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rabbitechoes · 7 months

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february was a really good month for music!!! i enjoyed so many projects from both artists i've loved for a long time and some i haven't enjoyed in the past at all. there were a few disappointing ones too, one album in particular spawning some of the most irritating discourse in a long time, but i'm trying to look at the positives!! here are my thoughts on some of the most notable projects that dropped this month!!! to check out my thoughts on some of the songs that dropped this month click here!!! also feel free to follow me on rate your music and twitter <3

What Now - Brittany Howard

🥇 ALBUM OF THE MONTH

◇ genre: psychedelic soul

When Brittany Howard dropped her first solo record, Jaime, back in 2019, I was absolutely obsessed with it. The shift from the blues rock-centric sound of her other work to the world of psychedelic soul worked extremely well. However, as with most new music I was obsessed with during that time, it feels like it was so long ago. I think the pandemic made me sort of forget a lot of these albums I once loved. For some subconscious reason, I don't revisit many of the new records I loved from late 2019 to early 2020. Jaime was unfortunately one of them. When I heard this new album was on the way, I was excited and listened to like one of the singles, but nothing more. When I finally sat down to listen to What Now, it felt like meeting up with an old friend and hitting it off almost immediately.

The opener "Earth Sign" shook me to my core on my first listen. It's spacey, slow-building, but when Howard emphatically sings that third "out thereeee" in the third verse it acts like a call to arms for the drums to come booming in. Such a cool moment moment. The next track "I Don't" is one of the more straightforward psychedelic soul cuts on the album and it's so gorgeous. I can't get enough of it. The title track picks up the pace a bit and is almost funk rock. I adore Howard's fuzzy guitar on this song. It's probably also a good time to mention how the rest of the musicians on this project do an amazing job. "Another Day" and "Prove It to You" are really interesting detours into a more dance direction. They simultaneously sound out of place while also fitting right in. I would love to hear these sounds be explored further on future albums. The album's home stretch kicks off with "Samson" which might be Howard's most intimate moment from a musical standpoint. Very bare guitar parts, organ, and some saxophones peppered in. Stunningly beautiful. She immediately fires back up for "Patience" which features some of my favorite instrumentation across the whole record. Mixing together those funky basslines and guitar licks before shifting into some sweeping keyboards on the later half of the track. "Every Color in Blue" is a phenomenal final note. Again, mixing together some subtle jazz instrumentation with Howard's awe-inspiring vocals. You just have to hear this. I've listened to this album a ton since it dropped. I'm still uncovering new things I didn't appreciate on the last listen. Please don't let this album fly under your radar!!

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

SCRAPYARD - Quadeca

◇ genres: art pop, experimental hip hop, electronic

I'll be honest, I didn't know who Quadeca was before his last album I Didn't Mean to Haunt You. I learned after the fact that he was a YouTuber and that many were shocked he had made an album that good. The quality for "YouTuber music" is nearly in the dirt, but that record kind of pushed Quadeca out of the label of "YouTuber music." I enjoyed the album a good bit, although I found him to be a bit overhyped by many following its release. I don't know if that's where my lack of knowledge on Quadeca comes into play, but it's just how I felt. Then comes SCRAPYARD and I'm forced to eat the biggest crow ever. This new mixtape from Quadeca has him showcasing his range as not just a producer, but a rapper, lyricist, and multi-instrumentalist as well. Opener "Dustcutter" is an emo-rap track with elements of art pop mixed in and it's amazing. His exasperated, frantic delivery at various points throughout the track creates this very anxious tension that feels almost palpable. The next track, "A la carte" with brakence, picks up the pace a bit and the two work very well together. "Pretty Privilege" veers heavily into the art pop and it's so great. Hits pretty close to home as someone who has struggled with body image issues and Quadeca handles these themes in a tactful way. "Easier" shows another switch-up as he delves into some folktronica. He shows so much more depth as an artist here and to think this is the "scrapyard." One of the more no-frills hip hop tracks here is "Guess Who?" and it's a fun listen. The final three tracks are extremely poignant and offer some of the most intimate moments on the record. "U Tried That Thing Where Ur Human" reminds me a bit of a Xiu Xiu track except a bit less ... Xiu Xiu. "Guide Dog" is a really emotional indie folk cut and one that grows on me over reoccurring listens. "Texas Blue" is the most I've enjoyed a Kevin Abstract feature since like high school. Quadeca and Abstract have an incredible chemistry here. It really feels like the perfect way to end this project. Quadeca, I'm sorry for thinking you were overhyped. This SCRAPYARD mixtape is exceptional and I can't wait to hear what you do next.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Where we've been, Where we go from here - Friko

◇ genre: indie rock

Many reviewers have drawn a clear line of influence from Where we've been, Where we go from here and indie rock of the 2000s. Those reviewers would be absolutely correct too. If you told me this was an indie rock staple of that era with a Pitchfork Best New Music review to its name, I might believe you. However, this is a band's debut album in the year 2024. One of the most exciting in recent memory, made even more so by Friko being relatively unknown before this project. It's like it appeared out of thin air. Randomly here's one of the most polished indie rock albums in a while that puts a modern twist on an old formula. An old formula that I have a soft spot for, for better or for worse. Even by the opener, "Where We've Been," I knew this album was something special, at least for me. Vocalist and guitarist Niko Kapetan absolutely steals the show here. His voice is shaky, but effortlessly melodic. "Crimson to Chrome" has one of the most memorable choruses I've heard in a minute, it's been stuck in my head for days. Drummer Bailey Minzenberger really kills it here too. The energy keeps up on the next track "Crashing Through." Those first three tracks alone are a hell of a statement for a debut record. "Chemical" veers into the post-punk and shows the band's range very well. Even when the band get a bit quieter like on "Until I'm With You Again," there's still just this ... energy to it all. Friko sound so confident here, like they know they're gonna be a big name in the genre in a very short time. I hope I'm right about that because this album is amazing. I was a bit floored by how much I enjoyed this. Incredibly excited to see what Friko have in store for us next.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

PHASOR - Helado Negro

◇ genres: indietronica, neo-psychedelia

Similarly to Brittany Howard, Roberto Carlos Lange's music has escaped me over the last few years. I enjoyed his 2019 album This Is How You Smile, but I just kind of lost track of him. However, I saw his new album PHASOR getting some buzz and I decided to check it out. I'm glad I did! It's a gorgeous album full of sweet, borderline ambient songs. "I Just Want to Wake Up With You" is such a simple song, but it's so enjoyable. The repetition of the chorus never feels irritating because the production and instrumentation are so nice. It almost feels like you're swimming and the little synth flourishes remind me of early electronic music from the 70's. The whole album is full of stuff like that too. It's such an easy listen. Each song just breezes past you so gently. It doesn't demand your attention, but if you decide to give it some you will be rewarded. "Out There" sounds so cool and more complex than some of the other songs here while not losing the subtlety of the album. "Best For You and Me" is similar in this aspect too with its driving piano chords and fuzzy synths bubbling up underneath Lange's soft vocals. The most raucous track here is the opener "LFO (Lupe Finds Olivieros)" which is a cool mix of indie rock with the rest of the album's spacey synth work. This album has really grown on me over multiple listens. It's so easy to throw on whenever. It fits nearly every mood and doesn't overstay its welcome at all. It's also reminded me to go back and revisit more of his work from the past!

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

She Reaches Out to She Reaches Out to She - Chelsea Wolfe

◇ genres: darkwave, post-industrial

Chelsea Wolfe is a name that sounded vaguely familiar to me before I listened to her new record She Reaches Out to She Reaches Out to She, but I'm pretty sure I've never heard any of her stuff before this. Upon listening, I have a strong desire to dive into her back catalog. This album is excellently produced and wonderfully written. These songs are dark and often chilling. Both due to Wolfe's unique vocals and the production. You're thrown right into it with "Whispers In The Echo Chamber" as Wolfe sings about seeing things "beyond reality" and the dark synths really accentuate that feeling. The song eventually builds into a big industrial burst with a ripping guitar part towards the end of the track. I loved the range presented here and it's present across the whole album. Wolfe shines in both the softer moments and the louder moments. "House of Self-Undoing" is more straight-forward industrial rock. Even amidst the wild drums and guitars, Wolfe's vocals stand out. The lyricism here strikes a nice balance between substance and style. The majority of the tracks here have at least one lyric that is razor sharp despite the ethereal vocals. "The Liminal" is a really great trip-hop cut and an unexpected, but welcome change of pace after the slow-burning "Tunnel Lights." As was "Eyes Like Nightshade" which blends elements from dance music into this dark world Wolfe is creating. It's such an easy album to get sucked into. Even with the sonic shifts, these songs immerse you in their weird world. The album ends with one of its most fiery moments, "Dusk," as Wolfe aptly sings "and I will go through the fire" as the heavy industrial guitars and drums almost drown her out. I really loved this album. Wolfe managed to balance both the chaos and relative tranquility on the album just by her performance alone. Really need to listen to more of her stuff!

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

All Life Long - Kali Malone

◇ genres: drone, holy minimalism

My first introduction to Kali Malone's work was through her 2022 album Living Torch. A really interesting two part, 33-minute drone piece that had a really dark atmosphere to it. Her last album, Does Spring Hide Its Joy, was way more expansive at three hours. I had to listen to it over multiple days. It played on a lot of the themes of the previous, except grander. This new album is trimmed down a bit, but it has some of her strongest material. Opening the album with the choral "Passage Through the Spheres" is a very interesting choice. It doesn't really sound like much of the album musically, but it sets the tone very well. All Life Long sounds like the album art suggests. Everything feels cold. Maybe not the standing the snow kind of cold, but a really strong, uncomfortable chill. The title track, split into versions both for organ and voice, is a big highlight here. Malone's plodding organ on the former feels like you're stepping into somewhere you shouldn't be. It sounds haunted. "No Sun to Burn (for Brass)" lightens the mood just a bit and is a really striking minimalist composition. "Prisoned on Watery Shore" is a mellow drone cut and it keeps you hooked the whole time. Just by the first four tracks Malone has taken us down so many avenues and flexed her range as a composer. I love the dark droney synths and little organ flourishes on "Fastened Maze." I do like when Malone works with a brass quintet and the choirs, but they really shine with the drone stuff. She's so good at creating distinct atmospheres in each of her compositions. All Life Long might be my favorite project of Malone's yet. The majority of the songs here are really well composed and evoked some kind of reaction from me. Not sure if I would recommend starting with it if you're new to Malone's work, I would say Living Torch is still the best entry point, but definitely give this a listen after.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Prelude to Ecstasy - The Last Dinner Party

◇ genre: indie rock, glam rock, pop rock

I mentioned this in my singles & songs post from last month, but I have been loving the singles leading up to this album. Even if the entire debut from the London glam rock band didn't live up to the hype those songs gave me, I would still be pretty satisfied. Luckily, Prelude to Ecstasy is a really good debut. The band dives into themes of gender, generational trauma, and toxic relationships accompanied by some catchy, cathartic songwriting. The best example of this is the band's biggest hit thus far, "Nothing Matters." I touched on it briefly in the aforementioned post from last month, but I just adore that song. One of the most well-crafted rock songs of the decade so far. That chorus sticks with you for days. I wish I could be a bit contrarian and say that the biggest hit isn't the best song, but I just can't here. That isn't to say the rest of the material here is weak, far from it, this album is loaded with great songs. "Burn Alive" veers into a more post-punk sound which fits the band so well. The lyrics discuss turning pain into art and lead vocalist Abigail Morris has defined it as the band's "mission statement." Very strong start to the record. I wrote about how great "Caesar on a TV Screen" was last month, but I enjoyed it even more in the context of the album. "Sinner" is another great example of the band's glam rock sound. It sounds so classic, but not in the extra-derivative Greta Van Fleet way. They use these sounds from the past and put their own spin on it. All in all, this is a very strong debut album. Occasionally the band can drift into the generic, but those moments are few and far between. They're even more forgivable when you compare them to what other new stuff is playing on your local alternative station. I'll definitely take it over any son of Mumford.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Loss of Life - MGMT

◇ genre: neo-psychedelia

Nearly 6 years removed from their stellar previous album, Little Dark Age, MGMT have finally returned with Loss of Life. An album that sees them leaning away from the synth-heavy sound of the previous in favor of a more organic sound. Guitars and the occasional piano are usually the driving force behind these songs. The psychedelia present through all of their work is also here which is to be expected. The album opens with "Loss of Life Pt. 2," which features some of the most electronic instrumentation across the whole record and a lot of it would be reprised for the closing title track. Lead single "Mother Nature" follows it and it really was the perfect choice for a lead single. It introduces this "era" of the band perfectly. More organic instrumentation, more mature lyrics, while still having those hooks that really stick with you. I think this is one of the best songs the band have ever made and while a lot of the songs following don't reach those heights, plenty come very close. "People In The Streets" follows the same formula as that song, but way more mellow. I love the bass on this track, it's so prevalent in the mix. The next track "Bubblegum Dog" is almost glam rock and they pull off that sound pretty well. The lyrics feel like a meditation on the creative process and moving forward. Interesting themes that I'm interested in hearing from them at this stage in their career. A lot of the songs here, as good as most of them are, just leave me wanting a little bit more. I often found myself wanting the band to take a few more risks and get a bit wilder on the musical front. I feel like you could've explored these more mature themes while also getting a bit crazier with it. As this album dropped only last week, I don't feel like my opinions on it are fully formed. Maybe I'll enjoy it more over more listens as the year rolls on. For the most part, Loss of Life is a really good return for the band and an interesting release in their discography.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Still - Erika de Casier

◇ genre: contemporary r&b

Erika de Casier had been on my radar for years, but I never got around to listening to any of her albums in full. I was inspired to listen to her new album due to her incredible single from last month, "Lucky." A really sleek, atmospheric drum and bass cut with a killer hook and production that still wows me even after multiple listens. It's probably still my favorite track on the album, but that's not to say there aren't other amazing tracks on Still. The reggaetón undertones of "Home Alone" were a very welcome surprise. "ice" is has a very funky bassline and a nice feature from They Hate Change. "Believe It" has a subtle bit of trip-hop thrown in and some of my favorite hooks on the whole record. The album's sounds are deceptively eclectic as de Casier blends them together so well. The incredible production across Still can sometimes be to its detriment. On a few tracks, the production feels let down by some weak songwriting. Not bad by any means, but I just wish there was a bit more of an edge to them. de Casier is a very good pop songwriter and pretty much every track has a good hook, chorus, etc., but it doesn't leave much of an impact beyond that. "Ex-Girlfriend" and "Twice" are examples of this. Really nice beats, but I feel like they never reach the heights they have the potential to. Even with those gripes, Still is a really well-crafted record and there is no shortage of great stuff here.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Other Rooms - Adriaan de Roover

◇ genres: ambient, electroacoustic

I don't know much about Adriaan de Roover at all. I found this album on the front page of Bandcamp and decided to check it out because the genres looked appealing. Sometimes you need a good ambient album and Other Rooms is a satisfying listen. There are some gorgeous ambient soundscapes on this project with some glitchy moments peppered in. In fact, the album starts off with one of those moments. "Yet" has these prickly, glitchy synths throughout, yet an almost eerie wave of noise accompanies them. It creates a really cool dynamic. If you're just looking for some good ol' ambient, check out the tracks "Homebound" and "Dank U." My favorite piece here is the title track. It features some nice ambient synth-work alongside these distant choir-like vocals and some chilling piano chords thrown in. The backend of the tracks turns to something far more sinister with one of the most outwardly unsettling dark warbles. There always feels like there's something underneath a lot of the songs. I just wish it was a bit more fleshed out. At just under 30-minutes in length, I feel like there was a bit more to explore. Still definitely worth checking out if you're looking for a good ambient album with a decent amount of depth to dive into.

listen here: Apple Music Spotify Bandcamp SoundCloud (not available) YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Club Shy - Shygirl

◇ genres: house, dance-pop

There's not really much to say about this new Shygirl EP except that it's a really strong, concise collection of house and dance-pop tracks. A bit of a detour from the sound of her previous album Nymph, but it works so well. She works with a ton of different producers here and it's incredible how cohesive it all sounds. Every track hits and there's very rarely a dull moment. "4eva" and "thicc" are probably the biggest highlights here for me. I'm a total, anti-social geek that doesn't go to clubs, but those songs make me want to. If you need a quick collection of thumping club songs, look no further.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Unwired Detour - Asian Glow

◇ genres: noise pop, indietronica

I've listened to a decent amount of Asian Glow's work over the last few years. They've been involved in some pretty interesting projects throughout the decade so far both on their own and with other noisy/shoegaze artists such as Weatherday and Parannoul. They played bass on the latter's After the Night live album which was one of my favorites last year. However, it seems as though the Asian Glow project is coming to an end with Unwired Detour. They announced on their Bandcamp that this would be the "last album [they'll] ever release for Asian Glow." It doesn't feel like your typical "final album" though, at least to me. I'm sure it has a lot more personal significance for the artist, but this just sounds like an extremely promising album from a young artist and one that could be a stepping stone to much greater heights.

The album features some really good noise pop/indietronica tracks with some having more of a rock edge than others. "Ashes" is one of my favorite cuts here because of that rock edge. It also feels like one of the more lively tracks here from a production standpoint. I feel the same way about "Kuroitamago #2" and "Faucet." This album is at its best when they cut loose a bit. A lot of these songs are really good, but the production feels like a big barrier preventing them from reaching that next level. Like on the opener "Down in the sink" which is just begging to be free from the Wall of Sound production style. I still think on the whole this project is worth checking out. I also am excited to hear whatever comes next from the artist formerly known as Asian Glow.

listen here: Apple Music (not available) Spotify (not available) Bandcamp SoundCloud (not available) YouTube (not available) ━━━━━━━━━━━━━━━━━━━━━━━━━━━

2093 - Yeat

◇ genres: industrial hip hop, experimental hip hop, trap

I haven't really been crazy about a lot of Yeat's music, but 2093 is probably his strongest album to date. There are so many really cool ideas here and there are some awesome moments here from a production standpoint. However, it would be even better if it were reigned in and shortened by maybe even 20 minutes. He commits to the concept of 2093 and being in the future, but that kinda wears thin when multiple songs hammer that concept home over and over again. On the whole it can be a very tiresome listen made somewhat worthwhile due to a large number of highlights. "Morë" and "U Should Know" are my two favorite tracks on the album if just for the beats alone. They sound so cool and the former dives into the industrial hip hop sound really well. Yeat's bars are pretty nice for the most part, he's not my favorite rapper and often he never surpasses the "this is fine" territory, but he works within these songs very well. I'll always be a sucker for reoccurring lyrical themes across an album. Lil Wayne locked in for his verse on "Lyfestylë" which makes it another standout. I really had a difficult time getting into the later half of the album, but the penultimate track "If We Being Rëal" brought me back into it. There is a really, really solid album within 2093. If you took the cream of the crop and maybe saved the rest for a deluxe edition, you would be absolutely golden.

listen here: Apple Music Spotify Bandcamp (not available) SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

TANGK - IDLES

◇ genre: art rock, post-punk

IDLES decided to switch things up going into their fifth studio album, partially stepping away from the raucous energy of their previous work in favor of something softer, less aggressive. They enlist the help of Nigel Godrich and frequent collaborator Kenny Beats for the bulk of production duties here. Godrich especially has heaps of experience in the art rock world mainly through his production work on every Radiohead studio album besides Pablo Honey. The production really is one of the standout things about TANGK, unfortunately I don't really know if IDLES is the best at making the most of it. This isn't a bad album by any means and I do warm up to it bit by bit after every listen, but I can't help but feel like a lot of this is underwhelming. I'm all for bands expanding their sound and trying different things, but I feel like IDLES lose a good bit of their charm by going into this direction. The best moments on the album are the ones reminiscent of the wild energy of their previous work. Especially "Dancers", a collab with LCD Soundsystem and a track that somehow flew under my radar last year. That swinging chorus rules so hard. "Hall & Oates" is another massive highlight for a lot of the same reasons. "Gift Horse" is awesome too and shows the band kinda leaning further towards dance-punk.

IDLES really thrive with that rough around the edges sound. Not all of their forays away from it are bad, in fact, none of them are really. Many just feel kinda boring.

listen here: Apple Music Spotify Bandcamp SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Drop 7 - Little Simz

◇ genres: UK hip hop, electronic dance music

It breaks my heart to write this, but Drop 7 was underwhelming. Little Simz is one of my favorite artists going today and her last three studio albums are absolutely incredible. Her 2021 album Sometimes I Might Be Introvert was my favorite album of that year and I would give it a very prestigious 10/10 score!! I was so hyped for this EP once she started teasing it on social media. The snippets showed her venturing into some more electronic production and I was intrigued. Unfortunately, those experiments don't really come together to make a great EP. There are some really good moments though. The opener "Mood Swings" is great and shows her feeling right at home with this style. The next track "Fever" is also one of the better cuts here, but it highlights a big issue I have with this project. Her typical incredible flows and lyricism aren't really present here across this EP. Most of the time her bars feel like an afterthought and oftentimes there isn't much else to carry the tracks on any other front besides that. One of the only exceptions is "SOS" which is a nice tribal house track that makes me want to dive into the genre more. I'm trying not to be too harsh on this EP because it's obvious she uses the Drop EPs to experiment and test out ideas, but Drop 7 left a lot to be desired. I don't think this journey into electronic/house music is a bad idea, but I just hope it can be fleshed out properly on her next full-length project.

listen here: Apple Music Spotify Bandcamp (not available) SoundCloud YouTube ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Vultures 1 - Kanye West & Ty Dolla $ign

◇ genres: pop rap, trap, alternative r&b

It feels pointless to dive into Kanye's weird, antisemitic antics over the last year or so. He obviously doesn't care and his ardent supporters don't either. "Separate the art from the artist!" they cry meanwhile said artist is making light of his antics in the art itself. Thus making it impossible to separate it from him. So that begs the question ... why do people still cling to him? Does the man who just a few months ago uttered the phrase "Jesus Christ, Hitler, Ye — third party, sponsor that" still make good music? Maybe if the beats go hard enough you can forgive and forget as he boasts about still being "the king" despite his vile antics? Unfortunately for the Kanye fans, this might be his worst album to date. No longer can they use the shield of "but he still makes good music!" I've tried to write about how I feel about this album over and over again, but it's so frustrating. Pretty much every song has a fair amount of bullshit thrown in which makes the whole thing unenjoyable. "Stars" is a decent opener until Kanye says "Keep a few Jews on the staff now" as if it somehow absolves him of his past remarks. "Keys to My Life" has a cool beat, but Kanye's verses are some of the weakest of his career. "Talking" probably has the least amount of bullshit and it can be a bit touching at times. "Back to Me" ranks among the worst things Kanye's ever touched. Everything about it irritates me, I don't even enjoy the Freddie Gibbs feature. The same can be said about "Hoodrat." "Do It" isn't offensively bad, but it bores me to tears. "Burn" is just pathetic as Kanye tries to get a quick nostalgia pop because the beat and his flow are sort of reminiscent of The College Dropout era, y'know when he made good music. "Fuk Sumn" and "Carnival" are the most enjoyable tracks here, but I can't see myself ever really going back to them. The title track isn't good and is proof Kanye has lost pretty much all of his sauce. The last two tracks, "Problematic" and "King," are embarrassing. The former where Kanye refers to his current wife as a "reference" to his ex-wife Kim Kardashian and the latter where he says he's "still the king!" despite people rightfully calling out his behavior. These over-the-top egotistical bars would at least be a little bit forgivable if the songs were any good, but they aren't. I almost forgot to mention this is a collab with Ty Dolla $ign and while he has some decent moments (his verse on "Talking" is a genuine highlight), as he says on the track "Paid," he's "just here to get paid." Vultures 1 has to be one of the worst albums by an artist of Kanye West's standing. Someone responsible for making some of the most influential music of the last two decades having a fall from grace this hard and fast would be sad if he weren't such a massive piece of shit. My apologies for going in on this album, but if you know me you will know that I used to be a massive fan of this man's music. I own like half of his discography on vinyl and I stuck with him through so much bullshit. I'm catching up on my Kanye hate after many years of being a delusional dickrider of his. He's making it easy too, not just with his antisemitism, but with this bad record too.

listen here: don't, listen to something good instead ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Slut Pop Miami - Kim Petras

◇ genres: dance-pop, house, electropop

I really am rooting for Kim Petras. I thought she was making some cool stuff near the end of the 2010s, but I just haven't been able to get into anything she's dropped lately. Especially these Slut Pop projects. It was already uncomfortable how often Petras collaborated with alleged sexual abuser Dr. Luke, but releasing a bunch of hypersexual bangers produced by him is just very uncomfortable and tone deaf on many different levels.

listen here: don't, listen to Club Shy for ur house and dance-pop fix this month ━━━━━━━━━━━━━━━━━━━━━━━━━━━ thanks for reading <3

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theeverlastingshade · 2 years

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Favorite EP of 2022: Paraglow- Parannoul & Asian Glow

With each subsequent year since I started this blog the format of the extended play (or EP) has become increasingly utilized and recognized as a legitimate artistic statement in and of itself and not just a stop gap of leftovers in between proper albums. Some of the most exciting EPs of the last few years are just as vital, adventurous, and well-crafted (if not more so) as any albums that have come out. Paraglow, the collaborative EP from South Korean bedroom pop auteurs Parannoul and Asian Glow, is no exception to this trend. Both of these artists have become underground favorites within the last few years (Parannoul’s second LP, To See the Next Part of the Dream was of my favorite records of 2021) through the sheer strength of online buzz generated on sites like RYM for their self-released Bandcamp records. Regardless if either artist ends up taking the Alex G/Car Seat Headrest route of parlaying the rapturous reception for their work into major indie label deals is yet to be seen, but it is clear that something very exciting is bubbling in this intensely online intersection of shoegaze, dream pop, hardcore, and 5th wave emo. Paraglow is near perfect balancing act of the of each respective artist’s sound without ever sounding as diluted or tossed off as these sort of collaboration records often do. Paraglow is a triumph of digital shoegaze that thrills like the best of its analog influences, with sights firmly set on pushing the genre forward.

Paraglow isn’t the only thing that either of these artist have released this year, nor is it the only time they’ve collaborated on a record, but it’s easily the strongest record out of both of these categories. Asian Glow teamed up with 5th wave emo hero Weatherday for the slightly underwhelming Weatherglow EP earlier this year, and they released a solo LP called Stalled Flutes, means that was a richer sounding update on the lo-fi noise pop of their superb 2021 debut LP, Cull Fircle, but didn’t really break any new ground. Parannoul released a pretty solid, but very front-loaded EP called White Ceilings / Black Dots Wandering Around, which managed to yield one of his strongest songs yet in the form of the anthemic “Soft Bruises”, but ultimately felt cut from the same cloth as TStNPotD. Last fall Parannoul and Asian Glow teamed up with the Brazillian screamo act sonhos tomam conta for a collaborative split called Downfall of the Neon Youth, which was a little unfocused, but nonetheless pulled the artists into some thrilling new directions. On Paraglow, Parannoul & Asian Glow streamline their approach into a relatively succinct 4 song suite with 3 tight, yet unpredictable songs capped off by a single 16 minute epic that continuously piles on idea after idea without ever really letting the stiches show. The overall structure of Paraglow brings to mind something like Empath’s sublime 2018 EP, Liberating Guilt and Fear, another 3 song sprint with a fourth song that just sends everything through the stratosphere. Like LGaF, Paraglow exudes a boundless sense of possibility from artists who are still developing their sound in real time. And like Empath, Parannoul and Asian Glow both have a singular, well-defined sound, and don’t seem anywhere near finished saying everything that they have to say.

Opener “Hand” sets the stage with a characteristically dreamy, distorted temperament. On “Hand” the duo feign majestic post-rock courtesy of wispy guitar strums and the faint winkling of piano for a few moments before a nimble sleight of hand reveals a trap door of dissonance that envelops the listener. But the feedback dissipates behind the acoustic guitars and murmured vocals as quickly as it emerged, and what follows is a deft approximation of the classic loud/quiet alt-rock dynamic throughout the rest of "Hand", but executed with a much more nimble touch. The vocal melody throughout the hook is one of the strongest that either artist has recorded to date, exuding echoes of The Cure refracted through the stadium sized digital distortion of M83 by way of The Smashing Pumpkins. The last minute piles on riffs as the pair descend into a noise-addled coda that rides a wispy trail of feedback and chimes into the next song, "The Light Side of the Eyes". The first 45 seconds of “The Light Side of the Eyes” are pure instrumental build courtesy of a music box melody playing softly over battered floor toms and chugging distortion. An electronic polyrhythm eventually emerges, and then, like "Hands", the music erupts into a heavily distorted, technicolor bridge, with gentle vocals emerging from the calamity. Some dynamic math-rock drumming quickly gives way to a series of shrieks, and then everything quickly folds back into a chiming guitar progression eerily reminiscent of the Halloween theme song. The duo continue to steadily build up the music until they reach a full-blown noise crescendo that’s cut abruptly as synthetic strings bring us into “Swamp”.

"Swamp" is the EPs shortest cut, and is the most relatively straightforward song on Paraglow, but just as audacious in the execution of their ideas as everything else here. While the transitions from blown out noise and tender piano balladeering are jarring and a little clumsy, they showcase quite a bit of the duo’s range in a potent distillation. "Swamp" also claims some of the most tender vocal melodies of Parannoul's to date throughout the piano sections, which are rendered all the more potent when juxtaposed against the barrage of distorted guitars fighting for space in the mix. As lush suite of strings bring "Swamp" to its conclusion, and an ominous saxophone motif signals the descent into "Wheel". On "Wheel", arguably the most ambitious song that either artist has ever recorded, the duo mix saxophone and strings into their usual blend of guitars, bass, synths, and drums as they progress through several different movements. There’s an ambient detour, a hardcore breakdown, twinkling post-rock, more conventional sounding indie rock, furious piano arpeggios, drum solos, shrieks, and a cathartic vocal melody all held together by the lingering saxophone motif. The sheer scope of “Wheel” is thrilling in its own right, but the duo’s execution renders the unpredictable composition far more engaging than it would ever suggest on paper.

While “Wheel” is almost too sprawling for its own good, it, along with the other 3 songs on Paraglow, never outstays its welcome. The duo managed to (generally) rain in their knottier impulses while still leaving plenty of room for discovery. Paraglow finds a welcome middle ground between Parannoul’s soaring shoegaze and Asian Glow’s dense noise pop with some of the most adventurous, and anthemic music that I’ve listened to this year. It’s a testament to the strength of their individual voices that the project didn’t buckle under the weight of its ambition or come off like a pale imitation of either artist’s work. The music is tighter than a first idea best idea approach would suggest, but loose enough to allow for the pair to follow their impulses on a dime. The charm of Paraglow lies in hearing how many ideas that these two artists managed to pack into these songs without repeating themselves, and while working in service of what is ostensibly still pop structure. Given the prolific, and highly collaborative nature of each artist it still feels like both Parrannoul and Asian Glow are just getting started, and hopefully Paraglow will be far from the last time that they record music together.

Essentials: “Wheel”, “The Light Side of the Eyes”

#parannoul #asian glow #paraglow

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