Bullfighting seems an odd metaphor for love, but Alexandria Hall makes it stick in her mesmerizing dream-electropop song “Matador.” Take the opening lines: “It’s not the red. I can’t see it. All I see is you.” Right off the bat, the bullfighting comparison works better than expect – plus you learn some zoology (did you know bulls are colorblind to red? The cape hue is purely for the spectators).
Ali T – Electric Haze
Alison Turner is an artist out of time. She’s a singer-songwriter, but not with the folky connotations the phrase often takes on. Rather, something like “Electric Haze” sounds made for radio. Late-’90s radio, that is, when artist like Jewel and Meredith Brooks were racking up top-ten hits. It wouldn’t have a chance today, but “Electric Haze” ably walks to tricky line of engaging with nostalgia while creating something new.
Amelia Devoid ft. Bleach Day – Afraid to Touch Her
Clouds dominate the single cover, and it’s hard to think of a more fitting image. This dreamy reverie seems the perfect soundtrack to staring into the sky and getting lost in your own thoughts. The electronic musician’s last album tackled some heavy themes (for one: genocide), but the new single seems light as a breeze.
Allison Fay Brown – Summit
I’m going to try to write something longer about Allison Fay Brown’s marvelous new EP later this week, so I’ll just leave the lead track here as a teaser. Like a good short-story writer, Brown offers just enough narrative details to intrigue while leaving plenty of gaps to fill in yourself. For instance…what’s in that box on the doorstep??
This summer, Nine Inch Nails released Bad Witch, originally billed as the final EP in a three-EP trilogy. Only Trent Reznor said upon release that, even though it only contains six songs, it wasn’t an EP after all. “Want to know why it’s being labelled an LP instead of an EP?” he wrote in response to a fan questioning the change. “EPs show up with singles in Spotify and other streaming services = they get lost easier. EPs feel less important in today’s music-isn’t-as-important-as-it-once-was world. Why make it easier to ignore?”
In the digital-music era, the boundaries between an LP and an EP are porous at best. Bands can mostly decide for themselves what to label a release. Some artists have begun calling their EPs “mini-albums” (which is not a thing). Kanye West produced a series of seven-song projects this summer, few topping 25 minutes. None were labeled EPs. In the physical media era, there were concrete differences between an album, EP, and single: size, price, etc. Now it’s a free-for-all.
The Aztext ft. Xenia Dunford – Everyday Sun
Last month I wrote about Xenia Dunford’s dual comeback EPs. They split along genre lines: the first singer-songwriter Americana, the second a little jazzier. Now she’s dabbling in a third genre: hip-hop. On rap duo The Aztext’s new single “Everyday Sun,” Dunford proves herself a perfect hook singer. The blend producer Rico James creates with her voice and an infectious horn line sounds like a ’70s Stevie Wonder jam.
The first review quoted on Tusk‘s Wikipedia page calls it “the most disgusting and pointless movie I’ve seen.” Another reads: “Kevin Smith has lost his mind.” Even the supposedly positive reviews include quotes like “I’m recommending Kevin Smith’s uniquely twisted Tusk, but there’s a part of me that wishes I could un-see it.”
So learning that a band named themselves after Tusk might not inspire much confidence. If they channeled the movie’s tone, they might sound obnoxious, unpleasant, or divisive at the very least. So consider it a shock that the artist known as Full Walrus sounds like an adjective used exactly nowhere to describe their namesake movie: beautiful.
I try to write about as much great music as I can here, but I inevitably fail to get to everything deserving. So I’m inaugurating a monthly-ish series rounding up Vermont’s best new songs. It’s not ranked and I’m not aiming for any firm number; it’s just some songs that were still rattling around my head as the month came to a close.
A few of these I wrote about already, but most I didn’t get to. Either way, whether you follow the site or just stumbled upon this, whether you’re a Vermonter yourself or have zero local connection, this collects some of the best music the state’s been producing recently.
Also, full disclosure: This series is starting with a lie. A few of these actually came out in December, after I’d finished my Best Songs of 2017 post. Close enough.
If you’re a churchgoer, your first association with the organ might be someone guiding tone-deaf congregants through “How Great Thou Art.” If you’re a soul-music fan, you probably jump to Booker T. backing the Stax greats. Either way, I can almost guarantee you won’t predict the organ sounds that composer Henry Birdsey produces on new album CONCERTINA – WIRE.
Rather than channeling gospel or soul, Birdsey’s organ playing is ambient music at its ambient-ist. Brian Eno’s Music for Airports sounds like dance music compared to this. If you’ve ever seen that video of Justin Bieber slowed down 800%, it sounds kind of like that.
I mean all of that as a compliment, by the way. Birdsey’s beautiful, haunting, molasses-moves-fast-compared-to-this album echoes artists like Tim Hecker or Julianna Barwick. Ambient music often gets derided as “boring” and, sure, there aren’t lyrics or melodies you could sing along with here. But it takes you on a journey nevertheless.
The electronically-influenced soul and R&B on Vermont singer and producer Guthrie Galileo’s majestic new album Modern Day Ripples generally sounds timeless. One track, however, is more of-the-moment: “Labor Day.” The album came out a few weeks ago, but this song offers a lot to think about this weekend in particular.
Over a bed of piano, synthesizers, and field recordings (more on those in a minute) that echoes James Blake or Frank Ocean, Galileo explores the ironies of a holiday meant to celebrate workers. “”Labor Day” was written on and in the days following the workers holiday [last year], a time when I was coming to understand the world with a class-based perspective,” Guthrie explains. “I was remarking to myself, as I went about the motions of my day job, about the fact that all the people I know worked during the holiday. The bosses and the management at work, however, were nowhere to be seen!”