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Drake – Certified Lover Boy

18 Oct

With Certified Lover Boy, I feel like looking back a bit. Drake has always loved his nostalgia anyway. I remember with Take Care, there was a lot to get excited about. “Headlines” was the single and was necessary as that, but it’s not what I look back at. Even “HYFR’s” excited Weezy isn’t quite it. I don’t think anyone really expected how deep he would delve into the sounds of “Marvin’s Room” and “Take Care.” I don’t think we every really saw how normal they would sound.

The thing is that Drake is now a superstar. In fact, he’s now the superstar. His singing in his raps perfectly meets a world where pop has moved toward hip-hop. His corniness is now virality. Everyone’s a Toronto sadboy in this online world.

Also, there’s no one left on the throne. Kanye’s self-destruction is probably far from complete, but it has done its work. Taylor is off in the wilderness. I haven’t heard from Kendrick or Beyoncé in forever. The new kids are all still too new, too formless and too unaccomplished. Pop royalty is relentless and Drake’s the only person to have kept pace.

It’s very much in character that he does so with an album that’s almost unambiguous trash. When the most exciting thing in your album is a Kawhi cameo, there’s just not much that one can say. It’s just a lot of music that I’m happier not hearing and very little that I’m happy having heard. Something like “In The Bible” is irritating. There’s so much music here that’s just bad.

There’s stuff that could be decent if you squint. He’s got his sound down in “Girls Want Girls” even if the chorus is mind-numbingly stupid. “Fountains” is decent Afrobeats, if nothing special. You have to credit Drake with always keeping up with new trends in rap and he’s always passable at them, but they are never his highlights. He’s got solid beats in “7am On Bridle Path” and “The Remorse” but can’t put a good rap in front of either of them.

“7am On Bridle Path” is the album’s failures in a microcosm. He’s clearly the biggest person in music right now, but it’s such a poor look to stunt about it when he got it by default. It’s a diss track in a supremely uninteresting beef. This is the same guy who ended a feud by going on LeBron’s YouTube channel. There was once a time when he bodied Meek Mill but now he just can’t play it straight. Stick to the topic and go hard. Also, “wheel me to defeat like we rollerbladin'” is unacceptable. In a fair world, that would be sufficient for defeat in itself.

At least “7am On Bridle Path” has some decent music to make up for that though. The lyrical failures elsewhere don’t even have that going for them. “They’re doing something that’s not Pepsi” in “Papi’s Home”? The only thing they should be doing is writing Drake better lyrics because he needs all the help he can get. He gets off one solid line in the whole album with “Look, don’t invite me over if you throw another pity party” and the imitation line has a good sneer, but then he throws away all that goodwill and more by trying to rhyme “disability” with “this ability”. That’s just unacceptable.

It’s very often just impossible to understand. He opens a song with being jealous of a handbag. “You Only Live Twice” makes you regret living the once. I don’t know who told him and Future that “Way 2 Sexy” was a good idea but that person was wrong. Forget all of Drake’s tired Bernie Madoff comparisons, if that person was paid for that advice, that’s the greatest scam the music industry will ever see.

He finds himself on “F***ing Fans,” but that’s the kind of track that should be solid filler on a decent album, not one of the best tracks on the whole project. Certified Lover Boy is so bad that any moment of decent music is an oasis in the desert though. He preceded this album with “POPSTAR” and “Toosie Slide,” both of which were some of the best music that he’s ever made. He will follow this soon enough with more great singles, which has anyway always been his greatest strength, but for now, there is nothing in his past, present or future enough to make this album worth listening to.

Kanye West – Donda

27 Sep

There’s a lot that can be said about Kanye and his music and there’s a lot that has been said about both. Donda marks a new epithet though and one that seemed inconceivable before; unnecessary. This is just a fundamentally inessential album. For an artist who has long thrived in controversy and in polarization, it’s just jarring to have something that’s honestly uninteresting.

It’s especially strange as this was the situation was ripe for another career-defining album. The last time that Kanye really got away from himself, the result was MBDTF, possibly the greatest album of the millenium. Instead, we get possibly the strangest part of Donda, that it has nothing animating it.

There’s a voice interlude in “Donda” that features Kanye’s mother talking and it’s one of the strongest moments of the album. It’s a very rare bit of meaning in an album that sorely needs some. 808s had the heartbreak, MBDTF had the controversy, Yeezus had the industrial and even JiK had the gospel. Donda has no new ground to break and no larger meaning either.

Is it for his mother? For Kim? For his excess? For the controversy? Donda has space for all of them and addresses none of them.

When “Lord I Need You” plays, you feel like you’re in the middle of an album for Kim and it feels like that would be a great album, but it ultimately doesn’t work because the rest of the album does nothing to support the song. It’s just too incoherent. “Come To Life” continues the thought, but it’s impossible to keep a thread in this album.

Similarly, the story of Larry Hoover in “Jesus Lord” is a strong part of a strong song. There’s impact in hearing him call out the capitalist society. It also goes well with Jay Electon’s verse in the song, which works really well. It brings in the right religious tone and the right fearlessness in calling out DC and Downing Street. However, there’s just once again no support. This is not the conscious album it could have been.

For all of this though, he’s at least partially redeemed by the quality of music. There are missteps and there is bloat, most egregiously in the second cuts of some songs, but elsewhere too. It’s not a finished album. However, he can still make music. Donda is more willing to meld and play with his different styles than anything before. His later career seems to have him using other artists for more and more of his sound and he’s a master at putting people together, like in “Hurricane” and with Baby Keem in “Praise God.”

Even here though, he can’t help but let us down a bit. There’s no true single in this album and even one highlight would have made a tremendous difference. There’s not much that’s very weak, but I don’t think there’s a single song here that’s going to go into a Kanye rotation. “Blood on the Leaves” is what made Yeezus work and “Selah” and “Yikes” did so much for their albums and there’s nothing here quite on the level of even the latter two. “Junya” is a banger, but it’s doesn’t deliver much beyond that. There’s lots and lots of solid music here, but nothing that really goes beyond that.

That’s really all that can be said about the album. There’s lots of decent music. Kanye is still Kanye after all. It’s just that there’s nothing really interesting in the album and very little of substance and it’s time to start wondering if the same is true for the man.

Lorde – Solar Power

24 Sep

New Zealand singer-songwriter Lorde (real name Ella Yelich-O’Connor) is back with third studio album Solar Power. The album follows the four-year intervals set by her monumental debut album Pure Heroine in 2013 – which featured chart-busting single “Royals” – and then her synth-led party album Melodrama in 2017. A notoriously camera-shy and anti-pop star individual, Lorde uses the time away to recharge, mostly in her native country; both times, she’s come back with a starkly different sound.

In 2017, we were blown away by Melodrama – the pulsing electro-pop sounds, a greater diversity in her vocals, and the surprising focus on the piano throughout the party songs. Melodrama was a concept album, documenting the whirlwind of emotions that goes through the mind of a young twentysomething at a house party. The album was in direct contrast to Pure Heroine which focused on a can’t-be-bothered teenaged rebellion against popularity, trends and, yes, house parties. Between Melodrama and Pure Heroine, Lorde’s range was astounding, and the future looked rosy for fans of the reclusive young artist.

Lorde has said that each of the two albums is based on the different vices she was hooked on at the time – alcohol for the first (despite the seeming reference to heroin) and MDMA for the second. With Solar Power, the vice of choice was apparently weed (she attempted it to be LSD but that didn’t quite work out). While musical history has no shortage of iconic albums that were invigorated by marijuana, the results are mixed for Solar Power.

It’s is not a bad album by any stretch. The title track, which we’ve previously covered, is a pleasant summery track with a catchy outro hook (“That solar-olar-olar power / Solar-olar-olar power”) and lyrics about unhooking oneself from the outside world (“And I throw my cellular device in the water / Can you reach me? No, you can’t”). “Dominoes” is a stripped down track that’s pretty much her voice and a plucky guitar – in a way, it’s the closest match to her Pure Heroine discography. Her voice is bright and shiny when it’s unencumbered by too much production.

Fallen Fruit” is beautiful with its folksy vibe and guitar strums that are part Renaissance Faire (think Greensleeves) and part Laurel Canyon singing circle. “Mood Ring”, the third and final single from the album, is a light, airy track that apparently critiques another peak California culture – wellness culture. “I’m tryna get well from the inside / Plants and celebrity news, all the vitamins I consume / Let’s fly somewherе eastern, they’ll havе what I need,” is perfectly fair satire of new-age Californian hippies. (We must note that the satire is a little hypocritical when Lorde herself just came off from what seems like a four-year recovery-from-fame break on New Zealand beaches, but we’ll save that for another day.)

Speaking of California, “California” is an interesting take compared to the thousands of other odes to the Golden State; this one’s a break-up song. California – or specifically, Hollywood – proved to be the fertile ground for this album, but Lorde’s had enough of the place and who she is there. “Goodbye to all the bottles, all the models / Bye to the clouds in thе skies that all hold no rain,” she sings in the lilting pre-chorus, “Don’t want that California love”. It’s a nice, pretty song that somehow evokes Tarantino’s Once Upon a Time in Hollywood (which is also how the song starts) while rejecting the pop cultural idea of California as a success metric.

That’s the thing though – they’re all nice, pretty songs. And if that’s what you were looking for, then Solar Power is the Lorde album for you. “Big Star” is a sweet yet ultimately featureless track. Ditto with “Leader of a New Regime” – it’s pretty tough to latch onto a detail in the song’s 2 ½ minute run. Second single “Stoned at the Nail Salon” is yet another gentle track that features Lorde on multi-level harmonies with herself and also a truly telling lyric: “’Cause all the music you loved at sixteen you’ll grow out of”.

And really, that’s the whole story: Lorde grew out of who we thought she was. She isn’t the rebellious young teenager who made Pure Heroine, and not even the partying early-twentysomething who made Melodrama. She’s a blissed-out, media-phobic young woman with a strong love for folksy guitar music, and that’s what’s reflected in Solar Power. Props to her for putting out exact reflections of her life stages; unfortunately, for us, this one just didn’t stick all the way through.

Rating: 6.5/10

Best songs: “Solar Power”, “California”, “Dominoes”

Worst songs: “The Man with the Axe”, “Big Star”, “Leader of a New Regime”

Billie Eilish – Happier Than Ever

20 Sep

Happier Than Ever is the highly-anticipated sophomore album from superstar Gen Z singer-songwriter Billie Eilish. Her debut album, cryptically entitled WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? (2019), rocketed her to worldwide fame and success – highlights include sweeping the Grammys, creating a flagship AppleTV+ documentary, and meeting her idol Justin Bieber (after all, she was until recently just a teenager). Happier Than Ever is in many ways a snapshot of Billie at this moment, that encapsulates all of those things that happened to her (and for that matter, to any huge pop star) in the past few years of her crazy life. Is it as earth-shattering to the world of popular music as her debut was? No. But it does have its moments, and points to a new direction for the still-growing artist.

Although Happier Than Ever released on July 30th, 2021, Billie’s been leading up to the album for exactly one year prior. Moreover, she’s been carefully laying down the foundational tone of Happier Than Ever – especially the confident and, well, happier persona – through the numerous singles that she released in that one year timeframe. These singles kicked off on July 30th, 2020, with the light and tender “my future” – which we mentioned at the time was a rare light-pop departure from the usually gothic Billie. In November 2020, she released “Therefore I Am”, which further highlighted her bloom out of the larger-than-life teenage years into a life where she has more control. “Your Power” (April 2021), “Lost Cause” (June 2021) and “NDA” (July 2021) spoke to adult themes like betrayal, power dynamics, growing out of substandard teen relationships and more.

Outside of this admirable singles-driven chunk, the album has other great tracks too. We’ve already spoken about “Oxytocin”, a heady electropop song that grips you from the first second. “OverHeated” is in the same vein, a sultry and intoxicating track that plays like the soundtrack to every bad romantic decision you’ve ever made (“Stop being flirty / it’s kinda working,” she says with a laugh). Another stand-out track is “Billie Bossa Nova”, which as the name suggests is jer pitch-perfect take of the seductive genre of bossa nova. It’s not just her musical knowledge that is growing; Billie is a woman now and not a teen any longer. “I’m not sentimental, but there’s somethin’ ’bout the way you look tonight, mm / Makes me wanna take a picture, make a movie with you that we’d have to hide,” she croons on this track.

And a note on the suggestive lyrics here in general. On this album, they actually sound like they’re really her words, in contrast to the vaguely edgy lyrics from her debut album (e.g. “bruises on both my knees for you”) – which often came across as performative given that she was a teenager still living in her childhood bedroom.

On the eight or nine tracks that we haven’t called out above, there are definitely a few winning moments – for example, the reverberating pre-chorus break-down on “GOLDWING” – but on the whole, we’d be hard-pressed to remember too much of them. Billie is still discovering her voice as an adult, as a woman, and as a teen pop idol who’s experimenting with other genres, and hopefully the proportion of “forgettable” tracks will be much fewer on future albums.

Billi’s debut album clicked so well with so many millions of people for a few reasons. First – the truly unique beats courtesy her genius producer slash brother Finneas O’Connell; second – her creepy yet old-timey vocals; third – the multimedia experience that she offered for each hit track, including a typically creepy music video. All of these parts are still there where it counts, and she’s also added a few things to her arsenal, such as an authenticity to her lyrics that only comes with more grown-up experiences and life choices. Happier Than Ever is a fine addition to her discography, but she definitely has room to grow.

Rating: 7.5/10

Best tracks: “Oxytocin”, “Therefore I Am”, “Billie Bossa Nova”

New Artist Roundup: Aug. 2021

13 Sep

This month’s New Artist Roundup includes everything from indie rock to psychedelic, through submissions from all over the world. With the transition from summer to fall (or fall to summer) for much of the world, it’s a very fruitful period for songwriting in general, and this month’s submissions proved that to the tee. Read on for our top five picks from new artists this month!

Interested in getting featured in our next New Artist Roundup? Don’t forget to email us your music at artists.tfr@gmail.com!

“Place I Stay” by Funeral Lakes

Funeral Lakes is a two-piece outfit based out of Kingston, Ontario – “a small city where the St. Lawrence and Cataraqui rivers meet”, in their own words. Their background in a mid-tier town in the Great White North seems to seep into their folksy, jangly tunes. On August 20th, the duo (consisting of Chris Hemer and Sam Mishos) released their third album Redeemer – which “explores the meanings of faith and justice, interrogating the tension between them”, according to the artists. Our pick from the album is “Place I Stay”, which creates a quirky folk / rock vibe by mixing driving drums and guitars against gentle, echoing vocals. Lyrically, the song features themes of divine retribution “Descend, Holy Father / Cut them down like flowers” but there seems to be multiple parties at play. Interesting track and an interesting sound from the Ontario band.

Website

“Cosmic Saturation” by The Velveteins

The Velveteins describe their sound as a bridge between the bright psychedelia of the 1960’s and the indie rock explosion of the new millennium – and we must say, the first song of theirs that we heard fits that description to a tee. “Cosmic Saturation” features surf-rock guitars, relaxed vocals and a harmonized chorus that instantly elicit a throwback to the Beatles and such. But also, as the band themselves point out, the song’s guitar solo melodies and soft drums are definitely pulled from the catalogs of the Strokes, the Vines or any number of early aughts indie rock bands. This is definitely a band to watch, folks – don’t sleep on the Velveteins!

Website | Press

“Busy Body” by Cassie Marin

Cassie Marin is a young vocalist, producer and multi-instrumentalist from Los Angeles. She spent much of her childhood training for Olympic-level gymnastics until an injury cut short her aspirations at 13. Since then, Marin has found solace in her music, and says that she carries the same grit and self-discipline that inspired her Olympic dreams into her new chosen field. On “Busy Body”, you can start to see what she’s talking about. The song is meticulously produced, with woozy synths that somehow add melody and layers at the same time. Her dusky vocals – think Awkwafina’s speaking voice – give the track an air of unruliness. Lyrically, “‘Busy Body’ is about being a loner in a world where cliques never cease to exist,” says the young singer.

Website | Press

“Bubblegum” by Tommy Newport

Tommy Newport is a young Kansas-based musician with a surprisingly long list of commercial mentions under his belt. Last year, his song “Future Man” was featured in an ad for Apple’s iPad. Some of his other tracks have even been reportedly been used in TV shows such as What/If and Ballers. The sound behind his success seems to be a mix of groovy basslines, sharp drums and occasionally a hazy, Glass Animals-esque vibe. His latest track, “Bubblegum”, is a great example of that specific sonic profile. “Bubblegum is a love song about wanting to be wrapped up together like a piece of candy and keep all the sweetness inside…The message on this one is simple: Love is sweet,” said Newport. “Bubblegum” is a chill, sweet song that perfectly encapsulates an end-of-summer vibe.

Website | Press

“Moonbeams” by Fulton Lee

Fulton Lee seems like what one would call an old soul. The Nashville, Tennessee-based musician bills himself as a retro soul / pop artist, and seems to dress exclusively in ‘50s rock and roll outfits and associated hairstyles. But don’t let looks deceive you – his music has a very modern take on an old classic sound. The vocals on “Moonbeams”, his latest track, wouldn’t be out of place in a Buddy Holly tribute band’s repertoire, but the crisp production and multi-instrumental pop hook are definitely sounds of today. Fulton Lee is the freshest of fresh finds with the voice, production and aesthetic vision to make it big; and we recommend you take a spin through this song immediately. If you liked this track, be sure to check out the John Mayer-esque “The Wire”, which already has almost 2 million (!) streams on Spotify.

Website

Interested in getting featured in our next New Artist Roundup? Don’t forget to email us your music at artists.tfr@gmail.com!

Monthly Playlist: Aug. 2021

7 Sep

Better late than never, we always say. We may be a little late with our Monthly Playlist for August 2021, but we now have the goods for you below. Check out our top five picks below!

5. “Walking at a Downtown Pace” by Parquet Courts

Parquet Courts is a four-piece hailing from New York City by way of Texas, where Andrew Savage met Austin Brown. The two share lead vocals and guitar duties in the band, with Andrew’s brother Max on the drums and Sean Yeaton on bass rounding out the group. In the past, we favorably compared their third album Sunbathing Animal to the Strokes’ debut album (albeit edgier), and this new track from the band has the same NYC effortless-cool that enthralled us then. “Walking at a Downtown Pace” has a driving guitars that reminded us of Led Zep’s “When the Levee Breaks”, and a sing-along chorus that is going to do wonders in trendy venues in Brooklyn and around the world. This is the second track from the band’s upcoming seventh (!) album Sympathy for Life, scheduled to release on October 22nd.

4. “Meanwhile” by Gorillaz feat. Jelani Blackman & Barrington Levy

Three-quarters of a year after the near-perfect Song Machine, Damon Albarn is back with his virtual band and canny artist features with a new, three-song Gorillaz EP entitled Meanwhile. As we found out over the course of the Song Machine tracklist, Albarn is turning into a premier launchpad of talented British rappers to audiences outside of the UK; and that trend continues on the title track from this mini-album. London-based up-and-coming rapper Jelani Blackman’s catchy, sing-song style gels well with the dancehall stylings of Jamaican legend Barrington Levy. Throughout it all, Albarn lends his aloof vocals and his unique ability to meld all the disparate pieces into a great new track. If this is gearing up to Song Machine Vol. 2, we’re all for it. And if you liked this, check out “Jimmy Jimmy” from the same EP!

3. “Rumors” by Lizzo feat. Cardi B

“They don’t know, I do it for the culture, goddamn / They say I should watch the shit I post, oh goddamn / Say I’m turning big girls into hoes, oh goddamn / They say I get groupies at my shows, oh goddamn,” intones Lizzo at the start of her new track “Rumors”, listing out all the supposedly bad things that she’s been rumored to do. Nothing beats the humor of the first time you listen to the track, where she immediately follows up this verse with “All the rumors are true, yeah / What ya’ heard, that’s true, yeah”. This is a larger-than-life, catchy as hell track from two of pop culture’s reigning hit-masters that speaks to the incessant rumors at that level of public spotlight. Cardi B joins in with her own set: “Fake ass, fake boobs, yeah / Made a million at [strip club] Sue’s, yeah,” and the general vibe of the song is that these ladies just don’t care anymore about what’s being said of them on social media or gossip rags. Musically, “Rumors” is peak Lizzo, complete with funky synths and a rollicking horn section. One last thing: the music video is a modern take on the Disney movie Hercules, with Lizzo and a very pregnant Cardi, and should belong in an art museum somewhere for its extremely high production values alone.

2. “Oxytocin” by Billie Eilish

Technically, this song came out in the very last hours of July 2021 and hence didn’t make it into our July playlist, but we couldn’t not include it in this one. “Oxytocin” is one of the non-single tracks that were released as part of Billie’s highly-anticipated sophomore album Happier Than Ever. We’ll have the full album review out for you shortly, but this electro-pop song is definitely one of the highlights from the track-list. Finneas (Billie’s brother-slash-producer extraordinaire) really knocks it out of the park with this one. The lone beat at the start builds into a cornucopia of bits and beeps that adds a manic energy to the track – fittingly, for lyrics that lay bare her addictive relationship to her partner. Speaking of Billie’s lyrics, the singer takes the risqué factor from her debut album to a different level on this track about toxic addiction: for example, “’Cause as long as you’re still breathing / Don’t you even think of leaving” in the verses and the repeated “I wanna do bad things to you / I wanna make you yell” in the outro. “Oxytocin” is the kind of track that hooks you from the first second of the first listen, but it’s Billie’s creepy lyrics (in both delivery and meaning) that keep you hooked.

1. “Take My Breath” by The Weeknd

A couple of months ago at the Billboard Music Awards, The Weeknd accepted yet another popular music award with a somewhat cryptic message: “I just want to say, the After Hours are done and the dawn is coming”. In early August, the Canadian R&B phenomenon released the electro-dance record “Take My Breath”, signifying what he’s taken to calling The Dawn era. We have some clues about what this is going to be like, and boy it’s good. “Take My Breath” is a non-stop dance party that has the potential to be remixed into a million other dance tracks. A week after this song was released, The Weeknd compiled a list of songs that inspired “the new Dawn era” on his Apple podcast / radio show Memento Mori (yes, he has an Apple show) and readers – the list included not one but two Britney Spears songs. Here’s hoping that “Take My Breath” was our introduction into an upcoming electronic music-inspired 90s-throwback pop record from the Weekend!

Emma-Jean Thackray – Yellow

29 Aug

There are some really interesting pieces in Yellow. The chorus of “Third Eye” is a very interesting progression. The haunting in “Spectre” is also very well done. Unfortunately though, the whole doesn’t add up to anything quite so interesting itself. The genre-spanning music here has a lot going for it. There’s plenty of technical skill and some really clever moments, but there’s just not enough to grab attention or really reward it.

“Yellow,” for instance, would fit well on an Erykah Badu album, but not as one of the stronger cuts. The voice is a little weaker than it should be and the music doesn’t do enough. Overall, it’s just not interesting enough. It fades too easily into the background. It’s also not helped by the bog-standard spirituality either. The Hinduism in particular feels like a shallow reading.

Yellow still ends up a pretty decent album though. As it turns out, good jazz is good jazz and this is definitely good jazz.

Vince Staples – Vince Staples

9 Aug

Vince Staples has always felt like the most straightforward person in rap. No matter how honest someone may come across in a song, we only fool ourselves when we think we know the person behind the music. Nevertheless, it just feels like Vince Staples makes fewer concessions to marketing, to a persona than anyone else out there. It comes through in things like putting out a 22-minute album with no weak spots instead of the bloated albums built to top streaming charts that are now de rigeur. It comes through in how much this album just lets him rap.

The thing about letting Vince rap is that he is very good at just rapping. You can see it in “THE SHINING” or “SUNDOWN TOWN” or “TAKING TRIPS” and you can really see it in cuts like “MHM” and “LIL FADE.” His flow and his control are nothing short of superb and are enough to carry an album in themselves.

It’s true that Vince Staples maybe takes that a little too far. I would have liked some more variety or a couple of particularly inspired cuts. There’s nothing here that is less than excellent, but there is also nothing here that truly transcends.

Sometimes though, you can do without the egg in your beer. It’s just such a pleasure to hear Vince rap. Any album that gives you more of that is more than good enough.

New Artist Roundup: Jul. 2021

3 Aug

Over the past few weeks, we’ve had tens of submissions from aspiring young artists from all over the world – thank you! It was a monumental task to pick these out, but here are our top tracks from New Artists for July 2021.

Interested in getting featured in our next New Artist Roundup? Don’t forget to email us your music at artists.tfr@gmail.com!

“The Absence of You” by The Islas

The Islas are a young band from Norwich whose sound is characterized somewhere between the Killers and the Smiths. Their most recent single “The Absence of You” features a gentle, lilting guitar melody that supports Nathan Baverstock’s slightly-nasal vocals quite well, and the song takes an even more Coldplay turn in the upbeat, high-energy chorus. “The single is not really a love-sick song about wanting someone back, just the sensation of feeling empty and realizing that that chapter of your life has gone,” says the band – a feeling to which any young person can relate, no matter their age. “The Absence of You” is the first single from the band’s upcoming 6-song EP Oblivion. Be sure to keep an eye out for that if you liked this track!

Links | Press

“Generations” by Gede

As eagle-eyed readers may realize, Gede has already been on our radar since our March 2021 edition of the New Artist Roundup, where we loved his electric blues meets rap meets jazz track “Sinners” from 2021 album Forward. The Washington DC-based artist cites a wide array of musical references from Gary Clark Jr. to Tame Impala. He’s now out with another EP, the two-song Generations. The title track from this EP starts off with Latin trap beats that bring to mind a sunny Miami summer, and the rapper’s almost grime-style verses are perfectly produced to sync with the music. “Generations” is a vibrant, catchy song that lies somewhere between Stormzy and Bad Bunny – a tough bridge to connect, but Gede somehow pulls it off.

Links

“Mercy” by KiNG MALA

KiNG MALA (born Areli Castro) is an up-and-coming singer-songwriter from Los Angeles, California who’s just on the verge of a break-out hit. Spotify listener counts, which often precede mainstream fame, confirm our thesis: this young artist that you may never have heard of has over 350,000 monthly listeners. Her stage name, KiNG MALA, is actually carefully chosen: “Both [her] music and visuals experiment with masculine tropes.. and these masculine threads weave throughout everything [she] does, hence King rather than Queen and ‘MALA’ which roughly translates to ‘bad bitch’ in Spanish,” she said.

A lot of her Internet fame came through her TikTok hit 90s-vibe pop hit “she calls me daddy”, but new track “Mercy” proves that she’s no one hit wonder. This is a lushly produced track that belies her relatively-underground status, with her soft melancholic vocals reminding the listener of Billie Eilish. The song itself is about her mental health struggles with the darker side of herself. “I have said things I will regret forever and every day I search for the good within me and search for the proof that those things are not who I really am. Sometimes all you can do is forgive yourself and look for the good… that’s what this song means to me.”

Links | Press  

“Brand New” by TARYN

TARYN is an Atlanta-based singer-songwriter whose music is influenced by old soul and modern pop, in her own words. “Brand New” is a beautiful track from the clear-voiced singer, beginning with striking finger snaps that transition into lushly produced, warm vocals. TARYN grew up in a music-loving household. Her parents “filled the house with the sounds of artistic greats like Norah Jones, James Taylor, Joni Mitchell, Van Morrison, and Cat Stevens,” and it’s easy to see those influences in her ethereal, timeless yet radio-friendly music. TARYN wrote “Brand New” while driving on the freeway and worked with producer Joey Burcham to turn it into a fully-formed track – and honestly, it’s the perfect feel-good summertime drive song.

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“Headlights” by Sgmaniak

Sgmaniak (pronounced S. G. Maniak) is a hip young artist from New York whose music lies somewhere in the summery sounds of neo-soul jazz. The lovely “Headlights” is the diary of a budding, summertime romance. “We met a club downtown last week… got out at the curb then we got between the sheets,” he describes about their meet-cute. “Laying on the roof under the blood-red skies, I know we just met but I think we might just last…” Ah, young love. “Headlights” is a summery, light track that really showcases Sgmaniak’s lyrical prowess and storytelling ability. This track comes off the artist’s recent nine-song album The Global Heart Awakens.

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Interested in getting featured in our next New Artist Roundup? Don’t forget to email us your music at artists.tfr@gmail.com!

Monthly Playlist: Jul. 2021

31 Jul

This month’s top five tracks are an eclectic mix of hip-hop, indie pop, punk and everything in between. Read on for our picks:

5. “Wasting Time” by Brian Faiyaz feat. Drake

What’s Drake doing on a feature with a relatively unknown artist like Brian Faiyaz? That’s what we thought going into this song, but just a few bars made us see why Drizzy chose him. “Wasting Time” is a supple, smooth R&B track by singer Brian Faiyaz (real name Christopher Wood), tapped by the magic wand that is the Neptunes’ production. Drake’s verse layers decently well on the mellow R&B, shaking up your ears at just the right time so that Faiyaz’s vocals sound even smoother afterward. Come for the Drake, stay for the Brian Faiyaz on this one.

4. “INDUSTRY BABY” by Lil Nas X feat. Jack Harlow

At this point, Lil Nas X is an one-man industry juggernaut. We’ve spoken in the past about his ability to harvest outrage from outrage-mongers for his own benefit and, ironically, embodying the supposed right-wing ethic of pulling himself up by the bootstraps – all from a song about horses on a road. “INDUSTRY BABY” is an unabashed self-crowning by one of the biggest hitmakers of our times, and the fanfare horns in the background do add a lot to the coronation vibe. “Get your soldiers, tell ’em I ain’t layin’ low / You was never really rootin’ for me anyway,” he says, ostensibly taking aim at the industry suits trying to knock this self-made artist off his flashy perch.

And yes, the video is risque. Would you expect anything else from Lil Nas?

3. “Blouse” by Clairo

Singer-songwriter Clairo (real name Claire Contrill) has been making gentle waves in the indie pop community since her sparse electro-pop single “Pretty Girl” way back in 2017. Since then, her sound has refined to more on the acoustic and folk edge of pop, and that’s the ethos that she’s brought to her second album Sling which was released earlier this month. “Blouse”, the lead single from Sling, is as pretty as it gets, with a subtle violin that evokes green Irish pastures – or something of the sort. This is a wonderful, calming song that was the perfect gateway for us into the rest of Clairo’s album, and we hope you feel the same.

2. “BDE” by Shygirl feat. slowthai

“BDE” stands for exactly what you think it stands for. The raunchy combination features British DJ Shygirl and ubiquitous British presence, the rapper slowthai. This track is a bop, with its bouncy, club-ready beat, and it turns up to 11 with slowthai’s trademark staccato verse. “BDE” needs to be playing in every club that’s open right now. Be the star of your house party and add this to your party playlist, stat.

By the way – July has been a great month for slowthai features in general. Don’t miss out on the old-school vibes on “SLUGGER” by American rappers Kevin Abstract and $NOT featuring slowthai, and also his presence on the excellent remake of “MODEL VILLAGE” by his good friends IDLES.

1. “Clash” by Dave feat. Stormzy

Honestly, just having Stormzy on a featuring spot is one of the best indicators of a great hip hop track from the UK. And when you have British hip hop darling Dave – recently off of winning Album of the Year for Psychodrama at the 2020 Brit Awards – on the same track as well? Killer. “Clash” loops on a hypnotic piano melody layered with deliberate beats, as Dave and Stormzy talk about their lives and riches. In Dave’s case, life has changed substantially since his rise to fame. In particular, he now lives in a much richer area – to which he alludes in a number of intriguing metaphors. “Freaks, I got more than one, fuck, daddy and daughter one / Tory puttin’ in labour, this that Jeremy Corbyn one,” goes the hook, instantly bringing to mind a posh Tory girl with daddy issues. Seen in that light, even the background piano seems like a subversion of the stereotypically status-symbol instrument into a grimy beat for this duo.

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