Tag Archives: 2022

Monthly Playlist: Jun. 2022

11 Jul

Hello, and welcome to the Monthly Playlist for June 2022! We are halfway through the year and have had some big album releases already. Kendrick Lamar dropped his much-awaited new album, as did Bad Bunny. There were big albums from Radiohead-side project The Smile, superstar The Weeknd and hyped newcomers Wet Leg. For now, read on for our top picks for the sixth month of the year – and look for a mid-year list soon!

“BRAND NEW BITCH” by COBRAH

COBRAH is a Swedish musician specializing in the genre of hyperpop. If that makes you think of Charli XCX (side note: check out our album review of Charli’s latest!), you’re spot-on – COBRAH’s music falls in the same vein of pulsing, club-ready bangers that blur the line between pop and EDM. “BRAND NEW BITCH” is a party track about COBRAH’s ability to switch between fashionable looks – whether it’s Mugler or Versace – but always looking new, shiny, polished and (use your imagination) slimy. Of course the lyrics don’t really matter because ultimately this song is about the beat and how COBRAH’s vocal-fry pronouncements add a layer of freneticism that perfectly suits the post-COVID club scene. 

“<maybe> it’s my fault” by WILLOW

We’ll be honest – we haven’t been giving WILLOW her musical due. The singer-songwriter (and daughter of a famous and dare we say infamous couple) has been steadily coming into her own, especially over the past year or so. She had a feature from resurgent pop-princess Avril Lavigne on last year’s Lately I Feel Everything, and also put together a great track (“psychofreak”) with Camila Cabello earlier this year. With “<maybe> it’s my fault”, WILLOW has expertly combined a few of those elements, and the result is a pop-punk track about the confusion and angst of early-adulthood relationships. “It’s all in my mind, it’s all in my mind, I try to rewind and all of the while / I’m hurtin’ inside, it’s your fault, Maybe it’s my fault,” she sings, in between surprisingly heavy guitar riffs. Definitely a track that will put WILLOW on your radar if she isn’t there already.

“BREAK MY SOUL” by Beyonce

From the first 10 seconds of “BREAK MY SOUL”, you can instantly tell that this isn’t your father’s (or mother’s) Beyonce track. Afropop house music segues smoothly into Queen Bey intoning the title phrase a few times – apparently with the intention of soundtracking the Great Resignation. “Now, I just fell in love and I just quit my job / I’m gonna find new drive, Damn, they work me so damn hard,” she says and honestly – same. It’s a surprising, new sound for Beyonce, and one that makes us excited for the July 29th release of her new album Renaissance.

“Cracker Island” by Gorillaz feat. Thundercat

After a fantastic album in 2020, Gorillaz are back with another track, just in time for the summer / fall leg of their worldwide tour (and hopefully the release of Song Machine Vol. 2). “Cracker Island” features the jazzy bassist Thundercat on a track seemingly about a cult that sets up shop on their own island (?). In true Gorillaz fashion, the famously multimedia band announced “Cracker Island” in a press release where they have also encouraged fans to join “The Last Cult” – whatever that may be. Mysterious lyrics aside, the song itself is pitch-perfect Gorillaz, with catchy synths, Damon Albarn’s filtered vocals, and beautifully crisp production – with the added bonus of Thundercat’s irresistibly funky bass. Here’s hoping for a lot more soon from everyone’s favorite virtual band.

“Betty (Get Money)” by Yung Gravy

Who knew that the old Internet meme-slash-80s-hit “Never Gonna Give You Up” would work so well as a rap track sample? Not us, but apparently Yung Gravy did. “Betty (Get Money)” is a ridiculously catchy track that starts off with the chorus and unmistakable synth-violins of Rick Astley’s iconic hit, and it only gets better from there. Yung Gravy shines throughout the whole fun track with cool verses and clever flipped lines (try it yourself: sing “Never take a L no more, never take a damn thing slow / All I know is chase this dough And get money” to the original chorus). We hadn’t heard of Yung Gravy until this track, but he’s certainly on our radar now!

The Smile – A Light For Attracting Attention

10 Jul

Sometimes, a musician needs to take some space from their existing band to go and explore something new. Neither Thom Yorke nor Johnny Greenwood is that musician. Their new project with drummer Tom Skinner never strays that far from their Radiohead roots and sadly never quite lives up to the best of a band that admittedly is quite hard to live up to.

A Light For Attracting Attention has its fair share of interesting fragments and plays fairly decently overall. There’s nothing here that’s really objectionable. However, the sound really did need additional texturing. They’ve stripped it down, but lost some of the depth and complexity that made Radiohead and this is just not a compelling album in the way of their best. The album just evolves too slowly and doesn’t pack enough in what it does. It’s still decent Radiohead, I just wish it was more.

Bad Bunny – Un Verano Sin Ti

1 Jul

Un Verano Sin Ti was the most puzzling release of the year thus far. Bad Bunny’s mix of Caribbean musics was completely unexpected and constantly surprising. It was also just too good to deny.

“Party” could be pretty standard reggaeton but Bad Bunny’s crooning elevates it well beyond the regular just for it to go straight back to the dancefloor with the chorus. Similarly, the first half of “El Apagon” is conversational and feels intimate, as though you’re talking to someone in a bar, just for the bar to turn into a dancefloor and a Puerto Rico-pride one at that. You can see the flags unfurling from the rafters. You can hear the entire building jumping up and down and you can see the solo voice take command over the whole thing.

There are two pillars that make this album special. The first is the depth and texture of the sound. “Moscow Mule” opens as though this is a producer’s album with an extended instrumental-only section and wildlife sounds and as the song progresses, this remains true. There are quiet drum beats, little vocal hiccups, quiet moments and tiny, little fascinating subbeats.

Secondly, Bad Bunny just brings a ton of emotion to every track. There’s a quaver in his voice in “Dos Mil 16” that immediately just takes the whole song over. On top of that, these tracks are just bangers. Listen to something like “La Corriente” and no matter what you feel of Latin club music, you can’t help but enjoy it, and that’s really this album in a nutshell.

Kendrick Lamar – Mr. Morale and the Big Steppers

13 Jun

I didn’t expect the maturity of Mr. Morale. It kind of feels not only that Kendrick is too big and too important for growth, but also too developed. When your second album is To Pimp a Butterfly, you no longer feel human enough for growth. We don’t expect the prophet on the mount to go to therapy.

This growth is most obvious in the music. Mr. Morale takes from Kendrick’s discography and builds on it. There are pieces of all of his major work here synthesized into a single album. You can see some of the storytelling of Good Kid in cuts like “Auntie Diaries,” the message of TPaB in ones like “Savior,” the bangers of DAMN in the earworm “Rich Spirit” and even the cinematography of Black Panther in songs like “Mr. Morale.” This is not a medley though, each of the songs show a variety of Kendrick’s strengths and all of these themes run strongly throughout the entire album

More memorably though, the entire album is themed on a message of growth. This idea comes in again and again and from a variety of angles. The opener “United In Grief” starts out with the emptiness of materialism as Kendrick details buying cars and watches he doesn’t care for, a theme later reinforced by the absolute banger “Rich Spirit”, in which he doesn’t even bother spending the money to replace a broken phone.

“Savior” is the strongest statement of this thesis and the one that most brings in the personal side. TPaB was an album with a message and an album that came at a very specific moment in time. “Alright” was an anthem for BLM and that combined with the clear intelligence of Kendrick Lamar makes it hard not to look to him for guidance. He takes this song and a few others to absolve himself of this responsibility and absolve ‘Bron and Cole and Future at the same time so as to highlight that the weight falls on you and no one else.

He does this with some excellent guest spots. It’s a fascinating song that brings in a lot of interesting pieces and uses them to underscore the message of the song. That chorus asking if you’re happy for him sells the core of the song and the album strongly. He’s got a lot of soft piano work and swirling backing in this album and it really lets his raps shine.

This thesis runs especially strong at both ends of the album. The opener “United In Grief” really drives home the emptiness he feels and uses intriguing, fluttering percussion at the back and a halting piano to texture Kendrick’s words. It’s neither him at his best rapping nor his most insightful thinking, but he does bring some really interesting musical shifts through the song.

On the other end, “Mirror” is a top-tier closer. It takes the cinematography and exultation of Black Panther and gets a clever, pulsating, beat going that fully underscores the repeated “I choose me, I’m sorry” of the chorus. It’s hard not to feel happy for Kendrick when you hear the glory in that statement. It’s not new to see how heavy is the head that wears the crown, Kendrick himself said this as far back as TPaB, but he takes that abdication and shows you the wonder in it and so dulls the sting of his ask underneath the message – that you take responsibility for yourself.

Some of the other tracks can’t quite make as strong a statement however. “Crown” speaks of not being able to please everybody, but is never much more than shallow. There are some very interesting swirls in the music and the whole feels almost Radiohead at points, but the song just doesn’t justify it’s runtime. It might have been something if trimmed but ends up just filler. “Die Hard” is another Black Panther-style song and never does more than act as filler here. It was exciting to hear this kind of song in the Black Panther album when it was a new sound and the album was focused on it but it doesn’t do anything much here.

There’s unfortunately quite a bit more filler than I would like. “Silent Hill” never gets to be anything more and Kodak Black brings in a supremely boring verse that in no way justifies his inclusion in the album. Seeing a trap cut was novel but just not interesting enough. “Worldwide Steppers” brings in some solid storytelling but has nothing interesting besides that. It doesn’t even have Kendrick rapping at his best. Baby Keem is just boring in “Savior – Interlude.” “Father Time” has some interesting story in there but nothing that memorable really and it’s even more forgettable as music. It’s not his best rap at all.

Even his filler is pretty good though. There’s some interesting work in K.’s trap and talking about racism through touring Denmark is a lot of fun. “Purple Hearts” might not do much for me but Ghostface brings in a nice old-school verse and the whole things is reminiscent of Graduation-era Kanye. These tracks are not really cause for complaint as much as a mild wish for more.

That’s why it helps a lot that he has a couple of real bangers in this album. “Rich Spirit” is just very good and that hook is nothing short of amazing. “N95” does indeed go hard. “Count Me Out” is similarly excellent. Kendrick does interesting things with the flows and sounds of the song. He builds up expectations just to throw you off, but it takes a while to get interesting.

“Mother I Sober” may not be the kind of track to bump with the top down but it is one of the best songs that Kendrick has ever made. It’s immediately attention grabbing and the mixture of Kendrick’s rapping and the Beth Gibbons chorus is heady. The haunting vocalizations that run through the track serve as great support for the storytelling too. It’s a very exciting song and a very honest one as well and one that links perfectly into “Mirror.”

The most interesting track though is “We Cry Together,” in which Kendrick and Taylour Page scream obscenities at each other for 5 minutes and 41 seconds. It’s an aggressive song. You notice when it starts to play. The directness of the swearing and the twin voices have shades of “Kim.” It may never get as violent but it is every bit as intense.

For all of that though, it doesn’t fully work out. It’s jsut not the best lyrics. The rhymes, especially the cross-rhymes, are weak. It’s a relief whenever the conversation switches to monologues as while having the two rappers overlap should be clever, the rhymes are so weak as to break it entirely, especially as their flows don’t mesh at all. Also, ending with them choosing sex is a weak choice, albeit one almost entirely redeemed by the tap dancing at the end.

The other track to note, “Auntie Diaries” is very strong storytelling with a hell of a stinger at the end. Kendrick is very sympathetic when talking about his trans family members and that sympathy is necessary for a sogn like this. He brings in some of his best lyricism here, especially when the chorus shifts with the subject and the rapping is compelling throughout. It’s a very strong song, but shallower than I would have liked. In his best work, tracks like “Sing About Me” or “The Art of Peer Pressure,” he brings in small, very lived-in details and brings more personality to his characters. Both Mary-Ann and Kendrick’s uncle feel two-dimensional and Kendrick standing up in church is a hackneyed image. The song lacks individuality and so sometimes falls into preachiness, albeit for a very worthy cause. It is a shame though that the most memorable part of the song comes from Kendrick touring. It would have been a better song had he centered it less on himself, even if it is still a great track.

That’s kind of where I end up with Mr. Morale, very good music with evident flaws. It’s not quite the storytelling of Good Kid, not quite the message of TPaB, not quite the rapping of DAMN but enough between the pieces to be only a bit behind the first two and about the level of the last. It doesn’t really bring in much that’s new and that’s a first for K.Dot, but it acts as something of a consolidation of what is already an all-time career in rap, and that’s more than enough to make for truly excellent music.

Monthly Playlist – Apr. 2022

15 May

After a short break, we are back with our Monthly Playlist series! This month, we saw the releases of much-anticipated albums from Wet Leg, Fontaines DC and more – not to mention news of perhaps the year’s most anticipated release, Kendrick Lamar’s new album. Read on to find out our picks from the month of April 2022, and let us know if you agree or disagree!

“Down” by Hot Chip

English synthpop band Hot Chip have been around for quite a while now – almost two decades, in fact – and they’ve got quite a few notable albums under their belts. Their second and third albums were particularly successful, with sophomore album The Warning (2006) fetching a Mercury Prize nom and third album Made in the Dark (2008) spawning the massive hit “Ready for the Floor”. Now, a few so-so albums later, the band is back with new single “Down” as the lead single for their eighth album Freakout/Release, set to come out in August 2022. “Down” is a jagged, off-kilter party romp that’s up there with the band’s best works. It’s just a fun dance music with a strong bassline, infectious breakdowns, and an insanely catchy phrase (“Girl, know how to break it on down!”) running through the background – definitely check this one out. 

“About Damn Time” by Lizzo

(Note: This song was actually released in March 2022, but since we missed a Monthly Playlist in that month, we just had to include it in this one. Trust us, you’ll see why when you listen to the track!)

Speaking of irresistible dance music, there are few active artists today who can keep churning out the hits quite like Lizzo. In the latter part of 2021, she released the catchy “Rumors” with fellow artist du jour Cardi B – a track we liked so much that we put it on our year-end list. At the time, she mentioned that “Rumors” marked the start of a new era for her, possibly ahead of her planned 2022 album. Now she’s added another milestone to that new era with “About Damn Time” – a song seemingly about Lizzo re-discovering her confidence after a rocky few months. The world’s foremost flutist / funk-pop star describes how she’s finally in a mood to celebrate and get back out there. “Oh, I’ve been so down and under pressure, I’m way too fine to be this stressed, yeah / Oh, I’m not the girl I was or used to be, Uh, bitch, I might be better,” she says in her classic confidence, all set to a riff that would make Nile Rogers proud. The best thing is that this track also serves as a post-COVID anthem for those that are ready to get back out there after a couple of difficult years; when she says “Is everybody back up in the buildin’? It’s been a minute, tell me how you’re healin’”, we felt that.

“Barely on My Mind” by The Regrettes

The Regrettes are a punk rock band with a couple of albums to their names. But they seem to have taken a bit of a left turn with the dance-pop track “Barely on My Mind”. There are almost Phoenix-like turns of melody on the track, mixed with the magnetism of lead singer Lydia Night’s vocals. The track is part of their third album Future Joy, which was released in April 2022. We’ll surely be checking out the rest of the album with an introduction like this!

“Autopilot” by Dev Lemons

If you’re a TikTok regular, you are probably familiar with the work of Dev Lemons – not as a musician, but as the creator of the popular @songpsych page which boasts almost a million followers and 26 million (!) likes. On the page, Dev Lemons (real name Devon Schmalz) breaks down popular songs into the byte-sized format that suits the preferences of her Gen Z audience. However, not content with just being a music critic of sorts, Dev Lemons has now taken her insights into what makes songs popular (e.g., this video about the new Lizzo song that we also loved above) and has begun releasing original music too. Vaguely reminiscent of acts like Lily Allen, “Autopilot” amps up the synths on the chorus for a fun, catchy romp. Definitely check out Dev Lemons’ music – and of course her @songpsych channel if you’re on TikTok!

“Oh Algoritmo” by Jorge Drexler feat. Noga Erez

Jorge Drexler, the artist behind our final pick “Oh Algoritmo”, is one of the most interesting people you’ve never heard about. First and foremost, he’s a medical doctor – an otorhinolaryngologist (ENT) to be exact. Secondly, as if excellence in one specific skillset wasn’t enough, the Uruguayan won an Academy Award in 2004 for composing “Al Otro Lado del Rio” from the Motorcycle Diaries. This is not counting the numerous Latin Grammy Awards he’s racked up, including Album of the Year and Record of the Year. Suffice it to say, you owe it to yourself to at least give a listen to “Oh Algoritmo”, in which Drexler has paired up with Israeli singer-songwriter Noga Erez. The song immediately draws you in with a funky bassline and Drexler’s vocals set against a lively background of shakes, bops and beeps. By the time Erez’s confident English-language vocals come in, we’d bet that you’re hooked on to the angular, groovy vibes on this track. 

Immanuel Wilkins – The 7th Hand

8 May

There’s a lot to like about The 7th Hand. The music is immaculate. There is obscene skill behind the whole thing. There are moments of transcendence. For all of its strengths though, it is just short enough of challenge to mire the whole album.

It oscillates quite sharply between pleasant and aggressive throughout and in the opener “Emanation” you have some very energetic sax work followed by a relaxing piano solo. They both end up flat however. The sax starts strong and is played very well, but it lacks challenge and ends up going nowhere you wanted to visit. The piano solo is a little off-kilter but needed to be fully askew. It’s the same story in “Lift.” There’s a lot of sound and fury, but it’s ends up signifying nothing.

Sometimes, the album takes a turn more towards the pleasant, such as in “Fugitive Ritual, Selah” and it does it well. It may have done better with stronger focus on that side, but that does nothing to help the lack of challenge.

The 7th Hand has moments though. The opening of “Witness” evokes a deep, verdant, arboreal scene and thread some ominousness through it to great effect. These moments just are not enough to lift an album that can never quite escape falling flat.

Charli XCX – Crash

6 Apr

Words by Raksha Thakur

Charli XCX knows that pop music isn’t about reinventing the wheel. In the age of social media ubiquity and its accompanying cult of authenticity, she doesn’t just play with the deja vu quality of pop music, but leans into it fully— a master of the art of making chart-friendly bops. In Charli’s hands, veering into radio-friendly territory is anything but conventional.

Charli is no stranger to pop music. She is a vocal fan of Britney Spears and the Spice Girls, and her smash hits “Boom Clap”, “I Love It” with Icona Pop, and Iggy Azalea’s “Fancy” dominated the 2010s. As a bankable songwriter, she has also penned some of the most indelible earworms sung by other singers like Selena Gomez, Camilla Cabello, and Blondie among others. Pushing against the constraints of being a Hyperpop singer – a genre she pioneered – Crash sees her return to form in a slick pop music vein.

Playing with the decidedly mass market image of the pop diva, Charli revitalizes mainstream pop through Crash. Anointed the queen of “the future of pop,” Charli slyly challenges this legacy with references to older pop music and audaciously sampling some of the most recognizable hits of the past twenty years. The album is informed by the illusion of the singularity of the major label pop star, all by herself at the very top. Charli hurtles into self-aware pop, with a sonic palette ranging from the ’80s, 2000s and 2010s. The result is an instant classic pop album.

Crash is bangers from the outset, clocking in at a little over half an hour, and opens with the slow, rhythmic adrenaline injection of the title track. The warm, synthy, and ‘80s inspired “New Shapes” featuring Christine and the Queens, and Caroline Polachek (formerly of Chairlift fame) may as well be a tongue-in-cheek kiss off to Hyperpop, if only for the time being. “Constant Repeat” is an arena-sized dance floor scorcher. Its title alludes to the behavior of someone obsessed with a person the way one would be with a song. “You could have had a bad girl by your side,” sings the iconoclast who has proven that she can play the pop game with finesse. “Good Ones” has an intro resembling Eurythmics’ “Sweet Dreams (Are Made of This)” and embodies a catchy ’80s revival sound of the 2000s that Charli grew up on.

Thematically, Crash spans a broad swathe, ranging from aesthetic odes to the witchy, from the occult to David Cronenberg’s risqué, critically-acclaimed movie of the same name. There is also a full circle aspect to Crash having an association with cars: many of her past songs have been about cars, such as “Vroom Vroom”, “White Mercedes” and the unreleased fan favorite “Taxi”.

Charli’s songwriting presents the pop staple of love and romance in all their different dimensions. Through the tracklist, she regularly interplays between provocative songs and softer, more ballad-like tunes. “Move Me” is a ballad with the tempo of a Justin Timberlake & Timba joint with some delicious R&B “oohs”. It is followed by the effortlessly sultry “Baby”, designed to make one do something between dancing and stripping. An unexpected guitar makes a startling appearance and contrasts beautifully with the melodious staccato of Charli’s occasionally manipulated voice at the end of the Kate Bush-by-way-of-New Order anthem “Lightning”.

Charli’s gift of using decade-defining sounds from synths to the scant use of autotuned vocal creates a sound all her own and totally new in the XCX world. For example, the posturing of a pop star in all its manufactured mass appeal goes one step further when Charli sings the chorus of “Beg For You” in a manner that’s a perfect mondegreen of the song she’s sampling from (“Cry For Me” by September). This track in particular (featuring our favorite Rina Sawayama) has all the best elements of Britpop aided by Charli’s touch: a nostalgic disc scratch, Jamie XX-like bass, the sampled breakbeat and melody of Milk Inc.’s “Don’t Cry”, and a duet about heartache that is irresistible to avoid dancing to. “Used To Know Me” takes the recognizably ‘90s club sound of “Show Me Love” and transforms it into a Britney-esque danceable bubble-gum pop bop.

In 2020, Charli released the raw, vulnerable how i’m feeling now – an album that closely involved Charli’s fans (or Angels, as they’re known across the internet), including features in in her music videos. In comparison, the contrast to her new era as a main pop girl baddie couldn’t be more extreme. With its carefully manufactured mystery and allure, this album is nothing short of an enormous pivot.

Pop stars are part of a larger commercial music machinery: cogs in collaborative efforts from record labels to songwriters, singers, and producers. In contrast, Charli is known for her collaborations with other musicians and producers as much as for her signature glitchy sound. Long resistant to the singularity of the pop star, Charli’s new album dives headlong into the illusory concept of the lone pop star while serving the very finest pop music out there. Crash shows a departure for a musician who refuses to be boxed into a genre at the top of her game making timeless catchy pop.

Rosalía – MOTOMAMI

29 Mar

MOTOMAMI is the greatest reggaeton album ever made. Rosalía was already a superstar and yet she has found a way to be larger still, and even more impressively, to do so on her own terms. MOTOMAMI does not fall cleanly into any box, but instead draws from apparently every influence that Rosalía can bring to the table and the result is dizzying.

This shows up well in the fun “CANDY.” She brings great emotion and fascinating sounds from a range uncompromising in its scope and makes the song fun to boot. She is every bit as fun in “CHICKEN TERIYAKI.” The music is clever, lively and so very individual.

For all of that though, she is still capable of “HENTAI,” a slower indie rock cut. She does it well, even if I prefer the reggaeton and her versatility is stunning. This is what allows for the standout “LA FAMA,” not only the best track on the album, but also The Weeknd as good as he has ever been, but somehow in Spanish.

MOTOMAMI is everything you could ask for and yet does not have a single fragment of pandering from Rosalía. This is her album entirely and we are all the better for it.

Nilüfer Yanya – PAINLESS

20 Mar

PAINLESS is an imperious album. It’s effortless in its ability to capture. you. Many of the other great albums of the present work with intricate details. PAINLESS just finds the right grooves, adds the right textures and is rightly confident in their ability to keep you captivated. Yanya then adds to this with insistent and undeniable storytelling that runs as a dark whisper underneath the shimmering dream pop.

In something like the standout “L/R”, the narrative both powerful and sparse. “Sometimes it feels like you’re so violent, autopilot” is a strong line for the chorus and contrasts very satisfyingly with the languor of the music.

Similarly “anotherlife” is buoyant, dreamy and resonant and then it will absolutely lacerate you the moment you let it in. “try” is very compelling and very relaxing music and Yanya’s voice is perfectly restrained and sublimely emotive.

PAINLESS is a consistently cohesive album. There’s nothing here that detracts from the vision or compromises the quality and both are unparalleled.

Monthly Playlist – Feb 2022

7 Mar

The second month of 2022 saw the release of quite a few good albums. There was Laurel Hell, the much-anticipated follow-up from indie-folk singer Mitski, as well as new records from stalwarts such as Animal Collective and Spoon. There were also new tracks from artists such as Fontaines DC, Caroline Polachek and more. Read on for our top five picks from February 2022!

“The Loop” by Toro y Moi

We covered the delectable “Postman” with its fun Pharrell-esque vibe, in last month’s Monthly Playlist – and this month, Toro y Moi has treated us once again to a great track. Unlike the upbeat vibes of “Postman”, “The Loop” is much more laidback, and much more jazzy almost. Subtle basslines mesh with Chaz Bear’s playful vocals, leading to a track that’s perfect for spring days that almost, almost feel like summer. Both “Postman” and “The Loop” are precursors to Toro y Moi’s upcoming album Mahal, out on April 29th.

“Held” by Spoon

Technically, “Held” is a cover of a track by eclectic singer-songwriter Bill Callahan under his Smog avatar. We definitely don’t blame you for never having heard of Callahan, Smog or the original “Held”, but do yourself a favor and check out the cover by Spoon on their latest album Lucifer on the Sofa (released Feb. 11th). Spoon’s cover of “Held” is raw, bluesy, and full of the kind of modern-day cowboy vibes that seep through a lot of Lucifer, for which this track serves as a worthy album opener. “For the first time in my life / I let myself be held like a big old baby / And I surrender to your charity,” ruminates lead singer Britt Daniel, and the way he drawls and draws out his thoughts make you ruminate along with him. “Held” was apparently battle-tested by the band in live shows for many years, and it shows – Spoon truly owns this track.

“Crip Ya Enthusiasm” by Snoop Dogg

Snoop Dogg had a fantastic February. On February 10th, he made the surprise announcement that he is now the new owner of the acclaimed Death Row Records, the label which famously launched his very career. A day later, on February 11th, Snoop announced “Crip Ya Enthusiasm”, the first track from his new album (also released on the same day) quite suitably titled Bacc on Death Row. If “Crip Ya Enthusiasm” sounds to you like a reference to Curb Your Enthusiasm, then you’re exactly right. The track starts off with a sample of the meme-worthy theme song from Curb that is then masterfully spun into the song’s catchy backbone. The rest is standard Snoop flow – as cool as a cucumber, but don’t underestimate the verbal gymnastics of the West Coast OG. Also of particular note is the verse break (“These are words coming from the Dogg / And everything I do is lit / Hoppin’ right along, tryna get my party on / Call my n*, let’s go bust a bitch”) that Snoop actually sings along to the Curb song.

Oh, and on February 13th, he performed at the highly-lauded Half-Time Show at Super Bowl LVI. Not a bad February!

“Kissing Lessons” by Lucy Dacus

Lucy Dacus is a young singer-songwriter with a couple of well-received albums under her belt: her debut No Burden (2016) and two follow-ups Historian (2018) and Home Video (2021). Apart from her own music, she’s also well-known for being one-third of the group boygenius, formed with fellow indie rocker girls Julien Baker and Phoebe Bridgers. Lyrically, “Kissing Lessons” is a short-and-sweet song about a childhood queer romance – an older girl in elementary school called Rachel that gives Lucy the titular lessons. While Rachel moves away by the end of this sub-2 minute track, Lucy still keeps a memento of her childhood more-than-a-friend. We also liked the wall-of-sound guitarwork that almost competes with Dacus’ vocals for the listener’s attention. A true indie rock song, albeit with a sweet edge.

“Angelica” by Wet Leg

Wet Leg’s debut album was one of the five albums that we were anticipating the most out of 2022 at the start of the year, and the Isle of Wight band has just released one more proof point for our case. “Angelica”, released on the last day of February, is in line with the indie rock sensibilities on their runaway hit “Chaise Lounge” and strong follow-up “Wet Dream”. The track is about a cool it-girl called, well, Angelica, who’s observed by the narrator at a party that they’re both attending. Angelica arrives (with lasagna, to boot) and quickly dominates the room, making the narrator wonder why she’s still hanging around with a person like Angelica in the mix. It’s all very young-person ennui, and Wet Leg’s characteristically catchy, upbeat guitars and drums pair well with the subject matter. The two-piece have a big month coming up, headlining as one of the notable acts at SXSW 2022 and performing in about half a dozen venues in the city of Austin during the 10-day festival. All of this buzz is in preparation for their release of their debut album on April 8th – as we’ve said before, we’re looking forward to this one.

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