{"id":490,"date":"2023-03-03T19:26:40","date_gmt":"2023-03-03T19:26:40","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2023-3-3-staff-pix-33-playlist-buddies\/"},"modified":"2023-03-03T19:26:40","modified_gmt":"2023-03-03T19:26:40","slug":"2023-3-3-staff-pix-33-playlist-buddies","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2023-3-3-staff-pix-33-playlist-buddies\/","title":{"rendered":"Staff Pix 3\/3: Playlist Buddies"},"content":{"rendered":"
\n

The Milk Crate staff\u2019s 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.<\/p>\n<\/div>\n

\n

Che Wetzel<\/h1>\n

Change by Big Thief<\/h2>\n

While saying this is equivalent to spewing hate speech in the eyes of many Emerson students, I\u2019ve never really enjoyed Big Thief. Sure, some songs are undeniable bangers (thinking \u201cMasterpiece\u201d and \u201cPaul\u201d)\u2014 but really, I\u2019ve never understood their status as an indie cult classic. \u201cChange,\u201d however, may be the song that changes my mind. Adrienne Lenker\u2019s voice is reminiscent of times past, sweet and unmarred by excessive production. The song is raw, acoustic, and has a bit of a country twang that really hones in a familiar and naked sound. \u201cChange\u201d is beautifully brutal with lyrics like \u201cCould I feel happy for you \/ When I hear you talk with her like we used to? \/ Could I set everything free \/ When I watch you holding her the way you once held me,\u201d encapsulating the tender bittersweetness of a cherished relationship\u2019s change from love to disconnect. \u201cChange\u201d is full of questions that never get answered, but inspire reflection and thought on the part of the listener\u2014 it\u2019s the perfect ditty to listen to while reckoning with the barrage of life changes that seem never-ending. While I still wouldn\u2019t call myself a Big Thief fan, this song has earned itself a solid spot in my library. <\/p>\n<\/div>\n

\n

Lily Suckow Ziemer<\/h1>\n

Kick The Tragedy by Drop Nineteens<\/h2>\n

It\u2019s Saturday night, your friend just threw up in an Uber, and you’re cleaning your room as she sleeps in bed next to a trash can. It was in this mindset that I pulled out my noise canceling headphones and hit play on Ethan\u2019s playlist. I had listened to it many times before; he had created a great compilation of songs, further fueling my love of Arctic Monkeys. However, one particular song stood out at the moment, \u201cKick The Tragedy\u201d by Drop Nineteens. The majority of the eight minutes and fifty-five seconds is instrumental. Drop Nineteens\u2019 instrumental prowess is clear as the repetitive yet ever-changing melody persists. It is the perfect background music for getting in your head or pretending to be the star of a coming-of-age film. A little over five minutes in, the instruments peel off and a voice begins to musically speak. The feeling of the song is perfectly encompassed in the words, \u201cI was down, more than I probably wanted to be probably.\u201d It finally culminates with one of my favorite lyrics of all time: \u201cIt’s even funny when you stop to realize I’m just nineteen, and how serious can anything be anyway? \/ Not very.\u201d \u201cKick The Tragedy\u201d is the perfect song for sitting in the corner of your room eating ice cream, walking alone down Boylston Street, or any other time you need a soundtrack for your life, especially if you\u2019re 19. <\/p>\n<\/div>\n

\n

Amelia Oei<\/h1>\n

Real Pain by Indigo de Souza<\/h2>\n

Holy shit Maura nailed my playlist. There are so many bangers \u2014 from After Hours by the Velvet Underground to Obstacle 1 by Interpol \u2014 so it was difficult to choose a single favorite out of 20 songs. I\u2019ve listened to Indigo de Souza before, but never this song. It sounds like a house show feels; it starts off light, with just the singer and electric guitar, and then slowly builds as more instruments and sounds join. Then all of the sudden at 1:50 it begins to pick up as Indigo repeats the word \u201cGoing\u201d over and over again. There are a bunch of noises that morph from the background into the main sound of the song; people conversing, screaming, electric feedback, I LOVE WEIRD NOISES! Finally, this build up bursts at 3:42 and it goes back to an upbeat melody with Indigo\u2019s voice at the center of the song\u2019s sound again. I want to hear this song live so badly. Thank you Maura for this song, it\u2019s a new favorite! <\/p>\n<\/div>\n

\n

Izzy Desmarais<\/h1>\n

New Jersey by Blue Deputy<\/h2>\n

It is amazing to me how one of the most romantic songs I\u2019ve ever heard is named after one of the least romantic places I can think of! The Philadelphia-based band only has two songs released and it is heartbreaking. And! To add insult to injury, their social media accounts have seemingly gone radio silent, since their most recent Instagram post is from April of 2022. I\u2019m sad because I think Blue Deputy has both the sound and narrative talent to become something great in the industry. Vocalist Andy Bunting fits right in with popular \u201csad girl\u201d singers, sounding reminiscent of Julien Baker and Clairo, but still brings something new to the table. I think it has something to do with their inflection. Despite the angst and yearning conveyed in the lyrics (\u201cWon\u2019t you take all your clothes off of me \/ And put them in a pile at your feet \/ And just look me in the eye \/ Why won\u2019t you look me in the eye?\u201d), Bunting still captures hope. It accurately illustrates budding romantic feelings \u2014 you\u2019re excited, and you really<\/em> think it might be going somewhere, but they just keep falling short of your expectations. It\u2019s heartbreaking, but it\u2019s not quite as catastrophic as it can (and probably will) be. I especially love the chorus, \u201cAnd when you touch me \/ I can barely keep it together \/ I can\u2019t keep it together \/ And when you touch me \/ I am beside myself,\u201d because it solidifies that this is meant to be interpreted somewhat positively. Thank you, Sophia, for putting this song on my playlist! I am so happy but so sad that I don\u2019t have much more from them to listen to. <\/p>\n<\/div>\n

\n

Stephanie Weber<\/h1>\n

Fine by The Linda Lindas <\/h2>\n

The Linda Lindas have been in my repertoire since late 2020 when I got into Riotgrrrl for the first time. I heard \u201cOh!,\u201d a heavy yet upbeat song, serving as an anthem for the modern Riotgrrrl movement and the fronting song on their first album Growing Up<\/em>, released in 2022. \u201cFine\u201d is fourth on the album, a song about teenage angst, something that The Linda Lindas sing about in all their music. The opening lyrics, \u201cYou hear us shouting but you don’t feel a word\/ You know we’re dying but you say that we’re cure\/ You keep on going, you think it’s fine\u201d is a direct callout to the people that doubt The Linda Lindas and therefore all the young girls that speak their minds. What\u2019s unique about the band is that it\u2019s made-up of a group of four girls who started performing in 2018 for big names like Bikini Kill and collaborating with Sleater-Kinney. They were also featured in the Netflix original Moxie <\/em>(2021), a movie about a modern high school group who started their own feminist zine rooted in the Riotgrrrl tradition. \u201cFine\u201d is a song about teenage rebellion and not caring about what others think. <\/p>\n<\/div>\n

\n

Will Ingman<\/h1>\n

Martin Scorsese by King Missile<\/h2>\n

When I was fourteen, a friend of mine stopped me before school started one day, phone outstretched in the way only someone dying of anticipation to show you the least funny thing you\u2019ve ever seen can. \u201cMy dad showed me this song,\u201d he expectorated, with a voice like someone whose Letterboxd comes up when you Google their name. \u201cIt\u2019s really funny, check it out.\u201d So, I stood in silence for three minutes and twenty-three seconds while this future film-school dropout played me King Missile\u2019s \u201cDetachable Penis\u201d from his iPhone 7. And for eight dreary years, that was the end of my journey with the aggressively Greenwich Village-ian avant garde band, until friend and fellow Milk Crate staffer Salem Ross sent me a playlist with this song on it. One listen, and I was down the rabbit hole. Happy Hour <\/em>is admittedly a mixed bag of an album, with epic highs (\u201cI\u2019m Sorry\u201d), moments of catharsis (\u201cIt\u2019s Saturday\u201d) and substandard schlock (\u201cDetachable Penis), but it\u2019s a downright miracle I never stumbled back into King Missile of my own volition. The first hit of that Primus-soaked-in-swampwater bass riff sold me on John S. Hall\u2019s whole act. Frankly, the only flaw I can find in this track is how soon it ends. I\u2019m sure there\u2019s a whole list of creative ways Hall can mutilate the body of acclaimed director Martin Scorcese, enough for at least another minute of the chest-beating gorilla euphoria the rhythm section induces in me. I\u2019ve been addicted to the way Hall says \u201cfuckin\u2019\u201d for weeks, and I think anyone who gives this nightmare fuel an honest try will be too.<\/p>\n<\/div>\n

\n

Karenna Umscheid<\/h1>\n

 Forever by Alex G<\/h2>\n

I have been meaning to listen to Alex G for so long, and seeing this track on the playlist Che made had me so excited! \u201cForever\u201d is so lovely and transcendent, the sweet melody and soft vocals make this a beautiful and romantic track to blast as the weather slowly warms and our hearts defrost. I plan on keeping it on repeat for solo walks to the esplanade, relying on the delightful acoustics and joyful beat to keep me alive as the city increases in temperature and everything slowly becomes more bearable. <\/p>\n<\/div>\n

\n

Nathan Hilyard<\/h1>\n

Good Fortune by PJ Harvey<\/h2>\n

PJ Harvey\u2019s glam rock album, Stories from the City, Stories from the Sea,<\/em> featured a mixture of radio ready rock hits, Thom Yorke hits, and slow jams. Harvey\u2019s rock was always strong, but in this particular era she achieved a perfect balance of personal aesthetics and radio sensibilities. \u201cGood Fortune\u201d is one of PJ\u2019s finest. Coming from her grungier Is this Desire?<\/em>, \u201cGood Fortune\u201d is bright and ambitious, a song about taking control of one\u2019s fate, even if that means just stalking around New York City in a black dress.<\/p>\n<\/div>\n

\n

Salem Ross<\/h1>\n

Shadrach by Beastie Boys<\/h2>\n

Senior year of highschool I was absolutely obsessed with Beastie Boys, specifically their album Pauls Boutique. You will never find a sound identical to their sophomore record, littered with so many samples that the full list of songs used isn’t known to this day. Released in 1989, MCA, Adrock, and Mike D created a whole new brand for their once party boy selves. Wanting to move away from their frat bro type sound of their first album Licensed To Ill<\/em>. Having biblical roots in the song also relate to the three lyricists within it. \u201c We’re just three MCs and we’re on the go Shadrach, Meshach, Abednego.\u201d The three men mentioned refuse to submit to the king of Babylon, but end up as high points in babylon. A lot of Beastie Boys music stems from attitude. Settling into yourself, even if it doesn’t feel natural. <\/p>\n<\/div>\n

\n

Rachel Charles<\/h1>\n

La femme d\u2019argent by Air<\/h2>\n

Air is one of those bands whose music seems perpetually ahead of its time. \u201cLa femme d\u2019argent\u201d is an instrumental tune off of the band’s critically acclaimed album Moon Safari<\/em>. True to the group\u2019s name, this song encapsulates an airy<\/em> feeling with a mellowed-out 70\u2019s funk-esque sound. This song uses a masterful medley of vibrant synth piano, low percussion, and other synth sound effects. Instrumentally, the real star of the show for me is the dynamic bass line that occurs consistently throughout the melody. The bass riff is reminiscent of a psychedelia-funk fusion sound that really makes you feel like you’re floating in, well… air. I play this song whenever I want to walk around and feel like I\u2019m the femme fatale protagonist of a 70\u2019s film. This song definitely goes down as an instrumental favorite and staple of mine.<\/p>\n<\/div>\n

\n

Kaitlyn Hardy <\/h1>\n

War of the Hearts by Sade<\/h2>\n

I began listening to this song as I laid down for a mid-evening nap (one thing about me, I love to nap!) and it was truly the most magical experience. It\u2019s a near seven minute odyssey of a song and I stayed suspended between REM and consciousness, loving every moment of it. The layers this song develops, from the delicate synth to the progression of maracas, bass, horn, and piano, was ascendant. Not to even mention the echoing vocals, lighter than air. With my eyes closed, I envisioned this song as the light shining through wading water, gold floating through oceanic blue. An incredible experience, an incredible song.<\/p>\n<\/div>\n

\n

Matt Kugel<\/h1>\n

 Peace & Happiness by Ted Hawkins<\/h2>\n

There\u2019s a certain intoxicating simplicity to a musician who can craft a good story with just their voice and an acoustic guitar. Ted Hawkins is definitely no exception. When he was crafting my playlist, Harry did a really great job putting together a huge assortment of all sorts of different sounds. It\u2019s almost all musicians I hadn\u2019t heard of, too, so I\u2019ve been discovering a lot this past week just by going through some of their discographies. But from the spacey psych rock to the punchy hip hop artists, none of them have hooked me quite as much as Ted. His story is an interesting one, finding little success in the States, he\u2019d usually perform on the street in L.A. But, in Great Britain, Ireland, France, and Japan, he was a bit of a star. He finally had his domestic breakthrough in 1994 with the release of his sixth album, \u201cThe Next Hundred Years\u201d, but died later that year before he could enjoy his newfound success. In \u201cPeace and Happiness\u201d, he sings about his search for a successful life, but it\u2019s clear that he isn\u2019t looking for that success in his career. Instead, he tells listeners that he\u2019ll find contentment through love. It\u2019s a little cheezy, but something about how stripped back the song is makes this point hit extra hard. There\u2019s a certain coziness to both his playing and his songwriting that helps him feel extra sincere. I\u2019ve already added \u201cPeace & Happiness\u201d to my March playlist and I haven\u2019t heard a Ted Hawkins song I didn\u2019t like yet, so I think I\u2019ve got a new personal favorite on my hands thanks to Harry! <\/p>\n<\/div>\n

\n

Julia Norkus<\/h1>\n

Eugene by Arlo Parks<\/h2>\n

Since Collapsed in Sunbeams<\/em> was released in 2021, I always felt it was exclusively for casual listening. Arlo Parks is incredibly clever and the style of her music honestly encapsulates that warm spot on the carpet where sunbeams peak through a window, or sage green and fresh linen. When Claire put \u201cEugene\u201d into my playlist, it gave me a chance to really<\/em> listen to Parks and do a little more than just feel the songs and their energies. \u201cEugene\u201d is beautifully written, opening with, \u201cI had a dream we kissed \/ and it was pure amethyst.\u201d Even though the song later turns into what seems to be about being in love with your best friend, I think this line is pretty profound in articulating the way we dream of those we want but can\u2019t have. Sometimes we dream of people we\u2019ve lost, those that have broken us, and it feels safe in that bright, warm space in our minds. We see the pure image of them that we created, distilling out all of the negative qualities that made it difficult to keep loving them down to the ones that made us love them in the first place. Love in dreams is always going to feel safer, brighter, less tumultuous\u2014and maybe it\u2019s better that way. But maybe the pain and the change that accompanies raw, human love is the best part about it. Amethyst as a crystal is often used to ease stress and anxiety, indicating that the dream embodied peace and some kind of safety in love, something we all yearn for but often are cheated out of. Friendships sometimes remain just that\u2014friendships, with yearning and ache coming from one side and one side only. It\u2019s the magic of humanity, I guess, that we get to experience heartbreak and have such a capacity to feel it. Much like Amethyst, the purity and honesty of \u201cEugene\u201d is enough to fill my heart with sunlight and reduce my stresses and heartaches down to mere specks in the rearview.<\/p>\n<\/div>\n

\n

Ethan Herbert<\/h1>\n

Yoshimi, Forest, Magdalene by beabadoobee<\/h2>\n

To me, Lily\u2019s playlist ended up being the perfect blend of new discoveries and familiar favorites. From The Backseat Lovers, who I constantly visit time and time again, to DPR LIVE, a Korean rapper that I had known about vaguely but never truly listened to. Amongst all these hits (many of which I hadn\u2019t heard in a while), I think the song that stood out to me most was Yoshimi, Forest, Magdalene <\/em>by beabadoobee. For months now I have been constantly hearing about beabadoobee but for some reason haven\u2019t found myself putting any of her music on. When I finally got to this song on the playlist, I was surprised by the wall of noise that I was met with. Being both aggressive and catchy, I feel that it was the perfect introduction to beabadoobee and made me go further into her discography. The song was truly a visceral experience, and fits perfectly with the ambiance of Lily\u2019s playlist. <\/p>\n<\/div>\n

\n

Maura Cowan<\/h1>\n

High Tide, Storm Rising by Skinshape<\/h2>\n

I am a lyrics person. This is a well-documented fact \u2013 when I talk or write about music, the conversation is more often than not heavily lyrics-centric, because to me, words so easily make or break my enjoyment of a song. And yet, out of the new and familiar tracks that new staff writer Amelia put on their playlist for me, this is one that I have returned to again and again\u2026 and it has no lyrics at all. \u201cHigh Tide, Storm Rising\u201d is an instrumental track, and it is pure happiness and peace contained within four minutes. Lush orchestral elements and a rhythmic, almost hypnotic percussion line support a melody that winds its way through various instrumental features. The grounding point, however, is a twangy guitar riff that makes the whole track feel like a meandering walk in the tropics. It was the perfect song to kick off a playlist of new favorites.<\/p>\n<\/div>\n

\n

Farah Rincon<\/h1>\n

Charcoal Baby by Blood Orange<\/h2>\n

Blood Orange has repeatedly appeared in my life over the last year and a half. I first heard him while listening to the soundtrack of Gia Coppola’s Palo Alto (2013), and I was immediately drawn to his melancholy lyrics and sound, which matched perfectly with the film. Blood Orange’s Charcoal Baby accomplishes one of the most powerful things music can do: it can resurrect long-forgotten feelings of nostalgia. Every time I listen to a Blood Orange song, it’s as if I’m reliving a romanticized memory of my life, making me appreciate the small things I take for granted, like the sun on my face, the water that drips out of my bathing suit, the softness of my linens after a long day, and many more aspects that bring beauty into my life, all perfect to pair with  songs such as Charcoal Baby.<\/p>\n<\/div>\n

\n

Harry Bates<\/h1>\n

Cherio De Amor by Maria Bethania<\/h2>\n

Maria\u2019s voice is so heartfelt, soulful, and reflective of the lovely groove delivered by this track\u2019s far-out instruments. The Brazilian singer speaks to the feeling of sudden love \u2013 the way that the heart moves much faster than the brain, and how minor sparks of interest from a brief encounter can ignite and grow into a full-blown bonfire of desire over time. \u201cCheiro De Amor\u201d comes from Bethania\u2019s 1979 album Mel<\/em>, and its exploration of the human experience is still relevant some fifty-years after its original release on Universal Music Ltda. Overall, it\u2019s just a really cool sound, and a special thanks goes out to Matt for introducing me to this artist, in addition to all of the other awesome songs they included in my playlist, with a special, secondary shout out to \u201cNorthern Highway\u201d by Martin Courtney!<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Milk Crate staff\u2019s favorite tracks of the week, presented with blurbs worthy of a promotional sticker on a jewel case. 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