{"id":844,"date":"2022-03-18T18:48:41","date_gmt":"2022-03-18T18:48:41","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-3-18-staff-pix-318\/"},"modified":"2022-03-18T18:48:41","modified_gmt":"2022-03-18T18:48:41","slug":"2022-3-18-staff-pix-318","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-3-18-staff-pix-318\/","title":{"rendered":"Staff Pix 3\/18"},"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 1-2 EST to the Staff Pix radio show.<\/p>\n<\/div>\n

\n

Nat Szczepanski<\/h1>\n

Permanently Sealed by Beartooth<\/h2>\n

While the actual album was released in 2021, today Beartooth released the Deluxe version of Below<\/em>: containing two new bonus tracks. The track \u201cPermanently Below\u201d is reminiscent of their 2014 breakout hit \u201cIn Between\u201d but stays in line with recent material the band has released. In particular, the bass shines on this track \u2014 at particular points in the song the guitars drop out to reveal a bass line that usually gets overlooked. \u201cPermanently Below\u201d remains as head-bangable as the rest of Beartooth\u2019s discography and for this reason they are still one of my all time favorite bands.<\/p>\n<\/div>\n

\n

Nia Tucker <\/h1>\n

Intro by Orion Sun <\/h2>\n

Orion Sun returns with a new EP full of silky, synthy deliciousness. Her rich, often jazzy voice, glides over piano and orchestral tracks and this intro track sets the tone for the rest of the lo-fi, spring-bliss record. Sun is one of the most lyrically and aurally exciting indie acts out at the moment and she proves it with ease. <\/p>\n<\/div>\n

\n

Kyle Woolery<\/h1>\n

Used To Know Me by Charli XCX<\/h2>\n

The most daring and subversive thing Charli XCX could have possibly done after spending the last few years of her career revolutionizing pop music and taking it into a futuristic, experimental, hyperkinetic realm was to transition into making pure, straightforward, no-frills pop bops, and that\u2019s exactly<\/em> what she did with her fifth album, Crash<\/em>, released on March 18th. Crash<\/em> is an earnest celebration of pop music in its many incarnations over the years, including the very subgenres that Charli herself helped shape, and it is subsequently her most mainstream-sounding release in years. \u201cUsed To Know Me,\u201d for example, is a bouncy, house-tinged breakup anthem driven by a sample of Robin S\u2019s seminal \u201890s club classic \u201cShow Me Love\u201d that wouldn\u2019t sound out of place on an album released by the likes of Ava Max or Dua Lipa. For perhaps the first time in her career, Charli, often presiding on the fringes of mainstream pop, is fully embracing her role as a popstar<\/strong>, something that evidently comes naturally to her and truly feels like a long time coming. Fans who have come to expect next-level, experimental electropop from the artist may initially be taken aback by the deliberately mainstream sensibilities of Crash<\/em>, but it is just another one of her many reinventions that may take some time to acclimate to. The lyrics to \u201cUsed To Know Me,\u201d then, could be read either as an ode to a former lover or as a message to her fans\u2014that she\u2019s happier doing her own thing, even if it alienates people\u2026 that when people finally think they know what to expect from her, she\u2019ll do the opposite.<\/p>\n<\/div>\n

\n

Everly Orfanedes<\/h1>\n

All I Ever Asked by Rachel Chinouriri<\/h2>\n

\u2018All I Ever Asked\u2019 serves as an example of when TikTok brings attention to small artists. A snit-bit of the song came to popularity on the social media platform only about a month before its release on March 8th 2022. In \u2018All I Ever Asked\u2019 Rachel Chinouriri performs a perfect combination of R&B and indie-pop to create this melancholy, soothing beat you can throw-on at any time. We should all be on the lookout for this up and coming singer\/ songwriter, and be sure to keep up with her TikTok in the meantime. <\/p>\n<\/div>\n

\n

Harry Bates<\/h1>\n

You Got To Move by Mavis Staples ft. Levon Helm<\/h2>\n

The 82-year-old music legend is back, bringing new soul and loving energy to our soundsets. Staples is one of my absolute favorite singers of all time, as her emotion always transcends recording medium \u2014 every song feels like it\u2019s being performed live right in front of the listener. This song, originally recorded in Woodstock, NY during the summer of 2011, is no exception to this. \u201cYou Got To Move\u201d comes from her forthcoming album Carry Me Home <\/em>which is set to be released on May 20!<\/p>\n<\/div>\n

\n

Kenny Wood<\/h1>\n

Stuck On Us by Claire Rosinkranz and Aidan Bissett<\/h2>\n

This much needed summer beat found its way onto my Discover Weekly this weekend and has been played non-stop since then. As the weather warms and we all work to combat those winter blues off the shelf, this high energy pop song has been able to bring a little of that inner sunshine out; even though it is about being stuck on someone\u2019s love and ultimately hating it. If you are feeling a driving beat and a song to yell in the car or internally on the T, this one’s for you! <\/strong><\/p>\n<\/div>\n

\n

Adri Pray<\/h1>\n

Play the Part by Two Feet<\/h2>\n

Two Feet is always my go-to villain origin story music, and his latest release is nothing short of that description. Along with \u201cPlay the Part,\u201d Two Feet released \u201cMy Life,\u201d but \u201cPlay the Part\u201d has a darker, more sultry vibe and employs electric guitar solos to carry that feeling throughout. Alternative singer-songwriter Zachary William Dess, \u201cTwo Feet,\u201d continues to define the \u201corigin story\u201d music genre.<\/p>\n<\/div>\n

\n

Will Ingman<\/h1>\n

Lowered by Greg Puciato and Reba Meyers<\/h2>\n

With touring out of the question and studio time a rarity, the pandemic years all but sunset the late 2010s Golden Age of hardcore. So, with the movement\u2019s heaviest-hitters trapped in their home studios with nothing but spare time, they began to collaborate. The devastating Japanoise alliance of Boris and Merzbow gave us 2R0I2PO<\/em>. Converge, Chelsea Wolfe, and Stephen Brodsky released Converge: Bloodmoon I<\/em>, a sweeping post-goth-core symphony. And now, \u201cLowered\u201d unites Dillinger Escape Plan frontman Greg Puciato and Code Orange guitar maven Reba Meyers in the decade\u2019s most devastating duet to date.<\/p>\n<\/div>\n

\n

Karenna Umscheid <\/h1>\n

My Love by Florence + The Machine<\/h2>\n

The iconic indie rock group from the 2000s continues to act as a soundtrack to coming-of-age stories in real life with the latest single \u201cMy Love.\u201d Florence Welch\u2019s angelic voice is accompanied by a quick and fun percussive beat and background vocals that grace the melody with another layer of deep longing and confusion. She captures the strange combination of having overwhelming amounts of love whilst being plagued by an all-consuming emptiness. Florence sings of misplacement, deep devotion in a hollowed-out universe, yet to me, her music seems to be the only thing that can fill that void again. With two other phenomenal singles, \u201cKing\u201d and \u201cHeaven is Here,\u201d and a new album on the way, Florence + The Machine proves their dog days are far from over. <\/p>\n<\/div>\n

\n

Izzy Desmarais <\/h1>\n

Wild Child by The Black Keys<\/h2>\n

Released on March 10th, \u201cWild Child\u201d is the first single off The Black Keys\u2019 upcoming eleventh studio album Dropkick Boogie<\/em>. An infectious tune that clocks in at just under three minutes, you really can\u2019t help but groove along to it. The catchy lyrics and distorted bluesy guitar riffs fit right in with the band\u2019s extensive discography spanning nearly 20 years. Dropkick Boogie <\/em>comes out May 13th and I cannot wait to hear what other singles they\u2019ll release from now until then.<\/p>\n<\/div>\n

\n

Sophie Severs<\/h1>\n

Angelica by Wet Leg<\/h2>\n

Have you ever been at a party and just wanted to leave so<\/em> badly? If so, the band members of Wet Leg can relate. The British indie-rock band\u2019s \u201cAngelica,\u201d describes Angelica, the it-girl at a party who everyone wants to be. She is a woman who \u201cdoesn’t need to wait for anybody (nuh-uh)\/Knows exactly what’s she’s doin\u2019.\u201d Though not everyone can be as popular as Angelica\u2014 the vocalist exclaims distaste for the rest of the clout-seeking party-goers: \u201cI don’t wanna follow you on the ‘gram\/I don’t wanna listen to your band\/I don’t know why I haven’t left yet\/Don’t want none of this.\u201d Luckily, the vocalist doesn\u2019t need to worry for long, as Angelica quite literally eradicates the party; \u201cAngelica, she brought her ray-gun to the party\/Angelica obliterated everybody.\u201d So, next time you\u2019re somewhere you don\u2019t want to be, just submerge yourself in the hypnotic and resoundant melodies of \u201cAngelica.\u201d <\/p>\n<\/div>\n

\n

Julia Norkus<\/h1>\n

Pool by Remi Wolf & Still Woozy<\/h2>\n

\u201cPool,\u201d a collaboration between Remi Wolf (she\/her) and Still Woozy shows a softer, more stripped down version of what we traditionally hear from both contributors. The song\u2019s story is told mainly through gentle drums and light acoustic guitar, with lullaby-esque vocals reorienting us to the message Wolf and Still Woozy are trying to share. With Remi Wolf specifically, her music is focused around high energy beats, and lyrics that are equally ridiculous as they are relatable. In this mellow piece, Wolf and Still Woozy acknowledge that it can be hard to enjoy the little things in life when so many heavy things are scattered around us, weighing us down. The chorus was the section that spoke most strongly to me, \u201cI don’t really know where my head’s at\/I just know my hearts not there yet\/Or maybe I’m just crazy about the thought of thinking I adore you,\u201d which suggests that we deserve time to process the things happening around us in a world that forces us to have all the answers instantly.<\/p>\n<\/div>\n

\n

Andrew Johnson<\/h1>\n

Open a Window by Rex Orange County ft Tyler, the Creator <\/h2>\n

When I first stared dating my partner they showed me a bunch of new music. A artist that really stood out to me was Rex Orange County. To show them some of the same love they show me I looked for a song they haven’t heard by him. I couldn’t find any, but I did find a sick collaboration between Rex and Tyler, The Creator, called \u201cBoredom\u201d and it was great. Now all this time later the two decided to collaborate again and make the song \u201cOpen a Window\u201d which has brought back so many good memories. The song is just as good as their previous work with its laid back vibes and smooth vocals. I would definitely recommend listening to it.<\/p>\n<\/div>\n

\n

Maxwell Reid<\/h1>\n

Had 2 Try [Hotline TNT] by Wednesday ft MJ Lenderman<\/h2>\n

Man, if you hate Wednesday then I hate you. This band has been consistently crushing it for the past two years with two great shoegazey, droney, ethereal, and fun records. In their last record Twin Plagues<\/em>, they carefully alternated between fun indie, headbanging drone, and somber folk. Their new compilation record Mowing The Leaves Instead of Piling \u2018Em Up<\/em> gives more of what made Twin Plagues <\/em>such a great work. Had 2 Try is a standout, starting with nearly a minute of hard hitting, droney feedback before exploding into an absolute pit killing breakdown. Karly Hartzman\u2019s vocals are as comforting as ever upon these angry guitars, with their signature lap steel guitar sounding more melodic than ever before. If you don\u2019t listen to this track I will never listen to you again.<\/p>\n<\/div>\n

\n

Maura Cowan<\/h1>\n

Heartbursts by Lucius<\/h2>\n

Sometimes, a song is made perfect by virtue of the fact that it is just a stunning execution of a few key elements. \u201cHeartbursts\u201d by four-piece indie pop group Lucius is one of those songs\u2013 it does not have lofty ambitions, does not overcomplicate its sound, it simply delivers a perfectly joyous pop track with electric energy. I am, it is to be noted, a complete sucker for a synthy, dancey, 80s-inspired piece, and this fits the bill entirely. This is one of my first exposures to Lucius\u2019 sound, along with additional singles \u201cNext to Normal\u201d and \u201cDance Around It\u201d (feat. Brandi Carlile & Sheryl Crow), but if these drops are anything to go by, their upcoming album \u201cSecond Nature\u201d will be an instant favorite of mine.<\/p>\n<\/div>\n

\n

Lydia Aga<\/h1>\n

In The Eyes Of Our Love by Yumi Zouma<\/h2>\n

The New Zealand indie pop group switches gears on a single that is arguably their most upbeat to date. They ditch the faded guitars and wistful vocals of what was once their signature dreamy sound and adopt a more eclectic, rock approach. The melodic hooks of \u201cIn The Eyes Of Our Love\u201d are reminiscent of HAIM and surely invoke the nostalgia of earlier 2010s indie pop. Their long awaited fourth album – Present Tense <\/em>– is out now for streaming and you should definitely keep the group on your radar.<\/p>\n<\/div>\n

\n

Sarah Fournell <\/h1>\n

Crying Laughing by Dent May <\/h2>\n

\u201cCrying Laughing\u201d is quintessential Dent May, equipped with psychedelic synth lines layered between dreamy vocals. The groovy guitar riffs create an atmosphere reminiscent of a commercial for a vacuum cleaner in the best way possible. The jazzy slow dance track captures the brutally realistic feeling portrayed in the lyrics, of \u201cFeeling so good it really hurts.\u201d May\u2019s made a truly relatable track, the line \u201cI\u2019ve never felt better\/Never felt worse\u201d embodies how I feel on a daily basis. But now I have the perfect peachy track to cry laughing to. <\/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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