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It’s not clear if this song was written in our current self-isolation, but even if it wasn’t, lines like this have a new resonance: “I’ve been wiping down counters / and counting down hours / ’til i can lay in the flowers again”. Continue reading »
I was just listening to a podcast where the hosts were debating what type of music they needed during this crisis. One wanted peppy, upbeat songs to lift them from their funk. The other wanted downcast, inward-looking songs to match their current mood. No wrong answers. If you want something blissful and ambient to relax to, Amelia Devoid’s got you covered. Continue reading »
“African refugees in Vermont” is the elevator pitch, but their music offers so much more than just the human interest story. A duo of singers and rappers who go by Jilib and Pogi, augmented by a rotating cast of friends, they sing in English, Swahili, Maay Maay and a combination they refer to as “Swahenglish.” This infectious love song doesn’t hit as hard as some of the higher-energy songs on their great new album Twenty Infinity, but the joyous and insanely catchy chorus will burrow its way into your brain for days. Continue reading »
This Top 40 looks nothing like the actual Top 40. None of these songs charted, and I don’t think any of them aspired to. That is no knock against them, which probably goes without saying here – anyone reading music blogs knows that much. The adjectives “great” and “popular” occasionally attach themselves to the same track, but not often enough.
So just think of this as an alternate history of 2019 singles. It has no horses, and no town roads. It doesn’t teach love, patience, or pain, and isn’t 100% that anything. It also, as the headline says, only includes artists from one rather small state. But this wildly subjective, somewhat arbitrary survey of the past 12 months should serve as a small introduction to the wealth of talent in one community on the geographic fringe. There was a lot of wonderful music being made this year, much of it far from the big cities, or the Billboard charts. Duh. Continue reading »
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). Continue reading »
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. Continue reading »
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. Continue reading »
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?? Continue reading »
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.
See previous monthly Best-Of lists here.
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. Continue reading »