New Music Mondays | 9.24.18

Prep your earbuds for another #NMM.


‘WEIGHT’ – BROCKHAMPTON

On September 21, Brockhampton’s new album Iridescence dropped, their first full length project since the disaffiliation of Ameer Vann. Ranging from angsty ballads to headbangers sure to get the mosh pits going, ‘WEIGHT’ carries an emotional depth that will likely become the core sentiment of the upcoming trilogy The Best Years Of Our Lives. The hopeful piece encapsulates their experience navigating the world of corporate labels and newfound stardom. Touching upon separate instances of insatiable pressure to act, feel, and be a certain way without ever slipping up, the group expresses their desire to do the one thing they came to do: perform.”

– Paige Ardill

 ‘Money Right’ – Dizzee Rascal ft. Skepta

“’Money Right’ is 2018’s surprise grime blockbuster, bringing together the genre’s founding father in Dizzee Rascal and its hottest star, Skepta. The track is the centerpiece to Dizzee’s latest EP, Don’t Gas Me, a late career gem and proof that 15 years after Boy in Da Corner, the Boy’s still got it. Rascal sounds reenergized, feeding off booming Skepta production that calls to mind his collaboration with A$AP Rocky on their summer smash ‘Praise the Lord (Da Shine).’ Skepta and Dizzee have great chemistry, trading bars with ease. The flows are tight, the hook is catchy, and the beats are banging. It’s everything you would expect from a long-awaited collaboration between London’s most prolific MCs.”

– Robert Kerstens

‘Still Between Lovers’ – Street Sects

“‘Still Between Lovers’ is the second single to be released by Street Sects leading up to the industrial duo’s second album, The Kicking Mule. Street Sect’s sound has developed a great deal since the release of their debut record End Position in 2016. Releases like 2017’s Rat Jacket EP, which was followed up with several one-off 7-inch singles, saw the band moving away from the harsh noise and grindcore influenced sound of their debut towards a more post-punk influenced sound. This new single sees a blend of these two distinct sounds, as the track begins with the glitchy industrial percussion and harsh vocals of their earlier work, before giving way to the rickety guitar lines and clean vocals the past year has brought to the table. The Kicking Mule is set to be released October 26 via The Flenser.”

– Ryan Busse

‘GTFO’ – Mariah Carey

After redeeming her infamous 2016 train wreck performance at Dick Clark’s Rockin’ Eve with a redux at the start of this year, it seems Mariah Carey is trying to use 2018 to reassert why she got the gig in the first place. “GTFO,” the buzz single for the Elusive Chanteuse’s forthcoming fifteenth studio album and her latest entry into the catalog of pop songs about a lover who needs to go, sees Carey play the woman scorned. Over a slinking Porter Robinson sample, she recounts the red flags she missed with regret — “I looked beyond all the signs / I guess false love makes you blind” — but still asserts that it’s over in no unclear terms: “Scusami, Mimi’ll call you a valet / You just take your things and be on your merry way.” The song’s subdued range and minimalist production by frequent Drake collaborator Nineteen85 allow Carey to both explore the subtleties of her mature voice and integrate into the modern pop landscape. The results are… fine. Despite dominating the genre for almost two decades, it feels like Carey’s resigned to chase trends in hopes of present pop success instead of daring to achieve it her own way.”

– Phillip Zminda

‘Heaven’ – Charly Bliss

Charly Bliss are the power-pop saviors of the 2010s, reviving the sound that Weezer left in the ’90s and infusing it with more energy than ever. Their new song, ‘Heaven,’ features waves of distorted guitars through which frontwoman Eva Hendrick’s distinctively sweet voice pierces through. It’s also the groups first true love song, where Eva describes heaven as a domestic, suburban paradise, something that defies her Riot Grrrl-esque attitude from 2017’s Guppy. But the sense of stability conveyed when Eva claims she ‘can’t win’ and ‘can’t lose,’ entwines itself into the swaying guitars and chorus so heavily that as the burst of ‘stormy water’ floods the track with punches of kick drum, her shout of ‘daughters and daughters and daughters’ makes you feel like you could want nothing more out of life. So even if you missed out on Charly Bliss at Afterhours last semester, do not miss out on this track!”

– Grant Foskett

‘Peach Fuzz’ – Tyler, the Creator

Since the release of Flower Boy, Tyler, the Creator has been on a sporadic whirlwind of creation. Following a series of experimental singles throughout the summer, Tyler has reached the fall season with the release of ‘PEACH FUZZ,’ a dreamy track that brings listeners back to his earlier days. The song re-imagines Prophet’s recent release ‘Wanna Be Your Man,’ and features the addition of haunting synthesizers that once were a staple of projects like Goblin. ‘PEACH FUZZ’ finds Tyler using a calmer-than-usual tone to rap directly to the subject of his love. ‘Could you tell me how far in the future do you see us?’ he asks while saying that ‘you can make decisions while your lips graze on my peach fuzz.’ The peach fuzz could be seen as a reference to ‘Call Me By Your Name,’ the 2017 Oscar-nominated film featuring Armie Hammer and Timothée Chalamet. In one of the film’s most talked about scenes, Chalamet’s character Elio uses a peach to masturbate. It’s a scene that reflects his sexual liberation and his coming to terms with his identity. Tyler references Elio in a previous single ‘GELATO,’ and has tweeted numerous times about Chalamet. The song also reveals Tyler’s internal struggle to decide on the status of his relationship. ‘It’s nothing serious (I wanna be your man),’ he raps. With ‘PEACH FUZZ,’ Tyler, the Creator has continued his renewed artistry since the release of Flower Boy, but has thrown in features of his past, making it a sort of testament to his evolution as an artist.”

– Christian Triunfo

‘nominy’ – Milo

Always dense and cryptic, art-rapper Milo is back for another full length LP: budding ornithologists are weary of tired analogies. One of the standout tracks from Milo’s new release is the upbeat ‘nominy.’ With funky old school samples backing Milo’s usual oddities and metaphors that serves as his lyrics, this cut is a great example of how Milo can provide both chill background music as well as deep material ripe for reflection and analyzation. Sonically reminiscent of early Kanye West or Grammatik, with a witt sharp enough to go toe-toe with lyrical greats like Kendrick Lamar, Milo continues to quietly be one of the most unique artists available in hip-hop today.”

– Isaac Shur

‘WHITNEY’ – Gavin Turek

If you haven’t been keeping up with Gavin Turek, now would be the time to tune in. After 2017’s insatiably groovy Good Look For You EP provided ample evidence that Turek was an artist on the rise, the long-awaited studio release of ‘WHITNEY’ only cements this assertion. With glistening production and instrumental sheen behind her, Turek’s vocals swing an infectious melody through each verse. Supplemented well with an inventive bass line and tasteful vocoder layering in the chorus, the listener is left unprepared for the bonafide earworm of a hook. It’s been a couple weeks since I first heard this tune, and I’m nowhere near done.

Though all can agree Turek has a knack for crafting songs hip enough to get anyone dancing, ‘WHITNEY’ drags a bit after the first minute and a half, leaving behind some of the catchiest instrumentation in favor of recycling through one too many choruses. With two minutes to go, the lack of structure becomes a tad grating, making this cut sit below some of Turek’s previous work.”

– Andrew Goldberg

‘Something Real’ – Jacob Seeger

Need something to blast from your car at the stoplight, or a new jam to play at your next sweaty house party? Local artist (and NEU student) Jacob Seeger might have just what you need. ‘Something Real’ is a solid nocturnal jam that’s perfect for dancing the night away, complete with a driving drumbeat with ambient pianos, and a touch of a Drake influence for good measure. We here at WRBB may be a little biased because Seeger wrote and recorded the whole song on NEU campus (with the help of Green Line Record’s Cairo Marques-Neto on production), but regardless, this song’s still a jam worth blasting.”

– Robert Steiner

 

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