The Milk Crate staff’s favorite tracks of the week, presented with blurbs worthy of a promotional sticker on a jewel case. Tune in Fridays from 2-3 EST to the Staff Pix radio show.
Alex G returns to the music scene with his new album God Save The Animals. Known for his whimsical, indie acoustic tracks with bits of synth scattered within, the song “Mission” off the new album shines a light on Alex G’s acoustic, folk roots. The effects and synth are scrapped, and we are left with the raw talent of the artist. At the base of his work is his strong ability to write raw, honest, meaningful lyrics, and “Mission” proudly displays this skill. Along with the powerful lyrics, the front and center of the song are the deep acoustic chords and Alex’s voice that truly run the show and drive the song forward.
JID released his third independent studio album, The Forever Story, this late August; 2018's DiCaprio 2 took the word by storm following JID's career with his involvement within J. Cole's collective Dreamville; Ultimately creating a name for JID within the Rap industry. Revenge Of The Dreamers III captured the style JID holds even within his own work; his ability to develop extensive lines can range from covering a more soulful beat to a beat of pure rage that you'd find within a mosh pit. After his involvement in Dreamville, JID teamed up with Earthgang for Spillage Village to create the album Spillington many know and love; Holding features from everyone from Mereba to Chance The Rapper. The Forever Story holds impeccable storytelling through JID's developed lyricism skills, and "Sistanem '' stands out within the album; The 6-minute centerpiece of the project completes the overall intentions being presented throughout the piece. His lyrics describe being in a challenging situation with his sister and his ability to mend that relationship, rapping "And I don't care if we don't speak for like a million weeks. You right there when I need you, but I know these ain't your kind of people." The lyrics continue to discuss the tendencies musicians face while gaining recognition and fame. We see this consistently through albums like 2014 Forest Hills Drive by J. Cole and Mr. Morale & The Big Steppers by Kendrick Lamar. Compared to most hip-hop in Atlanta, the Georgia native continues to pursue songs with deeper intentions than electro-driven music. However, certain songs like "Stick" and "Surround Sound '' show how versatile JID's artistic skills go.
Berklee College of Music graduate CHARLEY released “Down (Live)” about a week ago in response to the uproar of fans demanding the song to be available on Spotify. One to never disappoint, CHARLEY introduces the song with a simple guitar riff, slowly crescendoing to a country-rock inspired “be-true-to-yourself” anthem at the peak of the chorus. CHARLEY echoes the main lyric of the song, “Down with the lies that you told me,” at the bridge, a smooth transition for an electric guitar solo and the drums to conclude the song with a powerful two measure closing melody. The overwhelming fan response to the song inspired her and her band to release a full live album of their setlist songs, of which the date is to be announced.
To celebrate the 25th anniversary of Sleater-Kinney’s third studio album Dig Me Out (1997), the band is teaming up with various artists, like St. Vincent, The Linda Lindas, and Wilco, to release the covers album Dig Me Out: Dig Me In. The first single in-lieu of the album release, scheduled for October 21, is “Words and Guitar,” covered by Sleater-Kinney and Australian singer-songwriter Courtney Barnett. Contrasting the original recording, which features heavy grrrl vocals by none other than Corin Tucker, a rough guitar back-and-forth between Tucker and Carrie Brownstein, and Janet Weiss’ signature drum style, the 2022 cover is lighter, influenced by Barnett’s own musical career. It is far more of a track to kick-back and relax to, even with its melodic and melancholic message, compared to the original. Dig Me Out (1997) was written primarily as a break-up album between Tucker and Brownstein, evidenced by the punk rock sounds of young adult angst and a general loudness in each of the 13 tracks. Although only one single has been released for the cover album, it can be assumed that the featured artists are putting their own spin on this heart wrencher. Using the original sadness and anger about being in a band with your ex, Barnett reframes this narrative to be one of redemption and finding joy in her own “words'' and “guitar.”
After a three year intermission of no music, Blood Orange comes back strong with his EP Four Songs. The third song on the album, "Wish", I particularly enjoyed, as it entices the listener with the melancholy and nearly unresolved sound that flows effortlessly in contrast to its noisier, fast paced surrounding tracks. Perfectly suited for the oncoming fall and winter seasons, the lyrics add to its nostalgic and gloomy ambiance with the repeating themes of regret and reflection. Its haunting chorus repeats "Breaking in the Day/Find another way/To hide all the things I couldn't do/And you wish it all, and you wish it all went away" to establish a sense of loss and nostalgia for the past, both concepts which Dev Hynes has used before throughout his discography. Blood Orange has yet to disappoint his listeners regardless of his short lived break, and this is mostly due to his ability to continuously innovate his music while remaining true to the alternative, hypnotizing, and captivating jazz/R&B sound that his fan base originally adored him for. Each time I finish listening to a Blood Orange track, his presence remains with me, and I feel the urge to reflect upon my past. Whether it's due to his talent for emitting nostalgia or melancholia (or both) through his music, the diminishing and enigmatic tones scattered throughout his song "Wish" will continue to stay with me as the autumn season arrives, making me fall into a wave of deep thoughtfulness once again.
After three months since the first song release “Lydia Wears a Cross’’ from her new album, Julia Jacklin finally dropped the ten track sensation, Pre-Pleasure in the middle of August. Among those honest and gripping songs is one that goes out to all of the film majors or those who get heavily impacted by what they see on the screen. “Moviegoer” is a slap-in-the-face ballad for those who have yet to fit in anywhere, yet try again and again. With poetic lyrics, haunting melodies with out of nowhere harmonies, and a comforting drumbeat; this song takes one through a cinematic story flowing alongside a steady bass and definite contemplation. Similar to a lot of Jacklin's songs, this one contains a certain innocence to it that accompanies a feeling of burden that the listener has to carry - however, after having listened to it, we somehow feel much lighter. While I recommend this song just to enjoy, I highly encourage reading through the lyrics with (and without) the accompaniment of the song as to best perceive her messages and narrative words (spoiler - it opens with a wide shot). If you need a backtrack to ponder about life or a chill work song, this tune has been my go-to for any study session or philanthropic journal binge for the past month.
Now four singles deep into building hype for their anticipated third record, it’s clear that Alvvays intends to make good on the promise of their sophomore effort. The newest song, “Very Online Guy”, sports a new, exciting, direction that doesn’t completely change the band’s sound but proves they can do more than one thing. Released simultaneously with “Belinda Says”, “Online Guy” sets itself apart due to its eye-popping, pixelated, video and a funky bassline that allows new member, Abbey Blackwell, to show what she can bring to the table. With a muted, slightly distorted, vocal performance from frontwoman Molly Rankin, the lyrics which sarcastically poke fun at the ‘always-online’ personalities that we are bound to come into contact with in this day and age. Backed by vintage drum machine beats and quirky synth lines, shades of Stereolab’s most danceable work can’t help but be heard. What saves it from pure cynicism, though, is the bridge where the condescending tones then shift into something more introspective. If this man is always tapped into the internet, why is the narrator getting ghosted and, worse, does anyone else notice? What does it mean? The series of questions don’t get answered and the song comes to a close after a brisk two minutes thirty seconds. You might be bewildered, amused, or in need of a clear point as to what Rankin was exactly trying to say. Whatever your reaction may be, I can assure you that you’ll want to listen to it again, play it at parties, and be excited for what the band has coming down the pipeline.
Nigerian artist CKay’s recent album Sad Romance, released on September 23rd, is just a further cementation of the Afropop rising star’s incredible talent for smooth, sensual, and deeply dance-able grooves. Even within the exceptionally strong track-list, the single “mmadu” is an absolute stand-out. The song is a delightfully sensual experience, and while it’s certainly unabashed in its sexuality, the vocals and backing track are so gentle that even the most graphic lyrics still manage to capture a wonderfully cheeky naiveté. Accompanied by light flurries of drums and twinkling guitar strings, CKay’s vocals eke over the track in the drawn-out, nasally delivery that has defined his music thus far. The lyrics are sung in both English and Igbo, and offer a smattering of tongue-in-cheek pines for the love of a partner, capturing a mood that is simultaneously playful and romantic. (How can you not love “You drive me crazy like chauffeur”??) By the time the chorus hits - backed by a gorgeous saxophone melody - chances are you’re already beyond hooked. Whether you’re dancing on your own or grooving with a partner, CKay has cooked up a tune that can fit the mood of just about any playlist you put it on. Even if you’ve never heard Afropop before, the sauve hypnotism of this gem can hopefully become a gateway to the wonderful rabbit hole that is not only CKay, but all of his contemporaries.
The Backseat Lovers are back and sadder than ever. Their newest release “Close Your Eyes” is the second single drop from their upcoming album Waiting to Spill that comes out October 28. The heart-wrenching lyrics are equally as personal as the heavy guitar and multiple bridge breakdowns in this scream-crying inducing masterpiece. The Backseat Lovers are no stranger to longer tracks with lengthy guitar solos, but “Close Your Eyes” rivals their most popular track “Kilby Girl” in the best of Backseat build ups. The song aligns with the band’s indie-rock roots while also hurtling towards a vulnerable evolution in their sound and style. Almost an evocation of longing, growing, and loss, the single lays the feels on heavy with the main chorus question “Could you waste your life/If you painted mine?” Over two minutes of build up shine the spotlight on the raspy begging of lead singer Joshua Harmon in the final leg of the song as he painfully realizes he’d “Have to see you die to grow” alongside crashing drums and relentless electric guitar strums that make us hope we don’t have to see the Backseat Lovers do the same.
Shygirl’s fifth and final single before Friday’s release of her debut album, Nymph, is a refined and well planned dose of her signature sexual style. “Shlut” arrived three days before the release of her debut, and follows after a wide sonic variety of singles, like the Arca-produced “Come for Me” which is a dizzying twirl of assorted bass beats and moans, and the satirical “Coochie (A Bedtime Story),” which playfully juxtaposes fairytales and booty-calls. All of Shygirl’s work up to this point is cleverly synthesized in “Shlut,” a track which smooths her humor down to danceable bass and tightly worded verses. She undulates between begging and demanding, thumping verses and twinkling choruses, all the while showing her reliability and versatility. Shygirl has become one of the most reliable rappers on the scene, making songs that balance sex and dance in such clever rhymes she’d make Lil’ Kim blush. “Shlut” is a delicate flex of Shygirl’s skill, a perfect way to hype up her fans, and remind listeners that her music is a perfect liaison between the dancefloor and the bedroom.
In their first release since 2020, Phony Ppl gets groovy, a direction the members of the five-piece group have confirmed their upcoming album will follow. The two-step beat pairs with throbbing bass and sparkling keys for an infectious funk that pulls you straight to the dance floor—or maybe the roller rink. The lyrics detail the chase of an old lover, but vocalist Elbee Thrie doesn’t want to look back, he’s moving onto bigger and better things. It all culminates into an infectious sense of sweaty nights at the disco, the carefree attitude of nothing mattering beyond the mirror-ball lighting.
Deviating from her classic dance floor anthems, Maude Latour’s “Living It” is a heartfelt perfect inner-turmoil anthem. Trading her usual hypnotic vocal chops and catchy choruses for a drowsy, intimate ballad, Latour put the range of her musical ability on full display with “Living It.” Each verse about lost innocence and inconsiderateness layered over a John Mayer-esque swinging beat gleams with early 2000’s movie angst. Latour debuted her new EP 001 at the first night of her tour last night at the Paradise Rock Club. The sold out show was teeming with hardcore fans who screamed and danced and cried to every word of every song, except “001” and “Living It,” which had yet to be released. When she debuted “Living It,” the cheeks of the crowd were wet with tears that glistened underneath the hub of swaying phone flashlights.
Taking their name from an entry in hardcore visionary Henry Rollins’s tour diary (it’s short for Kill Everyone Now), Winnipeg, Manitoba sludge-core trio KEN Mode should need no introduction. The trail of destruction left by their thirty-year sonic rampage, nine albums worth of muscular rhythm and grating, angular guitar, should speak for itself. NULL, their latest full-length release since career-pinnacle Loved in 2018, and first with soundscape architect/saxophonist Kathryn Kerr, is a pummelling, cerebral excursion through industrial, noise-rock, and sludge metal sounds, unrelenting and desperate, embodying what frontman Jesse Matthewson calls “a documentation of trying to not fall apart, the most desperate way you know how.”
Kill Her Freak Out by Samia
Indie-rock powerhouse Samia returns with lead single “Kill Her Freak Out” off her new record, Honey, out next year on January 27th. This ambient and ethereal track doesn’t match its darker themes — the chorus declares, “I hope you marry the girl from your hometown / And I’ll fucking kill her / And I’ll fucking freak out.” Honey marks an end of an era for Samia and her debut record, The Baby, explaining in an interview that “this record is about learning to see the love around you.” It’s clear that both Samia and her sound have matured in these past couple of years. I can’t wait to hear what singles she releases next, and of course for the full LP in January.
His first release of 2022, Q came back with the alternative R&B single “Stereo Driver.” There’s an 80s feel about it, reminiscent of Synth-pop. The song contains Q asking someone to open up to him, and assuring them he will take on a part of their burdens. He expresses this in his lyrics, writing, “I've been involved within all of your ways / Waiting for you to come stand in my face.” Most of all, the hook is catchy, staying stuck in your head as you sway back and forth. After playing it for my friends, they kept humming it, “I’ll be your stereo driver.” Q stated wanting “the lyrics to come off as a dialogue, and help people self reflect.” The song relies heavily on the mellow beat, driven by electric keyboard. With a feel-good instrumental and understated vocals are perfect for a chill night in your dorm.
WECB Radio, Emerson College, 120 Boylston St., Boston, MA 02216