer with surprising chemistry.
Bad Bunny isn’t confined to tradition, and it shows. His carefree attitude is infectious, and it permeates every aspect of his music. The video of ‘Caro’ alone hosts mentally challenged models, open bi-sexuality, and metro sexual style. Moreover, in the video for ‘Solo del Mi’ the treatment opens up with a transgender female presenting a very emotional yet endearing ballad. The minimalist attraction of that scene is contrasted brilliantly by the rave that follows. Bad Bunny proves in this video that he can accomplish both with ease. Passionate social consciousness and braggadocious trap lord.
Bad Bunny isn’t a small latin trap star that is gaining a little buzz and riding on the coattails of his forbearers like Daddy Yankee. The man is a global sensation who is paving a powerful trail of his own. In this new age of instant gratification and close fan-to-artist contact Bad seems to be flourishing. Under the pressure the star admitted to finishing the album just before the buzzer, three days prior to its release. Not only is a statement like that incredibly risky but it’s empowering. Bunny’s videos rack in hundreds of millions of views and the hype is only in It’s first stage. All eyes are on him and he has his eyes down the road towards forever. For the moment, let’s enjoy this phenomenal piece of forever he created for us right now.
Bad Bunny’s rise has been wildly exceptional, but it is also a sign of the times. As a cashier at a local drug store the twenty something posted songs online hoping to be heard. To his surprise, an A&R for a local label heard the music and loved it. The rest is history. After a series of local hits and then months of building a regional bass and eventually getting finely placed features (have you heard that one song ‘I like it’ by cardi b? Yeah bunny is on that). The young star eventually placed himself in a zone reserved for the greats. Just last year alone he was the 3rd most streamed artist on YouTube! If Bad Bunny’s lack of subtly surprises you, it shouldn’t. He’s reaching heights that 99% of artist don’t make and even the 1% who do, don’t reach before their debut album comes out. It’s therefore only fitting that his debut album XPree100 is stylistic for Forever. Bad Bunny plans to be here for a long long time.
The production on X100Pree is absolutely stellar. The veteran behind the boards is Tainy. It requires the expertise of a pro for the album to sound just this good. And I mean it, it sounds really good. Diplo provides a slick trap beat that’s complimented by a swag induced flow by Bad. The Puerto Rican superstar is simultaneously heartfelt and insanely confident in the smash hit ‘Caro’. He even holds his own with the ubiquitous mega star Drake and trades lines with the rapper/singer with surprising chemistry.
Bad Bunny isn’t confined to tradition, and it shows. His carefree attitude is infectious, and it permeates every aspect of his music. The video of ‘Caro’ alone hosts mentally challenged models, open bi-sexuality, and metro sexual style. Moreover, in the video for ‘Solo del Mi’ the treatment opens up with a transgender female presenting a very emotional yet endearing ballad. The minimalist attraction of that scene is contrasted brilliantly by the rave that follows. Bad Bunny proves in this video that he can accomplish both with ease. Passionate social consciousness and braggadocious trap lord.
Bad Bunny isn’t a small latin trap star that is gaining a little buzz and riding on the coattails of his forbearers like Daddy Yankee. The man is a global sensation who is paving a powerful trail of his own. In this new age of instant gratification and close fan-to-artist contact Bad seems to be flourishing. Under the pressure the star admitted to finishing the album just before the buzzer, three days prior to its release. Not only is a statement like that incredibly risky but it’s empowering. Bunny’s videos rack in hundreds of millions of views and the hype is only in It’s first stage. All eyes are on him and he has his eyes down the road towards forever. For the moment, let’s enjoy this phenomenal piece of forever he created for us right now.
November
Glory Sound Prep – Jon Bellion
After the Human Condition Jon Bellion received a fast-widespread collection of fame. The success came off the initial impact of hit single all time low. The incredibly catchy and unique sounding pop smash was written, produced, and sung by Bellion himself. Suddenly, all eyes were on the previously regionally known long island singer/songwriter. Over the course of a year of touring/interview Bellion reached a breaking point. He decided to a make a decision that would change his direction for the foreseeable future. This decision included not taking interviews, nor making the same type of music, nor leaving NYC for the high hills of California. Instead, the long island native doubled down on his craft. Moreover, he prioritized his life around what was important -- musical development and family. This is the background to his sophomore full length project, Glory Sound Prep.
On album highlight ‘JT’ Jon describes the distance he feels from his life pre-success with the line ‘a song a day for six years seem like light years away from today’. He can’t help but be awed and ultimately grateful for the attention and praise he’s received in recent years. In a few songs Jon is directly giving credit to Christ and the importance of faith in his life. More that gratefulness Jon is also relishing in the spoils of success. On a family trip to Greece he takes the time to play ball with friends and challenge natives to a game of pickup, unsuccessfully. It’s these seemingly meaningless details that give the most warm-hearted insights into Jon’s real life and mindset. He’s decided to appreciate the small things in life and not take things for granted. On this same Greece trip, he notices the privilege he has to be there and the abuse of that privilege that can come from it. The music on GSP however is less of a social commentary and more of an inward reflection. On fan favorite ‘Stupid Deep’, the cornerstone of these feelings emerges. Jon asks himself rhetorical questions on a meditative stream that eventually crescendos into a life affirming outburst. He extends his compassion to members of his family and ends the album with a beautiful and heartfelt dedication to his mother.
The best genre title to describe this album would have to be alternative pop. The choruses have a lot of your typical grooves and beats, but the introductions are always unpredictable, the bars are surprisingly impressive, and the outros are always luscious. Jon is constantly looking for pockets and roads to improve and test himself. Quincy assisted ‘Mah’s Joint’ has a sky opening horns section that could only have been orchestrated by the legend himself. ‘Cautionary Tales’ hosts kids passionately belting at the top of their lungs ‘the king, the legend’ while the production heightens their convictions. It’s these small yet necessary detailed production quirks that sets GSP in a category all its own.
Glory Sound Prep is a sign of great things to come for Jon Bellion. He expects greatness for himself and is preparing himself for it. Already a Grammy winner and with a recent nomination the long island artist is prepping himself for a long lasting and fruitful career in music. The album is a masterclass of artistry. Jon takes his time this album cycle to recruit upper echelon talent. From the RZA to Quincy Jones himself Jon is standing side by side with well-respected critically acclaimed talents. He does this because he wants to further his own artistry and continue to feel that same level of fulfillment he had when he started making music. The music sounds different now too. The beats sound more expensive, there are a grander outro’s, string sections, straight up ballads, mixtape styled transitions, and narrations. At the center is Jon. Still looking to find himself in the crazy world we live in.
On album highlight ‘JT’ Jon describes the distance he feels from his life pre-success with the line ‘a song a day for six years seem like light years away from today’. He can’t help but be awed and ultimately grateful for the attention and praise he’s received in recent years. In a few songs Jon is directly giving credit to Christ and the importance of faith in his life. More that gratefulness Jon is also relishing in the spoils of success. On a family trip to Greece he takes the time to play ball with friends and challenge natives to a game of pickup, unsuccessfully. It’s these seemingly meaningless details that give the most warm-hearted insights into Jon’s real life and mindset. He’s decided to appreciate the small things in life and not take things for granted. On this same Greece trip, he notices the privilege he has to be there and the abuse of that privilege that can come from it. The music on GSP however is less of a social commentary and more of an inward reflection. On fan favorite ‘Stupid Deep’, the cornerstone of these feelings emerges. Jon asks himself rhetorical questions on a meditative stream that eventually crescendos into a life affirming outburst. He extends his compassion to members of his family and ends the album with a beautiful and heartfelt dedication to his mother.
The best genre title to describe this album would have to be alternative pop. The choruses have a lot of your typical grooves and beats, but the introductions are always unpredictable, the bars are surprisingly impressive, and the outros are always luscious. Jon is constantly looking for pockets and roads to improve and test himself. Quincy assisted ‘Mah’s Joint’ has a sky opening horns section that could only have been orchestrated by the legend himself. ‘Cautionary Tales’ hosts kids passionately belting at the top of their lungs ‘the king, the legend’ while the production heightens their convictions. It’s these small yet necessary detailed production quirks that sets GSP in a category all its own.
Glory Sound Prep is a sign of great things to come for Jon Bellion. He expects greatness for himself and is preparing himself for it. Already a Grammy winner and with a recent nomination the long island artist is prepping himself for a long lasting and fruitful career in music. The album is a masterclass of artistry. Jon takes his time this album cycle to recruit upper echelon talent. From the RZA to Quincy Jones himself Jon is standing side by side with well-respected critically acclaimed talents. He does this because he wants to further his own artistry and continue to feel that same level of fulfillment he had when he started making music. The music sounds different now too. The beats sound more expensive, there are a grander outro’s, string sections, straight up ballads, mixtape styled transitions, and narrations. At the center is Jon. Still looking to find himself in the crazy world we live in.
October
Skylight – Pinegrove
Pinegrove has gone through a lot in the past two years. For one, lead singer Evan was accused of sexual coercion. Additionally, some members of the band left and created music of their own. Moreover, organizations responded, without proper evidence of anything, and gas-lighted the allegations. Before we knew it, Pinegrove was another perpetrator in the hectic #metoo movement. All of this slowed down the release of the album, but it did nothing to erase the potent emotions that existed inside. Skylight has finally arrived, and it is well worth the wait.
Skylight came after a long hiatus. It’s content was occupied with the same level of mental clarity that Evan would’ve underwent in therapy. For instance, in ‘Rings’ we see Evan opening up to a new way of life. He’s going to hold himself more accountable and take his relationships more seriously. This doesn’t make the relationships easier to understand however. He’s still determined to navigate through each precarious situation. He shows us this with mystical lines like ‘wondering how I seem to you, forgetting the words I'm singing for you’. The success of the relationships are uncertain, but his resolve is not. This clarify of mind permeates every song on Skylight. His freed mind tackles non-romantic relationships as well. In ‘Paterson + Leo’ Evan takes us on a nostalgia trip one evening at sundown. Rising from darkness isn’t reserved for the depths of ambiguous relationships neither. On ‘Light On’, ‘Skylight’ and even ‘Darkness’ there’s a central theme of reemergence from darkness. Evan isn’t just overcoming heart-wrenching experiences but he’s coming out of the other side with an inspirational amount of mental maturity.
Although the content has shifted a bit, Pinegrove hasn’t abandoned their unconventional approach to song arrangements. The songs remain unstructured, but their emotional depth goes way deeper on this project. They’re great at accomplishing more with less. Some of the most emotionally potent songs are cut before the 2-minute mark. For example, ‘Amulet’ which washes over like a wave at sunset goes just as swiftly as it comes. But it’s message couldn’t be clearer. That is, love fades, sometimes faster than we’d expect. Another example is ‘Angelina’, a crowd pleaser at their live shows. This song receives a reimagined production boost that justifies it’s short length. A top of the drums hitting a little harder on this version the repeated ‘tangled up’ line gets the song stuck in your head for much longer than it’s minute and 38 seconds suggest. Skylight as an album is very reserved, but every line matters, every note is passionately hit, and every bridge has a special purpose. Furthermore, the song’s short length and the unconventional structures forces the listeners to pay attention to the song’s development with a keen ear. Fortunately, the payoff is a world of heart-warming folk rock and therapeutic slow jams.
The production sounds a bit more crisps on Skylight as opposed to their DIY approach from yesteryears. They’re replacing the wonky banjo and gang of slide guitars for electric guitar and reserved reverb. Part of Cardinal’s appeal was its standout folk rock anthems and coming-of-age sense of discovery. Everything felt new. The good, the bad, and even the ugly. Evan wow’d us with his surprising Jersey accent turned accurate southern twang. There was a breath of southern carelessness that made their projects feel timeless. In Skylight however, time seems to stop, and a more nuanced take on life is adopted. Now their timeless sound feels less reactionary and more meditative. Evan’s harmonies with Nandi Plunkett set against reverbed guitars and keys add a duality to his thought process. Lines like ‘low light at dawn, I'll love that song forever’ tug at the heart strings with their elegant simplicity. While the lyrics and the song lengths are reigned back on this album the production makes up the lost space. The songs sound punchier, like on the first half of ‘Darkness’. The songs even reach higher highs than on Cardinal, like on the second half of ‘Intrepid’. The bands formula was changed this time around, but the music is still timeless and reflects a young person’s journey through the complicated world of early adulthood.
Pinegrove has broken through the indie world over the past few years and have become a major presence on the national stage. Their brand of indie rock show’s exceptional talent in the song writing and live music realms. Skylight proves that they can bounce back from a tough allegation with maturity and grace. The album will speak for itself for years to come when the controversy around it fades away. Until then fans and casual music listeners alike can enjoy Skylight for the brilliant piece of indie rock it deserves to be known as.
Skylight came after a long hiatus. It’s content was occupied with the same level of mental clarity that Evan would’ve underwent in therapy. For instance, in ‘Rings’ we see Evan opening up to a new way of life. He’s going to hold himself more accountable and take his relationships more seriously. This doesn’t make the relationships easier to understand however. He’s still determined to navigate through each precarious situation. He shows us this with mystical lines like ‘wondering how I seem to you, forgetting the words I'm singing for you’. The success of the relationships are uncertain, but his resolve is not. This clarify of mind permeates every song on Skylight. His freed mind tackles non-romantic relationships as well. In ‘Paterson + Leo’ Evan takes us on a nostalgia trip one evening at sundown. Rising from darkness isn’t reserved for the depths of ambiguous relationships neither. On ‘Light On’, ‘Skylight’ and even ‘Darkness’ there’s a central theme of reemergence from darkness. Evan isn’t just overcoming heart-wrenching experiences but he’s coming out of the other side with an inspirational amount of mental maturity.
Although the content has shifted a bit, Pinegrove hasn’t abandoned their unconventional approach to song arrangements. The songs remain unstructured, but their emotional depth goes way deeper on this project. They’re great at accomplishing more with less. Some of the most emotionally potent songs are cut before the 2-minute mark. For example, ‘Amulet’ which washes over like a wave at sunset goes just as swiftly as it comes. But it’s message couldn’t be clearer. That is, love fades, sometimes faster than we’d expect. Another example is ‘Angelina’, a crowd pleaser at their live shows. This song receives a reimagined production boost that justifies it’s short length. A top of the drums hitting a little harder on this version the repeated ‘tangled up’ line gets the song stuck in your head for much longer than it’s minute and 38 seconds suggest. Skylight as an album is very reserved, but every line matters, every note is passionately hit, and every bridge has a special purpose. Furthermore, the song’s short length and the unconventional structures forces the listeners to pay attention to the song’s development with a keen ear. Fortunately, the payoff is a world of heart-warming folk rock and therapeutic slow jams.
The production sounds a bit more crisps on Skylight as opposed to their DIY approach from yesteryears. They’re replacing the wonky banjo and gang of slide guitars for electric guitar and reserved reverb. Part of Cardinal’s appeal was its standout folk rock anthems and coming-of-age sense of discovery. Everything felt new. The good, the bad, and even the ugly. Evan wow’d us with his surprising Jersey accent turned accurate southern twang. There was a breath of southern carelessness that made their projects feel timeless. In Skylight however, time seems to stop, and a more nuanced take on life is adopted. Now their timeless sound feels less reactionary and more meditative. Evan’s harmonies with Nandi Plunkett set against reverbed guitars and keys add a duality to his thought process. Lines like ‘low light at dawn, I'll love that song forever’ tug at the heart strings with their elegant simplicity. While the lyrics and the song lengths are reigned back on this album the production makes up the lost space. The songs sound punchier, like on the first half of ‘Darkness’. The songs even reach higher highs than on Cardinal, like on the second half of ‘Intrepid’. The bands formula was changed this time around, but the music is still timeless and reflects a young person’s journey through the complicated world of early adulthood.
Pinegrove has broken through the indie world over the past few years and have become a major presence on the national stage. Their brand of indie rock show’s exceptional talent in the song writing and live music realms. Skylight proves that they can bounce back from a tough allegation with maturity and grace. The album will speak for itself for years to come when the controversy around it fades away. Until then fans and casual music listeners alike can enjoy Skylight for the brilliant piece of indie rock it deserves to be known as.
September
Chris - Christine and the Queens
There were a lot of great albums that came out in September. The competition was thick. There were special projects in dozens of genres. One album that stood out even amongst this superb pack was Chris by Christine and The Queens. Her gift for dynamic singing and complexity showed excellently on the album. There was a time when female pop artists wouldn’t dare express an exuberant amount of masculinity. Those times are over, and it’s artists like Christine and the queens that deserve the credit for the shift.
Christine tackles some heavy topics on here. From existentialism, to relationships and self esteem there’s little left on the table to discuss. However, she clarifies her opinions about them with ease. This clarity gives the album an airy atmosphere and vibrant aura. Moreover, the emotional depth that is reached on the album highlight ‘Doesn’t Matter’ is reached not only through Christine’s ability to turn religious doubt into a visceral dance tune but her contemplation feels common-place and normal. Christine also makes an impending dangerous relationship feel normal on the flirtatious cut, ‘Feel So Good’. This song could have come out of Michael Jackson’s Dangerous era sessions and it’s delivery is worthy of the King of Pop. The chorus is incredibly memorable, Christine’s vocals are top notch and her runs are delivered with the controlled eloquence of a veteran. Throughout Chris she sounds like a veteran in the game and is separating herself from the pack of her contemporaries with this mature and dynamic full-length project.
The production is glitzy without sounding saturated. For the majority of the songs on Chris the production is outstandingly rich and dynamic. They include brilliantly layered instrumentation, a live choir, and colorful array of compositions. One example is the romantic energizer, ‘5 Dollars’. On top of the great vocals on 5 there is an upbeat drum loop that is enhanced through buoyant synthesizers. This song gets right into your bones for four beautifully euphoric minutes. When I can’t follow the lyrical meaning on the second half of the album the production really pops. During the latter half of Chris she shows off her bilingual ability. Some songs sound even better in French and somehow carry the same meaning while the translated words fit in the same timed verses. Overall, the album is chalk full of addictive pop hits that beg to be replayed.
If the production was the only phenomenal aspect of Chris, then it wouldn’t have been chosen as Album of the month. There’s another hugely impressive element at play. Christine’s voice. If Christine has any one-of-a-kind attributes it’s her powerful singing chops. Her voice is as clear as the morning sky and shines with a vibrancy that rivals the sun. As Christine vocalizes on ‘Comme Si’ she has a pride in singing. It’s not just an action that makes her feel good but it’s a avenue through which her uniqueness feels apparent.
Chris calls for the willingness to speak truth to insecurity. Not only insecurity, but also truth to society, truth to self, and truth to our friends. Christine provides a glossy and wildly entertaining pop cut that cuts deeper than most in the genre. She’s not afraid to try new things and branch out of her comfort zone. The album was not only challenging for her to make but it also challenges the listeners. An artist that can successfully do that and still have many years to go is someone worth following and admiring for a long time.
August
Nearer My God - Foxing
After facing some depressing obstacles over the years Foxing has emerged stronger than ever. In Nearer My God they have crossed over into the transcendent and made euphoric stadium rock for all music lovers to rejoice in. The album sets a landscape view to the difficulties we face now as a society. Whether it’s the crippling feeling of isolation and anxiety, or perhaps drug addiction Foxing braves the rough terrain and shows us that there is an out, and that one can make it to the other side alright. Their music finally reflects the energy they bring to the live show, and the excellent production on this album will perk critic’s ear to a band that has reignited the flame mid-career.
When life was heading south for the band over the past few years Conor felt like the music might be next. The run of bad luck was evident as well. On top of the theft of $30,000 of gear in Austin their van was in a bad road accident and in a separate accident band member Murphy broke his nose before a show. Fortunately, these omens didn’t spread into the music and instead the band came together to create euphoric art-rock that brought the band near to God. The existential subtext can be interpreted as religious as well. For instance, on the albums beautiful centerpiece ‘Five Cups’ Conor seems to be contemplating the end of his life and begins to hallucinate about friends he has to leave behind. The incredibly meditative song drowns into the ether with the somber words ‘I won't wait, I won't wait to be saved’.
Before playing ‘Bastardizer’ at TedXGatewayArch Conor asked the crowd to think about the next generation, and to hope that they do a better job than his did. It was a powerfully intimate message to make before the song started. Across the album Foxing is debasing any of the dishonorable behavior that’s hindering societies progress. Whether it’s the generational trauma bleeding through ‘Bastardizer’ or the anti-paparazzi anthem in ‘Heartbeat’ the message is clear. We need to grow, or we die.
Each tragedy seemed to inspire a new song on this album. So, for Foxing, they have created an outstanding body of work that heals a wide array of wounds. The last time a band overcame so many obstacles and made it look so good they made our album of the month. Foxing is finally getting the looks and hopefully the bookings they deserve this album cycle. Overtime, we’ll see if this is the beginning of a new and ambitious direction for the St. Louis underground band.
When life was heading south for the band over the past few years Conor felt like the music might be next. The run of bad luck was evident as well. On top of the theft of $30,000 of gear in Austin their van was in a bad road accident and in a separate accident band member Murphy broke his nose before a show. Fortunately, these omens didn’t spread into the music and instead the band came together to create euphoric art-rock that brought the band near to God. The existential subtext can be interpreted as religious as well. For instance, on the albums beautiful centerpiece ‘Five Cups’ Conor seems to be contemplating the end of his life and begins to hallucinate about friends he has to leave behind. The incredibly meditative song drowns into the ether with the somber words ‘I won't wait, I won't wait to be saved’.
Before playing ‘Bastardizer’ at TedXGatewayArch Conor asked the crowd to think about the next generation, and to hope that they do a better job than his did. It was a powerfully intimate message to make before the song started. Across the album Foxing is debasing any of the dishonorable behavior that’s hindering societies progress. Whether it’s the generational trauma bleeding through ‘Bastardizer’ or the anti-paparazzi anthem in ‘Heartbeat’ the message is clear. We need to grow, or we die.
Each tragedy seemed to inspire a new song on this album. So, for Foxing, they have created an outstanding body of work that heals a wide array of wounds. The last time a band overcame so many obstacles and made it look so good they made our album of the month. Foxing is finally getting the looks and hopefully the bookings they deserve this album cycle. Overtime, we’ll see if this is the beginning of a new and ambitious direction for the St. Louis underground band.
July
Take Me To The Disco – Meg Myers
While fans wanted to hear Meg go back into that dark place and echo screams from the bottom of her soul, the Tennessee native swerved into pop-rock. It was an effective move as well. Underneath the deeply personal lyrics and the dark ambiance is a very well-crafted album. The production is exceptionally dynamic and is a powerful reminder that Meg can enter the billboards if she really wanted to. We picked Take Me To The Disco as our album of the month because the album is both thrilling and chilling, scary and beautiful, and unapologetically honest.
If you’re new to Meg Myers’s music, we suggested you back up and listen to some of her older projects like Sorry and Daughter In the Choir. After that you’ll understand that she’s an artist that indulges in her feelings and does a great job at unearthing them in a very passionate and visceral way. On Take Me she’s panicking over a mountain of problems; from her failed relationship, to drug addiction, and label pressures. Despite her tendency to focus on the negative her music never comes across as complaintive, instead it feels refreshing to hear an artist that’s willing to take off the makeup and give it to us straight. The good and bad, the harsh and the insecure, on Meg’s newest project, nothing is off the table.
It may seem strange that the songs are so dark and pessimistic, but the truth is there’s a beauty behind the madness. On more than half the album there is a gorgeous string section that serenades the songs with doom and gloom. ‘Tourniquet’ is a great example of this. Also, Meg’s screams are still there, and man do they pack a punch. On the album highlight ‘Little Black Death’ love and forgiveness are nowhere to be found. Even days later, I can still hear her retched cries from the outro at night.
Take Me To The Disco is one of the years best. If you’re a fan of pop rock or just want to experience something new, we highly recommend giving this a try. Meg is a very talented and ambitious young star who is on an incredible musical journey. We promise following her career will not be a disappointment.
If you’re new to Meg Myers’s music, we suggested you back up and listen to some of her older projects like Sorry and Daughter In the Choir. After that you’ll understand that she’s an artist that indulges in her feelings and does a great job at unearthing them in a very passionate and visceral way. On Take Me she’s panicking over a mountain of problems; from her failed relationship, to drug addiction, and label pressures. Despite her tendency to focus on the negative her music never comes across as complaintive, instead it feels refreshing to hear an artist that’s willing to take off the makeup and give it to us straight. The good and bad, the harsh and the insecure, on Meg’s newest project, nothing is off the table.
It may seem strange that the songs are so dark and pessimistic, but the truth is there’s a beauty behind the madness. On more than half the album there is a gorgeous string section that serenades the songs with doom and gloom. ‘Tourniquet’ is a great example of this. Also, Meg’s screams are still there, and man do they pack a punch. On the album highlight ‘Little Black Death’ love and forgiveness are nowhere to be found. Even days later, I can still hear her retched cries from the outro at night.
Take Me To The Disco is one of the years best. If you’re a fan of pop rock or just want to experience something new, we highly recommend giving this a try. Meg is a very talented and ambitious young star who is on an incredible musical journey. We promise following her career will not be a disappointment.
June
Lost & Found - Jorja Smith
Lost & Found is Jorja Smith’s introduction to the world. The British songstress has been working on her debut for over 2 years, and it shows. This is more than just a debut album with a little bit of promise – rather, it’s a strong complex project grounded in the sophisticated genre of R&B. Even though she appears passive, her lyrics speaks to the contrary. She’s the subtle aggressor under the cool surface. Stylistically Jorja is well beyond and her years. When she’s expressing her feelings, it goes way further than skin deep. Her emotional maturity has super charged this album with effortless clarity and sensual smoothness.
Across Lost & Found Jorja shows that she is not afraid to go after what she wants. She’s not one to wait. Despite her blasé persona publicly on lost and found jorja is on the offense when it comes to love. Only a person with enough confidence in themselves and the relationship can ask their partner ‘Why don’t you lose yourself for me?’. In addition to love Jorja addresses other topics on her mind with the same directness. We get a mellow rap in “Lifeboats (freestyle)’ about the less fortunate among us. Jorja isn’t afraid to let us know that she wants and expects us to do better. A bold statement from someone so early in their career.
Although Lost & Found is primarily an R&B album, it interprets elements of soul, hip-hop, jazz, and even blues. Jorja’s voice isn’t exactly commanding so there’s a good compromise on this album to space out the production and air it at it’s minimal form. This allows Jorja’s presence to shine through the production and really reach at our heart strings on the more tinder songs. On the higher energy tracks like ‘Wandering Romance’ the accompaniment of background vocals do a great job at raising Jorja’s voice through an emotional ceiling and really elevates the tracks passion threshold. The well-tailored production on Lost & Found gives Jorja the platform to sound more than just an angst teen and more like a validated young adult experiencing things for the first time.
Lost & Found is not only one of the best R&B albums of the year but it’s also one of the better all-around projects that have came out this year. Jorja is a skillful artist that has brought an impressive amount of nuance to her debut for the world to observe. If she can use this complexity and crank it up a notch in energy and hitmaking ability than I think her following album will gross her even more well-deserved attention.
Across Lost & Found Jorja shows that she is not afraid to go after what she wants. She’s not one to wait. Despite her blasé persona publicly on lost and found jorja is on the offense when it comes to love. Only a person with enough confidence in themselves and the relationship can ask their partner ‘Why don’t you lose yourself for me?’. In addition to love Jorja addresses other topics on her mind with the same directness. We get a mellow rap in “Lifeboats (freestyle)’ about the less fortunate among us. Jorja isn’t afraid to let us know that she wants and expects us to do better. A bold statement from someone so early in their career.
Although Lost & Found is primarily an R&B album, it interprets elements of soul, hip-hop, jazz, and even blues. Jorja’s voice isn’t exactly commanding so there’s a good compromise on this album to space out the production and air it at it’s minimal form. This allows Jorja’s presence to shine through the production and really reach at our heart strings on the more tinder songs. On the higher energy tracks like ‘Wandering Romance’ the accompaniment of background vocals do a great job at raising Jorja’s voice through an emotional ceiling and really elevates the tracks passion threshold. The well-tailored production on Lost & Found gives Jorja the platform to sound more than just an angst teen and more like a validated young adult experiencing things for the first time.
Lost & Found is not only one of the best R&B albums of the year but it’s also one of the better all-around projects that have came out this year. Jorja is a skillful artist that has brought an impressive amount of nuance to her debut for the world to observe. If she can use this complexity and crank it up a notch in energy and hitmaking ability than I think her following album will gross her even more well-deserved attention.
May
Deeper Woods – Sarah Louise
Sarah Louise has found confidence in her strong vocals and has expanded her instrumental repertoire in this transitional album for the North Carolina native. In the liminal space between the natural world and the transcendent, Sarah shines. On Deeper Woods she captures the finer details about her relationship with nature.
Sarah takes her time on this album to detail the beautiful land where her home and the woods meet. She touches on this topic with the album highlight ‘The Field’. From the trees on the border, to the plants she grows in her garden, Sarah has clear boundaries in mind. However, she’s not afraid of the cross section -- she’s lived deeper into the woods before. This song has an effective ethereal feel, which comes from the heightened use of electronics as the song progresses. Her relationship with nature isn’t just in the physical, but seeps into the emotional--even the spiritual.
This album can't easily be digested into a singular genre. Deeper Woods blends complex emotions with experimental instrumentation. On some songs, like the single, ‘Up on the Ridge’ Sarah goes straight for the unconventional, while closer ‘Fire Pink’ follows a familiar a Capella style. Like nature, Sarah is paradoxically predictable yet unrestricted by conventional thought. The albums strongest moments showcase Sarah harmonizing with herself in nearly delirious fashion, and sequencing in a warped guitar solos that passionately heightens the emotional tug of several songs.
With Deeper Woods Sarah has positioned herself as a highly respectable solo artist. Core fans of hers will be pleasantly surprised to hear that she can sing, and new fans will walk upon an artist who has a ton of tools in her arsenal. If she carries the same willingness to try new things and experiment into later projects then Deeper Woods won’t be her only unique and special project. Sarah’s potential from here on out is as wide as the horizon, and as deep as a forest.
Sarah takes her time on this album to detail the beautiful land where her home and the woods meet. She touches on this topic with the album highlight ‘The Field’. From the trees on the border, to the plants she grows in her garden, Sarah has clear boundaries in mind. However, she’s not afraid of the cross section -- she’s lived deeper into the woods before. This song has an effective ethereal feel, which comes from the heightened use of electronics as the song progresses. Her relationship with nature isn’t just in the physical, but seeps into the emotional--even the spiritual.
This album can't easily be digested into a singular genre. Deeper Woods blends complex emotions with experimental instrumentation. On some songs, like the single, ‘Up on the Ridge’ Sarah goes straight for the unconventional, while closer ‘Fire Pink’ follows a familiar a Capella style. Like nature, Sarah is paradoxically predictable yet unrestricted by conventional thought. The albums strongest moments showcase Sarah harmonizing with herself in nearly delirious fashion, and sequencing in a warped guitar solos that passionately heightens the emotional tug of several songs.
With Deeper Woods Sarah has positioned herself as a highly respectable solo artist. Core fans of hers will be pleasantly surprised to hear that she can sing, and new fans will walk upon an artist who has a ton of tools in her arsenal. If she carries the same willingness to try new things and experiment into later projects then Deeper Woods won’t be her only unique and special project. Sarah’s potential from here on out is as wide as the horizon, and as deep as a forest.
April
Where We Were Together – Say Sue Me
Some of the best music comes out of the most unexpected places. From the modest shores of Banan, South Korea comes the surf rock collective, Say Sue Me. As we head into the halfway mark of 2018 it is safe to say that the band has delivered the best indie rock album of the year, if not the greatest album of any genre so far. Where We Were Together is melodic and smooth surf rock that doesn’t get lost in its own placidity. Instead, the band delivers an impressive meditative experience in the quiet aftermath of a tragedy.
Humble may be one way to describe the excellent lyricism on WWWT. This band approaches songwriting with refreshing honesty. Although the lead singer Sumi can be incredibly hard on herself the honestly in her lines reflect the thoughts of someone deeply in touch with themselves. Instead of sounding down and depressing, she comes across as unapologetic about her flaws. Her ability to identify both the good and bad of her own personality and still speak with admiration about her love is beautiful, admirable, and noble.
We recommend that you throw this album on while you take those summer cross country road trips. Say Sue Me never drowns in their own saturation. On top of each gorgeous riff is pleasant and endearing layered melody. On top of melody are verses that are pitched just high enough to make sense of the individual words, but not disrupt the mood of the track or take attention away from the instrumental.
This album was completed in the aftermath of the bands drummer’s sudden accident, which left him in a coma. At first the band found it hard to go on. The drummer wrote over half of the songs on WWWT. After sometime the band found meaning in living for the moment and carried out the last of the album with a new drummer. Sumi says the album is ‘full of nostalgia for all the places, physical or otherwise, where we could share our minds and companionship’. Through chaos the band found peace. As the final track ‘Coming to an End’ does just that, the electric guitar descends into the ether with the tranquility of a placid shore at sun down.
Humble may be one way to describe the excellent lyricism on WWWT. This band approaches songwriting with refreshing honesty. Although the lead singer Sumi can be incredibly hard on herself the honestly in her lines reflect the thoughts of someone deeply in touch with themselves. Instead of sounding down and depressing, she comes across as unapologetic about her flaws. Her ability to identify both the good and bad of her own personality and still speak with admiration about her love is beautiful, admirable, and noble.
We recommend that you throw this album on while you take those summer cross country road trips. Say Sue Me never drowns in their own saturation. On top of each gorgeous riff is pleasant and endearing layered melody. On top of melody are verses that are pitched just high enough to make sense of the individual words, but not disrupt the mood of the track or take attention away from the instrumental.
This album was completed in the aftermath of the bands drummer’s sudden accident, which left him in a coma. At first the band found it hard to go on. The drummer wrote over half of the songs on WWWT. After sometime the band found meaning in living for the moment and carried out the last of the album with a new drummer. Sumi says the album is ‘full of nostalgia for all the places, physical or otherwise, where we could share our minds and companionship’. Through chaos the band found peace. As the final track ‘Coming to an End’ does just that, the electric guitar descends into the ether with the tranquility of a placid shore at sun down.
March
I’m Bad Now – Nap Eyes
I’m Bad Now is a gem in the densely populated coal mine of indie rock. Their shine stems from their ability to take many forms. They can dish out deep religious allegories in the same album as the pop infused ‘Everytime the Feeling’. This dynamic approach isn’t dizzying nor does it wear the listener out by the last track. Instead, Nap Eyes walks us through a series of existential thoughts in a very simplistic and digestible manner. The act is almost uncanny; however, Nigel’s sincere vocals filters these thoughts. In the best moments of I’m Bad Now the bad feels almost natural.
Let’s be clear, some of the lyrics on this album are straight up dark and depressing. Fortunately, there’s a way out. Nap Eyes escapes from these harrowing thoughts through the art of sheer perseverance or the act of playing the guitar. The songs bounce steadily from paranoid to pleasant with the help of Nigel’s calm half-talking, half-singing drawl. If he wasn’t influenced by the likes of Lou Reed or Bob Dylan then the three sure have an effective vocal tool in common. Nigel does a great job at slowly leading us into his state of mind. Even when everything feels bad, Nigel is defiant, and refuses to accept that things are only meant to bring him down.
The 4-piece band can jam anywhere from the more traditional rock & roll path to the lightly strummed country route. They have a bright future in the current overcrowded indie rock scene. Not only is the album comfortably extensive, but the lyrics remain compelling and thought provoking the whole way through. For instance, the cornerstone of the entire project, ‘White Disciple’ comes near the end. In years past the band has made the long list for the Polaris music prize. This year, I’m Bad Now has received critical acclaim. If they continue to be subtly dynamic, they will have a great future.
Instead of a headline-grabbing twitter rant, Nap Eyes delivers a composed and concentrated folk-rock album. Nova Scotia may be far away to us Americans, but the feelings of being in a senseless universe rings true around the world.
February
Microshift – Hookworms
Like the opening baseline on ‘Negative Space’, Hookwarms returns to the noise rock scene with astute timing. A lot has happened in the 4 years since The Hum, including the flooding of their home studio. With the hub of their creativity gone the band is left to put the pieces back together. Fortunately for listeners they do so in a more organized and less cluttered way. Microshift is our album of the month because the Leeds band, famous for their loud noise rock shows, accomplishes much more this go around, with less.
Throughout Microshift the air is filled with noticeably less noise. Each song instead has a recognizable center that gives it direction. Even with a 7-minute mountain of a track like ‘Ullswater’ there is never a moment that comes across as overindulgent or aimless. Hookworms does a great job at keeping the energy high with the pulsating bass line. We’re not just left clenching our fist in excitement neither. Instead, we’re carefully transitioned to different parts of the track under the guide of MJ’s soothing vocals. Even on tracks where it’s easy to get dazed by, like the highlight, ‘Boxing Day’ the euphoria is contained to 2 minutes and some change. The real essence of that track is the misery it exudes and the euphoric climax it ends with. Lead singer, Matthew Johnson appears to be at the end of a lot of painful experiences in his life and isn’t afraid to let those demons out his closet on Microshift -- which is ironically a major shift for the band in both content and sound.
Even though Hookworms revives themselves after a painfully long hiatus with ease, its safe to say this wasn't as easy obstacle to overcome. Moreover, making a fantastically vulnerable and honest project is even more of a challenge. MJ is far from okay, but he seems to be okay with that. He brings up a few sensitive topics across the album. He opens up about insecurities about his own body image. There’s also an existential crisis that looms over the chilling song ‘Static Resistance’. The demons inside of MJ’s closet are later cleared with the grace that sweeps across tracks like the smooth mid-album highlight, ‘Soft Season’. The bubbling synths grounded into the DNA of the track create a steady undercurrent that the song moves over. This is widely different than the harsh waters that illustrate the backdrop of their previous work.
Hookworms has learned to manipulate their sonic environment with less noise. The art of minimalism is still far from their wheelhouse but they look to be heading in a similar direction. More noise and psychedelic rock groups can learn a lot from experimenting into different areas of the genre. Hookworms insights have helped them develop compelling instrumentals in what looks to be one of rocks brightest moments of 2018.
Throughout Microshift the air is filled with noticeably less noise. Each song instead has a recognizable center that gives it direction. Even with a 7-minute mountain of a track like ‘Ullswater’ there is never a moment that comes across as overindulgent or aimless. Hookworms does a great job at keeping the energy high with the pulsating bass line. We’re not just left clenching our fist in excitement neither. Instead, we’re carefully transitioned to different parts of the track under the guide of MJ’s soothing vocals. Even on tracks where it’s easy to get dazed by, like the highlight, ‘Boxing Day’ the euphoria is contained to 2 minutes and some change. The real essence of that track is the misery it exudes and the euphoric climax it ends with. Lead singer, Matthew Johnson appears to be at the end of a lot of painful experiences in his life and isn’t afraid to let those demons out his closet on Microshift -- which is ironically a major shift for the band in both content and sound.
Even though Hookworms revives themselves after a painfully long hiatus with ease, its safe to say this wasn't as easy obstacle to overcome. Moreover, making a fantastically vulnerable and honest project is even more of a challenge. MJ is far from okay, but he seems to be okay with that. He brings up a few sensitive topics across the album. He opens up about insecurities about his own body image. There’s also an existential crisis that looms over the chilling song ‘Static Resistance’. The demons inside of MJ’s closet are later cleared with the grace that sweeps across tracks like the smooth mid-album highlight, ‘Soft Season’. The bubbling synths grounded into the DNA of the track create a steady undercurrent that the song moves over. This is widely different than the harsh waters that illustrate the backdrop of their previous work.
Hookworms has learned to manipulate their sonic environment with less noise. The art of minimalism is still far from their wheelhouse but they look to be heading in a similar direction. More noise and psychedelic rock groups can learn a lot from experimenting into different areas of the genre. Hookworms insights have helped them develop compelling instrumentals in what looks to be one of rocks brightest moments of 2018.
January
Veteran - JPEGMAFIA
If there is one thing that has remained a constant in JPEG’s career, it’s his authenticity. The Baltimore rapper is known to relentlessly speak his truth. Despite some of the negative feedback he may receive from pundits or controversy who might start with fringe groups JPEG remains honest about how he feels. This innate fearlessness he brings to Hip-Hop is not only refreshing, but necessary. He continues to speak his mind on the impressive and wildly entertaining, Veteran.
Hip-Hop is currently drowning from a flood of egos and power trips. In order to simultaneously maintain their riches as well as their reputations rappers are slinging massive amounts of subliminal bars. This is not the case on Veteran. Instead, JPEG takes musical integrity as far as possible and sends more direct shots than a diss record from Tupac. Whether he’s letting us know that he absolutely doesn’t care about Neogaf’s death or that he won’t ‘go blonde’ like Kanye, there is a breath of clarity in the way JPEG clears his mind. JPEG doesn’t put on a front, or try to sound tough for the sake of his image, he’s merely being himself. At a time where it’s far easier to follow the crowd, its reassuring to see someone walk the other way.
Now let’s move on to the album details. The production on Veteran exemplifies experimental Hip-Hop at its best! He’s taking unconventional sounds, eerily addictive hooks, and nearly unintelligible instrumentals and making it all feel like it’s exactly what you need to here. For instance, at the start of ‘Real Nega’ the screeching is as gut wrenching as nails on a chalk board. However, JPEG flips this feeling right on its head and fires confident bar after bar. On almost every song in the track list we remarkably get our assumptions disproved.
2018 is off to a great start if Veteran is any indicator. Hip-Hop is in desperate need of a makeover. The once fringe genre is now consumed by millions of fans around the world. Was the years progress, Hip-Hop will only adapt in order to reflect the cultures it’s influencing. I fear the results of this trend will leave the genre unrecognizable to its golden age fans. Some may believe that this is the cost of popularity, and maybe they’re right. Music may need to change because it reflects human nature, which changes with the generations. As long as rappers are creating albums like Veteran to push the genre into unmarked territory with the spirit of Hip-Hop intact then I think we won’t have anything to worry about.
Hip-Hop is currently drowning from a flood of egos and power trips. In order to simultaneously maintain their riches as well as their reputations rappers are slinging massive amounts of subliminal bars. This is not the case on Veteran. Instead, JPEG takes musical integrity as far as possible and sends more direct shots than a diss record from Tupac. Whether he’s letting us know that he absolutely doesn’t care about Neogaf’s death or that he won’t ‘go blonde’ like Kanye, there is a breath of clarity in the way JPEG clears his mind. JPEG doesn’t put on a front, or try to sound tough for the sake of his image, he’s merely being himself. At a time where it’s far easier to follow the crowd, its reassuring to see someone walk the other way.
Now let’s move on to the album details. The production on Veteran exemplifies experimental Hip-Hop at its best! He’s taking unconventional sounds, eerily addictive hooks, and nearly unintelligible instrumentals and making it all feel like it’s exactly what you need to here. For instance, at the start of ‘Real Nega’ the screeching is as gut wrenching as nails on a chalk board. However, JPEG flips this feeling right on its head and fires confident bar after bar. On almost every song in the track list we remarkably get our assumptions disproved.
2018 is off to a great start if Veteran is any indicator. Hip-Hop is in desperate need of a makeover. The once fringe genre is now consumed by millions of fans around the world. Was the years progress, Hip-Hop will only adapt in order to reflect the cultures it’s influencing. I fear the results of this trend will leave the genre unrecognizable to its golden age fans. Some may believe that this is the cost of popularity, and maybe they’re right. Music may need to change because it reflects human nature, which changes with the generations. As long as rappers are creating albums like Veteran to push the genre into unmarked territory with the spirit of Hip-Hop intact then I think we won’t have anything to worry about.
December
I blew on a dandelion and the whole world disappeared – American Pleasure Club
American Pleasure Club, formally known as Teen Suicide, is an indie band from Baltimore, Maryland. Their latest mini-album, I Blew on a dandelion, is a short heartfelt collection of demos. American Pleasure Club is a fresh band to me whose refreshing stripped down approach sounds more authentic and fulfilling than some of the most expertly mastered albums money can buy.
The album is a testament to the craft of music making itself, and how maybe less is more. Some other elements of the project that caught my ear were the intimate and absorbing lyrics. The memories they capture in their verses are impressively poetic, and at times sadly honest. For instance, on the standout track ‘to be unburdened longer’ Sam repeats the heavy-hearted line ‘I hope that you’re happy, with me’. In an age where love all too often is talked about like it’s a one-way street, the moments where someone takes risks and considers their lovers happiness over their own is all the more fulfilling, principally because it’s all the more human.
Humans are inherently flawed. In the same spirit, the human error up and down this album is refreshingly unapologetic. Whether it’s the wrong key being played, or unfinished voice memos being played before songs start, nothing is being covered up here. There is a sacred element of humanity that is the centerpiece to I blew on a dandelion. Maybe it’s a little overdone on some cuts, but I think it’s much worse when some of the magic is lost in an album because of excessive mixing and mastering. There’s no artificial product here, just a band, and a recording. Consequently, there’s a part of me that hopes I never get to hear these songs in their finished stages, because I love them for what they are, flaws and all.
The album is a testament to the craft of music making itself, and how maybe less is more. Some other elements of the project that caught my ear were the intimate and absorbing lyrics. The memories they capture in their verses are impressively poetic, and at times sadly honest. For instance, on the standout track ‘to be unburdened longer’ Sam repeats the heavy-hearted line ‘I hope that you’re happy, with me’. In an age where love all too often is talked about like it’s a one-way street, the moments where someone takes risks and considers their lovers happiness over their own is all the more fulfilling, principally because it’s all the more human.
Humans are inherently flawed. In the same spirit, the human error up and down this album is refreshingly unapologetic. Whether it’s the wrong key being played, or unfinished voice memos being played before songs start, nothing is being covered up here. There is a sacred element of humanity that is the centerpiece to I blew on a dandelion. Maybe it’s a little overdone on some cuts, but I think it’s much worse when some of the magic is lost in an album because of excessive mixing and mastering. There’s no artificial product here, just a band, and a recording. Consequently, there’s a part of me that hopes I never get to hear these songs in their finished stages, because I love them for what they are, flaws and all.
November
Animal Spirits - James Holden & The Animal Spirits
-From the inception of his musical career, James Holden has never been one to adhere to the status quo. In fact, his very appeal rested on his ability to reignite a crowd’s energy from a familiar song. As a veteran DJ and electronics producer, he’s spent some time untangling complex sounds and communicating them in an exciting way. On his latest work, The Animal Spirits, James compliments pro tools and computer programming with a live group of talented musicians.
Instead of orchestrating the groups arrangements James would let them play improv style for however long they wanted. He would afterwards convert these jam sessions into shortened recordings. These shortened recordings would, after countless hours of mixing and engineering, evolve into a set of 9 adventurous bouts of musical expression. Animal spirits is an aspiring album of continued growth from an ambitious artist. Each song is a complex arrangement with paradoxically simple appeal. Holden underpins the tracks by adding earworm hooks that flow into your bones. Whether it’s the attractive snare drum that leads the energy-building ‘Each moment’ or the daunting hauls that overcast ‘Incantations’, the attention to detail and sound creates an experience that is wondrously electrifying.
Instead of orchestrating the groups arrangements James would let them play improv style for however long they wanted. He would afterwards convert these jam sessions into shortened recordings. These shortened recordings would, after countless hours of mixing and engineering, evolve into a set of 9 adventurous bouts of musical expression. Animal spirits is an aspiring album of continued growth from an ambitious artist. Each song is a complex arrangement with paradoxically simple appeal. Holden underpins the tracks by adding earworm hooks that flow into your bones. Whether it’s the attractive snare drum that leads the energy-building ‘Each moment’ or the daunting hauls that overcast ‘Incantations’, the attention to detail and sound creates an experience that is wondrously electrifying.
October
Masseduction - St. Vincent
Masseduction is the 5th go around for art pop songstress, Annie Clark. In those five years, her band, St. Vincent, has grown in two impressive metrics simultaneously – those being popularity and critical acclaim. While her last self-titled album got her a Grammy it also allowed her go on the largest tour of her career. Annie’s artistry never came across as begging to be accepted, but rather it was unapologetically indie, almost counter cultural. Furthermore, as the band started getting greater attention in the industry Annie remained committed to making music along her musical convictions, and continued to make ambitious albums that exuded her authentic self. Those ambitions stretch into her latest project, Masseducation, which is a colorful array of vibrant sounds Annie’s one-of-a-kind take on modern society.
Deep cuts, ‘New York’ and ‘Happy Birthday, Johnny’ showcase St. Vincent in a light that may be unfamiliar to fans, new and old. No longer is persona dressed in lavish synths and decorated by whimsical vocals and thought-provoking lyrics. In these two cuts, all her additional arrangements are pulled back, and what is left is an artist who’s experiencing pain and grief like the rest of us. It’s a refreshing and motivational take on a life that is too often glamorized by fake ideals. St. Vincent admirably uses her heightened status to take off the makeup, and show us her true and honest skin. This new attempt at vulnerability works because she strips down the pro-tools-delivered charades and presents an honest depiction of herself that feels heartbreakingly intimate.
St. Vincent’s last project was praised universally, ranked #1 on numerous publications year-end lists, and was validated the following year with a Grammy. Paradoxically, however, the albums most prominent shortcoming was also its most praised asset. Ergo experimentation. Despite the appeal of her impressive guitar playing, and synthesized electric rock styled production, the album became too saturated in its own internal manipulations. Years later it’s hard to relate to the project mostly because it’s sound never caught on, and it unfortunately probably never will. Annie appears to have learned from this ambitious pursuit, and created another fast-paced art pop thriller, but this time with an experimental cap. For instance, while the album highlight ‘Pills’ hits you early on with a barrage of drums and horns, the rushed energy is quickly controlled by the melodic undertones. Additionally, the static tinged riffs on ‘Los Ageless’ are complimented by the harsh attractiveness of the chorus. The executive producer of the album Jack Antonoff can surely take credit for this wondrous display of controlled ambition.
St. Vincent has grown tremendously from the largely Broadway influenced forbearing’s of her debut. Her gift in song-writing, surpassed only by her stunning vocal abilities, has come together amazingly in 5 outstanding projects. Her latest project is the closest she has ever come to pop, and remarkably enough she hasn’t lost herself in the process. Masseduction takes all the best parts of Annie and puts its’ in a widely accessible package for new and old fans to enjoy alike. I’m extremely proud and impressed with her latest project, and am glad she’s still sticking to her roots when doing the opposite is most definitely easier, and more lucrative. As the lyrics suggest in the chorus of ‘Hang on me’, Annie is an outside, and likes it that way. She’s a voice for the those who proudly won’t conform, and remove parts of themselves, just to fit into a world, they weren’t meant for.
Deep cuts, ‘New York’ and ‘Happy Birthday, Johnny’ showcase St. Vincent in a light that may be unfamiliar to fans, new and old. No longer is persona dressed in lavish synths and decorated by whimsical vocals and thought-provoking lyrics. In these two cuts, all her additional arrangements are pulled back, and what is left is an artist who’s experiencing pain and grief like the rest of us. It’s a refreshing and motivational take on a life that is too often glamorized by fake ideals. St. Vincent admirably uses her heightened status to take off the makeup, and show us her true and honest skin. This new attempt at vulnerability works because she strips down the pro-tools-delivered charades and presents an honest depiction of herself that feels heartbreakingly intimate.
St. Vincent’s last project was praised universally, ranked #1 on numerous publications year-end lists, and was validated the following year with a Grammy. Paradoxically, however, the albums most prominent shortcoming was also its most praised asset. Ergo experimentation. Despite the appeal of her impressive guitar playing, and synthesized electric rock styled production, the album became too saturated in its own internal manipulations. Years later it’s hard to relate to the project mostly because it’s sound never caught on, and it unfortunately probably never will. Annie appears to have learned from this ambitious pursuit, and created another fast-paced art pop thriller, but this time with an experimental cap. For instance, while the album highlight ‘Pills’ hits you early on with a barrage of drums and horns, the rushed energy is quickly controlled by the melodic undertones. Additionally, the static tinged riffs on ‘Los Ageless’ are complimented by the harsh attractiveness of the chorus. The executive producer of the album Jack Antonoff can surely take credit for this wondrous display of controlled ambition.
St. Vincent has grown tremendously from the largely Broadway influenced forbearing’s of her debut. Her gift in song-writing, surpassed only by her stunning vocal abilities, has come together amazingly in 5 outstanding projects. Her latest project is the closest she has ever come to pop, and remarkably enough she hasn’t lost herself in the process. Masseduction takes all the best parts of Annie and puts its’ in a widely accessible package for new and old fans to enjoy alike. I’m extremely proud and impressed with her latest project, and am glad she’s still sticking to her roots when doing the opposite is most definitely easier, and more lucrative. As the lyrics suggest in the chorus of ‘Hang on me’, Annie is an outside, and likes it that way. She’s a voice for the those who proudly won’t conform, and remove parts of themselves, just to fit into a world, they weren’t meant for.
September
Omnion - Hercules & Love Affair
Andy creates dance music that goes beyond the typical tropes of the genre. Rather than enjoying the music for its kinetic energy to dancing and partying Omnion is a sonic space of deeper thoughts and higher concepts. Conceptually, this album dives straight into the fight against addiction Andy faced in the recent years. Moreover, like his fight, he recruits external help to greater his chances of beating the sickness for good. If he feels anything like the album sounds, he made it out very well.
There is a long list of problems Andy has faced in his life, from drug addiction, to opportunistic friends, and a homophobic family. It only makes sense therefore for the album to open up from the perspective of a child asking some authority figure ‘why have you put so much in my life, to fight?’. The title track ‘Omnion’ here is surrounded by rainy-day styled percolations that set the listener on a descent to an utter existential crisis. His problems are a common theme throughout the project, and although he isn’t the vocalist on a majority of the songs they each excellently capture various elements of that pain.
Musically this album is out of its world. Music lovers knew about Andy’s gift for blending house music with more serious themes and electronic production, so this stellar display was no surprise. The darker themes are matched by lower keys, creating a cloudy soundscape for the album. These depressing topics however don’t diminish Hercules from fusing genres like dance (‘Lies’) and EDM (‘Fools Wear Crowns’) and sometimes even R&B (‘Running’) to create this futuristic hybrid of dance that takes multiple enjoyable listens to fully digest. Recapturing his voice after his recent hiatus, it’s a relief that Andy has not lost his ambition in production.
Andy may have problems that erupted through his ascent into mainstream popularity, but it doesn’t make his personal conflict any less common. Whether that’s another mass shooting, or a family that has a hard time loving you for your authentic self, there’s a thread that can connect this album to just about anybody. Whenever I picture dance music at its most celebrated an image of a sensual night club comes to mind, with suspicious paraphernalia deposited throughout the rooms. Omnion can justly exist in that realm, but what makes it an outstanding project is the liner notes that brings us to terms with our own narratives, and conflicts we deal with on a daily basis.
There is a long list of problems Andy has faced in his life, from drug addiction, to opportunistic friends, and a homophobic family. It only makes sense therefore for the album to open up from the perspective of a child asking some authority figure ‘why have you put so much in my life, to fight?’. The title track ‘Omnion’ here is surrounded by rainy-day styled percolations that set the listener on a descent to an utter existential crisis. His problems are a common theme throughout the project, and although he isn’t the vocalist on a majority of the songs they each excellently capture various elements of that pain.
Musically this album is out of its world. Music lovers knew about Andy’s gift for blending house music with more serious themes and electronic production, so this stellar display was no surprise. The darker themes are matched by lower keys, creating a cloudy soundscape for the album. These depressing topics however don’t diminish Hercules from fusing genres like dance (‘Lies’) and EDM (‘Fools Wear Crowns’) and sometimes even R&B (‘Running’) to create this futuristic hybrid of dance that takes multiple enjoyable listens to fully digest. Recapturing his voice after his recent hiatus, it’s a relief that Andy has not lost his ambition in production.
Andy may have problems that erupted through his ascent into mainstream popularity, but it doesn’t make his personal conflict any less common. Whether that’s another mass shooting, or a family that has a hard time loving you for your authentic self, there’s a thread that can connect this album to just about anybody. Whenever I picture dance music at its most celebrated an image of a sensual night club comes to mind, with suspicious paraphernalia deposited throughout the rooms. Omnion can justly exist in that realm, but what makes it an outstanding project is the liner notes that brings us to terms with our own narratives, and conflicts we deal with on a daily basis.
August
Call It Love - Briana Marela
Sometimes love can feel like a dream. At one moment, those attachments and bonds are the realest aspects of life that matter and in the next moment there’s little to know sign that they ever existed and finding context for what made the time special becomes harder and harder to gather. Whilst embraced in those euphoric experiences you share with special people in your lives there above floats an air of endless emotions. It’s hard to hold on to just one emotion, cause before you know it, the relationship could all be over. This is where we find Briana, conflict within the fray, and ferociously lost within it.
Guided by the attractive inviting aura of early love she’s desperately trying to let her feelings be felt and heard. This sentiment is hit on the top of our heads with the endless echoes of ‘Give me your love, I want it all’s’ on ‘Give Me Your Love’ and ‘I love You’s’ on ‘I’m Sorry’. The front half of the project is placed in this dazzling atmosphere of swirling smooth synths and chiming bells, complemented by radiant beaming background vocals.
By the midpoint these once cozy feelings start to unravel. The environment is suddenly menacing, with bright synths clouded by their darker counterparts, building anxiety across the sonic landscape. Briana even starts ‘Quit’ by explaining how she woke up one day and ‘things were not the same’. The growing ambiguousness of the relationship leaves a lot of boundaries unclarified. We’re lead thereafter to the center piece of the project in ‘Call It Love’ finding Briana questioning assumptions on where she and her lover stand in the relationship. The production blasts and waves with the fervor of a miserable subject. This much unsureness has begun to weigh down on her emotional and mental state, doubly drawing on the strings of her self-esteem, compromising her genuine happiness.
This sudden dream turned bad storm lead us to tracks which showcase Briana coming to terms with herself and what gives life meaning outside of how others view her. We hear this in ‘Rise’ where she feels lost both in the world and in herself. Existential crisis’s are more apparent in this digital age of instant gratification and thin-layered happiness. Briana has to come to terms with living in a state of self-appreciation, so that any positive output towards a lover has legitimate backing to it. Only then will she and her lover both ‘Call it Love’, and hopefully, for life.
Guided by the attractive inviting aura of early love she’s desperately trying to let her feelings be felt and heard. This sentiment is hit on the top of our heads with the endless echoes of ‘Give me your love, I want it all’s’ on ‘Give Me Your Love’ and ‘I love You’s’ on ‘I’m Sorry’. The front half of the project is placed in this dazzling atmosphere of swirling smooth synths and chiming bells, complemented by radiant beaming background vocals.
By the midpoint these once cozy feelings start to unravel. The environment is suddenly menacing, with bright synths clouded by their darker counterparts, building anxiety across the sonic landscape. Briana even starts ‘Quit’ by explaining how she woke up one day and ‘things were not the same’. The growing ambiguousness of the relationship leaves a lot of boundaries unclarified. We’re lead thereafter to the center piece of the project in ‘Call It Love’ finding Briana questioning assumptions on where she and her lover stand in the relationship. The production blasts and waves with the fervor of a miserable subject. This much unsureness has begun to weigh down on her emotional and mental state, doubly drawing on the strings of her self-esteem, compromising her genuine happiness.
This sudden dream turned bad storm lead us to tracks which showcase Briana coming to terms with herself and what gives life meaning outside of how others view her. We hear this in ‘Rise’ where she feels lost both in the world and in herself. Existential crisis’s are more apparent in this digital age of instant gratification and thin-layered happiness. Briana has to come to terms with living in a state of self-appreciation, so that any positive output towards a lover has legitimate backing to it. Only then will she and her lover both ‘Call it Love’, and hopefully, for life.
July
Flower Boy - Tyler, The Creator
Tyler’s public persona versus the inner jazz enthusiastic and appreciator of the lighter things in life via the liner notes of his projects stemming from Bastard has sparked a whirlwind of controversy for the Odd Future front man. He’s been banned from countries both temporarily and seemingly forever, subject to scrutiny over bombastic lyrics, eerily vulgar, and sometimes too-childish behavior during interviews and live shows. He’s an anomaly to many, and while some have dismissed him as a half talented 2nd rate rapper, others (I included) have been committed to enjoying his growth as both an artist and person and for the world to finally see the talent that this young creative has to offer.
While Bastard and Goblin may have rightfully been flagged by many critiques as crazed and directionless, at times there was plenty to appreciate about both projects. Tyler was not only finding his personal voice as an artist, and rubbing skeptics the wrong way, (for sure, intentionally) but his instrumentation was noticeably concise and slick. Moreover, with production credits on both projects it was known by invested listeners that this artist had layers of artistic ability just getting ready to shine through to the masses.
As the years progressed and his group mates Frank and Syd proved to the world that their artistry was acclaim worthy and brilliant Tyler was seemingly left behind. While Frank was receiving Grammy recognition and working on projects with the likes of Beyonce, Jay-Z and Kanye West Tyler was producing albums that were displaying exponential growth to close listeners (Wolf and Cherry Bomb) but didn’t exact hit the ball out the park for the entirety of each album. Songs like ‘Bimmer’ and ‘IFHY’ are shockingly vulnerable and beautiful sonically, but then Tyler will hit you with a confusing banger like ‘Tamale’ and skits that tended to be more frustratingly underdeveloped than linear and chronicle. He gives instrumental integrity another go with Cherry Bombs, where a lot of fans found his sound maturing dramatically, but far too primal recording wise. It’s as if some songs were exported unmixed entirely, and with potential career game changers like ‘Fucking Young’ & Smuckers’ on this album it’s a shame the project didn’t get more appreciation.
All of these missteps and aggravating tweets leads us to Flower Boy, which from the outside looking in comes across as a sarcastic title against the dark and sinister persona displayed in the ‘Yonkers’ music video. This was most likely Tyler’s intent and although most music listeners went into this project skeptical, we all wanted to see if he’d be more along the lines of early OF raunchy Tyler, or more dialed into the instrumental and melodic soundscape he was dabbling into for the past two projects. Refreshingly, we get the latter, and outstandingly so. On this album Tyler reveals some immense maturity, both in lyrical content and sound. The guest singers, such as Rex Orange County and Kilo Kish among many others are early career creatives that bring high quality depth and texture to the songs they appear on. Of coarse Tyler brings back his old friend Frank Ocean on some tracks to really provide sincerity and honesty like very few artists can.
Tyler is uncharacteristically conflicted as well, questioning his image and the ways fans could preserve his actions and artistry. In the opener ‘Forward’ he asks ‘how many raps can I write til I get me a chain? How many chains can I wear until I’m considered a slave?’. Such accessible lyrics permeate throughout anyone coming of age and figuring out who they are and what they want to be. At the same time Tyler gives us a sneak peak of his earnings and the bright future some transactions can put him in. In ‘I Ain’t Got Time’ he goes ‘Been the man with a pickle plan, niggas know the dill, when I sell the carnival, I bet I get a 100 mil’. It’s less about being provocative for the sake of shocking people anymore, but to be shamelessly frank and transparent for the sake of representing his authentic self. Questions about Tyler’s sexuality and artistic standing are now in disarray and many listening aren’t sure they know whom they’re listening to anymore. I’m sure if they give his previous albums and mix tapes a close listen they’ll find that all along he’s been leaving us gems that culminated into this blossoming career game-changer of an album.
-SC
While Bastard and Goblin may have rightfully been flagged by many critiques as crazed and directionless, at times there was plenty to appreciate about both projects. Tyler was not only finding his personal voice as an artist, and rubbing skeptics the wrong way, (for sure, intentionally) but his instrumentation was noticeably concise and slick. Moreover, with production credits on both projects it was known by invested listeners that this artist had layers of artistic ability just getting ready to shine through to the masses.
As the years progressed and his group mates Frank and Syd proved to the world that their artistry was acclaim worthy and brilliant Tyler was seemingly left behind. While Frank was receiving Grammy recognition and working on projects with the likes of Beyonce, Jay-Z and Kanye West Tyler was producing albums that were displaying exponential growth to close listeners (Wolf and Cherry Bomb) but didn’t exact hit the ball out the park for the entirety of each album. Songs like ‘Bimmer’ and ‘IFHY’ are shockingly vulnerable and beautiful sonically, but then Tyler will hit you with a confusing banger like ‘Tamale’ and skits that tended to be more frustratingly underdeveloped than linear and chronicle. He gives instrumental integrity another go with Cherry Bombs, where a lot of fans found his sound maturing dramatically, but far too primal recording wise. It’s as if some songs were exported unmixed entirely, and with potential career game changers like ‘Fucking Young’ & Smuckers’ on this album it’s a shame the project didn’t get more appreciation.
All of these missteps and aggravating tweets leads us to Flower Boy, which from the outside looking in comes across as a sarcastic title against the dark and sinister persona displayed in the ‘Yonkers’ music video. This was most likely Tyler’s intent and although most music listeners went into this project skeptical, we all wanted to see if he’d be more along the lines of early OF raunchy Tyler, or more dialed into the instrumental and melodic soundscape he was dabbling into for the past two projects. Refreshingly, we get the latter, and outstandingly so. On this album Tyler reveals some immense maturity, both in lyrical content and sound. The guest singers, such as Rex Orange County and Kilo Kish among many others are early career creatives that bring high quality depth and texture to the songs they appear on. Of coarse Tyler brings back his old friend Frank Ocean on some tracks to really provide sincerity and honesty like very few artists can.
Tyler is uncharacteristically conflicted as well, questioning his image and the ways fans could preserve his actions and artistry. In the opener ‘Forward’ he asks ‘how many raps can I write til I get me a chain? How many chains can I wear until I’m considered a slave?’. Such accessible lyrics permeate throughout anyone coming of age and figuring out who they are and what they want to be. At the same time Tyler gives us a sneak peak of his earnings and the bright future some transactions can put him in. In ‘I Ain’t Got Time’ he goes ‘Been the man with a pickle plan, niggas know the dill, when I sell the carnival, I bet I get a 100 mil’. It’s less about being provocative for the sake of shocking people anymore, but to be shamelessly frank and transparent for the sake of representing his authentic self. Questions about Tyler’s sexuality and artistic standing are now in disarray and many listening aren’t sure they know whom they’re listening to anymore. I’m sure if they give his previous albums and mix tapes a close listen they’ll find that all along he’s been leaving us gems that culminated into this blossoming career game-changer of an album.
-SC
June
Melodrama - Lorde
Melodrama shines as one of the best pop projects to come out in the past decade. Lorde has delivered a tightly sequenced sophomore album that has lingering ramifications in the idle listener of today’s age. She’s touching upon youth, and the foray of drama that characterizes it. At a chipper 20 years old Lorde recognizes she’s only on the onset of many issues adult life has to offer but she’s more than aware of the emotional toll it takes to navigate successfully through it.
Fast and bottomless love is a reoccurring theme throughout Melodrama. It’s heard shamelessly on ‘Perfect Places’ where Lorde describes a night where she ‘meet somebody, take 'em home, let's kiss and then take off our clothes’. It’s evident here that she’s trying to capture the voice of a generation, whose search for instant gratification and a source of self-esteem contradicts and poses a threat to their happiness. Lorde however seems to be doing fine, most of the time, and is enjoying a wide breadth of opportunities and people open to her. Whether its celebrating forbidden love on ‘The Louvre’ or the reckless fun lifestyle on ‘Homemade Dynamite’, Lorde is outstandingly clear of her own vices, and what entices them.
What makes Melodrama especially exceptional are it’s solemn moments that bring emotions from the highs down to a face-to-face. Like on the Liability Reprise those sentiments of feeling like overused cargo are echoed in an engaging and catchy atmospheric space where Lorde surprisingly sounds at home using auto-tune, Justin Vernon style. Conjuring up the courage to lament for exes in a coy way, Kate Bushesque, is a strong mark on the album as well, with ‘Writer In the Dark’ when Lorde explores the unfortunate situation she puts her former boyfriend in by being a artist.
Dynamic enough to reach fans with multiple tastes and preferences Lorde has wonderfully made an accessible thought-provoking project for years to come. Like her previous project Pure Heroine she’s showed up to present a life update that displays her as flawed but painstakingly aware and okay with her life. I can’t wait for the next one, but ill be glad to take my time with Melodrama.
Fast and bottomless love is a reoccurring theme throughout Melodrama. It’s heard shamelessly on ‘Perfect Places’ where Lorde describes a night where she ‘meet somebody, take 'em home, let's kiss and then take off our clothes’. It’s evident here that she’s trying to capture the voice of a generation, whose search for instant gratification and a source of self-esteem contradicts and poses a threat to their happiness. Lorde however seems to be doing fine, most of the time, and is enjoying a wide breadth of opportunities and people open to her. Whether its celebrating forbidden love on ‘The Louvre’ or the reckless fun lifestyle on ‘Homemade Dynamite’, Lorde is outstandingly clear of her own vices, and what entices them.
What makes Melodrama especially exceptional are it’s solemn moments that bring emotions from the highs down to a face-to-face. Like on the Liability Reprise those sentiments of feeling like overused cargo are echoed in an engaging and catchy atmospheric space where Lorde surprisingly sounds at home using auto-tune, Justin Vernon style. Conjuring up the courage to lament for exes in a coy way, Kate Bushesque, is a strong mark on the album as well, with ‘Writer In the Dark’ when Lorde explores the unfortunate situation she puts her former boyfriend in by being a artist.
Dynamic enough to reach fans with multiple tastes and preferences Lorde has wonderfully made an accessible thought-provoking project for years to come. Like her previous project Pure Heroine she’s showed up to present a life update that displays her as flawed but painstakingly aware and okay with her life. I can’t wait for the next one, but ill be glad to take my time with Melodrama.
May
The Days We Had - Day Wave
As can be presumed by the title and the lingering stare into the abyss by Philip on the cover this album takes a look into the past. Heavily drenched in lyrics addressing former relationships, some kind and others regrettable, The Days We Had paint memories with delightfully bright colors. Even when the feelings aren’t so happy, and more cautious, like on ‘Promises’ there is a positive-centric groove driving the tune. This album couldn’t put you more into a happy place if it was an elated newborn golden retriever on your news-feed.
The first thought that comes to mind when one mentions Dream-Pop is the euphoric sensation it brings with its colorful blend of synthetic instruments and textured vocals. On The Days We Had such a description firmly holds true. Excellently mixed, Philips vocals appears to be just one of the sonic tools used to emit joy and genuine happiness on the record. Such can be heard on the song ‘Home’ where the entire track, including the verse, are repeated steadily together to generate this giant beautiful tribute to home. There’s such a lack of a need for a defiant presence in the vocal section of the album that the instrumental ‘Bloom’ doesn’t sound out of place.
Although Synthesizers are flooding the market with no clear end in sight the sound of the project doesn’t come across as heard-before. Instead Day Wave presents a great introduction to their world and the seamless ease they occupy within it. A strong get-away outlet here, with plenty to pick apart and talk over. For the month of May this has been in constant rotation, and I’ve come to inhabit a need for music to take me someplace dreamy and carefree. Maybe it’s because I see it somewhere in the past, like this album suggests.
The first thought that comes to mind when one mentions Dream-Pop is the euphoric sensation it brings with its colorful blend of synthetic instruments and textured vocals. On The Days We Had such a description firmly holds true. Excellently mixed, Philips vocals appears to be just one of the sonic tools used to emit joy and genuine happiness on the record. Such can be heard on the song ‘Home’ where the entire track, including the verse, are repeated steadily together to generate this giant beautiful tribute to home. There’s such a lack of a need for a defiant presence in the vocal section of the album that the instrumental ‘Bloom’ doesn’t sound out of place.
Although Synthesizers are flooding the market with no clear end in sight the sound of the project doesn’t come across as heard-before. Instead Day Wave presents a great introduction to their world and the seamless ease they occupy within it. A strong get-away outlet here, with plenty to pick apart and talk over. For the month of May this has been in constant rotation, and I’ve come to inhabit a need for music to take me someplace dreamy and carefree. Maybe it’s because I see it somewhere in the past, like this album suggests.
April
DAMN. - Kendrick Lamar
There are few artists who make music with as much purpose as Kendrick Lamar. Not only that, but even fewer that excel at coming up with refreshing and powerful statements time and time again. It’s truly a gift to be able to witness this guy’s rise in music’s hierarchy and the direction his sound has taken.
K Dot is far from happy, quite the opposite frankly, a sign-of-the-times really, sharing a unique kind of discontent. He’s less bothered by the immediate satisfaction and fast tale lifestyle of most people these days (we hear some of that on songs like HUMBLE.) and more bothered by people’s disconnect to real emotions, caring for each other’s (no one’s praying for him apparently) and living an authentic life. Throughout DAMN. Kendrick is not just expressing base emotions such as pain, lust, and love but really living them all throughout their respective songs, bringing them up as different narrators, catchy hooks, and pushing the boundaries in order to convey a self-reflection on the listener.
We all can attest that life is difficult and it would be much easier to live without caring much about a lot of things, there would be less to get hurt over, and more excuses to celebrate. However, DAMN.’s purpose is to present to us that a lifestyle handed off to those meager thrills disrespectfully handles life’s more intricate wonders. For instance, on the closing track DUCKWORTH. Without a seemingly casual conversation about a chicken spot in California Kendrick never would have known the unlikely paths two very important people in his life had shared in the past.
To take such agency and control on those wonders in life is to give life the meaning it deserves. It shouldn’t be a far cry to want a world where one loves their close friends and family, pushes for a more respectful society, and yearns for people to have stronger self-esteem. Maybe one day, Kendrick, maybe one.
K Dot is far from happy, quite the opposite frankly, a sign-of-the-times really, sharing a unique kind of discontent. He’s less bothered by the immediate satisfaction and fast tale lifestyle of most people these days (we hear some of that on songs like HUMBLE.) and more bothered by people’s disconnect to real emotions, caring for each other’s (no one’s praying for him apparently) and living an authentic life. Throughout DAMN. Kendrick is not just expressing base emotions such as pain, lust, and love but really living them all throughout their respective songs, bringing them up as different narrators, catchy hooks, and pushing the boundaries in order to convey a self-reflection on the listener.
We all can attest that life is difficult and it would be much easier to live without caring much about a lot of things, there would be less to get hurt over, and more excuses to celebrate. However, DAMN.’s purpose is to present to us that a lifestyle handed off to those meager thrills disrespectfully handles life’s more intricate wonders. For instance, on the closing track DUCKWORTH. Without a seemingly casual conversation about a chicken spot in California Kendrick never would have known the unlikely paths two very important people in his life had shared in the past.
To take such agency and control on those wonders in life is to give life the meaning it deserves. It shouldn’t be a far cry to want a world where one loves their close friends and family, pushes for a more respectful society, and yearns for people to have stronger self-esteem. Maybe one day, Kendrick, maybe one.
March
Alice Jemima - Alice Jemima
An rising star entering the music scene worth recognizing now. Alice Jemima is a British songstress with a cute, quaint personality that is both enticing yet easily forgetful. However, what she lacks in stage presence and oblique pop appeal she gains in subtle sensuality and the intricate sonic details in her music. The swift electric R&B she is emitting contains a foreground of gorgeous acoustic melodies that has the capabilities of capturing the world by quiet storm.
Off first listen it may appear Alice is unimaginative or monotone in her delivery, but a closer review undoubtedly draws a brighter conclusion. Not just is she focused, and deliver's beautiful new age electro-soul ballads like 'Take Me There' and 'Cocoa Liquor', but she has a knack for the classics, such as 'No DIggity' and a harsh side that she exudes on the undeniable 'Dodged a bullet'.
Airy semi-convoluted cadences to her breathes on anthems like 'When You Dance' and 'Live for Now' display her clear Lana influence whose she's been known to revel over in interviews. But it's the more shy approach to her lyrical content and conservative song arrangements, that may put Alice into a more accessible career lane than the Brooklyn songstress. Fermenting her position in the industry is far too complex to analyze into in such a short cheer of her impressive debut, but if i had to place my beats, I'd put my money on Alice.
Off first listen it may appear Alice is unimaginative or monotone in her delivery, but a closer review undoubtedly draws a brighter conclusion. Not just is she focused, and deliver's beautiful new age electro-soul ballads like 'Take Me There' and 'Cocoa Liquor', but she has a knack for the classics, such as 'No DIggity' and a harsh side that she exudes on the undeniable 'Dodged a bullet'.
Airy semi-convoluted cadences to her breathes on anthems like 'When You Dance' and 'Live for Now' display her clear Lana influence whose she's been known to revel over in interviews. But it's the more shy approach to her lyrical content and conservative song arrangements, that may put Alice into a more accessible career lane than the Brooklyn songstress. Fermenting her position in the industry is far too complex to analyze into in such a short cheer of her impressive debut, but if i had to place my beats, I'd put my money on Alice.
February
Process - Sampha
Be it the gorgeous steady crooning on his debut EP ‘Dual’ or the modern soul vocal performances on greater known artist’s work (Cue Drake, Frank, and Solange) Sampha was long perceived to be the star he is currently growing into. Relationships are some of the hardest interpersonal experiences one has to, almost pathologically, reenter and repeat in order to find true happiness. What’s truly striking are the people who are comfortable in the failure of them, not in the way that they end but to the conclusions and realizations that they sponsor. It’s all a harrowing process which Sampha takes us on, steadily.
Apart from being confident enough to reach into those insecurities and exude them passionately and delicately Sampha gives moments on the album which reflect pure agony. His reserved singing voice requests an even keener ear, and it even gets to a point where I think Sampha notices it, like on the opening lines of ‘Timmy’s Prayer’. Of course this latter point is to be taken lightly, but what isn’t light is the production direction taken here. His dynamic position is concurrently inspired from the sharp silent electronic movement, popularized by the XX and James Blake, the Scottish accordion, and classic singer-songwriter motif on the stand out single, ‘No one knows me’.
In an era where only revealing the glorious victories of life are overwhelmingly exported, having a mighty successful artist go to the extent that Sampha has to unleash the heart-wrenching experiences on his life is purely comforting and relieving. For many people, this process of kept in misery is altogether very true, and a daily conscious act they must undertake.
Even family gets mixed into his many sacrifices that fame has exchanged with him, drawing on a dawning outro in ‘Shouldn’t I Be’ where his current goal is still unknown, but the trajectory is getting straightened out in the process.
Apart from being confident enough to reach into those insecurities and exude them passionately and delicately Sampha gives moments on the album which reflect pure agony. His reserved singing voice requests an even keener ear, and it even gets to a point where I think Sampha notices it, like on the opening lines of ‘Timmy’s Prayer’. Of course this latter point is to be taken lightly, but what isn’t light is the production direction taken here. His dynamic position is concurrently inspired from the sharp silent electronic movement, popularized by the XX and James Blake, the Scottish accordion, and classic singer-songwriter motif on the stand out single, ‘No one knows me’.
In an era where only revealing the glorious victories of life are overwhelmingly exported, having a mighty successful artist go to the extent that Sampha has to unleash the heart-wrenching experiences on his life is purely comforting and relieving. For many people, this process of kept in misery is altogether very true, and a daily conscious act they must undertake.
Even family gets mixed into his many sacrifices that fame has exchanged with him, drawing on a dawning outro in ‘Shouldn’t I Be’ where his current goal is still unknown, but the trajectory is getting straightened out in the process.
January
Nothing Feels Natural - Priests
Working off a social landscape that’s exploding with rage, tension, and excitement it’s no wonder the quasi-political punk band exudes confidence in this field. Their last project, Bodies and Control and Money and Power shared some uniquely poignant political references to subjects such as the president and the current cultural climate of the country. Therefore, with Nothing Feels Natural it has been much anticipated, and rightly so, to hear how this band, expectantly from DC, feels about America in its current state.
Priests vocalist, Katie Alice Greer, plays excellently off the forever shifting instrumentals, withdrawing passionate scenes of love lost, anger, frustration and disgust with different happenings in her life. For example, on ‘JJ’, it is more acceptable to utterly bash this ex of hers than give him any credit for sharing some time with her in her life. I’m sure at one point she liked him. Also on ‘Lelia 2.0’ where someone who is clearly bad for her is being welcomed to return into her life. There’s little conscious reference to any good this sinister character might bring, yet their allure is unnerving.
Priests has the uncanny talent of relinquishing passion for both social and political observations on the same album in a very natural way, contrary to the album title. Their digest for the hierarchy and its abuses, including the police, resonates well on songs like ‘Sucks’ with the following line:
‘I was walking down the street, lady said to me, "it's always white boys like you obsessed with the police.’
The how the direct mention of police brutality is not mentioned but the overzealous coverage of its occurrence and obsession over its explicit images are mistakenly caught and cleverly referred to.
Priests came through with a debut album which is as sharp and confident as any veteran artist could have delivered. They also made an accessible project that is sonically pleasing in a musical climate that denounces punk music’s legitimacy. In other words, it’s more than impressive to have priests shine in this bright new stratosphere and to say all the things many people have been thinking these past few months.
Priests vocalist, Katie Alice Greer, plays excellently off the forever shifting instrumentals, withdrawing passionate scenes of love lost, anger, frustration and disgust with different happenings in her life. For example, on ‘JJ’, it is more acceptable to utterly bash this ex of hers than give him any credit for sharing some time with her in her life. I’m sure at one point she liked him. Also on ‘Lelia 2.0’ where someone who is clearly bad for her is being welcomed to return into her life. There’s little conscious reference to any good this sinister character might bring, yet their allure is unnerving.
Priests has the uncanny talent of relinquishing passion for both social and political observations on the same album in a very natural way, contrary to the album title. Their digest for the hierarchy and its abuses, including the police, resonates well on songs like ‘Sucks’ with the following line:
‘I was walking down the street, lady said to me, "it's always white boys like you obsessed with the police.’
The how the direct mention of police brutality is not mentioned but the overzealous coverage of its occurrence and obsession over its explicit images are mistakenly caught and cleverly referred to.
Priests came through with a debut album which is as sharp and confident as any veteran artist could have delivered. They also made an accessible project that is sonically pleasing in a musical climate that denounces punk music’s legitimacy. In other words, it’s more than impressive to have priests shine in this bright new stratosphere and to say all the things many people have been thinking these past few months.
December
Run the Jewels 3 - Run the Jewels
Run the Jewels typically comes out guns blazing, full of energy and captivating lyrical rhymes. This time round however they’re exuding a different spirit. Things are more serious now, and although they have history both as a group and as solo artists in rapping about serious subjects, RTJ3 takes on political commentary in a whole new form on this album. Rather than taking a passive complacent stance on the culture and political climate of today the visceral duo tells us to activate our voice and to take progressive steps forward shaping our government in our favor, even if it means uprooted established traditions and revolution (killing our masters).
This isn’t to say there aren’t bars being spit here in lucrative amounts. Tracks like ‘Legends Have It’ and ‘Talk To Me’ showcase their fun flows and uncanny chemistry. This common consensus on flow typically is a treat to witness. Knowingly ‘dropping a classic today’ these two know exactly how good they are, receiving critical acclaim as consistent as any rap group (watch out Tribe and Kast).
It’s important to check out as well that this album is the only cover that doesn’t display a robbery, but rather a standoff. These two are ignited like never before, but that doesn’t necessarily mean they aren’t feeling doubts and woes as well. El-P sounds as discouraged and sad as ever explaining the death of his friend on ‘Thursday in the danger room’. Mike as well gives us the serious repercussions of the drug life and death on family members through his verse on said track too.
The vulnerability and sheer humanism that these two are giving us is something unique all its own. Rare is it seen that a hardcore rap group like themselves are growing as much in diverse production, content and time in career.
This isn’t to say there aren’t bars being spit here in lucrative amounts. Tracks like ‘Legends Have It’ and ‘Talk To Me’ showcase their fun flows and uncanny chemistry. This common consensus on flow typically is a treat to witness. Knowingly ‘dropping a classic today’ these two know exactly how good they are, receiving critical acclaim as consistent as any rap group (watch out Tribe and Kast).
It’s important to check out as well that this album is the only cover that doesn’t display a robbery, but rather a standoff. These two are ignited like never before, but that doesn’t necessarily mean they aren’t feeling doubts and woes as well. El-P sounds as discouraged and sad as ever explaining the death of his friend on ‘Thursday in the danger room’. Mike as well gives us the serious repercussions of the drug life and death on family members through his verse on said track too.
The vulnerability and sheer humanism that these two are giving us is something unique all its own. Rare is it seen that a hardcore rap group like themselves are growing as much in diverse production, content and time in career.
November
Emotions and Math - Margaret Glaspy
‘I was a rolling stone, out on my own’. Margaret’s sincere and honest statement to start off her debut is resolute and demonstrates her willingness to have an empty closet. Through her honestly there is a central theme which pervades the lyrics all across the track listing, and that is being misunderstood. Not just from her friends and ex-boyfriends, but even her parents. On ‘Parental Guidance’ Margaret uses a mocking tone to express the sentiments and lessons her parents gave her growing up. These misguided tips on how to navigate life were centered mostly around conforming rhetoric of ‘play(ing)it cool’, so that ‘everyone likes you’ contrasted with the hypocritical ‘your swell, just as god made you’.
Albeit the lack of clarity she appears to have in her relationships Margaret is extremely transparent on this album. Even when her words don’t say everything, it’s her dynamic voice that displays the inner truths. Her brashness and unapologetic strength about solitude in defense of wanting priority in a relationship in ‘Somebody to Nobody’ is juxtaposed by the longing and vulnerability in her voice. She may say tough things, but her awning in the chorus lets down all barriers and showcases her big heart. There’s love to give in Margaret, it’s just covered with layers of tough life experiences and tragedy.
Albeit the lack of clarity she appears to have in her relationships Margaret is extremely transparent on this album. Even when her words don’t say everything, it’s her dynamic voice that displays the inner truths. Her brashness and unapologetic strength about solitude in defense of wanting priority in a relationship in ‘Somebody to Nobody’ is juxtaposed by the longing and vulnerability in her voice. She may say tough things, but her awning in the chorus lets down all barriers and showcases her big heart. There’s love to give in Margaret, it’s just covered with layers of tough life experiences and tragedy.
October
22, A million – Bon Iver
After a hiatus that we had to endure for what felt like easily over a millennia Justin Vernon’s finest act, Bon Iver, has graced fans and music listeners alike with a new album titled ‘22, A million’. This album, filled with cavernous beats and grunge heavy riffs, with a specialty for the subtle beauty is not for everyone. Some fans may even find it too strong of a shift in direction from their previous work, whose indie rock feats were both experimental and refreshing.
Such songs like ‘666’ and ‘33 God’ have such up-tempo rhythmic patterns and lighter instrumentation that their commercial fans may find pleasantly nostalgic. The pertinent attention to detail is very much evident in this project as well. It’s even been explained by Justin himself how himself and some other artist and engineers crafted a new vocoder type machine in the making of 22. This culminates in a sound that separates Vernon’s voice in a distortion that establishes his presence in the music as foreign and extracted, even other-worldly.
It’s Vernon ability to sound incredibly in tuned with the feelings attributed to love, lost, regret, guilt, divine intervention, and spirituality that has spawned his career in the direction it’s in. 22 is no different, and I even find this technique of musical craftsmanship as more ground-breaking and pathway making due to all of its defining revelations through obscurities. Nothing on this album is predictable, and those pockets of beautify and repeated listens of bliss are what make the album that much better. For instance, once I found out what the sample on ‘22 Over soon’ was about, it elevated my listening experiences for that song and connected me to its message that much more.
This ethereal music was preempted by Justin’s 2015 dynamic ‘Heavenly Father’ as well as his contributions to the Staves, Frank Oceans, and James Blake’s latest projects. ‘715 Creeks’ encompases stripped back, auto-tuned, James Blake-type vulnerability written all over it. Vocally, Justin’s performance is merely a piece of the tracks overall purpose of projecting feelings of lost and reminiscence of love that may now or ever have ‘mean something’. He uses his voice as just another instrument, and it works out resoundingly. Those last few lines on that song alone convey such powerful passion and energy outside of Blake’s comfort or realm of capability. This is why Justin’s one of indie rocks most profound voices and has continued with this project to push the sound of music and artist ambition in the wake of it. Now just listen to ‘8(circle)’ with your eyes closed and enjoy the beauty that this album presents.
Such songs like ‘666’ and ‘33 God’ have such up-tempo rhythmic patterns and lighter instrumentation that their commercial fans may find pleasantly nostalgic. The pertinent attention to detail is very much evident in this project as well. It’s even been explained by Justin himself how himself and some other artist and engineers crafted a new vocoder type machine in the making of 22. This culminates in a sound that separates Vernon’s voice in a distortion that establishes his presence in the music as foreign and extracted, even other-worldly.
It’s Vernon ability to sound incredibly in tuned with the feelings attributed to love, lost, regret, guilt, divine intervention, and spirituality that has spawned his career in the direction it’s in. 22 is no different, and I even find this technique of musical craftsmanship as more ground-breaking and pathway making due to all of its defining revelations through obscurities. Nothing on this album is predictable, and those pockets of beautify and repeated listens of bliss are what make the album that much better. For instance, once I found out what the sample on ‘22 Over soon’ was about, it elevated my listening experiences for that song and connected me to its message that much more.
This ethereal music was preempted by Justin’s 2015 dynamic ‘Heavenly Father’ as well as his contributions to the Staves, Frank Oceans, and James Blake’s latest projects. ‘715 Creeks’ encompases stripped back, auto-tuned, James Blake-type vulnerability written all over it. Vocally, Justin’s performance is merely a piece of the tracks overall purpose of projecting feelings of lost and reminiscence of love that may now or ever have ‘mean something’. He uses his voice as just another instrument, and it works out resoundingly. Those last few lines on that song alone convey such powerful passion and energy outside of Blake’s comfort or realm of capability. This is why Justin’s one of indie rocks most profound voices and has continued with this project to push the sound of music and artist ambition in the wake of it. Now just listen to ‘8(circle)’ with your eyes closed and enjoy the beauty that this album presents.
September
AIM - M.I.A.
The multi-platinum selling global phenomena MIA has stunned listeners and critiques alike (sometimes not all in the same way) with her self-proposed final album, AIM, her initials backwards. The lack of direction from the album can give credit to the backwards feeling that the letters portray, but I find the album has its special nature in its ambitiousness and brash delivery. This is a trait I believe all fans fell in love with the Sri Lankan star since her confident ode to the trials and tribulations of immigration in ‘Paper Planes’.
Reflecting on her own life, and the battle her family undertook as being Sri Lankan refugees, MIA captured the current global refugee crisis very well in ‘Borders’. The chorus stroke the rebellion chord hard with the repeated naming of injustice institutions in the world from borders to police, and politics followed with the affirmative question ‘What's up with that?’. She continues this subject matter of the border with the song ‘VISA’ describing how she ducks down from border patrollers. Hyper social awareness has always been her niche, and although that has given her much praise and has shown that she cares more than her contemporaries, it has also gotten her in a number of controversies.
From being booted from the Afropunk lineup to critiquing the Black Lives Matters movement and the VMA’s her resounding effort to speak for the underrepresented has opened her up to much scrutiny and news headlines, not all that flattering. I find her resolve remarkable, and her lifelong commitment to humanitarian efforts noble and inspiring. She may have found her music could only make so much noise, and that she could be more effective in other parts of the world, like being a global ambassador for a righteous cause (Celebrities like Angelina Jolie, Leonardo DiCaprio, Emma Watson, George Clooney, among many others have successfully accomplished this and continue to work hard for their respective causes).
AIM is her last shot, and I think she aimed and hit her mark pretty well. Her music is as sporadic as her plethora of dedicated passions. Instinctual in her approach to voicing her opinions, MIA will forever be in our hearts and minds as a artist that cared. I can’t realistically see this as her true finale, artist announce retirement all too frequently before they actually close the curtains (check out our comeback album article) and at a young age of 41 she has much more music to produce, and visions to pull ideas from. Until next time.
Reflecting on her own life, and the battle her family undertook as being Sri Lankan refugees, MIA captured the current global refugee crisis very well in ‘Borders’. The chorus stroke the rebellion chord hard with the repeated naming of injustice institutions in the world from borders to police, and politics followed with the affirmative question ‘What's up with that?’. She continues this subject matter of the border with the song ‘VISA’ describing how she ducks down from border patrollers. Hyper social awareness has always been her niche, and although that has given her much praise and has shown that she cares more than her contemporaries, it has also gotten her in a number of controversies.
From being booted from the Afropunk lineup to critiquing the Black Lives Matters movement and the VMA’s her resounding effort to speak for the underrepresented has opened her up to much scrutiny and news headlines, not all that flattering. I find her resolve remarkable, and her lifelong commitment to humanitarian efforts noble and inspiring. She may have found her music could only make so much noise, and that she could be more effective in other parts of the world, like being a global ambassador for a righteous cause (Celebrities like Angelina Jolie, Leonardo DiCaprio, Emma Watson, George Clooney, among many others have successfully accomplished this and continue to work hard for their respective causes).
AIM is her last shot, and I think she aimed and hit her mark pretty well. Her music is as sporadic as her plethora of dedicated passions. Instinctual in her approach to voicing her opinions, MIA will forever be in our hearts and minds as a artist that cared. I can’t realistically see this as her true finale, artist announce retirement all too frequently before they actually close the curtains (check out our comeback album article) and at a young age of 41 she has much more music to produce, and visions to pull ideas from. Until next time.
August
Blond - Frank Ocean
From Japan to Mississippi, France to Mexico, and (to me, most contrasting) Senegal to Germany, Frank Ocean has been living the life of a rock star with the public awareness of a nomad. He’s a mystery in physical form, elusive as a magician, and slick as a fox. Right when you think you have him, he slips away. That is until recently when the reigning leader of the new school of mellow semi-punk PBR&B beckoned to us two treatments in the course of 48 hours. From the daring expressionism in his separation from keeping his muse’s gender neutral Frank has become more comfortable in his sexual identity. This doesn’t necessarily mean that he’s addressing just his relationships with men, there’s plenty mentions of women all throughout the album. The fluidity at which he touches on both creates a very journal-like surrender to the will that eases the listener and gradually allows them into the psyche of the Louisiana singer.
Across the 16 track project Frank gives us everything we need, from his time in Houston after Katrina, dealings with other artist, and past relationships. His take on America’s obsession with materialistic gain in Nikes is refreshing and very important in today’s age. He knows he can be hypocritical too, and doesn’t shy away from the love he has for luxury items like cars.
To some, this new digital age where letting the world know what you’re doing every waking moment can be exhausting and sometimes downright ridiculous, Frank expresses those feelings with the track ‘Facebook Story’. The tale is nothing unusual but is told in such a way that reminds us of the oddness that can be social media at times and the ramifications it has on interpersonal relationships.
We miss the E in blond almost as much as we missed Frank, it’s been one long ride. Until the day of the release there had been theories and speculation on when Frank would release his follow up to the critically acclaimed Grammy award winning Channel Orange. Even Frank partook in those speculations with the quiet videos on apple music and Tumblr post with dates on library book cards. As a music community I think it’s safe to say we love Blond and hope Frank finds time to officially release Endless with tracks downloadable.
Across the 16 track project Frank gives us everything we need, from his time in Houston after Katrina, dealings with other artist, and past relationships. His take on America’s obsession with materialistic gain in Nikes is refreshing and very important in today’s age. He knows he can be hypocritical too, and doesn’t shy away from the love he has for luxury items like cars.
To some, this new digital age where letting the world know what you’re doing every waking moment can be exhausting and sometimes downright ridiculous, Frank expresses those feelings with the track ‘Facebook Story’. The tale is nothing unusual but is told in such a way that reminds us of the oddness that can be social media at times and the ramifications it has on interpersonal relationships.
We miss the E in blond almost as much as we missed Frank, it’s been one long ride. Until the day of the release there had been theories and speculation on when Frank would release his follow up to the critically acclaimed Grammy award winning Channel Orange. Even Frank partook in those speculations with the quiet videos on apple music and Tumblr post with dates on library book cards. As a music community I think it’s safe to say we love Blond and hope Frank finds time to officially release Endless with tracks downloadable.
July
Waking at Dawn - Roy Woods
Roy Woods escapes the barrage of mediocrity in today’s digital age with melismatic falsettos, hazy production, and island-house flavored influences echoing throughout his music. He captures the essence of young love, its contradictions and yearning for understanding. He does this with effortless precision and child-like ambition. It’s no one the biggest rapper in the music industry has this 20-year-old from Brampton, Ontario on His ream, continuing to push forward the sound of contemporary R&B, something his mentor, Drake is the beacon for in the past 5 years.
Waking at Dawn exemplifies what Roy Woods uniquely brings to OVO sound. His production has noticeably less shifts than PARTYNEXTDOOR, the reverb isn’t used as much as Majid Jordan, and the lyrics are simplistic forms of Drizzy melodramatic love Soliloquy’s. Roy, on the other hand, delivers the true sound of the youth, dynamically presenting the mistake-filled, overly confident bravado that enwraps much young adults as they begin to navigate independence in a harsh new world. Roy Woods embraces those challenges with ease and transparency.
On the closing track ‘She Knows about me’, the chorus goes, ‘she knows about me, and I know about her’. This display of a relationship where both partners know each other flaws and know it won’t work out in the end can essentially describe any young adults love life nowadays. His subject matter typically revolves around his love interest, as is seen in ‘Gwan Big Up Urself’, ‘Got Me’ and ‘You Love it’ but also conveys his plight with fame and this new level of artistry he has to uphold. He explains this in the dark, mid-tempo banger, ‘How I feel’, letting us know its ‘OVO right now’ and that he’s ‘stepping up right now’ fearlessly facing life and its obstacles.
In the murky, reverbed PBR&B world that OVO sound dominates Roy Woods is the dark knight. His ability to stay in his lane without poking at the top like some others from Canada (*cough cough* Tory Lanez) is honorable as well as exciting. One of the more obvious pitfalls of the album is its lack of depth, surely a 20-year-old whose life has grossed money and fame experienced by very few in a lifetime makes it much more challenging to convey pain, love, and loss that is relatable, but Roy Woods makes it work. He has much room to grow and I’m excited to see where the up-and-coming star takes his platform and musicality to next. This is practically the dawn of his career, and I’m glad to say I’m awake to admire its’ first rays of brightness.
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June
Johannesburg EP - Mumford & Sons
Mumford & Sons are an example of how the love and massive appeal of pop music is not in its enormous beats and loud choruses, but in its simplicity. From the bands first major smash 'The Cave' to the Grammy-Winning album of the year second coming Babel the U.K. banjo-led folk bad experienced a significant amount of success rather early in their career. They did so without the hard-hitting drums that occupy the hip-hop/rap world, the complexity that accompanies the EDM field, or the homogeneous verse/chorus traditional song structure that is typically found in pop music (I refer you to the likes of Katy Perry, Taylor Swift, Lady Gaga on this point). Instead of following this more safe and predictable career path, Mumford & Sons confidently and unapologetic utilized their English roots, crafted catchy quick -witted tunes and delivered quality albums for music lovers across the world to enjoy and rejoice over. Simplifying the music formula, and stripping away the noise and at times distractions in music can result in the strongest and most competitive artists on the global markets. We see this in the soulful ballad ready English queen of pop, Adele, Moody and heartwarming Sam Smith, as well as the the intimate and uniquely intuitive Ed Sheeran.
What i didn't hear in their last project, 'Wilder Mind' was any conviction attempt to make thier vocal melodies and chord progression interesting. Additionally, they lacked in any thought provoking lyrical content. Each track drifted into the next without making a profound appearance. This all changed with their latest EP, Johannesburg. Coming to South Africa and meeting numerous musicians there like Baaba Mall and Beatenberg, Mumford & Sons have been able to reinvigorate their sound and pop back into the pop world with dignity. This album fuses their relaxed, and cool folk style ensembles into rhythmic groove-heavy songs that transcend genres. If you haven't already, set some time aside out of your day and listen to Johannesburg. You will discover that Mumford & Sons sound eager and willing to try new and exciting things again. At one time, a few years ago there were talks on the rumor mill that the group was going to dabble into hip-hop collaboration, or genre fusions, Jay-Z being one of the artist that would possibly reached out to in this effort. Although this specific plan never manifested into anything i believe its important to note how hip-hop roots, are brought to life in this EP.
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May
Dangerous Woman - Ariana Grande
Not only does the production on ‘Dangerous Woman’ sound grander and more ambitious but Ariana herself is singing in ways that exude her age and sexuality a lot more convincingly and directly. She’s maturing, and as a reflection of being in her early mid-20’s living through young adulthood the Florida-born former Disney star is solidifying her position in the music industry again with a dynamic and strong 3rd studio album. What could have been a clear expression of the typical pop music formula of having A-Listers feature on the album Ariana uses them to showcase her star power and its equality to theirs. As a result, on tracks like ‘Let Me Love You’ and ‘Everyday’ Ariana doesn’t sound generic and formulaic but rather comes across as widening her sound and increasing her accessibility because she earned and is supposed to be there.
On SNL a few months ago Ariana hosted and performed, a tough feat that can only be done by the dual talented actors and singers. Impressively, her skits were a huge success (Who can forget her Rihanna interpretation LOL) and laughable across the Internet waves for days following the show. What made her SNL appearance even more interesting was the quality of music she was performing as the musical act with the singles ‘Be Alright’ and ‘Dangerous Women’. She was hitting those notes as well as dancing, and this display was miles better than just her last album tour performance lay out.
Growth is definitely the first thing to come to mind when it comes to a word to describe ‘Dangerous Woman’. She doesn’t want to feel like the gum and pop female pop star but more like a respected vocalist and hit-maker. That’s why she is being more honest on this track, something she’s known for doing, addressing romance drama/love (Know Better/Forever Boy) and her position in music(Dangerous Woman) alike. Her artistry has expanded proving she’s not afraid to experiment and take risks, both attributes necessary to stay relevant and influential in the music industry. On the raggae influenced ‘Side To Side’ she sounds like a natural, and creates another future smash with Caribbean-born female rap icon in the making Nicki Minaj.
Ariana Grande is a star, she has been for a few years now, and her main problem was always her physical appearance juxtaposed to her songs, the music listeners jointly had was ‘how does such a small body produce such a large and powerful voice?’. With Dangerous Woman Ariana takes ownership of that voice. She utilized her years of experience and owned it , giving people no other choice but to respect her for the music she is producing and the talent she has. The competition should fear such a dangerous woman.
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On SNL a few months ago Ariana hosted and performed, a tough feat that can only be done by the dual talented actors and singers. Impressively, her skits were a huge success (Who can forget her Rihanna interpretation LOL) and laughable across the Internet waves for days following the show. What made her SNL appearance even more interesting was the quality of music she was performing as the musical act with the singles ‘Be Alright’ and ‘Dangerous Women’. She was hitting those notes as well as dancing, and this display was miles better than just her last album tour performance lay out.
Growth is definitely the first thing to come to mind when it comes to a word to describe ‘Dangerous Woman’. She doesn’t want to feel like the gum and pop female pop star but more like a respected vocalist and hit-maker. That’s why she is being more honest on this track, something she’s known for doing, addressing romance drama/love (Know Better/Forever Boy) and her position in music(Dangerous Woman) alike. Her artistry has expanded proving she’s not afraid to experiment and take risks, both attributes necessary to stay relevant and influential in the music industry. On the raggae influenced ‘Side To Side’ she sounds like a natural, and creates another future smash with Caribbean-born female rap icon in the making Nicki Minaj.
Ariana Grande is a star, she has been for a few years now, and her main problem was always her physical appearance juxtaposed to her songs, the music listeners jointly had was ‘how does such a small body produce such a large and powerful voice?’. With Dangerous Woman Ariana takes ownership of that voice. She utilized her years of experience and owned it , giving people no other choice but to respect her for the music she is producing and the talent she has. The competition should fear such a dangerous woman.
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April
Views - Drake
Drake is in a lane of his own, at a height in the music world, notably hip-hop that leaves him pretty lonely, which is intriguingly expressed on the album cover. What makes Views so special is its dark, eerie, cloudy, aura. It's nostalgic feel give's it attachment to fans close to Take Care, but instead this album feels aged 5 years and left outside, to face all the terrain of the harsh weather that is apart of Toronto. The uncomfortable feelings of claustrophobia, anxiety, fear, and hate are all cramped together in a city where everyone knows everyone and there's seemingly little escape. Such a world would drive a mere man insane, or maybe just render them hopeless of making a better life for themselves, this does not seem to be the case for the self appointed 6 god, Drake. On Views Drake is channeling plenty of ugly hate driven emotions through his music (check out the latter half of 'U With Me?', but this self-recognition is the response to outside forces encroaching on his freedom, as a result we find a typically triumphant exhilarated Drake on the defense. Whether it's relationships (Redemption), the rap game (Still Here) or being an A-list celebrity (Views) Drake unearths his actual feelings on current events. He's not particularly in good place, but has learned to cherish his family, and focus on what really matters, and continue working towards his goals of making fun exciting music for the world. My favourite Drake is interpersonal Drake, where he digs far back into his past to bring to light another story that reveals more about his character and real-life self, it humanizes the legend to a degree. He gives me that on 'Weston Road Flows' with an fantastically soulful Mary J Blige sample to die for. I couldn't have been happier. The features on here are well placed as well, with a stellar vocal performance by all three OVO sound label mates, PND, dvsn, and Majid. They all unleash their all and really shine on their respective songs, convincing me to go listen to their own projects and appreciate their talents a little bit more (and i thought i loved dvsn enough lol). Views will go down to me as a another showcase of Drake's willingness to stay true to his sound, while also stretching the accessibility of it, (I believe he'll gain new fans with the increased level of musicality on here), as well coordinating with 40 to make another sharp, focused, and clear produced album. I was very impressed, quietly surprised, and happy to listen to it on many rides for the next year or so to come until he drops another project. VIEWS!
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March
Reflections in Real Time - Kilo Kish
I've been a pretty strong supporter of Kilo Kish since 2012 when I heard her breathtaking performance on 'Make it Go Right' off Gambino's R O Y A L T Y mixtape. Her weightless vocals and girl-next-door appeal resonated with my high school self in a way i haven't felt up to that time with a contemporary female artist (Sense then I've ran into quite the sum of then, culminating in Jhene Aiko, Tinashe, and SZA, among many others). What I loved about Kilo was her ability to capitalize on what made her sound special, its minimalist, sincere, and quietly passionate and heartening. My only qualm would have been the lack of support she was getting, which was less of the people's fault, and more of then hers. She didn't seem to want the shine, the attention, and the notoriety. The Florida-born, NYC based turned LA star made plenty of career moves that had me excited for her musical future in the past few years. Moving to LA and getting really serious about her artistry, both musically and in fashion, was a huge step for Kilo, never would she be the same again. It was here that her sound really grew, and its evident on 'Reflections'. Off the second track 'Hello, Lakisha' I could already tell i was entering a new stage of Kilo Kish. The music was more volatile, expansive, and yet still stayed true to Kilo's unapologetically soft vocals and tender end notes. Songs like 'Self Importance', 'Taking Responsibility', and 'The Fears of a Dilettante' show her going beyond her typical 'crush and heartbreak' subject matter and really digging deep into her personal issues with the world and her self. There's a level of vulnerability I always knew she was capable of, but wasn't really sure she was willing to uncover, i got a great amount of that here. The vocals are also an important factor to highlight here. They are at such a low register its hardly intelligible , however I believe this has added to the mystique and replay value of the songs. It's as if after every listen I make one or two more words out that clarifies the verse little by little. Where Kilo takes her music from here, I will be glad to endure and experience, because at the rate she's going her artistry is fantastically improving.
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February
Cardinal - Pinegrove
Montclair based Emo band Pinegrove presents an immensely enjoyable and heart-felt album. I haven't spent so much time with a rock album since Daft Punks 'Random Access Memories' (which is amazing by the way, if you haven't already listened to). Across Cardinal you hear stories of the past in the hometown of Pinegrove's lead singer Evan Hall's, which is Montclair New Jersey. Stories of love gained and love lost, fear of travel on 'Cadmium' due to his bad last experience, seeing ex girlfriends out and about on 'Old Friends' or finding new ones on 'New Friends'. Evan's voice is also one of the standout components of the album. Its very Dave Mathewsesque in its waviness, and like the South African rock phenom Evan has remarkable control over it, no matter where he strains it in his vocal range. Such a dynamic voice adds a real lively piece to the song, making them believable and comforting, like someone is really living life and expressing these human emotions with you. I first heard of this album through all of its amazing reviews on top music sites like Pitchfork and Spin magazine, and I'm definitely not dissapointed in what i heard. I played a new album almost everyday in February and i would still catch myself humming melodies and remembering lines from this album through it all. The fun fact about this band being from Montclair is that being from Maplewood i had many friends from there and i even took the SAT's (The first time) at Montclair high school. Montclair is a beautiful town and to know a group of guys around my age made it out and are creating great standout rock music among the fray brings a very warm and delightful feeling to me. Evan adds lines about Montcliar and streets that i know of and its a very surreal experience hearing it all. So if you haven't listened to 'Cardinal' yet, give it a listen, its a beautiful peaceful album that unleashes many truths about a young man living in this crazy world of ours.
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January
Anti - Rihanna
After an extensive wait ( 3 years to be exact) the Barbados bomb shell drops one of the most anticipated albums of the year. Rihanna takes her sound in a brand new direction, channeling her inner Prince (Kiss it Better) Tame Impala (Same Ol' Mistakes) and Tyler the Creator (Consideration) in the most ambitious way. Even with these influences clear in the music the album still stays true to its artist. Rihanna is all telling on this record, with the hard hitting 'Needed Me' about an ex that didn't know his place (Drake? Travis?) in the relationship and describes her luxurious sex life in the Boi1da produced track 'Sex With Me'. This album is big, with a list of veteran producers from Timbaland to Hitboy that know exactly what works and how to adapt it to fit the return of the queen of pop. We all know Rihanna had to give us that island tune, reuniting with her heritage, this is what we get in the smash hit Drake assisted 'Work'. The two ex-love birds share such a chemistry on here that the Aubrih rumors are already starting to reshape (did it ever really end though?). With that being said the song has you dirty whining all across the room quickly learning the chorus and belting about making it work with that special someone. On first listen I couldn't quiet figure out why the album was called anti, surely her sound wasn't against the mainstream, and she wasn't overtly dark (remember Rated R) but instead really bombastic and filled with bright colors. What I came to terms with was that the album is in large part a testament to where she is in life. The 3 year hiatus gave her time to reevaluate herself, find freedom in the luxurious lifestyle and to discover a sound for all to her own. Rihanna never left us, and was always on the news or the blogs whether it was assisting on a song (FourFiveSeconds) dating a celebrity (Is she still with Leo?) or making business deals (Samsung). Anti is her return to musical fame, where her roots are, but instead of being a sort of industry product she's anti establishment releasing the album by surprise for free in the middle of the week with zero promotion and a hit single that was out only hours before. The music is beautiful, vulnerable and ultimately freeing, you feel as if Rihanna is finally happy and uncovering her true self, flaws and all while OWNING IT. This is Anti, great job Riri.
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