Bizarre Ride kicks off with a jazz interlude, which segues, via record scratching, into the rowdy opener “Oh Shit.” All at once we are introduced to The Pharcyde – a playful, satirical, humorous, rap collective from South Central LA. In the age of gangsta rap, these guys were lowbrow clowns by comparison. But time has treated their debut well – Bizarre Ride and its maximalist melodic layers, lush samples from producer J-Swift, and straight-up funny rhymes sound as fresh as the day the album dropped in the fall of 1992.
Punchlines ensue throughout the album, but let’s be clear: The Pharcyde had something to say. The skit “It’s Jiggaboo Time” is a satirical comment on black caricature, delivered in a fashion only the rambunctious, clever group could bring. “4 Better Or 4 Worse” features big beats and echoing piano lines that remind me of East Coasters A Tribe Called Quest. But the colorful, self-deprecating, and over-the-top lyrics reveal these guys weren’t just copycats from LA. The lyrical dexterity was there, but the Pharcyde went into character in lieu of standing on a soapbox. It was more cartoon than conscious, more Shock G than Q-Tip.
The banter and casual back-and-forth of The Pharcyde is immediately recognizable to younger listeners. Because of my age, they immediately remind me of Jurassic 5, a crew that emerged a few years later (so much so that Jurassic 5 seem shamelessly derivative by comparison). “I’m That Type of Nigga” is a party anthem with carefree charm akin to Slick Rick and Beastie Boys. Fatlip, Slimkid3, Bootie Brown, and Imani trade bars like the Wu Tang without delving into the New York collective’s penchant for street raps. The Pharcyde still have a thesis to convey, but the presentation was more lighthearted than their peers, which was probably why Bizarre Ride II The Pharcyde was only a modest success.
Throughout the album, a sly balancing act between socially conscious rhymes and humorous wordplay is consistent. “Soul Flower” is infectious, from the horn line to a deftly-placed repetitive sample of a woman humming. “On the DL” features incessant record scratching, pleasant piano lines, and background vocals that are reminiscent of vocal R&B groups of the time, like Shai. “Officer” deals with racial profiling by police, and interpolates the style of Public Enemy, from Flava Flav’s hypeman intro to the screeching sound effects. The end result, however, is 100% Pharcyde. Lead single “Ya Mama,” meanwhile is pure comedy, a whole gimmicky song based on, you guessed it, “yo mama” one-liners.
Better, and more successful, is the follow-up single “Passin’ Me By” an immediately recognizable track for even the most casual hip-hop listener. The song deals with each MC commiserating about schoolboy heartbreak. My millennial mind just kept hearing Joe’s “Stutter” the whole time, which heavily interpolated the song years later. Near the end of the album, the full goofy side of The Pharcyde come out in the “Quinton’s On His Way” interlude and the spaced-out weed anthem “Pack the Pipe.” Alternative rap has a tendency to reflect on the past (much like other rigid “alternatives” like alt-country) and the Pharcyde lean toward this on the closer “Return of the B-Boy,” paying homage to the origins of hip-hop and giving notice to “sucker MCs.”
Gangsta rap, at its peak, was about telling sobering tales, evoking masculinity and keeping it real. The Pharcyde, by contrast, were about telling far-fetched stories and keeping it interesting. They didn’t take themselves too seriously, which was not common of rappers in their era. They were a refreshing alternative to the onslaught of mostly humorless G-Funk lyricists.
The Pharcyde never reached the dexterous heights they conjured in their debut. Critical and commercial interest waned with each subsequent release, and slowly the group became a revolving door for members and producers. But when they had their moment, it was a pretty significant one. In the age of The Chronic and Illmatic, The Pharcyde probably sounded pretty… bizarre. But for those who were growing tired of the mean-mugging in rap music, they were likely a breath of fresh air. After the dust had settled, Bizarre Ride II The Pharcyde stands out as one of the best in its lane.
Context is everything. When you’re listening to a landmark album, you have to know the background.
Sure, Big Star’s #1 Record emulates the Byrds and the Beatles. They are kindred spirits with their peers Badfinger. And you can hear faint traces of what they influenced: The Replacements, REM, Tom Petty. The key thing, at least for most people, myself included, is that you’ve already heard all those things before #1 Record. Your brain hears what you heard first. And sometimes it’s hard to parse just exactly how an album influenced others when you heard the later stuff before the classic stuff. It might make you think, “What’s so special? What’s the big deal? This sounds pretty ordinary.”
But the context (which, remember, context is everything) is that nothing else in 1972 sounded like Big Star. They were simultaneously retro and forward-thinking. Power-pop was still in its infancy when #1 Record landed in precious few record stores. While rock was either taking a trip to Laurel Canyon or going full bombastic proto-prog, a group of guys from Memphis were making simple pop with bright melodies and singalong choruses. And the result? Every song shines through as a singular statement, and the album is diverse enough to never lose your attention.
I was surprised, even though I’d never heard the album in full, how I basically knew every song individually at some point in my life. Everything was instantly familiar, either from Big Star themselves or a cover I had heard (example: Cheap Trick’s version of “In the Street” for That 70s Show). The best popular music can evoke that feeling of familiarity, even when it may not be true. Great music can trick your brain.
So many songs on #1 Record do this. “Feel” is a polished, upbeat rocker, while “The Ballad of El Goodo” has an oft-repeated refrain that is sticky enough to rival “Hey Jude.” Speaking of Paul McCartney, his presence is felt on the flawless “Thirteen.”
“Don’t Lie To Me” would fit immaculately in the arena-rock industrial complex that was to come later in the decade, a feel-good, nostalgia-driven, beer-swiggin, shout-along number that reminds me of Free’s “All Right Now,” which, unlike anything Big Star recorded, actually received radio play. “When My Baby’s Beside Me” has a similar feel; it’s like the band conjured up the blueprint for the next decade of rock’n’roll when no one was looking. In one short album, the duo of Chris Bell and Alex Chilton proved they had the goods to rival the songwriting chops of Lennon and McCartney. Chilton brought the best songs, and Bell had the natural knack for sharp production and pristine harmonies.
Even though we’ve heard the influences first, I can’t imagine how a modern listener would be bored with #1 Record. It is a perfect piece of power-pop. Every bit fits, every guitar strum seems obviously placed to maximize the potential for perfection. They make it all sound so simple. But as we know from Big Star’s story, that certainly wasn’t the case, before or after #1 Record.
Actually, maybe context isn’t everything. Because you know a good record when you hear it. It doesn’t matter when it was made. It really doesn’t matter who it influenced. In the moment, when you drop the needle and put on your headphones, all that matters is what you’re hearing. Big Star created 37 minutes of rock’n’roll bliss in 1972. That’s all the background needed to enjoy it, even in the 21st century. #1 Record is ageless.
Like the majority of music fans, I am more familiar with Bleed American, Jimmy Eat World’s breakthrough album from 2001. Their previous effort Clarity, however, is considered very influential, and many claim it was commercially overlooked upon its release in 1999. Having finally heard the effort all the way through, I can attest to the praise: Clarity is a sharp, consistent album with a heavy replay factor.
Before we go any further, I must express my deep-seated bias for energetic pop-punk over the softer emocore. I have dabbled with The Hotelier and Modern Baseball, but I’m a Blue Album guy more than a Pinkerton guy. It’s just in my blood, y’all! But despite my penchant for fast-paced rhythms and chugging power chords, I can appreciate the impact of Clarity, a foundational album that lays the groundwork for an entire subgenre so effectively its imitators have all but rendered its most ingenious elements a cliche.
The album opens with the mellow, introspective “Table For Glasses,” followed by the now-classic single “Lucky Denver Mint.” These two openers set the tone for the rest of Clarity, and Jim Adkins’ and Tom Linton’s vocal harmonies are signature to the unmistakable sound of Jimmy Eat World.
The variety of instrumentation is startling, but not overbearing; this is not a typical guitar-and-drums listen by any stretch. Zach Lind’s electronic percussion programming, particularly on the aforementioned “Mint,” is akin to something a maturing Blink 182 would lift several years later. Lind’s bells and chimes layered throughout bolster the album’s pensive framework, a perfect setting for the existential, sometimes somber lyrics to shine through.
At times, we can hear what was to come: “Your New Aesthetic” features a chugging guitar intro reminiscent of the band’s future blockbuster hit “The Middle.” Unlike that Bleed American single, however, the song isn’t upbeat or optimistic, but rather insular and shoegaze-influenced. But Jimmy Eat World have always been able to tug at the heartstrings, as is clear on the Weezer-esque “Believe What You Want,” sporting screeching guitars and an anthemic chorus. Meanwhile, “A Sunday” is wistful and pensive with just a tinge of outward emotion and melancholy, a style Chris Carrabba of Dashboard Confessional would adopt.
While the arrangements keep us guessing, the mood rarely changes. This hampers the project slightly, as filler starts to creep in near the middle. Thankfully, things pick up near the end with highlight “Just Watch the Fireworks,” featuring violins and other warm instrumentation. The album closes with a series of Clarity’s strongest tracks: fan favorite “For Me This Is Heaven,” the welcome change of pace “Blister,” the riff-heavy title track, and the epic 16-minute “Goodbye Sky Harbor.”
The heart-on-sleeve influence of Clarity cannot be ignored, but the band refined their style and made a better album a couple of years later, one that arrived just in time for them to receive the accolades they deserved. Clarity is Bleed American’s introverted older brother. The latter may have been more outgoing and more popular, but it owes a lot to what came before. In fact, so does all of modern emo.
Rio is considered Duran Duran’s magnum opus, and now that I’ve finally heard it for myself, I wholeheartedly agree. The album is a near-perfect transition from the band’s New Romantic bona fides to the full-on new wave hedonism that was taking hold. When fanatics of this period (read: me) say the 1980s was a great decade for music, we’re talking about shit like this.
Out of the many, many acts that cropped up during this time, Duran Duran probably had one of the more polished approaches to the sound, and their sharp looks and stylish visuals helped them rise to the top of MTV rotation. As is evident throughout Rio, vocalist Simon Le Bon’s confident yelp is paramount to Duran Duran’s distinction from their peers, as are Andy Taylor’s riffs.
But for my money, the backbone of the band is John Taylor’s workmanlike approach. The title track in particular reinforces this, as Rio dances across the Rio Grande to boisterous bass lines, alongside sprinting synths from Nick Rhodes and a sexy sax solo from session player Andy Hamilton. The band knows their way around a hook and an infectious dance beat, as is the case on lead single “My Own Way,” featuring shuffling percussion courtesy of Roger Taylor. (None of the Taylors are related, which is an interesting thing about Duran Duran that doesn’t get talked about nearly enough.)
Then there’s the immortal “Hungry Like the Wolf,” an eternal jam primarily because of that “doo doo doo” hook that carries the verses to infectious heights. The vibe is similar throughout; even deep cuts like “Hold Back the Rain” and “New Religion” are irresistibly danceable jams.
The album is a bit front-loaded, but Side 2 is hardly skippable. The party slows down and draws to a close with the more subdued “Save a Prayer” and “The Chauffeur.” Initially I was disappointed by this change of pace, but these final songs actually function well and mix things up, keeping the listener fairly engaged over nine tracks. What is consistent, however, is the energy; it’s clear the band is having fun, which only adds to the staying power of this classic album. It sounds like 1982, no question, but that’s hardly anything to complain about.
Starting tomorrow (February 1st), I will be participating in the Music Writer Exercise on Twitter.
Music Writer Exercise: Each day in February, listen to one full album you’ve never heard, from start to finish. Write one tweet about it. Use the hashtag #MWE when you do.
In addition to writing a tweet about the album I “review” every day, I will be writing 100 words or more here on the site. Or at least, I’ll try to. Life comes at you fast, and I’m hoping to make it thru the month. I already have a large list of albums I’ve always wanted to listen to that grows by the week, so I’ll be picking and choosing from those. Thanks for reading! You can follow me on Twitter here.
I had no idea. I mean, I knew about Aaron Spelling, the dude is a TV legend. And I certainly knew about the teen soap phenomenons that were Beverly Hills 90210 and Melrose Place. I was pretty young, sure, but of course I had a faint idea of those shows and what they were about, and that I was not allowed to watch them, and if I did watch them (which eventually happened one night in my room when my parents were asleep) I wouldn’t like them anyway.
But until today, I had never heard of The Heights. I was not aware of this early-90s show on Fox about a fictional rock band, that had one single go all the way to #1 (IRL) and then was promptly canceled. I had no idea about Jamie Walters and his (seemingly) big break and unceremonious fall from stardom. (I guess Spelling felt bad and gave Walters another shot at playing a musician on 90210 a couple years later. Talk about being typecast.)
The Heights is the kind of show that should be lost to time, like a thousand other shows from the 90s that didn’t last past their first season. Probably the only reason it’s remembered at all is because of the name behind it and the hit song from it. But folks, I gotta tell ya: the song should be left in the past too. I’m not sure how you talk to an angel, but my first word of advice would be, don’t play them this song. They’ll hate it.
As far as 90s hits, the song is pretty generic. Those are the worst kinds of songs to write about. It’s three-and-a-half minutes of nothing. But I will attempt to assess what it is about this song that induces the strongest kind of boredom inside me. Now, I’ve never seen the show The Heights, so I’m not going into this having done my due diligence. I don’t know what kind of band The Heights were supposed to me. My hunch, based on the photos of demin-clad cast mates, and the fact that this was the summer of 1992, is that they’re supposed to represent some loose Hollywood interpretation of the “alternative” or “grunge” sound that was taking over the zeitgeist at the time. But “How Do You Talk To An Angel” makes me think I might have that wrong. Maybe they should have gone that route instead. The show would have lasted until 1997 at least.
Alas, based on the saxophone wails and Walters’ Bryan Adams-y rasp, it sounds like The Heights were supposed to be a band your adult-contemporary-loving Mom would hear on her commute. One listen to the album made to promote the show (currently available to stream on Spotify, which is wild) confirms that assumption. This music just washes over me like a wet fart – it’s there, it stinks, and then it’s gone and forgotten. Sorry for the visual.
Initially, the saxophone made me think of other TV show themes that are more fondly remembered, like Full House or something (RIP Bob Saget). But you can place that song. You can see the Golden Gate Bridge and uncles Joey and Jessie and the Olsen twins. “How Do You Talk To An Angel” can’t be placed anywhere. The plaintive strumming guitar, Walters’ brooding delivery, the sax fills, the guitar solo – when I hear it all, I close my eyes and see a guy without a face, long hair, in a long coat, walking down the sidewalk under street lights contemplatively. Maybe it’s just rained and there’s puddles he’s walking through. You see it, right? It belongs nowhere. It’s a scene we’ve seen a million times, soundtracked by a song like this. Stock footage with stock music.
There have been a few songs from TV shows to reach the top of the Hot 100. They are usually well-remembered, as are the shows they’re from (Miami Vice, Welcome Back Kotter). “How Do You Talk To An Angel,” from the band and show The Heights, is not. And upon further research, I can hear why.
Score: 2/10
The Mighty Mighty Bosstones – The Impression That I Get
In honor of the recent announcement that The Mighty Mighty Bosstones have decided to call it quits via an unceremonious press release, I have decided to review their biggest hit. When “The Impression That I Get” skanked its way onto the charts in 1997, I was an impressionable 11-year-old who didn’t realize I was getting my first ever taste of ska music (along with Goldfinger’s “Superman,” which was on the X-Games soundtrack).
The mid-to-late 90s were a fun wilderness period for alternative rock, and even Top 40 radio. Grunge was dead, and the boy bands, nu metal mooks, and Carson Daly weren’t quite shutting down sidewalks in Times Square just yet, so MTV and radio programmers were throwing a lot of spaghetti at the wall. Pop-punk was a big thing. The Prodigy and The Chemical Brothers were supposed to usher in the “electronica” wave. And America was flirting around with third wave ska (and its little brother ska punk), giving bands like No Doubt, Reel Big Fish, and The Toasters their fifteen minutes (Gwen Stefani, of course, strategically pivoted away from the trend and became a full-on pop star).
Riding the wave of exposure from being the house band on Clueless, MMB stood out from the pack with punchy hooks, loud guitars, a well-timed horn section, and that one guy up in front who just danced all the time. They made a minor splash with “Where’d You Go” and “Rascal King” but they got the most exposure from “Impression,” which hit #1 on modern rock airplay and crossed over to pop radio, which is where I first heard it.
The song is a bouncy one, with guitar strums that maintain the tempo while the horns deliver an earworm-y melody, until the distortion pedals kick on for a very satisfying chorus about being lucky in life and general apprehension about taking risks. Vocalist Dicky Barrett’s rasp is the signature element that made MMB stand out from the pack of ska-punk rockers in this short era.
I’m not sure that I’m necessarily mourning the breakup of the Bosstones, as my interest in ska waned once Limp Bizkit and Blink 182 started moving units. The genre, at least in its third wave, quickly earned a reputation for being kind of cheesy, and my teenage brain soon derisively associated it with “Disney Channel music.” But the Bosstones went beyond the generic sounds of 90s ska; their songs were more distinct, and their style was more refined. And “The Impression That I Get” is not only the band’s signature track, but one of the crown jewels of the genre’s short time in the spotlight.
Score: 9/10
Whitney Houston – I Will Always Love You
Longtime friends and readers will know that I’m not a big ballads guy. I’ve spoken privately and publicly of my annoyance when sappy, melismatic classics come on the radio. I respect the craft, but these songs bore me to tears. The whole American Idol experience just induced eye-rolls from me more often than it blew me away. Adele’s record-breaking popularity confounds me. Celine Dion’s only enjoyable when I put my Ironic Hat on. So yeah, I’m a monster with an ice cold heart. But Whitney Houston’s version of “I Will Always Love You” is my kryptonite.
I’d probably venture to say that Dolly Parton’s soft-spoken, intimate original, which she penned for duet partner Porter Wagoner, is more in my lane. That’s just a matter of personal taste, however, and it’s not really fair, because Whitney’s version is something completely different. It’s not even in the same category. Whitney Houston is a gigantic pop star with a ferocious voice, and the biggest hit from her film debut The Bodyguard is a fireworks display of power and emotion. By the third chorus, when that thundering drum hits and Houston gives it to us one more time, it’s the auditory equivalent of being hit by a train, and I mean that in the best way possible.
So yeah, even my cold, icy heart can’t resist what was the biggest song in the history of the planet at the time, from the biggest movie soundtrack of all time (a record The Bodyguard still holds). Sung by almost anyone, the song is beautiful, but Whitney’s cover is a force all its own. Her voice will stop you dead in your tracks. That final chorus, the part everyone remembers, still sends chills down my spine. It’s the eighth wonder of the world. It’s immortal.
The music behind Houston is really the only thing unremarkable about the song. David Foster’s arrangement is all early 90s adult-contemporary gloop, and the sax solo is pretty corny. But honestly, who cares? In any other artist’s hands, all I would be able to talk about would be how lightweight the song feels. But because it’s Whitney Houston, and she’s moving mountains with her voice, the music isn’t even secondary. It’s not even a factor at all. Nobody remembers that sax solo. Until recently, I forgot it was even in there. It’s all about Whitney Houston, and how she will always love you. She belts it to the heavens, and we are taken to another planet.
So yeah, I don’t really like ballads. But there are exceptions. This is one of them. And it’s a big one.
Score: 9/10
Peabo Bryson & Regina Belle – A Whole New World
I watched Aladdin probably more than any other animated Disney movie. When it was released in 1992 I was just the right age, and I thought Robin Williams was one of the funniest people on the planet. (I was right, and he always will be.) My favorite songs were from his blue Genie character, particularly “Friend Like Me.” My mom even got me the soundtrack, which consisted of songs from the film, the entire score from the film when the characters weren’t singing, and, at the very end, the studio version of “A Whole New World,” by two professional R&B singers whose names I didn’t know.
Of course, the version of “A Whole New World” in the actual film (sung in character by Brad Kane and Lea Salonga) is on the soundtrack too; it’s a duet from Aladdin and his love interest Princess Jasmine as they take a magic carpet ride. It’s a pretty important, and romantic (at least for a kid’s movie, anyway) moment in the film. The studio version from Peabo Bryson and Regina Belle plays during the end credits, and since I watched the movie from start to finish probably a thousand times, I knew this version pretty well too.
“A Whole New World” is the centerpiece of the film Aladdin, but as I’ve already mentioned, I was six years old, so I was more interested in what characters like the antagonist parrot Iago and Genie were up to. The song was wallpaper for me, the transition from Act 1 to Act 2. It was the song my mom liked, not me. But as an adult, I can safely say, it holds up, particularly the studio version in question.
Nowadays, as with modern Disney successes like Frozen and, most recently, Encanto, the charting versions of these songs are the ones sung by the cast and heard in the movies. They are more theatrical show tunes, not produced and designed to follow the pop trends of the moment. As I’m writing this, Encanto’s “We Don’t Talk About Bruno” is the #2 song in the country, and it’s the version from the actual film, not some glossy remake from a professional singer. In Disney’s Renaissance era, that just wasn’t the practice, for better or worse.
The version of “A Whole New World” in the movie is more youthful and idealistic, precisely because the two singers of that version are young. It works well in the context of the film; Aladdin and Jasmine are two teens trapped by poverty and societal expectations, respectively, and they both yearn for a change of scenery and a new adventure. Grand orchestral sweeps accompany their journey on a magic carpet.
For their part in the studio version, Bryson and Belle, both by this time established R&B stars, hold nothing back on their vocal takes, and by the end, when they’re trading impassioned lines back and forth, the song takes a true cinematic turn. Lyrically, the song works as a song for young lovers, but the more mature studio version is effective in its own way if taken out of the context of the film. Bryson and Belle do exactly that, giving the song a different tone and perspective, while retaining the passion of the film version.
The production is a bit dated; strings are replaced with plinky piano and keyboard chimes, and that canned guitar solo in the middle is clearly inserted to appeal to adult contemporary radio programmers of the early 90s. But the melody is what gives the song its staying power, regardless of what version you’re hearing. When I was six years old, I wasn’t interested in any of it, but as an adult I can appreciate both interpretations separately, even if one was purely designed for commercial interests. The song works as an expression of yearning, young love, and it works for a couple recommitting to each other after seeing so many worlds together, ready for what comes next.
Score: 7/10
NEW MUSIC
Jessica Darrow – Surface Pressure
The smash Disney animated feature Encanto continues its dominance with another song from the film landing in the Top Ten. “Surface Pressure” is a pretty important statement song for Jessica Darrow’s character in the film Luisa, an older sister who takes on many burdens for her family with her gift of superhuman strength and never complains. Internally, however, she harbors extreme anxiety about failing. Lyrically the song works as a character study for Luisa, and by extension it becomes incredibly relatable to those of us who others are dependent on. Songwriter Lin Manuel-Miranda’s humor shines through in moments (“Was Hercules ever like ‘Yo, I don’t wanna fight Cerberus’?”), and Darrow’s effective delivery convincingly evokes anxious tension, even if it goes a bit overboard with the (admittedly necessary) Disney Song histrionics. As for the beat, it’s a pleasant reggaetón and Latin pop hybrid that would fit nicely on a late-career Daddy Yankee album.
Score: 6/10
Partner – Time Is a Car
Canadian indie duo Partner find the right balance between driving verses and effective, loping choruses on this new one. Great for a road trip.
Score: 7/10
Sofia Kourtesis & Manu Chao – Estacion Esperanza
With Fresia Magdalena, Sofia Kourtesis had one of the best albums of 2021, and she returns with five minutes of euphoria on this club-ready track, featuring chanting crowds and a very satisfying buildup.
Score: 8/10
Jenny Hval – Year of Love
The latest track from the forthcoming Classic Objects finds Hval coming to terms with her music inspiring others to take part in the “normcore institution” that is marriage. An understated, folksy number from the talented Norwegian singer.
Score: 6/10
PUP – Robot Writes a Love Song
Canadian punks PUP are probably the loudest band in their lane, at least in terms of live performance. But this new one draws the band away from pummeling guitars and into something more midtempo; the trademark energy and shout-along vocals, however, are still intact.
Score: 7/10
Ibibio Sound Machine – All That You Want
The Sound Machine return with a synth-heavy, soulful jam designed for handclaps and singalongs. If only the chorus were just a bit stronger…
Score: 6/10
Raveena – Rush
A Bollywood-tinged slice of pop bliss from this New York singer, who previously dabbled in more R&B-flavored styles. The pivot is welcome if it delivers more of this.
Score: 8/10
Yot Club – Alive
Contemplative guitar lines blend with slightly canned vocals and a meandering “lalala” hook that doesn’t leave much of an impression. The song is pleasant enough bedroom pop, but unmemorable.
Score: 6/10
Girlpool – Lie Love Lullaby
Less shoegazey, more… trip-hop I guess? Girlpool’s newest is an ominous, sensual electro-indie track, and the vibe is consistently enjoyable.
Score: 7/10
Animal Collective – Strung With Everything
Their last few advance tracks have leaned into the swaying Beach Boys-esque pop of Panda Bear, but on this new one Animal Collective go the other way with a 7-minute soundscape that gets everybody in the band actively involved and hearkens ever so slightly to their weirder freak-folk days.
Score: 6/10
Big Thief – Simulation Swarm
Big Thief continue the album rollout with Adrianne Lenker’s typically ornate lyrics that speak of nature, love, and birth. The song is a bit of plod compared to previous singles, with overuse of the primary melodic line from Lenker; the instrumental breaks give the song a much-needed reprieve.
Score: 6/10
Hatchie – Quicksand
Harriette Pilbeam’s vocals float above a Cure-esque guitar line and hazy synths until a CHVRCHES-like chorus lifts the song up to cathartic satisfaction.
Score: 7/10
Nilufer Yanya – midnight sun
Yanya’s brand of brilliant sophisti-pop continues to evolve incrementally with positive results. This new track builds the suspense with each repeated guitar line to an explosive chorus.
Score: 8/10
GAYLE – ur just horny
A marked improvement from the viral “abcdefu” – the strong pop hook here proves GAYLE has staying power as a songwriter once she gets past the gimmicky teen-targeted kiss-off lyrics.
Score: 6/10
Band of Horses – Lights
Band of Horses have grown into a respectable, if somewhat banal, country-tinged indie group. “Lights” has a sturdy, jangly melodic line that reminds me of a more consistent peer group from Florida: Surfer Blood.
Score: 6/10
Beach House – Only You Know
A highlight from the new batch of tracks from the staggered Once Twice Melody release. This one has a steady backbeat and an echo-y “oh oh ohs” anchoring the wave of guitars and dreamy synths. Another winner.
Score: 7/10
Pussy Riot – PUNISH
With one of their members recently labeled a “foreign agent” by the Russian government, the iconic, political band celebrate with a Tove Lo co-write that gives the middle finger to shitty dudes.
Score: 7/10
Fred again… – Lights Out
With help from Romy and HAAi, Fred Gibson follows up two introspective, acclaimed 2021 albums with something more club-friendly and upbeat, though not without Gibson’s precise attention to detail. Not as rewarding as the best tracks he conjured up last year, but still a good one.
Score: 7/10
Melody’s Echo Chamber – Looking Backward
A refreshing wave of psych pop from the reliable Melody Prochet. Nothing new to hear on this one, but if you’re in the right frame of mind, that won’t be a problem at all.
Score: 7/10
PLOSIVS – Broken Eyes
Fans of Against Me!, Drive Like Jehu, Hot Water Music, and especially Pinback will be excited for this newly-formed punk-adjacent supergroup with Rob Crow on lead vocals. Warms my hipster heart, even if the hook here isn’t exactly “Penelope.”
Score: 8/10
Shenseea w/ Megan Thee Stallion – Lick
Dancehall artist Shenseea hooks up with Houston’s finest for some Real Hot Girl Shit, with Murda On the Beat (so it’s not nice), and the results are predictably excellent.
Score: 8/10
BlocBoy JB – Home Alone
Few new rappers are as consistent as BlocBoy. From the ad-libs to the steady flow, if you’ve been wanting to hear “Look Alive” in slightly different variations since it dropped, JB is your boy.
Score: 6/10
aldn – tellmewhatuwant
Hyperpop slowly but surely continues to find its footing in a more accessible form. This new track from aldn is a great example of that, which substitutes glitch for keyboard and woozy synth lines.
Score: 8/10
Lane 8 – Survive
With Channy Leaneagh on vocals, deep house producer Lane 8 builds to attempted euphoria on “Survive,” the opener from their new album Reviver, and it’s mostly successful, though it doesn’t transport me as much as I want it to.
Score: 6/10
umru w/ Petal Supply & Rebecca Black – heart2
Rebecca Black continues to transform her association from meme to hyperpop standout, with another impressive vocal take alongside a suitable (but samey) umru production.
Score: 6/10
Papa Roach – Stand Up
We’re starting to come full circle, as all these nu-metal bands that survived by pivoting to post-grunge have eased back into rapping. Jacoby Shaddix is not immune, as is evidenced on this bland new track (featuring an “echo echo echo” hook that directly steals from cringey peers Trapt). For more fun results, see their previous single “Swerve” with newcomers FEVER 333 and Sueco.
Score: 4/10
Ecco2k w/ Bladee – Amygdala
Glitchy masters Ecco2k and Bladee could have come up with something a bit more inventive, I think. Instead, this collab just washes over me alongside the same digi-heavy sounds that are already overused in this subgenre. Bladee, in particular, continues to disappoint, overall; I’m not sure why he gets so much attention.
Score: 5/10
rouri404 w/ vaeo – driving with my eyes closed
This one is much better – big hip-hop beats and a AutoTune flow give way to a woozy break that makes the returning beat drop even more satisfying. I’ve heard stronger hyperpop hooks with this style, but it’s still effective regardless.
Score: 7/10
Brendan Kush w/ Edacity & AViT – urgent
I was low-key wanting this to be a hyperpop Foreigner cover, but this original will suffice. The “sorry” in the chorus here is especially great, as it’s a great example of a vocal approach from most hyperpop artists that tow the line between casual, give-no-fucks delivery and straight-up anxiety. Pretty fitting for the times we live in. Not as strong as “twitterloser” from AViT but still a great track.
Score: 7/10
Bad Boy Chiller Crew – BMW
The West Yorkshire crew continue their mixture of drum-n-bass aided raps, though sadly no female refrain guiding us through the bedlam this time, as on “Don’t You Worry About Me.” A lesser leak from the upcoming Disrespectful.
Score: 6/10
death’s dynamic shroud – Judgment Bolt
The Philly-based glitch pop trio will rattle your eardrums with this one. Pitched and warped vocal runs accompany a Zhu-like bass crunch and in-the-red whooshes that sound like a spaceship crashing.
One of my favorite memories is rapping this entire song at a karaoke booth at a music festival in high school without looking at the lyrics on screen and wowing all five people who had stopped to watch. I even made one stranger laugh when I pointed at myself while saying the line “even white boys got to shout.”
At that point, “Baby Got Back” was probably a decade old, and choosing it as your karaoke staple was a knowing, ironic wink. Nowadays, it would be a proper send-up to a straight-up hip-hop classic. Not many rap songs have aged well due to their explicit objectification of women (even some as recent as this past decade), but Sir Mix-A-Lot’s trademark track has not fallen victim to this discourse. That’s because this novelty rap isn’t cold or cynical or transactional. “Baby Got Back” is a one-liner-laden jam that offers an ageless, humorous homage to the female posterior, and the bigger the better. It’s a not-so-subtle commentary on Black female beauty, with just enough comedy and punchlines that likely didn’t make white people feel uncomfortable. Sir Mix-A-Lot cleverly packaged a jab at the homogenization of white supermodel beauty (which was rampant in the early 90s), making it sound like a dumb, fun joke rap, like an R-rated Fresh Prince single or something. The whip crack sound effects, the Valley Girl intro, and the lowbrow visuals provided to MTV were just icing on the cake. The song doesn’t really even have a proper hook or a chorus, but it didn’t seem to matter.
As far as what’s going on behind Mix-A-Lot, the beat sounds ancient. The minimal, 80s-influenced production on “Baby Got Back” (made by Sir Mix-A-Lot and Rick Rubin) has not aged well, which almost slides the song into “relic” territory. The second-rate Miami bass shuffle, those horn stabs – in the burgeoning age of gangsta rap, it all sounded dated even then. But nobody is hearing that stuff when they listen to this song – not now, and not in 1992. The whole point is the words; “Baby Got Back” wasn’t the first rap song to celebrate The Booty, and it certainly wasn’t the last, but unlike his contemporaries, Sir Mix-A-Lot’s lyrics were playful, joyful, and, as it turned out, impactful.
Score: 8/10
Madonna – This Used To Be My Playground
This ennui-ridden standalone single, written for the great baseball film A League Of Their Own (but ultimately not featured on the soundtrack release due to contractual issues) is perhaps Madonna’s most memory-holed number one song, and for good reason. She has never played it live, and the sappy, unremarkable production surrounding her tepid vocal performance render it forever trapped in the moment it was released. To Madonna’s credit, she has stated publicly her ambivalence about “This Used To Be My Playground;” it is far from her best work.
Madonna is a pop juggernaut; everything she touched from 1983 to the early years of the 21st century turned to gold. She was riding a constant wave of good will, to be sure, but Madonna always had her finger on the pulse, and in instances like “Vogue” and “Like a Prayer,” she was way ahead of the curve. “Playground,” despite its success, shows the limitations of Madonna’s voice and songwriting. She was never a vocal powerhouse, and this wistful ballad pushes that flaw to the front; Madonna’s best performances were almost always alongside a faster tempo. It doesn’t help that “Playground” has a weak chorus and Shep Pettibone’s half-hearted string-and-piano arrangement.
At the time, Madonna and Pettibone were working on something completely different – Madonna’s next album to be released later in 1992, the house-influenced Erotica. So when the movie studio asked the singer for a slow, pretty song that evoked childhood memories, it’s understandable that the songwriting duo didn’t have their hearts in it. Reportedly, they only spent a couple of days on “Playground,” and it shows.
A League Of Their Own is well-remembered, and Madonna shines in the film alongside a stellar ensemble cast. Her musical contribution, however, leaves much to be desired.
Score: 2/10
Boyz II Men – End of the Road
We all know the template at this point – that smooth spoken-work baritone, the melodramatic build to that four-part harmony chorus, the extended emotional vamping at the end. At this point, it’s a relic of the 1990s, a trope somebody like The Lonely Island would milk for laughs. But before 90s R&B vocal groups became a punchline, they were a force on the charts and on radio stations all over America. They were theatrical yet accessible, and the delivery was nothing but genuine. And Boyz II Men were at the very top. They pretty much created the formula we all recognize today (taking influence from Philly soul and New Edition before them), and it was so successful they had a string of long-running #1 hits in the States, most notably “End of the Road,” which was their first.
I am old enough to remember the moment when Boyz II Men were the biggest group in the country of any genre, knocking out award nominations left and right, their sappy ballads in heavy rotation on Top 40 radio in between Hootie and La Bouche, ruining my ten-year-old vibe with their slow tempo. At that age, every song feels longer than it is, especially if you don’t like it.
I am also old enough to remember when that style of R&B devolved into unfashionable self-parody, as the genre became more rhythm-focused. As Mariah pivoted to hip-hop producers, and Timbaland and Aaliyah were turning heads, “End of the Road” went from supermarkets to ironic scenes in rom-coms where the protagonist is moping about a breakup.
We are far enough removed from that moment in time to appreciate “End of the Road” for what it is: an intentionally dramatic, incredibly sad song, perfect for both drunken karaoke outings and solo nights. It can be delivered with a wink, or it can be background music for your heartache in equal measure. Even Boyz II Men, now a trio, are in on the joke, while simultaneously recognizing the power of the song and why so many people loved it in the first place.
That’s because Boyz II Men are an insanely talented group of vocalists – everyone on “End of the Road” is giving it 100%, with vocal performances that transcend the otherwise staid instrumentation behind them. The plucky guitar, drums and chimes are all consistent in their purpose, which is to give the singers the opportunity to take center stage. Even the spoken word bits are captivating, giving an obvious nod to the great baritone smooth talker Barry White. By the end, when everything has faded into handclaps, it’s hard not to sing along at the top of your lungs.
And that’s the other thing that makes “End of the Road” work so damn well. The chorus is so ridiculously memorable, and sung so passionately, it’s impossible not to get swept up in it. The last go-around is the most climactic, when the vamping reaches its natural, yearning peak, when our protagonist is pleading to be given a second chance.
The sound that Boyz II Men perfected became so popular it suffered the same fate many ubiquitous, iconic things do: it became a cliche. The same way we think of a shootout in a spaghetti western film, with tumbleweeds rolling down the street. But things become cliches because they are true, and nothing is as authentic as the heartbreak of “End of the Road.” When they sang it, they meant it, and they wanted you to feel it. And it still does the job.
Score: 7/10
NEW MUSIC
GAYLE – abcdefu
The fun story behind this one is that GAYLE, an aspiring songwriter, asked for song ideas on Instagram (it could have been TikTok, don’t quote me) and one commenter suggested a breakup song using the alphabet. That the finished product was eventually released, went viral, and is now a Top Ten hit is supposedly evidence of the continued democratization of music stardom through social media (another viral video features GAYLE’s genuine reaction to hearing the song on the radio for the first time). It should be noted there has been a small “industry plant” backlash to this narrative, as GAYLE has been tied to the industry for several years and the commenter on the aforementioned IG post had the same name as an executive affiliated with the singer’s label Atlantic Records.
It doesn’t help that the song sounds like it was created in a songwriting factory, and not a teenager’s bedroom as was implied on social media. But setting aside all of that backstory and just focusing on the song as it is (the original version, btw, as there are several different mood-based mixes at this point), “ABCDEFU” suffers from an irritating, plodding hook and a lyrical gimmick that isn’t nearly as clever as the songwriters think it is. GAYLE is a teenager, and the song is a genuine and relatable “eff you” to an ex that a 17-year-old would eagerly shout along to. And the song taps into the current trend of pop-punk revival sonics that are riding the TikTok wave. Unfortunately, the only memorable thing about the track is its alphabet-based kiss-off, and whether you find it funny or eyeroll-inducing will impact how many times you hit repeat. For me, I’d be glad to never hear it again, but I doubt I get my wish, as it’s likely to be ubiquitous for the first half of 2022.
Score: 2/10
Johnny Marr – Night and Day
The Smiths guitarist, Modest Mouse collaborator, and productive solo artist delivers an enjoyable, but pretty boilerplate indie rock song, perfect for the SiriusXMU crowd.
Score: 6/10
Barrie – Quarry
The music of Barrie has always gone down easy, but this advance track from their upcoming album Barbara might be so easygoing it lacks anything indelible.
Score: 6/10
GOT the Beat – Step Back
This K-Pop supergroup’s first single has all the trademarks of a hit song, especially that chorus. But the most interesting thing is that strange, almost haunting loop that seems out of place in some moments.
Score: 7/10
Soul Glo – Jump!! (Or Get Jumped!!!)((by the future))
The post-hardcore crew goes absolutely bonkers on this one. Manic vocalist Pierce Jordan sounds like he’s having a panic attack in the best way.
Score: 8/10
Fontaines D.C. – Jackie Down the Line
I was a big fan of their previous album A Hero’s Death, but initially this one struck me as underwhelming. After repeat listens, however, the deadpan “doo doo doo” and nonchalant refrain has grown on me.
Score: 7/10
Destroyer – Tintoretto, It’s For You
If Dan Bejar’s haughty voice was a face, it would be punchable. Is it a put-on? How are we still letting him sing like this?
Score: 4/10
Spoon – Wild
Brit and the boys deviate slightly from their perfected post-punk on “Wild,” a three-minute dose of blissful rock’n’roll, more in the vein of U2 than Gimme Fiction.
Score: 8/10
Anxious – Let Me
The riffs punch, the vocals soar. Another cathartic emocore number from Anxious, whose new album can’t drop soon enough.
Score: 8/10
Pavement – Be the Hook
The band and their final album Terror Twilight need no introduction, but this previously unreleased track from those 1998 sessions is B-grade Pavement on autopilot.
Score: 5/10
Empath – Passing Stranger
Empath has intrigued me in recent years with their brand of noise-tinged indie pop; “Passing Stranger” continues that trend with a wave of hooks amidst hazy ambient drones and ringing keyboard hits.
Score: 6/10
Aldous Harding – Lawn
Harding’s curious art folk and soft, comforting vocals blend nicely in this latest single, the first output in what will be a very productive and acclaimed 2022 for the singer-songwriter.
Score: 7/10
Drug Church – World Impact
The hardest working post-hardcore band out there (arguably) has dropped another gritty, uncompromising track from their upcoming album Hygiene, and much like recent output from their peers in Turnstile, it’s designed to be played at higher-than-average decibels.
Score: 7/10
Parquet Courts – Watching Strangers Smile
This one-off single will convert no skeptics, but if you’re already a fan of the band’s recently subdued output, or their sound in general, you will be pleased.
Score: 6/10
Mitski – Love Me More
With each advance single this album cycle, we’re hearing Mitski craft sharper melodies and hone in on a more accessible sound that would perhaps reach the music-loving masses that don’t follow year-end-list accolades so closely.
Score: 7/10
Yumi Zouma – In the Eyes of Our Love
A charming dream pop song from one of the most consistent groups in their lane.
Score: 7/10
Guerilla Toss – Cannibal Capital
Guerilla Toss is an intriguing band; their style is inconsistent but always interesting, and this lead single from the upcoming album Famously Alive is parts noise, neo-psych, and Casablancas-via-Voidz weirdness. It’s fucking great.
Score: 8/10
Lou Roy – Uppercut
Roy’s new album Pure Chaos is inspired by the madness of hedonism that is Las Vegas, and her new single shines through like a top-notch track from the Haim sisters.
Score: 7/10
Muse – Won’t Stand Down
The English rockers are back with a pandering alt-rock pastiche of all the most annoying things about them, including dubstep whooshes straight out of 2013, plodding synthy verses (with a second-rate Freddie Mercury impression, no less), and the most out-of-place guitar riffs that sound imported directly from the latest NFL video game.
Score: 4/10
yeule – Too Dead Inside
On this new one, Singapore-born, London-based yeule cleverly straddles the line between Grimes and Purity Ring soundscapes and the more experimental, glitchy style of her contemporaries.
Score: 7/10
Saba feat. Krayzie Bone – Come My Way
A pairing I never would have thought of, but it makes perfect sense. Saba’s cloud rap tendencies mash up immaculately with an infectious Bone Thugs hooks and Krayzie Bone’s rapid-fire, yet casual flow.
Score: 8/10
King Princess feat. Foushee – Little Bother
After the star-making single “1950” and the strong debut Cheap Queen, King Princess continues to struggle to find the sound that made her breakthrough so exciting.
Score: 6/10
Jonathan and Friends, Loote, emma lov – Start Up
I’ve been following the songcraft of Loote for a while; for my money, they’re one of the strongest pop songwriter duos out there right now. This new one utilizes a fun old-school Windows sample to segue into a gorgeous synthpop tune.
Score: 8/10
Korn – Forgotten
Leaving their dubstep foray in the 2010s where it belongs, the nu-metal legacy act has returned to their roots (sort of… if you consider Take a Look In the Mirror their roots). Unfortunately they’ve decided not to bring the big, crunchy hooks and Jonathan Davis’s trademark rhythmic growling with them.
Score: 5/10
Knuckle Puck – Gasoline
For a time, Knuckle Puck were one of the most interesting bands in a new generation of pop-punk bands (before the sound was re-emerging as a trend on TikTok). Rather than capitalize on the genre’s newfound resurgence, the band delivers a staid retread of typical tropes we’ve heard a million times.
Score: 5/10
Avril Lavinge feat. blackbear – Love It When You Hate Me
One elder statesmen who isn’t letting the pop-punk revival pass her by is Avril, who gets a nod of affirmation for this admittedly average collab with fuckboi blackbear.
Score: 6/10
Oliver Tree – Cowboys Don’t Cry
Oliver Tree’s lethargic vocals morph into something of a drawl, fitting for a song with references to the Wild West. The chorus grew on me, even if it remains underwhelming; this is, however, the best track I’ve heard from this alt-pop oddball thus far.
Score: 7/10
Eichlers – SONGS ONLINE
Utilizing an on-the-nose Blink 182 sample, this song attempts to create a subgenre nobody asked for: hyperska.
Score: 3/10
Alice Longyu Gao – To My White Boy Princess…
Continuing her ascent to the top tier of hyperpop artists, Gao’s new track is a club-ready bop dedicated to a special white boy in her life.
Score: 7/10
The Game & Kanye West – Eazy
Two washed-up rappers on a lame-ass beat – ye’s divorced dad raps and gimmicky Pete Davidson quip are particularly worthy of an eyes rolling emoji. And the artwork is designed purely just for shock value – at this point, West will do anything to be a trending topic, even as his art continues to suffer.
Score: 3/10
Juice Arrmani feat. A Boogie wit da Hoodie – Offended (Remix)
I missed the original last year, and even though I find A Boogie’s entire presence (not just on this song, but in general) completely uninspired, this hook is too good for me to pass up.
Score: 7/10
Hippo Campus – Ride Or Die
Much love to Hippo Campus for keeping the spirit of Ra Ra Riot and Vampire Weekend alive while we wait for a new album from Ezra Koenig.
Emo bands usually wear their hearts on their sleeves, but the guys in Anxious leave room for their influences as well. You can clearly hear traces of their fellow Connecticut elder statesmen The World Is a Beautiful Place and I Am No Longer Afraid To Die. There’s also still a hint of their earlier inspirations, like post-hardcore stalwarts Texas Is the Reason. But when I listen to Little Green House, the quintet’s debut for Run For Cover, I keep thinking about a band they have never mentioned in interviews: Jimmy Eat World.
Maybe that’s because, with the pandemic forcing them to cancel their touring plans, Anxious holed up in the basement of vocalist Grady Allen’s mom’s basement to immaculately transform these ten songs into indie punk brilliance. (The basement is located in a little green house, thus the name, and emo-centric artwork, of the album.) These tracks come just in the nick of time, as bands like Turnstile and Vein.FM have turned heads toward an anticipated gold rush of post-hardcore sounds; it certainly doesn’t hurt that TikTokers have embraced a pop-punk revival and brought loud (albeit more processed) guitars back into the zeitgeist.
Little Green House is packed with razor-sharp melodies, in-the-pocket percussion, and seemingly endless layers of hooks. At just over a half hour, without a second wasted, the band try their hand at a number of styles, like modern punk (“Growing Up Song”), power pop (“More Than a Letter”), acoustic pop (“Wayne”), Midwest emo (“Afternoon”), and the aforementioned post-hardcore (opener “Your One Way Street”).
The band may not be shooting for anything other than recognition in their devoted underground, but crunchy riffs on “Speechless” (with vocals that will remind listeners of raw Nirvana demos), and a Cranberries-esque star turn from guest vocalist Stella Barnstool on closer “You When You’re Gone” give signals Anxious are built for much larger print on festival lineup posters. Still, the band doesn’t stray far from A+ contemporaries like Tiny Moving Parts and Somos, even when the songs could pass for Pinkerton-era Cuomo.
That’s what is most striking about Little Green House – unlike other albums of its ilk, there are charming surprises throughout, and the whole thing is pretty damn diverse. The band covers a lot of ground in 30 minutes, and it all works really well. Even the lyrics, which deal with typical emo tropes like romantic relationships, broken homes, and fractured friendships, give the melodies a buoyancy not found on recent albums from others in the genre. For my money, the best song is still “Call From You,” a relatable rumination on Allen’s obsession with perfect articulation and communication with others; it was one of my favorite songs from last year, and it encapsulates the best qualities of the album into three wonderful minutes.
Despite the lyrical content, Little Green House is a fun listen; it’s endlessly repeatable and a soundtrack for those more pensive moments in 2022, particularly if you prefer your introspection with energetic drum fills and power chords. Jim Adkins would be proud.
At age 5, I wasn’t exactly following current trends and hearing the hottest new Top 40 hits in 1992; it would be a few years before I started searching for new sounds beyond my mom’s favorite country radio station. By then, the gangsta rap movement had peaked, and also-rans like Coolio were having their moments in the sun.
So I can only imagine what it must have been like to see Kris Kross on TV for the first time, mean mugging on In Living Color, spitting instantly iconic bars about how these two adolescent kids were gonna make you jump jump. Mac Daddy and Daddy Mac had the right sound at just the right time, crafting a perfect capital-R Rap song that echoed the current, exciting vibe of hip-hop at the time. The duo (and producer Jermaine Dupri, then just a teen himself) were knowingly nodding to more grown-up contemporaries like Ice Cube and EPMD and giving their tougher style a kid-friendly sheen.
No one was more in tune with the changing landscape of hip-hop than kids (something that is still true), and “Jump” was directly targeted to that precise demo. There was no way it would fail. But unlike other major rap hits before it, “Jump” wasn’t a melody-heavy pop/rap hybrid and it wasn’t delivered by a handsome white guy. Certainly Kris Kross were only a flash in the pan, but in terms of pop crossover, their biggest hit opened a lot of doors.
When “Jump” finally hopped on my radar, it was a nostalgic gem for people slightly older than me. I knew nothing about the specifics of Jermaine Dupri’s sample-heavy beat, the hilarious fashion fad the duo inspired, or the true meaning of those opening lines, which are a diss against the rival kid-rap crew Another Bad Creation. All I knew was that the song fucking SLAPPED. Hip-hop has changed quite a bit in 30 years, but “Jump” has a youthful quality to it that has aged very well. To my ears, it sounds timeless.
Score: 10/10
Mariah Carey w/ Trey Lorenz – I’ll Be There (Jackson 5 Cover)
I was today years old when I found out that, of all of Mariah Carey’s 19 (!) chart toppers, this is the only one she didn’t help write. Released as a single to promote her MTV Unplugged special and subsequent EP, Carey’s version of the Jackson 5 classic is… well, it’s Mariah Carey singing “I’ll Be There.” Backup singer Trey Lorenz holds his own here, taking the Jermaine parts, but he never upstages Carey’s melismatic, commanding vocals. By this time, the public knew what Mariah was capable of, but she mostly maintains a bit of restraint here (especially compared to her other hits, where she was doing somersaults with her voice). At times, she even sounds almost identical to a young Michael. I would like to say that Carey, who rarely dabbled in covers, made “I’ll Be There” her own, or that her Unplugged backup band gave the song a fresh approach, but this is just a by-the-numbers rendition of a beautiful, enduring song. No more, no less.
Score: 7/10
NEW MUSIC
Let’s Eat Grandma – Happy New Year
UK synthpop duo Let’s Eat Grandma have hit gold here, with an audibly optimistic ode to the new year, fireworks and all.
Score: 8/10
Widowspeak – Everything Is Simple
This new track from the Brooklyn indie rockers is incredibly contemplative and extremely pleasant.
Score: 8/10
Father John Misty – Funny Girl
Josh Tillman’s long-awaited return kicks off with this new single, an ode to an unnamed comedian FJM is infatuated with. Sonically, there’s nothing new here from Tillman, who continues his lifelong quest to add to the Great American Songbook by sounding exactly like music from it.
Score: 7/10
Vein.fm – The Killing Womb
So it’s come to this. Blisteringly loud and horrific nu-metalcore. Absolutely brutal. This isn’t usually something that appeals to me, but I couldn’t resist this one. The 2020s will be a fun decade for people who like loud music.
Score: 9/10
alt-J – Hard Drive Gold
This new one will make you shimmy or tap your toe, as its definitely more in the vein of “Left Hand Free” than the noodly “Breezeblocks.” That’s a good thing, overall, even if the song is a bit try-hard for alternative radio play.
Score: 6/10
Young Guv – It’s Only Dancin’
I mostly have enjoyed Young Guv’s jangly approach to power pop, even if the results are more derivative than interesting. This new upbeat track continues that trend.
Score: 6/10
Sondre Lerche – Cut
Norwegian art pop craftsman Sondre Lerche has built a memorable melody here, with a clever usage of the title in the lyrics as a deadpan direction to the music behind him.
Score: 6/10
SASAMI – Say It
With a militant beat to carry the verses, and a hummable hook throughout, SASAMI continues to weave digicore elements into her undeniably infectious indie pop.
Score: 8/10
The Smile – You Will Never Work In Television Again
This supergroup featuring Thom Yorke and Jonny Greenwood (and Sons of Kemet drummer Tom Skinner) have dropped their first single, and it’s the most energetic Radiohead song since “The National Anthem.”
Score: 8/10
Gang of Youths – In the Wake Of Your Leave
So far, this new batch of songs from the new album has me very, very pleased. David Le’aupepe’s vocals, in particular, sound increasingly purposeful and anthemic. Gang of Youths don’t switch things up here much, but as usual, the overall result is very pretty and worthy of adding to your commute playlist.
Score: 8/10
2 Chainz – Million Dollars Worth of Game (feat. 42 Dugg)
2 Chainz’s typically muscular delivery pairs well with Dugg’s raspy, casual approach, and alongside a memorable high-pitched hook, they bounce off each other charismatically.
Score: 7/10
Gupi & Jenova – supernova
Hyperpop has gone in many interesting directions in the past several months, but one tangent I’ve especially enjoyed is the progression of manic instrumentals that borrow from club music and artists like Slushii. Gupi has been at the forefront of this sound, especially with his excellent track from last year “what’s known now”, and he continues that momentum here.
Score: 7/10
Sage the Gemini – Numero Uno
There’s nothing special about what Sage does, from his basic flows to his standard trap beats. Especially in 2022, this sound is played out. But there’s something about this one. I think the hook is strong, and Sage’s baritone coasts well over the bass thumps. For whatever reason, “Numero Uno” is his strongest single since “Red Nose,” which is still a bop.
Score: 7/10
Royal & The Serpent – PHUCKBOI REJECTS
As an older millennial, the whole pop-punk revival has been equal parts exciting and underwhelming. I’ve certainly enjoyed the mix of familiar sounds of my youth with contemporary pop and trap elements. But maybe it’s because of age, or whatever, but obviously the lyrics this time around don’t really appeal to me.
Score: 5/10
TOKYO’S REVENGE – IN THE MIDDLE
The “Thot!” rapper (and now TikTok star) hops around stuttering hi-hats and a violin-based melody hook and fills the three-and-a-half minutes with unrelenting energy. So why, halfway thru, do I get so tired of it?
Score: 5/10
Rezz – Menace
Rezz is a new discovery for me (I recently enjoyed their song with Metric, “Paper Walls”). The deep melodic bass hits on this one are deeply satisfying, if detrimental to my eardums. I just wish the rest of the song didn’t sound as meandering.
Score: 7/10
Leikeli47 – Chitty Bang
A very fun new one from this Brooklyn rapper, featuring an aggressive beat, a chopped up vocal sample, and some braggadocious bars and trilling “r”s throughout.
Score: 8/10
Waxahatchee – Up In the Sky
This one from Katie Crutchfield is featured on the new Apple+ series El Deafo, and frankly it feels like an afterthought.
Score: 4/10
rouri404 & Vaeo – ed hardy
*Stefon voice* rouri404’s new song has everything – AutoTune, in the red beats, random screamo ad-libs, rhyming “bodybag” with “Prada bag.” Ok but seriously, when the beat drops, this one goes from exciting to pure chaos in about half a second. And that slowed down outro? Marvelous. I love the mess that is hyperpop.
Score: 9/10
King Gizzard and the Lizard Wizard – Black Hot Soup (DJ Shadow “My Own Reality” Re-Write)
Adding trance-like passages and turntable scratches, the ever-impressive DJ Shadow transforms a track from psych lords King Gizzard into something resembling a cross between peak Chemical Brothers and one of those instrumentals on early Linkin Park albums. I approve.
Score: 8/10
torr – selfdestruct
Definitely leaning into the “pop” side of hyperpop, and certainly more accessible than some of the other stuff on the genre’s Spotify playlist. This is the type of approach that will push the sound forward into Billboard and ad placement territory this year.
Score: 8/10
Top Ten of the Week
OTHER MUSIC
The Cast of Encanto – We Don’t Talk About Bruno
I’m going into this one completely blind, having never seen the new acclaimed film Encanto and not having any background of the character “Bruno” or how this song plays into the storyline. What I do know is that the song has the distinction of being only the fifth from a Disney animated feature to land in the Top 5 of the Billboard Hot 100 (after “A Whole New World,” “Can You Feel The Love Tonight,” “Colors Of The Wind,” and “Let It Go”). The track, written by Lin-Manuel Miranda, is a sold piece of catchy Latin pop, reminiscent of Y2K era hits like Marc Anthony’s “I Need To Know.” Understandably, in an audio-only context it seems a bit all over the place (and the vocals are, of course, theatrical) but taken for what it is, it makes sense this would tally up streaming numbers from families who have recently enjoyed the movie together over the holidays.
Score: 6/10
Dua Lipa w/ Elton John – Cold Heart (PNAU Remix)
It only makes sense Dua Lipa would enlist Elton John on a song that lifts the chorus from “Rocketman” for its primary hook. For his part, John steals the show – his vocal delivery has aged gracefully, while Lipa plays second fiddle here. Of all the versions of this track, the PNAU remix is easily the most radio-friendly, with a tamer presentation and a slower BPM than previous incarnations, and one more suitable for a chill day at the beach than a night of raging at the club. The production might initially render it a big nothing of a song, but repeat listens are pretty rewarding, and the track grew on me quite a bit.
Score: 7/10
Kodak Black – Super Gremlin
A standout track from Sniper Gang’s recent Halloween-themed mixtape; Kodak Black returns to virality with a very strong melodic hook sung by a chorus of children that is equal parts contemplative and creepy. Black has been in and out of legal trouble for a few years now, so “Super Gremlin” is actually his first big hit in quite a while, at least by standards for high-profile rappers. Black’s verses discuss a strained friendship and sound semi-autobiographical, but his flow is unremarkable until the chorus kicks back in. The song evokes an eerie vibe, and the accompanying music video is appropriately macabre, but it doesn’t pack enough of a punch to put Kodak back on top.
In just under a decade, fka twigs has garnered significant acclaim for her art, pairing grotesque visuals with glitchy, industrial, avant-garde forrays into the world of progressive 21st-century R&B. For her newest release since 2019’s immersive MAGDALENE, twigs has dropped a mixtape without fanfare and very little promotion beforehand, save for one single released to streaming services a few weeks prior. (That song is “tears in the club,” a duet with The Weeknd that is by far the best track on this new project.)
I’m not really sure what twigs fans will think of CAPRISONGS – it is by far her most accessible collection to date. Perhaps the culture has finally caught up to what she was doing, as nowadays we can hear even weirder and more deconstructed perspectives from the likes of Arca and some far-reaching areas of hyperpop. Those familiar with previous work will appreciate the slight updates on textures twigs is best known for; heavy vocal manipulation and her trademark soft falsetto encompass songs like “lightbeamers” and “minds of men.” But in many moments, twigs goes a different direction – “oh my love” could be mistaken for a low-key deep cut from Doja Cat’s Planet Her, and (as the mixtape’s title would lead us to believe) twigs is currently very inspired by tropical sounds, as is evidenced on “papi bones” and “jealousy.”
At times, I’m not certain these new styles work with twigs’ off-kilter approach to seductive, foreboding atmosphere in her music. Another strange example (but by no means bad) is “pamplemousse,” which is by far the most upbeat song she has ever written. It is clear, from the lyrical topics of self-worth and maturity in relationships, as well as the willingness to try new sounds, twigs is more confident in her approach, and ultimately that is a good thing for future projects. But overall, CAPRISONGS is a transitional moment in her career, as she aims to become a more prominent part of the mainstream conversation.
