Culture Greyhound

On first impression, Dawn FM has two things I generally love by default: a loose concept that vaguely threads the songs together in some form of a central idea or narrative… and fake radio drops and jingles. As a lifelong “radio geek,” who grew up listening incessantly to the local Top 40 station in lieu of going outside with the other kids, my love for radio went way beyond hearing what song was next in the queue. It was the whole thing – the slickness of the segues, the sharpness of the DJ’s announcements, the immaculately timed and produced ads. But one thing I loved, and still do, frankly, is how a radio station’s format will set the tone, the whole vibe for what goes on when a song isn’t playing.

Classic rock stations are casual. Country stations are cheerful. Top 40 stations are fun and energetic. Alternative stations are snarky and sarcastic. Rap stations are energetic as well, but also more informed with the local scene. And Jim Carrey on Dawn 103.5 is a comforting companion, guiding you on a journey, according to Abel Tesfaye, out of a Los Angeles tunnel in gridlocked traffic. By extension, and not-so-subtley referenced by DJ Truman Show, the tunnel represents a type of purgatory, and Dawn FM is the friendly, sometimes funky, soundtrack.

These sounds are primarily brought to you by the unlikely production duo Max Martin and Daniel Lopatin (of Oneohtrix Point Never notoriety), though others make an appearance, including our favorite Funk Wav Bouncer, Calvin Harris. Throughout the album, Tesfaye plays only slightly with a winning formula, continuing the synth worship and 80s influence that permeated throughout his blockbuster effort After Hours. But while tracks like “Blinding Lights” drew comparisons to new wave, the vibe has grown more nocturnal this time around. The new loops are more sinister, akin to something that might compel John Carpenter to hit the dance floor.

Tesfaye, or should we say his alter-ego The Weeknd, doesn’t stray too far lyrically from the topics we are accustomed to hearing from him – sex, hedonism, struggles with relationships. Sonically, he’s come a long way from the hazy strip club nights that were documented on House of Balloons, but The Weeknd is still tackling those demons, albeit with a shiny, new pandemic-induded bout of existentialism.

But not isolation – while The Weeknd mostly rode solo on After Hours, this time around we are treated to some excellent guest appearances from Tyler, the Creator (alongside Bruch Johnston of the Beach Boys on “Here We Go…. Again”) and Lil Wayne rapping over a Daniel Lopatin beat (on the exquisite “I Heard You’re Married”), which is something I am pleased to hear and also something I never thought I would ever hear. We also can’t fail to mention the other party on Dawn FM that was involved in Uncut Gems other than Tesfaye and Lopatin, and that’s director Josh Safdie, who makes a brief appearance in the trippy infomercial “Every Angel Is Terrifying.”

But of course the star here is The Weeknd, who sounds more confident than ever – his vocal inflections and experimentation, most notably on “Gasoline,” support a robust wave of immaculate and consistent production. Abel is intertwined with the sound of pop in the third decade of this century, alongside A+ peers like Dua Lipa, but simultaneously his approach is singular and unmistaken. A great example is the new single “Sacrifice,” which is an absolute floor-filler reminiscent of another superstar that Tesfaye has been compared to before – Michael Jackson, but could only come from The Weeknd.

We also hear the influence of legend Quincy Jones on “Out of Time,” which is equal parts slow funk jam and quiet storm radio. (Jones also shows up for an autobiographical spoken-word interlude.) Then there’s “Less Than Zero,” an immediate highlight that sounds like a mix of The War On Drugs and The Bangles “Manic Monday” with additional melancholy. It all serves to continue Tesfaye’s natural progression as an engaging auteur in sidestep with sustained superstar status.

If there’s anyone who serves to upstage The Weeknd on his own album, it’s Carrey, who gets the final word – an extended monologue that serves to encompass the theme of the past hour: “you gotta be heaven to see heaven.”

Since we’re talking about the “theme” of this whole thing, I’m not sure it fully translates, though I want to note that isn’t necessarily an issue. While the lyrics are typical Weeknd fare (with a few exceptions that mention “dying in the discotheque” etc), the things that surround them present the concept Abel was going for here. The allusions to the end of one’s life, the statement of facing the light after so much darkness, the metaphor of a tunnel as purgatory – all these things hint to a more wistful outlook on nostalgia, the part that aches more than excites. Add in the artwork of an elderly Weeknd and Carrey’s transcendental musings and the project reveals a positive outlook on death. Again, while this is all there on the surface, at times the concept feel unfocused, especially when paired with Abel’s standard lyrical tropes about drugs and sex.

But to repeat for emphasis, this doesn’t hamper the quality of the album to any significant degree. Most concept albums don’t go all the way, and those that do are usually remembered as jumbled messes. There are also the ones that only set up the concept as window dressing for what is ultimately just a collection of unrelated songs. On Dawn FM, The Weeknd’s concept falls somewhere in the middle, which is good enough for me, since it allows the listener, who probably has their own pandemic-related baggage going on, to interpret the album for themselves. It’s not all tied up in a bow, but the message isn’t under-realized here either.

What it really comes down to is the music, and it’s easily the strongest set of songs of Abel Tesfaye’s career, which also gives Dawn FM the recognition of being the first exciting and interesting pop album of 2022. The Weeknd’s ever-improving songwriting is surrounded by consistently strong soundscapes that evoke longing and yearning like all the best pop music before it. Altogether it’s an immersive journey through the tunnel, tuned in to something slightly left of the dial… or as Carry calls it, that divine boogaloo.

Score: 9/10

OLD MUSIC

George Michael & Elton John – Don’t Let the Sun Go Down On Me (Live)

Anytime George Michael collaborated, the other party was left in the dust (the only exception being Aretha), so it’s actually invigorating to see him elevate his partner here. I’m not always a fan of Elton John’s piano-powered schmaltz, especially when the tempo is this slow, but “Don’t Let the Sun Go Down On Me” sticks the landing, containing subdued verses and, by contrast, a chorus that grows more effective with each go-around. John, by this time an elder statesman of pop and a longtime mentor to Michael, holds his own on a song he made timeless, but of course the star here is George, who lets his adoration for this number known plainly by setting the stage ablaze. Naturally, those who were in attendance lost their minds.

Score: 8/10

Right Said Fred – I’m Too Sexy

Owing its propulsive beat to UK house (and, by extension, disco, though the song’s protagonist would scoff at that suggestion), this novelty #1 is still a lot of dumb fun decades after its peak. Previous chart-toppers from Madonna (“Vogue”) and EMF (“Unbelievable”) cleared the way, but the brothers Fairbrass took the sound to its cheeky extremes, initiating a deathless send-up of fashion culture and the catwalk. Anyone who dismisses “I’m Too Sexy” outright because of its lyrics is missing the point. The song is a joyful and funny exploration of narcissism that grows more ridiculous with each passing noun that the narrator is too sexy for. There are many songs of the era that embody the finest moments of house music’s explosion into the American mainstream (“Gonna Make You Sweat” immediately comes to mind) and there are many that go the opposite direction ( C+C Music Factory songs that are not “Gonna Make You Sweat”). “I’m Too Sexy” falls somewhere in the middle. Sure, the one-note joke was overused, and of course it was all destined for parody (or perhaps worse, an interpolation from Drake). But the single is a misunderstood example of the escape the genre provided, and still does, to the often-marginalized communities that enjoy and embody it the most.

Score: 8/10

Mr. Big – To Be With You

In the waning days of hair metal’s MTV dominance, the most notable songs were the ones that didn’t really sound like what we had come to expect from these teased-up glam rockers. “To Be With You” marks a last gasp of a group of bands that were on their way out in early 1992, as Seattle, grunge, and a movement called “alternative rock” took over the zeitgeist. This #1 hit is an acoustic-based, handclap-heavy campfire singalong that bears little resemblance to the biggest hits of Poison and their ilk. It’s definitely not “Cherry Pie” and you can’t really call it a power ballad, either. Probably the reason “To Be With You” went all the way to the top, other than the strong chorus (and, for my money, that not-entirely-earned-but-still-fun key change), is the simple fact that it didn’t sound like it came from 1989. In another part of the decade, “To Be With You” easily could have passed as a single from Blessid Union of Souls, or even a Backstreet Boys deep cut. Personally, the track isn’t sticky enough for me to leave a strong impression; though, anyone who was an avid radio listener in the early 90s likely either finds it grating or a go-to karaoke jam.

Score: 5/10

Vanessa Williams – Save the Best For Last

Vanessa Williams went all the way to #1 with this hit in the spring of 1992, which more or less erased her public image as a disgraced Miss America. In fact, because of my age I didn’t even know that story until researching her career for this review! She rebounded nicely with a successful pop and acting career, and her signature song is a generally pleasant one that has stood the test of time because of its simple, sturdy melody. Williams delivers an understated performance here (she wasn’t doing vocal somersaults like her peer Mariah), but it works for the song; the lyrics are sweet and evoke contentment rather than passion. Perhaps overall the result is a bit treacly, and the slow ballad production template of the early 90s does this number no favors, especially to my ears. There isn’t anything to give the track that extra push, like subtle flourishes in the bass line or string synths, and if Vanessa Williams wasn’t already a household name, I’m not certain this would have reached the top of the Hot 100. The song is carried by that melody, and not much else, but it’s an earworm for sure, for better or worse.

Score: 6/10

NEW MUSIC

Alesso w/ Katy Perry – When I’m Gone

This is Katy Perry in her correct lane, and that lane is dance pop that packs dance floors. A decade removed from Teenage Dream, consistency is key for the veteran pop queen, so I look forward to seeing if Perry doesn’t swerve too hard from this sound.

Score: 6/10

Miranda Lambert – Y’all Means All

Lambert’s idealistic Queer Eye promo single imagines a world where the LGBTQ community is welcome in rural Texas. Those of us who have lived there know just how realistic that thought actually is, but placing my sour grapes aside, the song is nevertheless upbeat and uplifting. We can hope that one day it might be irrelevant.

Score: 8/10

Kid Ink w/ ISM – Go Mode

Kid Ink’s flow is so tired and overdone at this point I thought I was listening to a track from 2014.

Score: 5/10

Anna of the North – Shotgun

Anna Lotterud evokes a teenage memory atop a layer of wistful production that will get you feeling some type of way, whether you’re in your 30s or still have a learner’s permit.

Score: 8/10

Link+Up w/ Kamaiyah – Talkin Out

When taken as a Kamaiyah track, which it basically is, this one is enjoyable (like nearly everything she does) but nothing special.

Score: 6/10

BandoPop w/ Lil Baby – Flights

Solid hook, solid flow from Lil Baby, but it’s unremarkable otherwise

Score: 6/10

J Balvin w/ Skrillex – In Da Ghetto (TSHA Remix)

TSHA splices the vocal hook and raises the aggression in the drop from the original Skrillex production, delivering a nice update to a catchy collaboration.

Score: 6/10

Flo Rida – Wait

Like Jason Derulo without the recent hits, Flo Rida is grasping at anything to go viral. This mediocre ode horniness, sampling Please Mr. Postman and featuring some corny AF lyrics, is a slog to listen to, even with such a short run time.

Score: 4/10

SLANDER w/ if found & Danni Carra – Getting Late

This EDM single has a pretty bland chorus, so the biggest moment is the drop, which shines on first impression but eventually wears thin after a few repeats.

Score: 5/10

Joey Valence & Brae – Double Jump

I’m a sucker for beats that emulate House of Pain, B-boys that trade stanzas like Beastie Boys, and bars that rely heavily on silly similes and Super Mario references. And given the light crop of new tunes this week, the current competition doesn’t hurt either.

Score: 8/10

YUNG NATION w/ Erica Banks – Bad AF

The hook on this features vocals that sound like they’re teetering on the edge, which adds to the urgency to get hype, or violent, or whatever, the lyrics kind of washed over me.

Score: 7/10

Kamrin Houser – DIAMONDS

Semi-forgettable trap pop, but the hook is strong enough to be sticky.

Score: 6/10

Shiki XO – ICGTTA

Featuring heavy hyperpop production, this new track is reminiscent of the glitchier moments of glaive singles, but the chorus isn’t nearly as strong as other notable standouts from the emerging subgenre.

Score: 6/10

OTHER MUSIC

Nathaniel Rateliff & The Night Sweats – Survivor

Rateliff and his bunch are a big draw in markets like my former home of Austin, Texas, conveying just the right blend of Southern rock / post-Black Keys chops and AAA radio-ready hooks. This type of music bores the hell out of me, frankly. The whole “rock revival” thing fell out of favor about a decade ago when The White Stripes officially called it quits, and its quality of output, primarily from white guys who wear wide brim hats and try to sound like decades-old R&B, has considerably waned since. As far as the single in question, well, it’s more of the same, with a loping midtempo beat, some white soul yelps servicing as the hook, some predictably-placed horns, and a 4-minute runtime that drags on and on.

Score: 4/10

Jaymes Young – Infinity

Seattle-based singer Jaymes Young has been slowly gaining traction within the industry; he’s toured and worked with the right people and his promo tracks have been placed in the right spots. But post-pandemic, it’s almost as if Atlantic was giving up on scoring a major hit with this guy. It looked like the marginal hype for his debut album had died down, but whether planted by his label or not, “Infinity” has been given a second life thanks to TikTok, as is the case with a lot of out-of-nowhere hits these days. Unfortunately, this now-viral track from 2017 just sounds like a more electronic, less abrasive Imagine Dragons number, a synth-based MOR vibe that merely washes over the listener and registers as immediately forgotten. Not even the uninspired “love you for infinity” chorus repeated ad nauseam can make this a pleasing earworm. Perhaps it would have sounded slightly less dated had it gained traction when it was first released, but it would have felt no less generic.

Score: 3/10

Gunna’s understated Atlanta trap creates a nice consistent soundscape, even amongst numerous A-list producers with varying approaches. As far as features go, the usual suspects are here, including Future, Young Thug, and Lil Baby. By far the highlight comes early with “pushin P”, which serves as a sort of lyrical motif occasionally throughout the album. Unfortunately DS4EVER, the final of Gunna’s Drip Season output, falls into the same trap we’ve seen from Gunna and his peers in the streaming era; quantity is prioritized over quality, and mood is the focus over content. And so while the first few tracks set the scene and are the sharpest of the collection, halfway thru the formula wears pretty thin. The whole thing is a vibe, but it’s one we’ve heard from Gunna before, and one that quickly becomes pretty stale.

Score: 5/10

I have given myself a goal to write at least 100 words a day (though not necessarily publishing those words every day), either from a particular topic (song review, album review, something music-related) or from a random musing. Additionally, I’ve also given myself a goal to write a 1000-word article over the weekend about a music-related topic that would require some research and editorializing. I’m leaving this open-ended so that it will remain fun and interesting and I won’t get burned out too quickly, which tends to happen when I take on new projects and creative outlets.

I am intending to do this because I want to be a music writer, though I haven’t yet determined if this is something I wish to pursue as a hobby, semi-professionally, or full-on as a career. My current professional obligations have left me in a bit of an existential funk, and I am unfulfilled, to say the least, so doing something more aligned with my talents and interests is certainly welcome. I try to be pragmatic about these things, however, as I realize my enthusiasm wanes considerably when I feel obligated to do projects for others or for work. I also understand the difficulty in making a career (or even a side hustle) out of something as undervalued as writing about music; it is not a profession that pays much of anything for most that choose to do it. It would truly be a labor of love, and as it stands with my current obligations of supporting a family and planning for children, I have to take that reality into account.

We’re way over 100 words at this point, but this entry has been particularly dry and boring, mainly because I am facing a creative block today and am generally in a sour mood. Hopefully, future posts won’t read like this. Basically, since it’s the New Year and I’m just starting this project, I intended for this entry to be a sort of manifesto, or something like saying your goals out loud so you actually hold yourself accountable to doing them. Anywho, here’s to the new year!

Continue reading

Continue reading

Once every three months I list the best of what I heard in albums/songs/remixes for the quarter. I do this to personally keep up with all the awesome music I hear, as it ultimately helps me at the end of the year when I do my overall listing for the previous twelve months. I also do it to introduce you cool cats to tunes you may have missed independently.

Continue reading

Once every three months I list the best of what I heard in albums/songs/remixes for the quarter. I do this to personally keep up with all the awesome music I hear, as it ultimately helps me at the end of the year when I do my overall listing for the previous twelve months. I also do it to introduce you cool cats to tunes you may have missed independently.

Continue reading

Once every three months I list the best of what I heard in albums/songs/remixes for the quarter. I do this to personally keep up with all the awesome music I hear, as it ultimately helps me at the end of the year when I do my overall listing for the previous twelve months. I also do it to introduce you cool cats to tunes you may have missed independently.

Continue reading

Once every three months I list the best of what I heard in albums/songs/remixes for the quarter. I do this to personally keep up with all the awesome music I hear, as it ultimately helps me at the end of the year when I do my overall listing for the previous twelve months. I also do it to introduce you cool cats to tunes you may have missed independently.

Continue reading