{"id":566,"date":"2022-12-02T00:26:06","date_gmt":"2022-12-02T00:26:06","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-12-1-staff-pix-122\/"},"modified":"2022-12-02T00:26:06","modified_gmt":"2022-12-02T00:26:06","slug":"2022-12-1-staff-pix-122","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-12-1-staff-pix-122\/","title":{"rendered":"Staff Pix: 12\/2"},"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

Lauren Larking<\/h1>\n

After Midnight BY Phoenix<\/h2>\n

Phoenix returns to the indie pop scene with their seventh album Alpha Zulu <\/em>that dropped on November 4th. \u201cAfter Midnight\u201d was the last single dropped from the album and its synthy, upbeat instrumentals perfectly fit the adrenaline of an illicit, late night meet up that the lyrics describe. The guitar riffs under the chorus build-up are Stroke\u2019s adjacent, almost as if a snippet of the bridge from \u201cThe Adults are Talking\u201d was dropped right in. Lead singer Thomas Mars croons \u201cWhen the sun is almost gone\/it’s not enough,\u201d which immerses the listener in Phoenix’s world, where daytime is never enough and all too much. Glad to see we all feel the same about daylight savings.<\/p>\n<\/div>\n

\n

Parker Bennett<\/h1>\n

American Lawn BY Blake Rouse<\/h2>\n

Indie Colorado-based folkster Blake Rouse is back with his latest single, \u201cAmerican Lawn,\u201d and it\u2019s a beautiful development of the sounds he\u2019s flirted with up to this point. Initially burgeoning from TikTok, the release of Rouse\u2019s EP For Myself, and You <\/em>in 2021 saw the 19 year-old artist releasing his first substantial body of work, and it was an incredible showcasing of cheekily poetic lyricism, folk-driven instrumentation, and an overall production quality that greatly exceeded his relative obscurity. \u201cAmerican Lawn\u201d takes everything that made that EP great and refines it, resulting in an anthemic track that sets Rouse and his guitar center stage with a charmingly demure magnetism. The song sticks strictly to this acoustic aesthetic, and the entire performance is mixed in a way that mimics a live recording, even going so far as to include the faint roars of a nameless audience\u2019s applause. The result feels incredibly intimate and meticulously unpolished, and Rouse\u2019s gentle musings are made all the more impactful because of it. Lyrically, Rouse personifies himself as an \u201cAmerican Lawn,\u201d which he paints as the setting for the deterioration of domestic bliss, the crushing weight of materialistic rat-races, and the hypocrisies of futile personal development. It\u2019s certainly heavy, but the messages are delivered with a biting wit that makes the blow feel entirely welcome, and the audience is hand-in-hand on the crescendo that Rouse has orchestrated here, resulting in a cathartic build that feels entirely earned by its conclusion. For folk fans of any sort, this song is an absolute must-have for your favorite sing-along playlist, and hopefully cements Blake Rouse\u2019s spot as an artist you\u2019re definitely going to want to keep your eyes on.<\/p>\n<\/div>\n

\n

Shreya Partha<\/h1>\n

Endless Return by Elder<\/h2>\n

Released Nov. 25, Elder shares their newest album \u201cInnate Passage\u201d featuring five new songs. Out of the five, my personal favorite was \u201cEndless Return\u201d because of its fast tempo and impressive guitar riffs. It\u2019s clear the song is meant to shed more fan appreciation on the instrumentals themselves rather than the vocals and Elder delivers flawlessly. They are able to switch from a more upbeat tone to a solemn instrumental by just switching out the instruments they use seamlessly. As is customary with Elder, \u201cEndless Return\u201dclocks in at around nine minutes, but it feels both much longer and much shorter than that. The song isn\u2019t simply a song; it\u2019s an endeavor. The highs and lows are eerily conveyed through the music. Yet, by the time you are fully able to grasp the full extent of the song, it\u2019s over and you are left a melting pot of emotions. <\/p>\n<\/div>\n

\n

Farah Rincon<\/h1>\n

Rebels Without Applause BY Morrissey<\/h2>\n

Despite the fact that “Rebels Without Applause” was released just last Friday, the song evokes vivid memories of Morrissey’s former sound as The Smiths’ frontman. The new single is all too familiar with the upbeat guitar chords, fast-paced strums, and percussions that build tension up to the catchy chorus. It is somewhat similar to The Smiths\u2019 \u201cThis Charming Man,\u201d as both produce a lighthearted, playful melody to dance to in the sunshine. Nevertheless, while Morrissey\u2019s sound has remained persistent since the 80s, it is clear that his voice has evolved into a more mature tone, yet is still recognizable. \u201cRebels Without Applause\u201d is a clear sign that Morrissey shows no signs of stopping and will provide for his longing fanbase with songs about romance, friendship, and emotions, just like in the old days.<\/p>\n<\/div>\n

\n

Nathan Hilyard<\/h1>\n

Boy\u2019s a Liar BY PinkPanthress<\/h2>\n

After emerging from tik tok stardom, PinkPanthress has proved to be one of the most consistent internet music stars in recent memory. She grew in popularity after her viral hits \u201cPain\u201d and \u201cBreak if Off,\u201d which were both featured on her 2021 mixtape \u201cto hell with it.\u201d Since the mixtape, she has released several singles for an upcoming project, \u201cBoy\u2019s a Liar\u201d being the most recent. PinkPanthress has mastered the drum and bass sound and perfectly blends it with other aspects of dance, bed-room pop, and 2-step garage. Most of her songs are short, with quick builds and satisfying, danceable breaks. \u201cBoy\u2019s a Liar\u201d is no exception to this formula, bursting with quick melodies and shareable lyrics. PinkPanthress is the internet\u2019s perfect pop star, keeping things simple and incredibly clean in her microscopic club hits. <\/p>\n<\/div>\n

\n

Stephanie Weber<\/h1>\n

christopher street BY Kevin Atwater<\/h2>\n

New York based singer\/songwriter Kevin Atwater has released another heart wrenching song poignantly titled \u201cchristopher street.\u201d Released along with October song \u201cstar tripping,\u201d \u201cchristopher street\u201d is emotionally charged, dealing with love and loss in a beautifully corrupted way. Like much of his other music, \u201cchristopher street\u201d is acoustic, similar to Phoebe Bridgers and other artists who deal with queerness in tender ways. The song opens with Atwater setting the scene of loving someone who doesn\u2019t have a clue about those feelings, with the lines \u201cI’ve never wanted to take my clothes off so much\/We almost did but you fell asleep watching Roma,\u201d after a walk on Christopher Street. The chorus only repeats once, yet it\u2019s powerful in its ephemeral lines. My favorite section of the chorus is \u201cIf you kiss me now\/You can kill me later,\u201d describing the longing that so many queer folks have about short-term satisfaction and gratification versus the possibility of long-term relationships.  The outro concludes the song with the lyric \u201cI can never walk that street again\u201d repeating seven times. The outro is accompanied with the voices of small children, possibly rejoicing at a playground, a space of community and forgiveness. I know \u201cchristopher street\u201d will be on repeat until the next release from Atwater.<\/p>\n<\/div>\n

\n

Patrick McGill<\/h1>\n

Last ChristmaS (Cover) by Remi Wolf<\/h2>\n

Covers are a little tricky sometimes, especially when the song has been so steeped in popular culture around a particular time. How can an artist handle it? Remi Wolf not only manages but does so with flying colors on her cover of Wham\u2019s \u201cLast Christmas\u201d. Does it particularly alter the song in any major way? No, but it has enough flourishes and charm that makes it its own. Starting with a bossa nova inspired beat that gives the song a lo-fi flavor indicative of Remi\u2019s previous work, smaller guitar swells slide throughout giving a spacey, ambient, sound that sets it apart from the original while not being too dark to ruin the traditional pop structure from the original. On top of everything is the true star of the track: Remi\u2019s performance. It’s so smiley and playful that, despite hearing this song so many times before, it feels as if you\u2019re listening to it for the first time. This is a perfect way to start off December and will make a solid addition to 2022\u2019s holiday playlist.<\/p>\n<\/div>\n

\n

Everly Orfanedes <\/h1>\n

silver second by quinnie<\/h2>\n

Snow season is upon us, and indie-folk artist, quinnie, has served us a sad song for the up and coming time of year. Quinnie\u2019s most recent release, thank you wisdom angel i love you, <\/em>contains <\/em>two singles, \u201csilver second,\u201d and her cover of the Christmas classic \u201csilver bells\u201d. Quinnie gives her personal take on a holiday song in \u201csilver second,\u201d which sets the tone of a bitterly cold, lonesome winter through beautiful, poetic lyrics. Quinnie encapsulates the loneliness and coziness throughout the song, both with the verses and chorus\u2019. Her subtle, specific details such as \u201csweating through your coat,\u201d describe the feelings of quiet discomfort around the holidays, especially your first holiday living away from home. Silver second<\/em> shines light on the importance of those few chances holidays give to spend with your family, all together again, every year. She ends the song, singing \u201cRing around the year, end up right back here.\u201d <\/p>\n<\/div>\n

\n

Lily Suckow Ziemer<\/h1>\n

Paralyzed by Big Time Rush<\/h2>\n

The early 2000s boy band, Big Time Rush\u2019s newest single \u201cParalyzed\u201d was released November 25, 2022. The band first rose to fame in 2009 on their self-titled Nickelodeon show. \u201cParalyzed\u201d debuted on this show in the 2011 episode \u201cBig Time Rocker,\u201d but it was never released. After a long hiatus, Big Time Rush began to release music again in 2021, even going on tour. After great demand from fans, the group re-recorded \u201cParalyzed,\u201d performing it a day before its release on streaming platforms at the Macy\u2019s Thanksgiving Day Parade. It\u2019s an upbeat pop tune, reminiscent of the era in which it was first created. The lyrics are a sweet reflection of someone afraid to talk to the person they like. Logan Henderson and Kendall Schmidt begin the first verse: \u201cyou walked into the room \/ On a Friday afternoon \/ That’s when I saw you for the first time \/ And I was paralyzed.\u201d Even after so many years and the landscape of music shifting, \u201cParalyzed\u201d will still have you smiling and singing along.<\/p>\n<\/div>\n

\n

Anne O\u2019Leary<\/h1>\n

On My Way BY Emotional Oranges <\/h2>\n

The mysterious RnB duo Emotional Oranges are back with their upcoming album E04*. The second track \u201cOn My Way\u201d is a sensual tropical sound with hints of Caribbean and Latin influences. The lyrics describe a lover traveling from a distance and rekindle their romance. The chorus reads: \u201cDistance between us, a thousand miles away\/Temperature rising, ooh girl I’m on the way\/This house without you, a really lonely place\/This house without you, a really lonely place.\u201d Emotional Oranges are a really underrated RnB group who have been putting bop after bop since 2019. The LA duo who go by \u201cA\u201d and \u201cV\u201d are known for their privacy and don\u2019t even show their faces in photographs. But the stripped down slow jams are very intimate and personal. I first fell in love with Emotional Oranges when I listened to their most popular (and best) track \u201cWest Coast Love\u201d a bouncy upbeat track that still emulates the coolness. If you like artists like Daniel Caesar, Kali Uchis, The Internet, and Free Nationals, then you\u2019ll like Emotional Oranges. <\/p>\n<\/div>\n

\n

Will Ingman<\/h1>\n

Vivien by \u271d\u271d\u271d (Crosses)<\/h2>\n

Described by frontman Chino Moreno (one of his four non-Deftones projects) as \u201cminimal and soothing\u2026the stuff [he] likes to listen to when not screaming\u201d, and steeped in Moreno\u2019s interest in mystique and religion, Crosses\u2019 glitchy, multi-layered production bears the hallmarks of the classic Deftones sound, but adds an extra je ne sais quoi. <\/em>While \u201cVivien\u201d is not a minimal track by any definition, with cascading sawtooth synths and punchy electronic drum samples, there is a soothing quality to Moreno\u2019s lackadaisical vocal style, a world apart from his pterodactyl screeches on White Pony<\/em>. It\u2019s easy to lose yourself in the layers, a hallmark of any good electronica, but Moreno\u2019s voice pulls the listener back to reality, pointed enough to drive the track forward but never overbearing. Put this one on, close your eyes, and get lost in it.<\/p>\n<\/div>\n

\n

Karenna Umscheid<\/h1>\n

So Much Wine by Phoebe Bridgers<\/h2>\n

The queen of seasonal depression soundtracks, Phoebe Bridgers emerged with a new cover of \u201cSo Much Wine,\u201d accompanied with intensely attractive background vocals by her fiance and Normal People <\/em>star Paul Mescal. The cover, all the proceeds of which are going to the Los Angeles LGBT Center, is comforting as a glass of mulled wine on a winter\u2019s night. Her voice turns every track into a sensational lullaby, and \u201cSo Much Wine\u201d is the perfect song to accompany deep breathing, slowing down, and taking care of yourself. If I make it through December, it will only be because of Phoebe and her melancholic, comforting wintertime tracks.<\/p>\n<\/div>\n

\n

Harry Bates<\/h1>\n

Angel (cover) by ZAYN<\/h2>\n

Jimi Hendrix\u2019s \u201cAngel\u201d was originally released with The Cry of Love <\/em>in early \u201871 \u2014 only a few months after the music legend\u2019s sudden death. This song has the heart and soul of a person letting go only to find a new sense of sunlight; like dead-heading Marigolds to spark new growth. Hendrix began drafting the song in the late sixties after an impactful dream where he had to say goodbye to his beloved mother. It\u2019s a departure song, exploring the bittersweet phases of life, making it one that all hearts can rhythm to. ZAYN\u2019s voice in this updated recording, released last week on the Hendrix estate\u2019s record label, brings this classic to new ears with a newfound sense of raw pain, love, and ultimate acceptance of the present. It\u2019s really a beautiful collaboration between Jimi\u2019s heavenly guitar playing and ZAYN\u2019s angelic vocals.<\/p>\n<\/div>\n

\n

Sarah Fournell <\/h1>\n

One Night with The Valet by Tennis<\/h2>\n

\u201cOne Night With The Valet\u201d is the latest from the husband-wife duo Alaina Moore and Patrick Riley. It\u2019s the first single from their upcoming album, Pollen<\/em>, set to be released in February 2023. It\u2019s as dreamy as the rest of their discography, with a glitzy drum beat driving Moore\u2019s effervescent vocals. Each glamorous lyric is as tantalizing and lazy as the last, emanating the feeling of having your \u201chead in the clouds.\u201d The last line, \u201cI feel it coming like a flood\u201d ends the song, abruptly inviting in anticipation for the rest of their album.<\/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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