{"id":718,"date":"2022-09-30T19:11:02","date_gmt":"2022-09-30T19:11:02","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-9-30-staff-pix-930\/"},"modified":"2022-09-30T19:11:02","modified_gmt":"2022-09-30T19:11:02","slug":"2022-9-30-staff-pix-930","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-9-30-staff-pix-930\/","title":{"rendered":"Staff Pix 9\/30"},"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

Everly Orfanedes<\/h1>\n

Mission by Alex G <\/h2>\n

Alex G returns to the music scene with his new album God Save The Animals.<\/em> Known for his whimsical, indie acoustic tracks with bits of synth scattered within, the song \u201cMission\u201d off the new album shines a light on Alex G\u2019s 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 \u201cMission\u201d proudly displays this skill. Along with the powerful lyrics, the front and center of the song are the deep acoustic chords and Alex\u2019s voice that truly run the show and drive the song forward. <\/p>\n<\/div>\n

\n

Isabella Kooch <\/h1>\n

Sistanem by JID <\/h2>\n

JID released his third independent studio album, The Forever Story<\/em>, this late August; 2018’s DiCaprio 2 <\/em>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<\/em> 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 <\/em>many know and love; Holding features from everyone from Mereba to Chance The Rapper. The Forever Story<\/em> 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.<\/em>” 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<\/em> by J. Cole and Mr. Morale & The Big Steppers<\/em> 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. <\/p>\n<\/div>\n

\n

Adri Pray<\/h1>\n

Down (Live Version) by CHARLEY<\/h2>\n

Berklee College of Music graduate CHARLEY released \u201cDown (Live)\u201d 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 \u201cbe-true-to-yourself\u201d anthem at the peak of the chorus. CHARLEY echoes the main lyric of the song, \u201cDown with the lies that you told me,\u201d 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.<\/p>\n<\/div>\n

\n

Stephanie Weber<\/h1>\n

Words and Guitar by Sleater-Kinney, Courtney Barnett <\/h2>\n

To celebrate the 25th anniversary of Sleater-Kinney\u2019s third studio album Dig Me Out<\/em> (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<\/em>. The first single in-lieu of the album release, scheduled for October 21, is \u201cWords and Guitar,\u201d 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\u2019 signature drum style, the 2022 cover is lighter, influenced by Barnett\u2019s 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 <\/em>(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 \u201cwords” and \u201cguitar.\u201d<\/p>\n<\/div>\n

\n

Farah Rincon<\/h1>\n

Wish by Blood Orange<\/h2>\n

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. <\/p>\n<\/div>\n

\n

Cate Banks <\/h1>\n

Moviegoer by Julia Jacklin <\/h2>\n

After three months since the first song release \u201cLydia Wears a Cross\u2019\u2019 from her new album, Julia Jacklin finally dropped the ten track sensation, Pre-Pleasure<\/em> 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. \u201cMoviegoer\u201d 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<\/em>. 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. <\/p>\n<\/div>\n

\n

Patrick McGill<\/h1>\n

Very Online Guy by Alvvays<\/h2>\n

Now four singles deep into building hype for their anticipated third record, it\u2019s clear that Alvvays intends to make good on the promise of their sophomore effort. The newest song, \u201cVery Online Guy\u201d, sports a new, exciting, direction that doesn\u2019t completely change the band\u2019s sound but proves they can do more than one thing. Released simultaneously with \u201cBelinda Says\u201d, \u201cOnline Guy\u201d 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 \u2018always-online\u2019 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\u2019s most danceable work can\u2019t 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\u2019t 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\u2019ll want to listen to it again, play it at parties, and be excited for what the band has coming down the pipeline.<\/p>\n<\/div>\n

\n

Parker Bennett<\/h1>\n

mmadu by CKay<\/h2>\n

Nigerian artist CKay\u2019s recent album Sad Romance<\/em>, released on September 23rd, is just a further cementation of the Afropop rising star\u2019s incredible talent for smooth, sensual, and deeply dance-able grooves. Even within the exceptionally strong track-list, the single \u201cmmadu\u201d is an absolute stand-out. The song is a delightfully sensual experience, and while it\u2019s 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 naivet\u00e9. Accompanied by light flurries of drums and twinkling guitar strings, CKay\u2019s 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 \u201cYou drive me crazy like chauffeur\u201d??) By the time the chorus hits – backed by a gorgeous saxophone melody – chances are you\u2019re already beyond hooked. Whether you\u2019re 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\u2019ve 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.<\/p>\n<\/div>\n

\n

Lauren Larking<\/h1>\n

Close Your Eyes by The Backseat Lovers<\/h2>\n

The Backseat Lovers are back and sadder than ever. Their newest release \u201cClose Your Eyes\u201d is the second single drop from their upcoming album Waiting to Spill<\/em> 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 \u201cClose Your Eyes\u201d rivals their most popular track \u201cKilby Girl\u201d in the best of Backseat build ups. The song aligns with the band\u2019s 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 \u201cCould you waste your life\/If you painted mine?\u201d 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\u2019d \u201cHave to see you die to grow\u201d alongside crashing drums and relentless electric guitar strums that make us hope we don\u2019t have to see the Backseat Lovers do the same. <\/p>\n<\/div>\n

\n

Nathan Hilyard<\/h1>\n

Shlut by Shygirl <\/h2>\n

Shygirl\u2019s fifth and final single before Friday\u2019s release of her debut album, Nymph<\/em>, is a refined and well planned dose of her signature sexual style. \u201cShlut\u201d arrived three days before the release of her debut, and follows after a wide sonic variety of singles, like the Arca-produced \u201cCome for Me\u201d which is a dizzying twirl of assorted bass beats and moans, and the satirical \u201cCoochie (A Bedtime Story),\u201d which playfully juxtaposes fairytales and booty-calls. All of Shygirl\u2019s work up to this point is cleverly synthesized in \u201cShlut,\u201d 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\u2019d make Lil\u2019 Kim blush. \u201cShlut\u201d is a delicate flex of Shygirl\u2019s 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. <\/p>\n<\/div>\n

\n

Lily Hartenstein <\/h1>\n

Nowhere But Up by Phony Ppl<\/h2>\n

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\u2014or maybe the roller rink. The lyrics detail the chase of an old lover, but vocalist Elbee Thrie doesn\u2019t want to look back, he\u2019s 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. <\/p>\n<\/div>\n

\n

Sarah Fournell<\/h1>\n

Living It by Maude Latour<\/h2>\n

Deviating from her classic dance floor anthems, Maude Latour\u2019s \u201cLiving It\u201d 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 \u201cLiving It.\u201d Each verse about lost innocence and inconsiderateness layered over a John Mayer-esque swinging beat gleams with early 2000\u2019s movie angst. Latour debuted her new EP 001<\/em> 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 \u201c001\u201d and \u201cLiving It,\u201d which had yet to be released. When she debuted \u201cLiving It,\u201d the cheeks of the crowd were wet with tears that glistened underneath the hub of swaying phone flashlights. <\/p>\n<\/div>\n

\n

Will Ingman<\/h1>\n

But They Respect My Tactics by KEN Mode<\/h2>\n

Taking their name from an entry in hardcore visionary Henry Rollins\u2019s tour diary (it\u2019s 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 <\/em>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 \u201ca documentation of trying to not fall apart, the most desperate way you know how.\u201d <\/p>\n<\/div>\n

\n

Izzy Desmarais <\/h1>\n

Kill Her Freak Out by Samia <\/p>\n

Indie-rock powerhouse Samia returns with lead single \u201cKill Her Freak Out\u201d off her new record, Honey<\/em>, out next year on January 27th. This ambient and ethereal track doesn\u2019t match its darker themes \u2014 the chorus declares, \u201cI hope you marry the girl from your hometown \/ And I\u2019ll fucking kill her \/ And I\u2019ll fucking freak out.\u201d Honey <\/em>marks an end of an era for Samia and her debut record, The Baby<\/em>, explaining in an interview that \u201cthis record is about learning to see the love around you.\u201d It\u2019s clear that both Samia and her sound have matured in these past couple of years. I can\u2019t wait to hear what singles she releases next, and of course for the full LP in January. <\/p>\n<\/div>\n

\n

Lily Suckow Ziemer<\/h1>\n

Stereo Driver by Q<\/h2>\n

His first release of 2022, Q came back with the alternative R&B single \u201cStereo Driver.\u201d There\u2019s 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, \u201cI’ve been involved within all of your ways \/ Waiting for you to come stand in my face.\u201d 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, \u201cI\u2019ll be your stereo driver.\u201d Q stated wanting \u201cthe lyrics to come off as a dialogue, and help people self reflect.\u201d 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.<\/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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