Posted October 2, 2020 at 8:03 AM
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Becca Carroll
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Quarantine's most-jammed: some of my favorite new releases to come out of COVID-19
Temperatures aren’t all that’s peaking during the nationwide pandemic… (ooph) There have been some major must-know new releases since the quarantine restrictions went into effect, and I now pass onto you the jams that got me through it.
As of today, we are more than five months into quarantine, and it’s only becoming increasingly disconcerting with there still being only nominal efforts on the coronavirus front. And as a result, new music releases just haven’t been the same. Without the lure of the eventual live performance, tour footage, meet and greets, etc., it’s feeling like there are fewer incentives for artists to release new stuff. Even music videos have felt the throes of COVID-19 with typical shoots no longer able to take place, and I’ve personally had about enough of these homemade clips filmed from complex rooftops or someone’s backyard, lol.
I think it’s pretty easy for artists to start questioning the point of dropping music in the midst of a pandemic, and I get it. Quarantine has not been the most conducive space for music, and for obvious reasons – music right now just isn’t being shared the way we’re used to. I’m talking via word of mouth, car rides, water cooler talk, party convos – even schools are out of session, which alone typically serve as massive music petri dishes. These days, the opportunities for circulation are at a minimum, and some artists have already set the stage for a carona-related delaying of releases – industry figureheads like Finneas and HAIM have already announced that their new records will be shelved until the world’s returned to it’s regularly scheduled programming.
Finneas – if you love us, why do u hurt us? If anything, we’re in need of music more than ever during all of this! I practically feel indebted at this point to the artists who have sucked it up and dropped that record, that EP, that video, etc., even though they knew it’d be impossible for it to gain the traction that they’re used to. So, this article is a toast to the goddamn rough riders and steel knights who’ve given me the fix I needed these last few months. And although I’m quickly realizing quarantine is pretty far from over, here are a few things I’ve had on repeat up till now.
In Sickness and in Flames LP by The Front Bottoms
I could not be more f__king thrilled about this one, so let’s talk about it first – a new record from the NJ duo many of us know quite intimately, The Front Bottoms, released just in August. I could’ve and probably should’ve written a separate full-length article on it, but in terms of these past few weeks of quarantine, this record has been the sunshine on my rainy days and the answer to all my burning questions (lol). It’s specific charm, though, has been the way it takes me back to simpler times of couples dinner specials, laying down in leaf piles and living on your parents’ property. This band has never written music for the big-time dreamers or the fast life die-hards – they tend to appreciate the more ordinary moments, which is something we could all learn from right now. With seven records under their belt, In Sickness and in Flames is probably the most compelling combination of their older songwriting habits and newer ways of thinking about things.
In Sickness and in Flames isn’t the punch to the gut we know their pop-punk hits to be. The Front Bottoms have aimed for a more nuanced brand of pain, where the struggle doesn’t stop at bittersweet memories the daily minutiae of life that makes your brain hurt. A kind of odd, yet likeable narrator shepherds us through thoughts of romantic apprehension, post-adolescent growing pains, substance abuse and existential anxieties overtop of a polished pop-rock that seems to have also undergone some rebranding. “And to think I was having a nervous breakdown the same time you were painting your walls,” belts overtop a contagious hook on “camouflage”; “Will I ever understand what it’s like just being cool? Knowing exactly who I am, or exactly what to do,” is delivered in an indifferent, monotonous manner to a slow-stepping rhythm on “love at first sight”; “Everyone blooms in their own time, some far ahead, some far behind, so wherever you are, don’t worry you’re gonna be fine, fine fine,” is an outpour of emotion that chants of empowerment and self-love on “everyone blooms,” with a soundtrack that alludes to any one of MCR’s emo power anthems. This record is a ton of fun and has some real fire under it, and it’s “getting comfy with your captor” attitude has taught me patience during all of this.
“Always” by Rex Orange County official audio via YouTube; off new record Pony
The Baby LP by Samia
Brooklyn solo artist Samia brought an awful lot to 2019. Between her sublime cover of Liz Phair, her year-long string of local and national shows, her roundup of local collaborations with bands like Active Bird Community and brotherkenzie, the spot she claimed on Spotify’s Badass Women playlist, the list goes on, the 20-year-old has been busy building a spread that’s put on full display her kink for being bold. And her anticipated, well-awaited debut, The Baby, has also done just that. I’ve been wanting something full-length from this girl since, well, basically since I found her, and the stunning synth play, lyrical realism, and cozy personal anecdotes that make up the album’s narrative forms the captivating blend of Samia’s unique angle and taste that I was hoping for. References to the stuffed pig she carried with her until she was five or the cut on her thigh after she climbed that fence pull in personal touches that give the feeling like you’ve been made privy to this artist’s journal, or other some kind of special keepsake. But it’s not all so sentimental – you’re carried through the lavish teenaged oddysey of a girl who’s sick of having to justify herself.
You said “Bug, I think I love you Bug,” I said, “Ya, I think you love me too,” even though you made me cry tonight, nothing poisonous and nothing new.. So I hurled myself into the pool and I danced for all the party guests. I do only ever as I want, and especially when it’s a test.
Lyric from “Winngebago” by Samia off new record, The Baby
I do love the splash of melodrama in her songwriting. Samia’s personality on this record is a little bit deliberate, a little bit unhinged and consistent in her poignant takes on the more serious topics, but it’s actually her vocals that I think are doing the real legwork here. The instrumentals stay pretty sparse in songs like “Something in the Movies” and “Triptych,” being so thin that it feels as though you’re listening to some stunning, undiscovered talent singing to an empty room. Her lyrical candor in is gripping in “Something in the Movies,” and “Triptych” is a haunting piece marked by a stunning falsetto chorus. The record gets real atmospheric at certain moments, with tracks like “Pool” and “Big Wheel,” that wrap you up in hazy lo-fi and dreamy 80s synth. She even gives a little attitude on “Limbo Bitch,” emulating the flirtatious tone of Lana Del Rey’s or Pheobe Bridgers’ style. The Baby‘s vibey/sentimental blend projects a certain intimacy, rubbing me the way a Pinegrove record might – and that shit is personal. This long-awaited debut didn’t disappoint.
“Always” by Rex Orange County official audio via YouTube; off new record Pony
“My Future” by Billie Eilish
Here we are again, reminded of our insufficiency while the world’s youngest sensation tears up our hearts with her teenage authenticity and mastery of songwriting. “My Future” is the first song that Billie and her brother, Finneas, have worked on during quarantine, and is the best confirmation I’ve seen that, if you’ve really got it – you know, it – you don’t need to even leave your house to make something that’s felt across the world. The two have aptly proven their capacity to make amazing pop, but this project in particular is all about the young pop star and her headspace. “I can’t seem to focus, and you don’t seem to notice I’m not here, I’m just a mirror,” she starts off, crooning softly and sadly above mellow synth chords. “‘Cause I, I’m in love,” she goes on sweetly, and she’s not talking to any former lover. The song picks up into a soulful, r&b-type bop that brings to mind Christina Aguilera’s late 2000s “Beautiful.” Eilish goes on, “I’m know I’m supposed to be lonely now, know I’m supposed to be unhappy without someone, but aren’t I someone?” When you hear it first, this question feels nothing short of heartbreaking, but she’s essentially just taking a moment to shoutout single girls (and guys) everywhere, empowering her fans with a gentle reminder that no one else comes first. The only thing Billie’s got eyes for is her potential: “But I, I’m in love, with my future, and you don’t know her.” Vocally stunning, sonically stylish, stupidly talented, and now emotionally in-touch – does Billie suck at anything?
“Always” by Rex Orange County official audio via YouTube; off new record Pony
Chewing Cotton Wool LP by The Japanese House
Amber Bain of The Japanese House has been crafting her distinct avant-pop for quite some time, and I’ve just come to learn that apparently she’s been learning from the best. The 1975’s George Daniel (drummer), along with Bon Iver lead, Justin Vernon, both had a hand in the production of this record, with Vernon making an appearance midway through the record on “Dionne.” It’s no wonder her new LP, a bold four-track record, is oozing with super lush sounds and a fuller sense confidence – only the second of which being fairly new to this up-and-coming artist’s sound. It’s a bold move, to call this one a record, but the decision feels like a nod to the evolving sense of sureness that echoes through this soundtrack. No longer blurred out by ambient sounds and heavy vocal filters, the instrumentals feel sharper, and the overall sound seems to have found a more balanced relationship with reverb. The OG sounds of The Japanese House have been repurposed on these tracks to fit a synth-pop outfit that’s mature, and seems like it’s spent a extra more time undergoing some personal alterations.
Chewing Cotton Wool is still committed to the hazy, 80s-dream-world production quality that comes to imprint earlier records, but this new material has a developed this strong pop backbone that beams through tracks like “We Talk All the Time” and “Something Has to Change.” It’s a pleasant surprise from the artist, and I thank you, Amber, for the bops.
“Always” by Rex Orange County official audio via YouTube; off new record Pony
Notes on a Conditional Form LP by The 1975
Another avant-pop lover, The 1975. This band led a long career of making records that feel like an experiment, while still aiming for absolute perfection, with Notes on a Conditional Form falling right in line. It delivers on impeccable and airtight pop, but is often interrupted by frequent interludes, computerized sound effects, and unorthodox synth play that is so diverse in vibe that it gives the feeling like it wants to make the cut for any type of party playlist. In this sense, I can see how some might think this record lacks a purpose, with the way that it meanders uncommittedly through genre. But somehow, it all just always seems to come together with this band – like, every f__king time. While the record comes across as pretty difficult to trace, it’s pretty clear that it’s been intricately curated. Rather than focus on embodying a certain style, The 1975 has crafted a record that reflects an era, focused entirely on the state of current culture, frontman Matty Healy’s rehabilitation, and the modern human experience as a whole.
Since when did lacking a streamlined approach signify that something’s lost it’s meaning? All we have here is a record that sounds like it’ll do just about anything to remain unassigned to a single type or taste, and that may just be where all the beef is stemming from. Notes on a Conditional Form was not made with what we know as this band’s average ‘fan’ in mind. “I Think There’s Something You Should Know” was written for the SoundCloud bedroom-pop buff, “If You’re Too Shy (Let Me Know)” for the Tyler-Swift-type pop lover, “Yeah I Know” for the underground dubstep junkie, “Me & You Together Song” for the 90s throwback enthusiast, “People” for the manic rocker, “Shiny Collarbone” for the die-hard clubber, you get the gist. This albums got something here for everyone and, regardless of the all-too-easy criticism, I think it safe to this band is currently the biggest threat in pop.
“Always” by Rex Orange County official audio via YouTube; off new record Pony
“Devils and Angels” Song by Rufus Wainwright
Okay, here me out. If you’re not a fan of the theatrics, this may not be it for you, but I’ll go on record right now an say that Rufus Wainwright’s “Devils & Angels (Hatred)” is absolutely f__king brilliant. Now, if you’re not familiar with the classical singer/songwriter, studio artist, and operatic composer Rufus Wainwright, well then I guess I don’t f__king blame you, considering you’re here. All you really need to know is on July 9, “Angels and Devils (Hatred)” was released with an accompanying video and the announcement of a coming record, after already being four and a half months into the national quarantine order. Though, none of it was written, recorded or filmed during quarantine, so we get to enjoy all the visual and cinematic luxuries of the good old days with this track’s striking accompanying video. This is Wainwright’s ‘queen moment,’ as some Twitter users have astutely observed – from the orchestral instrumentals, to the eerie, vintage shots of LA, to the baroque Elizabethan costuming by renown designer Zaldy, this visual representation is an iconic spectacle of theatric expertise. The footage itself is stunning and eerie, and shift rapidly between shots of random, eerie clips as ghostly shots of Wainwright overlay the scenes. The whole just seems incredibly intricate, and embodies everything I love about this man’s authentic talent and originality.
“Always” by Rex Orange County official audio via YouTube; off new record Pony
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Quarantine’s most-jammed: a roundup of some killer new releases to come out of COVID-19
Temperatures aren’t all that’s peaking during the nationwide pandemic… (ooph) There have been some killer new releases since the quarantine restrictions went into effect, and I now pass onto you the jams that got me through it.
by: Becca Carroll
Oct 2, 2020
As of today, we are more than five months into quarantine, and it’s only becoming increasingly disconcerting with there still being only nominal efforts on the caronavirus front. And as a result, new music releases just haven’t been the same. Without the lure of the eventual live performance, tour footage, meet and greets, etc., it’s feeling like there are less and less incentives for artists to release new stuff. Even music videos have felt the throes of COVID-19 with typical shoots no longer able to take place, and I’ve personally had about enough of these homemade clips filmed from complex rooftops or someone’s backyard, lol.
I think it’s pretty easy for artists to start questioning the point of dropping music in the midst of a pandemic, and I get it. Quarantine has not been the most conducive space for music, and for obvious reasons – music right now just isn’t being shared the way we’re used to. I’m talking via word of mouth, car rides, water cooler talk, party convos – even schools are out of session, which alone typically serve as massive music petri dishes. These days, the opportunities for circulation are at a minimum, and some artists have already set the stage for a carona-related delaying of releases – industry figureheads like Finneas and HAIM have already announced that their new records will be shelved until the world’s returned to it’s regularly scheduled programming.
Finneas – if you love us, why do u hurt us? If anything, we’re in need of music more than ever during all of this! I practically feel indebted at this point to the artists who have sucked it up and dropped that record, that EP, that video, etc., even though they knew it’d be impossible for it to gain the traction that they’re used to. So, this article is a toast to the goddamn rough riders and steel knights who’ve given me the fix I needed these last few months. And although I’m quickly realizing quarantine is pretty far from over, here are a few things I’ve had on repeat up till now.
In Sickness and in Flames LP by The Front Bottoms
I could not be more f__king thrilled about this one, so let’s talk about it first – a new record from the NJ duo many of us know quite intimately, The Front Bottoms, released just in August. I could’ve and probably should’ve written a separate full-length article on it, but in terms of these past few weeks of quarantine, this record has been the sunshine on my rainy days and the answer to all my burning questions (lol). It’s specific charm, though, has been the way it takes me back to simpler times of couples dinner specials, laying down in leaf piles and living on your parents’ property. This band has never written music for the big-time dreamers or the fast life die-hards – they tend to appreciate the more ordinary moments, which is something we could all learn from right now. With seven records under their belt, In Sickness and in Flames is probably the most compelling combination of their older songwriting habits and newer ways of thinking about things.
In Sickness and in Flames isn’t the punch to the gut we know their pop-punk hits to be. The Front Bottoms have aimed for a more nuanced brand of pain, where the struggle doesn’t stop at bittersweet memories the daily minutiae of life that makes your brain hurt. A kind of odd, yet likeable narrator shepherds us through thoughts of romantic apprehension, post-adolescent growing pains, substance abuse and existential anxieties overtop of a polished pop-rock that seems to have also undergone some rebranding. “And to think I was having a nervous breakdown the same time you were painting your walls,” belts overtop a contagious hook on “camouflage”; “Will I ever understand what it’s like just being cool? Knowing exactly who I am, or exactly what to do,” is delivered in an indifferent, monotonous manner to a slow-stepping rhythm on “love at first sight”; “Everyone blooms in their own time, some far ahead, some far behind, so wherever you are, don’t worry you’re gonna be fine, fine fine,” is an outpour of emotion that chants of empowerment and self-love on “everyone blooms,” with a soundtrack that alludes to any one of MCR’s emo power anthems. This record is a ton of fun and has some real fire under it, and it’s “getting comfy with your captor” attitude has taught me patience during all of this.
The Baby LP by Samia
Brooklyn solo artist Samia brought an awful lot to 2019. Between her sublime cover of Liz Phair, her year-long string of local and national shows, her roundup of local collaborations with bands like Active Bird Community and brotherkenzie, the spot she claimed on Spotify’s Badass Women playlist, the list goes on, the 20-year-old has been busy building a spread that’s put on full display her kink for being bold. And her anticipated, well-awaited debut, The Baby, has also done just that. I’ve been wanting something full-length from this girl since, well, basically since I found her, and the stunning synth play, lyrical realism, and cozy personal anecdotes that make up the album’s narrative forms the captivating blend of Samia’s unique angle and taste that I was hoping for. References to the stuffed pig she carried with her until she was five or the cut on her thigh after she climbed that fence pull in personal touches that give the feeling like you’ve been made privy to this artist’s journal, or other some kind of special keepsake. But it’s not all so sentimental – you’re carried through the lavish teenaged oddysey of a girl who’s sick of having to justify herself.
You said “Bug, I think I love you Bug,” I said, “Ya, I think you love me too,” even though you made me cry tonight, nothing poisonous and nothing new.. So I hurled myself into the pool and I danced for all the party guests. I do only ever as I want, and especially when it’s a test.
“Chewing Cotton Wool” by the Japanese House
Amber Bain of The Japanese House has been crafting her distinct avant-pop for quite some time, and I’ve just come to learn that apparently she’s been learning from the best. The 1975’s George Daniel (drummer), along with Bon Iver lead, Justin Vernon, both had a hand in the production of this record, with Vernon making an appearance midway through the record on “Dionne.” It’s no wonder her new LP, a bold four-track record, is oozing with super lush sounds and a fuller sense confidence – only the second of which being fairly new to this up-and-coming artist’s sound. It’s a bold move, to call this one a record, but the decision feels like a nod to the evolving sense of sureness that echoes through this soundtrack. No longer blurred out by ambient sounds and heavy vocal filters, the instrumentals feel sharper, and the overall sound seems to have found a more balanced relationship with reverb. The OG sounds of The Japanese House have been repurposed on these tracks to fit a synth-pop outfit that’s more mature and seems to fit a little better.
Chewing Cotton Wool is still committed to the hazy, 80s-dream-world production quality that comes to imprint earlier records, but this new material has a developed this strong pop backbone that beams through tracks like “We Talk All the Time” and “Something Has to Change.” It’s a pleasant surprise from the artist, and I thank you, Amber, for the bops.
Notes on a Conditional Form LP by The 1975
Another avant-pop lover, The 1975. This band led a long career of making records that feel like an experiment, while still aiming for absolute perfection, with Notes on a Conditional Form falling right in line. It delivers on impeccable and airtight pop, but is often interrupted by frequent interludes, computerized sound effects, and unorthodox synth play that is so diverse in vibe that it gives the feeling like it wants to make the cut for any type of party playlist. In this sense, I can see how some might think this record lacks a purpose, with the way that it meanders uncommittedly through genre. But somehow, it all just always seems to come together with this band – like, every f__king time. While the record comes across as pretty difficult to trace, it’s pretty clear that it’s been intricately curated. Rather than focus on embodying a certain style, The 1975 has crafted a record that reflects an era, focused entirely on the state of current culture, frontman Matty Healy’s rehabilitation, and the modern human experience as a whole.
Since when did lacking a streamlined approach signify that something’s lost it’s meaning? All we have here is a record that sounds like it’ll do just about anything to remain unassigned to a single type or taste, and that may just be where all the beef is stemming from. Notes on a Conditional Form was not made with what we know as this band’s average ‘fan’ in mind. “I Think There’s Something You Should Know” was written for the SoundCloud bedroom-pop buff, “If You’re Too Shy (Let Me Know)” for the Tyler-Swift-type pop lover, “Yeah I Know” for the underground dubstep junkie, “Me & You Together Song” for the 90s throwback enthusiast, “People” for the manic rocker, “Shiny Collarbone” for the die-hard clubber, you get the gist. This albums got something here for everyone and, regardless of the all-too-easy criticism, I think it safe to this band is currently the biggest threat in pop.
“Devils and Angels” Song by Rufus Wainwright
Okay, here me out. If you’re not a fan of the theatrics, this may not be it for you, but I’ll go on record right now an say that Rufus Wainwright’s “Devils & Angels (Hatred)” is absolutely f__king brilliant. Now, if you’re not familiar with the classical singer/songwriter, studio artist, and operatic composer Rufus Wainwright, well then I guess I don’t f__king blame you, considering you’re here. All you really need to know is on July 9, “Angels and Devils (Hatred)” was released with an accompanying video and the announcement of a coming record, after already being four and a half months into the national quarantine order. Though, none of it was written, recorded or filmed during quarantine, so we get to enjoy all the visual and cinematic luxuries of the good old days with this track’s striking accompanying video. This is Wainwright’s ‘queen moment,’ as some Twitter users have astutely observed – from the orchestral instrumentals, to the eerie, vintage shots of LA, to the baroque Elizabethan costuming by renown designer Zaldy, this visual representation is an iconic spectacle of theatric expertise. The footage itself is stunning and eerie, and shift rapidly between shots of random, eerie clips as ghostly shots of Wainwright overlay the scenes. The whole just seems incredibly intricate, and embodies everything I love about this man’s authentic talent and originality.
Posted October 20, 2018 at 11:46 PM
Written by Becca Carroll
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