Whether this is your first month at college, or your second, third, maybe even your last, I want to congratulate you on a job well done. The first month back is always a doozy and, guess what! You did it. That’s something to revel in.
As the semester continues, you may find that your old playlists simply aren’t cutting it anymore. They’re worn out and boring; all of the surprises that once made you smile simply grate on your ears. That song used to be your favorite, but if you hear that opening piano riff one more time, you just might launch your computer out of the tenth story window (Sorry “How Can You Really” by Foxygen).
It is very possible to overplay a favorite track. It’s saddening, but it’s a real possibility. In fact, I still have a really hard time listening to “Listzomania” by Phoenix.
It’s been five years.
In short, I come to you bearing ten new songs that were released in the past month. Not only will you give your music library a breath of fresh air, you’re now cooler than your peers. (If you really think it necessary, go buy a flannel, stop bathing and start rolling your own cigarettes and store them in an American Spirits container. Go on, I’ll wait.)
Author’s Note: That was a joke—please do not start smoking.
“Northern Highway” by Martin Courtney.
Martin Courtney recently announced his solo project and will release his debut record, Many Moons, on October 30, 2015 on Domino.
If you’re like me, the opening country-style guitar is enough to make anyone nervous. However, Courtney’s voice is so gentle and mellow that you’re quickly entranced by his vocal melody. You don’t even notice that it slowly falls into a slightly-rockier, indie-folk sound.
It’s a feel-good, summer-stained, grainy track. If there was any song that screamed “San Francisco,” it’s this one. “Northern Highway” is a constant, unchanging track. There are no sudden auditory surprises—it’s calm and direct. The unchanging guitar is reminiscent of driving down a long highway with the top down at a relaxed speed.
“Cash Wednesday” by Skylar Spence, off of his record Prom King.
I recently attended the record release party of Prom King in Brooklyn with a friend of mine last Friday. Let me tell you, this guy knows how to throw a party. More importantly, the guy knows how to perform.
“Cash Wednesday” is a track that is dripping in disco influences. The guitar is slinky and sexy; the bass is painfully groovy. This song features no vocals from Ryan DeRobertis himself, but samples of a woman’s voice which is chopped and bounced around. The instrumental sections are incredibly ease to dance to and seriously can take you back to another time.
The second half of the song happens to be my favorite part. I love how the vocal sample, “Well, we’re in New York” introduces even choppier samples of the female voice. It’s the perfect walking song if you need to feel like a bad b*tch. Think the opening scene of Saturday Night Fever, but less John Travolta.
“Empty Threat” by CHVRCHES, off of their album, Every Open Eye.
I had been waiting for this record for God only knows how long—and it certainly did not disappoint. If you have time this week, I highly suggest you play Every Open Eye the entire way through. It’s time well spent.
While “Empty Threat” steps away from CHVRCHES’ sullen, dark origins in their debut, Bones Of What You Believe, it is still a great track. It is pure electro-pop, dance bliss. You need not perpetually mull over the lyrical content—all you need to do is enjoy it for what it is. You have your anthemic sing-back chorus; it’s uncomplicated and fun—what more could you ask for?
In addition, Lauren Mayberry’s voice is far brighter and powerful in this track. It’s interesting to see how she has changed between these two records.
“Superheated” by New Order, off of their record, Music Complete.
My dad has been harassing me to listen to this song for the past couple of days. It reached a point where he directly sent me the audio file to my phone. How he did that, I have no idea. OKAY, DAD? I LISTENED TO THE TRACK. GOSH.
Bernard Sumner’s voice is exposed far more than it ever has been in previous tracks by New Order. The inherent darkness and moodiness is completely absent from the sound, but it’s a refreshing change. It’s upbeat and light, featuring a focused synthesizer melody. Unfortunately, the track is painfully lacking in the bass that so characterized New Order’s sound in previous releases. It is more in-line with a song by OMD (Orchestral Maneuvers in the Dark) rather than New Order, but it’s still a great track.
Sometimes you need something simple and sugary-sweet to get you through the week. “Superheated” is that something.
“Hands All Over Me” by Tamaryn, off of her album, Cranekiss.
Because you were bound to get a shoegaze track at some point during this semester. Might as well start early!
“Hands All Over Me” features breathy, atmospheric vocals that somehow overpower any other sound in the track. While in the chorus you can hear the steady explosions of synthesizer chords ripping through the vocal cloud, the focus remains the same. The juxtaposition of the aggressive synth sound with Tamaryn’s gentle voice makes for a lovely combination. It’s heavily bathed in 80s synthpop, but I think both you and I have a profound respect for this underrated genre and decade.
“Intro Noirwave” by Petite Noir, off of his record, La Vie Est Belle / Life Is Beautiful.
“Intro Noirwave” is loaded with drums, synthesizers and horns. It does exactly what the title states: it introduces the listener to what happens to be one of the most unique sounding albums released today. It is a two minute and twenty-one second build up to an auditory explosion that suddenly tapers off into a weak echo–the drums and quiet, ringing synth still ever-present.
Yannick Ilunga cries out periodically throughout the song hauntingly. It only amps the anticipation of the next song on the record.
“Birch Tree” by Foals, off of their album, What Went Down.
I’m just so happy that Foals have come back.
“Birch Tree” is a song that features round, intricate guitar lines and Yannis Philippakis’ immediately distinguishable voice. Significantly mellower than the single, “Mountain At My Gates,” Foals demonstrates that they can change up their sound whilst remaining true to their original musical roots. I’m particularly fond about how the song stays at one volume length. There is very little change in the guitar riff and drums, creating a song that you can easily get lost in for hours.
The repeat button is in the bottom right corner.
“Molecules” by Atlas Genius, off of their record, Inanimate Objects.
I do really enjoy contrasts, so in response to the slow, mellow jam that was “Birch Tree,” I bring you the wild dance party that is “Molecules” by Atlas Genius.
Tragically absent of the band’s Australian accent, “Molecules” is your traditional alt-pop track. While it is reminiscent of the 80s with its use of the synthesizer, Atlas Genius has modernized that decade’s feature for today’s youth.
The synth and bass work to pull the song together into an infectious, feel-good, jumpy track. Not only will you be dancing yourself breathless, you’ll be screaming along with the anthemic chorus that the Jeffrey brothers croon.
“Dream Lover” by Destroyer, off of his album, Poison Season.
No, it’s not a cover of Bobby Darin’s “Dream Lover.”
This song is far less orchestrated than Dan Bejar’s masterpiece, Kaputt, but, as a result, is easier for the masses to access. While holding steadfast to his atmospheric sound (the horns sound like they’re on another planet), “Dream Lover” has a rockier sound. In addition, Bejar’s voice hovers closer to spoken-word rather than singing. It’s a unique listening experience.
Throw your head to this song; stomp your feet to the drums. Thank Mr. Bejar for tearing apart that happy-go-lucky song by The Beatles. The lyrics, “I think I used to be more fun / Ah, sh*t, here comes the sun / Oh, shit, here comes the sun” are perfect for that special pessimist in your life who is far too preoccupied with his or her growing age.
I used to be more fun—now I go to bed at 10:30 p.m..
“Back At Belle’s” by Small Black, to be released on their new record, Best Blues on October 16, 2015.
This back seriously fell underneath the radar after the hype around their song, “No Stranger” fizzled to a close. You were wrong to ignore Small Black, guys. Their record, Limits of Desire, is a musical wonderland. Perfect studying music.
Your ears are immediately submerged into noisy, synthesizer-based fuzz that carries you away to dream-pop noise wonderland. Josh Kolenik’s vocals are dreamy as ever, but come in perfect clarity, despite all of the noise that is happening around it. It’s a chaotic track, but don’t let that scare you away from listening to the song before bed. It’ll mellow you out like no other, distracting your mind with the power of noise. You’ll forget all about that paper you’ve been putting off for decades it seems.
You can listen to this week’s playlist via Spotify below.