The Body and BIG|BRAVE have each earned their tenure in metal, but together they have created an album that defies any preconceived notions one might have had for them. On Leaving None But Small Birds, both bands veer into a brand of folk rock that is rife with an eerie grit. Twangy layered strings mesh with the heavy distortion of guitars that both The Body and BIG|BRAVE are known for, creating a delicate and foreboding atmosphere. Similarly, the guttural shrieks and growls of The Body are replaced by the haunting croons of BIG|BRAVE’s lead vocalist Robin Wattie, which runs on the verge of breaking at points and sounds seductively resilient in others. Even in the quieter moments on the record where instrumentation pulls back–as on “Black is the Colour”–there is still a great deal of texture to be found in the weaving vocals and thudding, droning rhythm of the work. While certainly not a traditional metal release, Leaving None But Small Birds retains some hints of its creators’ metal influences and proves the genre as an incredibly versatile one. 

–Sydney Sjobakken

Illuminati Hotties – Let Me Do One More  

From atop Illuminati Hotquarters, singer/songwriter Sarah Tudzin pens tunes to capture the last gasps of a dying Summer on Let Me Do One More. The band’s variety of sounds range from catchy pop-infused punk to endearingly sincere folk and beyond. The opener, “Pool Hopping” features a suave, yet energized guitar lead, as Tudzin navigates a complicated love-on-the-rocks situation in her signature ultra-charismatic vocal performance—emotional turmoil has never sounded so fun. “u v v p,” on the other hand, finds the songwriter taking a regretful tone over a tried-and-true folk rock chord progression, complete with steel pedal and a spoken word passage from Buck Meek of Big Thief. It’s a melody sure to put a tear in many a beer. For fans of punk rippers, there’s plenty here. “MMMOOOAAAAAYAYA” hones the chaotic energy showcased on Free IH into one of the wildest jams of the year. Though the lyrics throughout the album are consistently wittily funny or throat-punchingly pensive, Tudzin is at the top of her game here, juxtaposing lines, “Text me, touch me, call me daddy / I’m so sad I can’t do laundry.” On “Joni: LA’s No. 1 Health Goth”, the band takes on hardcore punk, as Tudzin describes a character of such abundant scene credit that her status is unachievable—perhaps vapid in her devotion to trendiness, but impossibly cool regardless: “you wish you were like her.” Let Me Do One More has some of Illuminati Hotties’ best-written songs, blending the band’s many unique styles in a masterclass of growth. 

–Jaden Amjadi

Yullola – Priestess 

Priestess captures the deep, rhythmic percussiveness of the hyperpop genre in combination with clear and emotive vocals. The album opener “Sell My Soul 2 U” sets the stage for the rest of the album. The contrast of angelic vocal harmonies floating on top of spacey, sporadic synths instantly grabs the listener’s attention. The repeated percussive line on “Is It Love or a Pyramid Scheme” paired with the uncomplicated chorus makes the song earworm worthy. Admittedly the lyrics of “Spit in Yo Mouth” are slightly obscured even to the most experimental-learnéd listeners, but by adding in the staccato drums and oscillating vocals, the song becomes fun and dance-y. Beyond the upbeat, techno sound of the album, Priestess features acoustic and melodically driven songs. “Afterglowow” has mellower electronic rhythms, and the foreground is Yullola’s beautifully clear voice and introspective lyrics. Perhaps the most lyrically-driven song on the album, “Bb Plz Don’t Go” leaves room for Yullola’s somber yet passionate vocal performance by stripping down the rhythmic section. Wrapping up the album is “Ur Not My Type Ur Just Some Type of Way” with the piano’s direct presence paving the way for the vocal line to experiment with layering and ornamentation. Overall, Priestess highlights Yullola’s vocal clarity and passion alongside intricate techno beats. 

–Daniela Rybarczyk

JPEGMAFIA – LP! 

On LP!, JPEGMAFIA follows a formula and sound similar to that of his previous albums and manages to sacrifice no quality in doing so. The experimental hip hop titan revives his distinctive, engaging, and humorous attitude and delivers yet another project full of heart, intelligence, and musical brilliance. On the two versions of this album–the Bandcamp version has songs uncleared for streaming and is thought to be the truest form of the record–Peggy showcases his signature production style. While this project is not as outlandishly abrasive as some of his previous projects, the beats ride a satisfying line between original, creative, and fresh-sounding while not being so flashy as to get in their own way. Peggy combines these sounds with his ever-charismatic and in-your-face lyrics and delivery. On a track like “DIRTY!”, he addresses social issues with sarcastic and amusing bars that engage the listener and paint an image of the artist as one who is serious about his craft and worldviews, but does not take himself too seriously. With this album, JPEGMAFIA furthers his case to be considered as not just one of the best experimental hip hop artists, but one of the best hip hop artists in the game. 

–Evan Weidl

Liily – TV or Not TV 

The band Liily carved out a space for themselves in the alternative rock scene with their 2018 single “Toro ”, but on their latest album TV or Not TV the band amps up their musical ambitions and presence. No longer just meddling in the realm of alternative rock, the Californian quartet seems to dip their toes into the sounds of post-punk revivalism that has become increasingly popular throughout the 2010s via bands like Squid, IDLES, and their American contemporaries, Protomartyr. In a similar stride, Liily employs a fiery attitude and decisive force on a tracklist that feels at times both compulsively restrained and unhinged. The vocal performance on songs such as the opener, “Mr. Speaker Gets The Word” deviates between a strict monotone delivery to one that unfurls the tension that the instruments build relentlessly. The band also employs an occasional burst of horns, exceptionally discordant, squawking guitars, and notably groovy basslines that keep the atmosphere of the album incredibly light and danceable. As their first full-length release, Liily’s TV or Not TV proves the band is not merely a one-hit-wonder, but has a promising future in post-punk and alternative rock spheres. 

–Sydney Sjobakken

Quantic & Nidia Góngora – Almas Conectadas 

As the days get shorter and the temperature plummets, every music review site is already pulling out those “comfy albums to cozy up to while wrapped in a blanket” faster than you can say “Daylight’s Saving Time”. Allow me, then, to be a contrarian, and offer up an album that rejects the slightest hint of frost and freeze. Almas Conectadas, the collaborative effort between Quantic, an NYC-based producer, and Nidia Góngora, a singer/songwriter from the Colombian coast, offers up a scintillating Afro-Caribbean experience that is sure to chase away any wintertime blues. From the very beginning, rhythm is the name of the game here. The drums, the strings, the horns, and, of course, the vocals all combine to form an unstoppable groove that, while not always danceable, is nonetheless hypnotic. And that’s where the beauty in this album comes in. To some, Latin music starts and stops at the dance-pop that controls the airwaves over here in the US, but to Góngora and Quantic, the true beauty of traditional music is all the emotions that are contained within, not just joy, but melancholy and sadness as well. Góngora carries this album, both musically and emotionally. On my personal favorite, “El Chiclan,” her voice slides seamlessly through the tropical percussion and background vocals, sounding both triumphant and mournful at the same time. On the closing track. “Vuelve”, most of the rhythm is stripped back to piano and woodwind, and Góngora’s melodies glisten in the relative silence left behind. But, the most important aspect here stays true throughout. This record is sun-drenched, wistful, and pensive without ever sounding depressive or cold. And to me, there’s no better way to wait out the cold than putting this album on, and pretending I’m somewhere else, if only for an hour or so. 

–Zachary LeBoeuf

The World is a Beautiful Place & I am No Longer Afraid to Die – Illusory Walls  

The world of Dark Souls is not one that can be saved. It conjures an interminable dread at the end of times that, for some curious reason, in this age of stagnant workers’ wages and rule by corporate interest, has captured the imaginations of millions. With this new album’s multiple references to the series, some members of The World is a Beautiful Place & I Am No Longer Afraid to Die also seem to be among the affected. On Illusory Walls, the band takes on the haze of shoegaze to texture their traditional emo sound and further communicate this sense of doom. Synths and orchestral strings added to the mix make for the band’s most sonically ambitious work to date. Lyrics surround themes of loss and hopelessness. On the opener, “Afraid to Die”, singer David Bello begins by giving intention to the theme of eternity, singing over soft guitar, “This is where we live and this is where we stay forever.” Keyboardist and vocalist Katie Dvorak takes the reigns as lead vocalist on many songs to fantastic results, such as what may be the catchiest song on the record, “Queen Sophie for President”, a tribute to her late grandmother. “Blank // Worker” is a nearly ambient piece, above which Bello tells a story of his childhood–a spill in Parkersburg, between Ohio and West Virginia, where DuPont knowingly dumped carcinogenic chemicals into the local water supply. The final two songs, “Infinite Josh” and “Fewer Afraid,” which each blow past the 10-minute mark are some of the greatest highlights on the record. Far from overly indulgent, they manage to leave the listener with a sense of hope: “The world is a beautiful place, but we have to make it that way / Whenever you find home, we’ll make it more than just a shelter / If everyone belongs there, it will hold us all together / If you’re afraid to die, then so am I.” Illusory Walls is the band’s strongest and most impacting work in years. 

–Jaden Amjadi

Full of Hell – Garden of Burning Apparitions 

One of many impressive metal releases this month, Full of Hell continues to show how dynamic their brand of grindcore and power metal can be on Garden of Burning Apparitions. The band has always been one owing itself to evolution and diversification, as is evident in their collaborations with electronic-leaning artists such as HEALTH. It seems that on this latest release they have incorporated some of the ethos of their former collaborators to create a sound that is even more glitchy and experimental than any of their past work. On tracks such as “Derelict Satellite” the band devolves into full-blown bouts of noise and ear shredding static that shows their new interest in experimental and electronic glitch. Conversely, the album also shows a more melodic side of the band, as on “Celestial Hierarchy”, which offers a slight moment for breath in a tracklist that barely exceeds twenty minutes. While the run time is short, Garden of Burning Apparitions manages to merge the genres of power metal, grindcore, experimental, and glitch to entrap their listeners in a whirl of sound sure to keep them hungry for more. 

–Sydney Sjobakken

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Cassandra Jenkins sets herself apart from her indie folk singer/songwriter contemporaries on An Overview on Phenomenal Nature in a variety of ways. Her vocal delivery is soft and calm but is imbued with confidence. Over palm-muted guitar, Jenkins begins her album with the line “I’m a three-legged dog working with what I’ve got / And part of me will always be looking for what I’ve lost.” Although the lyrics throughout this album are often sad, as she reflects on loneliness, family relationships, and death, but songs such as “New Bikini,” or the spoken word song “Hard Drive,” reach life-affirming conclusions. Her dry and evocative lyrics call to mind the work of David Berman, the indie folk pioneer and poet she was scheduled to tour with in 2019 before his passing—and whom she also references across the album. Aside from the emotional potency of her words, lush horns and restrained percussion support her guitar playing and add a layer of musical depth. These touches create a meditative and gentle atmosphere, allowing for the potentially upsetting lyrical themes to not overwhelm the listener. The ambient piece, “The Ramble” closes the record with birds chirping alongside strings and saxophone—a sun rising in the morning. On An Overview on Phenomenal Nature, Jenkins crafts what will surely be one of the most emotionally impactful albums of the year. 

-Jaden Amjadi 

 
The Body – I’ve Seen All I Need to See 

Hardly newcomers to the scene, the experimental metal band The Body manages to make abrasive music catchy on their eighth solo LP, I’ve Seen All I Need to See. Since 1999, the duo has been pushing the bounds of metal with their solo work and shown extreme willingness to collaborate with other alternative metal bands like Full of Hell and Thou. On this latest LP, they push their typically atypical brand of sludge and death metal even further with an increased presence of audio glitches and electronic manipulation as well a focus on earworm-inclined song structures. This is easily one of the catchiest metal albums this year, owing to the drums which are punchy and infectious, punctuated by harrowing howls and shrieks on tracks like “The City is Shelled” or “Tied Up and Locked In.” Simultaneously, the various skips and stutters of the recording and the buzzing and whirring of every track present listeners with an electronic or industrial sound on the opener “A Lament” and later on “They Are Coming.” Unlike past efforts of the band, there is very little emphasis on the throat-shredding vocals of frontman and guitarist Chip King. Instead, I’ve Seen All I Need to See focuses on using the vocals as yet another instrument, warping and incorporating them into the thunderous beating of the drums. This latest album proves the dynamism with which The Body is capable of playing. Their attempts at combining electronic elements with abrasive, lumbering sludge metal ideals are not only successful but also undeniably encapsulating. 

-Sydney Sjobakken 

Claud – Super Monster 

Do not let the Pop Art stylings of Super Monster’s cover fool you; the happy moments on this album are few and far between. Claud expands upon the bedroom pop genre while also sticking close to its roots. “Overnight,” “Gold,” and “Ana” are lo-fi slacker rock masterpieces, while “Soft Spot” indulges in shoegaze haziness, and “Jordan” is as anthemic a tune as bedroom pop may ever get. A true treasure in Super Monster is the lyrics. While Claud may stick to vague metaphors and universal themes, these devices make the dream-like nature of the album sound that much more refined. “In or In-Between” succinctly details the breakdown of communication in a relationship. “Ana” describes feelings of inadequacy, and “Guard Down,” despite the cheery music video with its cute animations, is a story of vulnerability and comfort zones expertly told. The impreciseness of these tracks allows for anyone to relate to them, but they remain personal enough to leave a lasting impact. Suffice to say, Claud is clearly taking the bedroom pop scene for a ride with Super Monster, and I am more than happy to follow wherever that road takes them. 

-Zach LeBoeuf 

Tele Novella – Merlynn Belle 

Tele Novella delivers a serene, dreamlike soundscape with charming, delicate vocals taking center stage.  Tele Novella is the musical project of vocalist Natalie Ribbons and multi-instrumentalist Jason Chronis, both of whom hail from southeast Texas.  On their sophomore album Merlynn Belle, they create an auditory anachronism.  From which particular time period is questionable, as they shift styles from flamenco waltz on “Words That Stay,” to psych-pop on “Wishing Shrine,” to the cowpoke western  of “Technicolor Town” and then something one could describe as medieval jester pop on “One Little Pearl.” The subdued instrumentation perfectly compliments each of these sounds. This multitude of styles results in a playful and beautifully surreal equilibrium of sonic texture.  The undeniable MVP is the vocal delivery of Ribbons. “You’ll only dance if it’s to gunshots, and you’ll move through it with grace,” Ribbons sings on the opener; her high register and inflection of syllables unique – yet reminiscent of an artist like Nico.  Listening to Merlynn Belle is like finding a time capsule with no contextual explanation – we’re just lucky it ever existed. 

-Ryan Knipp 

Pink Navel & Won Pound – Pink Pound 

On their new mixtape Pink Pound, Pink Navel and Won Pound deliver a set of short and direct hip hop vignettes with lots of personality. Pink Navel’s rap style is boisterous and fun as they drop references to cartoons, videogames, and internet culture. This subject matter is nothing new for them, though this time around, it would seem they’ve put extra effort into their pen-game and flows. On “TV Shows” they begin by spitting: “I’m a Dada rapper, if by that you mean I’m baby,” a silly line juxtaposing the Dadaist art movement and the “I’m baby” meme. A staple of Pink Navel’s past work—their shouted background overdubbing—returns to add energy to each of these tracks, although in a slightly restrained capacity to make them more approachable of an artist than ever. Producer Won Pound’s beats are vibrant and warm, mixing soulful samples and midi synths. These beats are enjoyable in their own right while allowing enough space for Pink Navel’s exuberant performance. With a running length of about 11 minutes, it’s a release that calls to be replayed immediately after a first spin. For anyone intrigued by the idea of a rapper who sounds like a Steven Universe character, this mixtape is a must-listen. 

-Jaden Amjadi 

Julien Baker – Little Oblivions 

Julien Baker creates a wonderful blend of indie pop, folk, and authentic lyrics on her album Little Oblivions. This marks a noticeable change in Baker’s discography as her first album with a consistently full band beyond her guitar. Baker’s album includes simple, ballad-like songs “Crying Wolf,” “Song in E,” and “Ziptie” which all include acoustic guitar, piano, and synthesizer for a hauntingly captivating sound. These songs leave room for Baker’s beautiful melodies and lyrics to shine. Tracks like “Ringside” and “Favor” represent the upbeat side of the album with a combination of guitars, drums, and vocals building to a climax that draws listeners in. “Hardline” and “Faith Healer” are stand-out tracks as they show off dynamic instrumental lines alongside Baker’s introspective lyrics. Baker discusses her struggles with mental illness, addiction, and religion on this album with a poetic flair. Little Oblivions is the satisfying combination of indie-pop instruments and emotionally rich lyrics that put complex feelings and experiences into enjoyable music. 

-Daniela Rybarczyk 

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