Right now, Sammus might be the most fun rapper out there. Her music videos are creative low budget gems full of humor, charisma and lovely ideas. Her song “Mighty Morphing” hunts me down every single day because it’s so damn catchy.
Love the “Ironic”-reference in the style of the video but also the song itself. Rapping about how no one needs to be a certain thing to market themselves but can be everything is one of those things that sound so simple but are hardly communicated in pop songs.
Sammus is also one of the few rappers that do gaming themed songs. A thousand mushrooms for that!
You think this is a one-off? Nope, she’s REALLY into gaming. It’s fantastic. I mean, nerdy gamer girls get hardly any representation in Hip Hop, so this is like the holy grail.
I don’t know why but I am again obsessed (like, “loop that 24/7”-obsessed) with a Miley Cyrus song. Her previous single “Malibu” of the upcoming album “Younger Now” was just like the video a pretty little thing with no real meat on its bones. It also gave us a Miley that is not believable anymore (flowery hippy country girl who is everybody’s darling).
However, “Younger Now” is the kind of aesthetic sound-wise and visually that might be the real true Miley that has been peeking out during her wild phase a few years ago (and sadly resulted in a few appropriation- and “why the hell work with Terry Richardson of all people”-issues that are far more problematic than the nudity).
The Miley that plays with gender expectations and somehow is such a professional in the world of pop but at the same time just not quite as caught up in it like, for example, Katy Perry, shows herself in a video that is all Rockabilly but with the nostalgia factor playing the main character. This is not the dream of how it was back then but how it is now. The Grease brigade, creepy puppet play (a typical symbol of 50s children’s tv shows – also in Germany, by the way), the Elvis costumes and the glitz – the video in itself is mesmerizing.
The song is a lovely goodbye (?) to her wild phase (and quite possibly also to the Disney phase, but obviously no one will acknowledge that because so many people think that her twerk/tongue-phase was worse than being stuck in Disney’s fake smile wonderland that messed up so many of our current and past pop stars).
The lyrics are standard pop:
“Feels like I just woke up
Like all this time I’ve been asleep
Even though it’s not who I am
I’m not afraid of who I used to be”
But the sound is quite interesting. We start with frogs and water singing in the background and a lower guitar tune slowly easing us into the song before Miley sings covered in a subtle echo effect. The song slowly turns into the sort of pop that does well on a dancefloor but still feels calm and melancholic. This is actually a song you would rather hear from a popular rock group like Kings of Leon instead of Miley Cyrus but that’s exactly the sound that suits her (kid has still one of the most amazing and unique voices of any white female pop star out there). I really hope that her album delivers more of this and less of “Malibu” but you never know. With stars of her caliber, conceptually tight albums like Beyoncès “Lemonade” are so seldom, so I expect a few other strong singles and a few fillers.
But then again, Miley’s coop with The Flaming Lips and her resulting Her Dead Petz-album was a fantastic and weird piece of pop. I still believe that she could be one of the greats in the long run.
Ok ok, I know it’s a little unfair to make such broad comparisons but listening to German trio Sizarr and not thinking of one of the best Britpop bands ever (in the entire world, universe and existence) is simply impossible. Not only because singer Fabian Altstötter sounds a lot like Orlando Weeks (their Wikipedia entry compares him to Jame Blake and Jeff Buckley, which I suspect is a ruse to distract us from the obvious similarities with Weeks). No, the whole vocal style and the use of guitars is heavy into the Maccabees’ 2nd album which was released in 2009 just when Sizarr formed. A coincident? I doubt it.
The only difference: Sizarr love the 80s. As do I, so who am I to judge a band just because the remind me of some other band. Maybe it’s just the grief that makes me hear Weeks in every song, even commercial jingles and street noise.
But! Sizarr’s song “Clam” is such a beauty (also with a little Aha-in-the-80s-vibe) that I let it slide. Especially since the guitar work on that song is more of the 80s The Smiths-variety. After all, as the two regular readers of this blog might have noticed, I am knee deep in an 80s phase (or “sounds like the 80s-phase”) and therefore all for it. This band, by the way, was suggested by a friend’s friend, so yes, I do get my music from other sources than just Spotify. I have to admit, though, that she recommended this about two years ago … so if you ever recommended something to me or plan to do so you might have to wait a few decades until I finally get to it. THAT’S HOW I ROLL!
One thing, though: the band members have weird artsy pseudonyms which I feel does not work for this kind of music.
Deaf Sty (Fabian Altstötter)
P Monaee (Philipp Hülsenbeck)
Gora Sou (Marc Übel)
This is not the Wu-Tang-Clan, dudes. And if you don’t even put in the effort of wearing abstract masks or outrageous costumes (with glitter!) than why even bother? I don’t get it.
Sometimes I go through my old playlists and really miss the Yeah Yeah Yeahs. I mean, what kind of band manages to create roughly 3-4 disco club hymns with each of their first three albums? And with the kind of music that really shakes you up. There’s no elegant and timid dancing when dancing to the Yeah Yeah Yeahs, I will not have it!
Anyways, Dream Wife pack the same energy into their EP “EP01” with four amazing songs that all will take your arm, like your starry eyed best friend and drag you onto the dancefloor, bouncing and yelling “OMG, this is amazing!”
Dream Wife is a lovely trio from Brighton, London, Reykjavik (the usual, really). They are named after an old romantic comedy. You know, one of those that Hollywood produced in the 1000s back then and if you watched only one of them, you will forever wonder if that’s the one or actually another because there were a lot of people having snappy conversations and looking fabulous but also going through not really interesting story lines.
ANYWAY! The band originally started as a femme version of Spinal Tap, including, supposedly, a mockumentary. But good music parody often leads to actual success and so they decided to follow the money and make this a proper band. The songs are short, melodic and, well, snappy. There’s the hint of Deborah Harry vocals in there occasionally (“Hey Heartbreaker” particularly sounds like a long lost Blondie-A-Side) and this high energy of Karen O. To make it short: I like it!
Quite possibly the first time you see how to eat your spaghetti in a punk way. Rule #1: don’t look at the plate or the fork!
I usually don’t do this but in the case of Angel Olsen I feel like I have to slam the music press. I’ve read quite a few reviews of her new album (which, I admit, I haven’t heard fully so far, I always get stuck on this song) and there’s way too many people saying that with her new album she proves that she is super diverse. ‘Xcuse me? How did her previews albums not show that Angel Olsen is diverse like the current season’s Queens of Ru Paul’s Drag Race?
I mean, I listened to the exquisite ode to 70s punk “Shut up kiss me” and I was too things:
– delighted how amazing this song is
– totally not surprised that Angel Olsen could come up with this
The video makes me think that I got the music decade right
What’s lovely is that this is a reference to old school New York punk but it doesn’t sound like a regurgitation of the music of yesteryears (least of all because there have been so few women in that scene). Angel Olsen’s vocals on the line “Even if you walk around as though you think you’re right” is such a throwback to early Cyndi Lauper or Pat Benatar (how does she do it? It’s so gorgeous and then she goes into this full, juicy chorus). But the song itself is so dirty that it automatically reverts you back to a decade earlier, strumming along on the guitar and chewing gum in a hot leather jacket (I guess that’s what the NY punk scene looked like, right?).
In fact, the song coincides with a recent re-discovery of a song by a NY punk band that not exactly sounds the same but not only has the telephone-link (Angel: “I ain’t hanging up tonight”) in its lyrics but also this restless energy with an amazing hook line.
I had to look for this. There’s another video but it has a lot of unnecessarily sexist imagery of pin up models and you know what, I will not have it!
I also want to add that I know of the Blondie-version and it is a hoot but it somehow doesn’t have the desperation of the original. Deborah is simply too cool for school to sing about waiting for anyone to call back. Like, who would leave Debbie Harry hanging on the telephone? No one, that’s who. She rather sounds like she’s mocking the dude who’s told her to not leave him hanging on the telephone …
Anna Meredith’s debut album “Varmints” is absolutely titillating. Remember, when Dan Deacon came along and it was so weird and colorful what he did and everyone wanted to join his crazy live dane parties?
I feel like Anna Meredith is – although stylistically different – likewise this incredibly fresh air of electronica that’s just weird and beautiful and exciting. Is prog-electro (proglecto?) a thing? Can it be? When I hear “The Vapours” I feel like it should be a thing. And I can’t even describe probably what I am hearing because it’s just this gorgeous layered cake of loopy electronics, electric guitars and violins and everything in this incredibly danceable beat and suddenly you’re in the middle of the musical stage with some wind instruments, it’s bananas!
I love the timeless feel of Lauren Ruth Wards country with a 70s Fleetwood Mac-feel. I guess it’s my age (or Spotify’s creepily great recommendation algorithm) but suddenly there’s a lot of country music (or country inspired music) that I like and Lauren’s pop with an edge is weirdly mesmerizing. After the lovely and stripped intro, the song soon turns into the kind of bluesrock-ish sound that might make Jack White ear’s tingle (if I were him, I would call Lauren soon to ask for a collaboration).
The song itself is a power-song about creepy dudes not getting the hint that they should leave and be creepy elsewhere. In the video, Lauren plays the creep and turns it into something even more sinister. It’s cheeky and adds to the song in an interesting way.
I don’t consider myself someone who knows a lot about the country scene but from my point of view I get the feeling that there’s a new batch of interesting mainly female artists who take the genre and make it their own by throwing out the clichés (especially lyric-wise) and modernizing it. I also appreciate a country music video without any dudes but with amazing hairstyles.