u/No-Opportunity2565

This song by Sky Ferreira is among her better work. Right from the beginning you will become captivated by a catchy bass line. The vocals are on point too, as this track is about harboring a grudge against someone who is acting up, as the lines „There‘s a fire on your street / Terrorize the whole community“ make clear. The production goes for a synth heavy but hard hitting instrumentation that is danceable and puts out a high amount of decibels. As the person Ferreira sings about has an „Empty heart that never bleeds“ and it is thus up to her to keep track of all the heartbreak and transgressions they have left in their wake. The chorus goes „I don‘t forget / Oh no, I won‘t forget / I don‘t forgive“ and variations of these lines. The track progresses into the chorus and back to the verses seamlessly, which is a feat difficult to achieve, but it works flawlessly here. Sky Ferreira has delivered a memorable song that feels inspired and sounds amazing on repeat. It has everything it needs and works perfectly as an easily danceable and catchy alt pop song.

Review: ★★★★★

Reviewed using headphones: Sony WH-1000xm5

Listen on Spotify https://open.spotify.com/album/4DRVBIISdoxJAb7Syh3gSt?si=LtBEvHeBQy6CIu8FQoMhNQ

In no particular order.

Hit the Wall is the opener of Gracie Abram’s upcoming album called Daughter from Hell and deals with mental issues and living in cycles leading to mental breaks.

It opens with a muted piano and the instrumentation does not go far beyond that, as we‘re in for a more somber athmosphere surrounding the sad lyrics.

Abrams sings about a phase in life when things come crashing down and previous securities vanish, as the line „I‘m afraid that my fortress is a glass box“ allludes to. Plans become overthrown and emptiness remains. The line „I thought we get married, but I guess not“ alludes to a deep cut and something that leaves the one who goes through such disappointment empty handed and emotionally shattered, which is exactly the mood this track successfully brings across. This is helped by a fitting production. The lines „Im not a problem you can solve“ and „A room full of doctors and an ink blot“ further introduce personal disappointments in others and the struggle of going through therapy, in order to deal with one‘s own mental health issues.

At the three quarters mark, the track opens up into an emotional rapture as the line „Watch my blade ricochet“ is sung. Clearly the best part of this track, the previous structure is broken up, as Abrams delivers goosebumps inducing singing that is hauntingly beautiful, as it clearly comes from a dark place way down below, but still has an uplifting quality to it, as it is stripped from pretense and thus incredibly authentic.
Here, Abrams confesses that „Sooner or later you‘ll find out I live in a pattern of breakdowns“ and that this stands in the way of having fulfilling relationships, as she has hit the wall once more.

Hit the Wall is an honest track, that contains beautifully written lyrics that come across as authentic. This is helped by a production that is centered around Abram‘s vocal delivery and ebbs and swells at the right moments. Thus, Hit the Wall is a highly recommendable track by a talented singer who has succeeded on what she set out to do, namely, to paint an emotionally impactful image of the struggle with mental issues and the disappointments of adult life. It will appeal to fans of her more somber works and is as memorable as it is hauntingly beautiful.

Review: ★★★★★

Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/track/1U90UBmMrQTx9GNweUA4LZ?si=SgS8TCKBR5yZJFkcYznvvw

California Sober is the opener from the newly released album Aphelion by Aria Sai and deals with a newfound sobriety and the boring parts of life.

This track opens with Sai‘s confession that „I‘m better now“. To a calm beat and moody instrumentation, these lines come across as authentic. The lines „I told my mother that the demon is dead / I traded the baggy for a bottle of red“ continue in this vein, admitting already that a healthier lifestyle maybe does not equal being clean. California Sober is the chorus of this track, which is a state of being legally high most of the time, adopting the mindset that „It‘s not a problem if you‘re barely this high“.

Sai now has to deal with the boring aspects of everyday life, „eating greens“, „doing yoga on a Tuesday afternoon“ and being „asleep on a bench in a park“. As the high fades away, boredom has to be dealt with and Sai is learning to „get through the misery of existing today“, as she sings „Im healin‘, just playing the cards that the universe deals“.

There are many more memorable, beautifully written lines here, such as „Just don‘t look at my eyes when the light hits the room / They‘re a little bit glazed, a little bit gloom“ that all allude to a sense of progress towards being clean that does not yet feel fulfilling and leaves you feeling empty, but nevertheless marks a step in the right direction.

In the bridge there is another confession, that
„I‘m not clean, I‘m not clean, I‘m high-functioning“. The last chorus after this is sung with minimal instrumentation, more like an accompanying rhythm, as Sai sighs „I‘m California Sober / The hard part is over“.

This track is a very chill listen and doesn‘t reach any great heights, going for an anti-climactic rendition of what Aria Sai has to say. But it features beautiful lyrics and a great sense of rhythm. The instrumentals remain contained and the production gives Sai‘s voice some refinement and adds some moody reverb to the electronic soundscape that is going on in the background.

California Sober is a good opener to Aria Sai‘s new album Aphelion that released today and is worth a listen if you‘re interested in the artist‘s work and a little bit curious about what more she has to say on her newfound lifestyle.

Review: ★★★★☆
Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/track/6Rj1hIgZ1ZeL1rEE8eyySW?si=Dz7gBbnaTIygXbeNLSr7sA

The abbreviation stands for violence against nature, in case you wondered, and this track is about the dichotomy man / nature. It starts off with Poppy repeating the line „Violence against nature“, accompanied by a bass line that sets a dark tone. The line „Isn‘t it strange to create something that hates you?“ is whispered and right after it, a riff kicks in that sustains the heavy and dark feel of this track. The track then moves seamlessly into the first verse that closes with the line „I am everything that you‘re not“, which is a good line and helps create a seamingly irreconcilable, basic dichotomy of humanity trying to cut loose from and surmount their natural origin by putting their faith in technology. In general, this tracks feels very hard on the eardrums, with aggressive droning sounds and a bassline that hits hard, as well as a seeming dissolution of traditional song structure. Lines such as „Everyone hates you“ might be considered offensive, but it serves the purpose of painting those who don‘t embrace their natural origin and nature in general as violators, towards whom nobody feels sympathy, because of their destructive intent. Nature is painted as an opposing force to this violence, even though unable to fight back. Her only means of expressing herself is creation and strengh through unity among her lovers, as the line in Poppy‘s screaming part „I am not alone“ alludes to, while lovers of violence will continue on their lonely, spiralling path, as the line „It‘s too late for you to stop“ makes clear. Even though all this seems quite heavy and hard to stomach, this track is quite popular. Apparently it has identified a very basic dichotomy that is easy to relate to and brings it across using bass programming that gets the crowd moving and has an intresting song structure that feels dynamic and ever changing, fitting its theme. This track ticks the boxes for those who are looking for dark, brooding music that is still danceable and is about mature subject matter. As it fades out, anyone who has listened to it in full, will likely miss the oppressive but strangely satisfying presence of this track and press repeat immediately.

Review: ★★★★★
Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/track/5SlxykqNSR8fnLIjlgNBFq?si=XCETQdgDReWgd71VeHaqaw

Back From the Dead is Lzzy Hale checking back in artistically after a life-altering experience and what she has to say now needed to be heard. It opens with a track that is very condensed and lets us know that we‘re in for a ride. The lines „Back from the other side“ and „Hell couldn‘t hold me down“ allude to a journey into the abbyss and what we have now before us is a survivor having something to say. Hale sings with drive and anger, delivering these vocals indeed like she has returned from an ordeal - one that has hardened her and made her singing better. The instrumentation reflects this by the band’s acceptance that her vocals are the star of the show. It features a strong build into the chorus with guitars sounding wild and a little broken, like they have themselves been through it. The intensity doesn‘t let up in these first few tracks, with „Strange Girl“ being a key song on this album. The lines „Do you hate me just to change me? / To be just like you.“ And goes on „Cast me out, abandon me / Write me off for dead / Ridiculed, made to feel like I‘m your deepest dread“. This dramatic animosity is then resolved by the lines „The world needs strange girls / Just like me“. Hale strengthens the position of those who have not been lucky enough to experience a sense of belonging and have been marginalised. Her attitude of acceptance and not giving a fuck about the position she stands opposed to is liberating. Brightside extends the opening triple threat of this album by one, as it hits just as hard. It is a reflection on the other side, about those living on the bright side, and all their flaws and dark secrets they suppress. The Steeple sends an empowering messege and fortifies the bond between Halestorm and their audience. „For this is my church, and these are my people“ is one of the strongest lines on the album. As Halestorm sheds any and all ties to traditional forms of belief and champions the sense of community a shared musical experience can foster.

Terrible Things marks a change in tempo and after the tour de force of what has preceded it, is a welcome change. Some of its lines are good enough to be left to speak for themselves:

„We are nothing without failure“.

„We carry hatred like a bible“.

„We have learned not to heal but to hurt“.

„But in my dreams I believe we‘re not these / Terrible things“.

These emotinally evocative and thought-provoking lines are sung in a heartfelt way and are accompanied by simple instrumentation: a guitar and violins.
The remainder of this album dials the intensity back up to 11. Hale still has some things to say about pretending, forging your own identity, dealing with hate and other‘s efforts to change who you are. All these themes are dealt with in true rockstar fashion, as her attitude and delightful defiance are something only she can pull off. The tracks Bombshell, I Come First and Psycho Crazy don‘t let up and fire on all cylinders. They‘re well-produced and all a showcase of what Hale can do with her vocal range. Raise Your Horns clinches this album in true metal fashion, calling upon the audience to raise them high and creates a moment of unity that has burning lighters waving to the melody and devil‘s horns up in the air, as Lzzy Hale impressively shows off why she is one of the best female singers in the genre.

„Back From the Dead“ shines as a beacon of hope to those who haven‘t been lucky enough to ever experience a true sense of belonging and have been marginalised. It invites us to experience that feeling with Halestorm. From its hard hitting opener to its sentimental clincher, this is a journey worth taking and a formative one at that for Izzy Hale too, as her fans will gladly „Erase [her] name from [her] headstone“ and rejoyce in having their rockstar back.

Review: ★★★★★
Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/album/27Bw4tTQWjEv3jpp6ynGfu?si=0h01snOMQpOBqj5Zd77jcA

This track is delightfully theatrical. Like many of this band‘s works it is critical of a personality that has gone out of control and out of bounds. Big Dog starts with a bang and sets the tone that this is a song about a larger-than-life person. The lines „You are so sweet, I‘m a big dog / My feet bleed from dancing“ allude to an exaggerated life style of fame and subjugation, as the line „Lick them clean like you‘re my big dog“ make clear. The instrumentation drops heavy from the first bar. The guitars sound great on this one and the singer‘s voice sounds raspy like she fell out of bed after a night of heavy substance abuse. The lyrics are strange and familiar at the same time. Because they are about a narcissistic life style, as the lines „I‘m behind you, I‘m a big dog“ and „mechanical rabbit, let me punch you out“ allude to. A lifestyle on the prowl, hunting stuff down. The restlessness of this is mirrored in the instrumentation, as the tension is never resolved. Big dog is a track that hits hard and comes across as a confused romp right on the verge of a mental breal. But this is a compliment. Because this track is perceived like this, it gets the listener‘s attention and as absurd as the metaphor of the „big dog“ is, isn‘t it somehow rooted in our mundane reality? Since such larger-than-life personalities as is here portrayed do exist, their egos steadily fed by fame and success. This track is a fun listen and draws the listener in to some sort of desillusioned mood that is captivating enough to give this a repeat listen, in order to grasp the full meaning of the lyrics. It is a well produced track that brings across a very specific artistic vision and succeeds at that, while lacking true staying power or a message that goes beyond a very specific experience.

Review:
Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/track/1tj4Kq6N4WKmO04hlI4LzX?si=whEkGmWXQg20DA68FSYtsA

Romanticize The Dive is a difficult album to conclude on. On one side, it is an amalgamation of everything that has made their later work good; some of the best use of synths in the genre, Emily Haines’ great vocal range and this release‘s good danceability throughout, on the other hand, there are vocals that feel uninspired at times and too self-reflective for their own good, as well as a sense that this album is too sober and technical, lacking that creative spark that allowed the band to go off on a tangent in the past. The opener called Victim Of Luck starts with an invitation by Haines: „Let me take you back“, she sings, before her lyrics tell about the early days of the band, when she was a „starving artist“, as well as their hey day, when the band gained traction and its members were propelled into stardom. Wild Rut is a hymn to being an indie band, as the line „I don‘t say what they want me to say“ alludes to. Metric has remained independant throughout the band‘s existence and never signed to a big label. The song is well produced and the instrumentation acts as a driving force behind Haines‘ lyrics. Time Is A Bomb is a fun romp praising Haines‘ availability and willingness to be „down“ with stuff in a self-conscious and fun fashion. This situation of receiving an urgent call at any given moment is reflected in the track‘s restless moments. Crush Forever is a more contained, transitory track that leads into the flagships of this album: Tremolo and Moral Compass are stellar tracks that contain clever writing, infectious danceability and are among some of the best works by the band. As If You‘re Here is instrumented in a way that sounds very 80s disco, but is fitting. Antigravity shares this trait and sounds good. The production on this track is stellar, always supporting Haines‘ memorable singing. „Don‘t hold me back, don‘t be a head case“ is a fun way to start a chorus and the track only picks up from there, with Haines reaching for the high notes. Clouds To Break can be classified as good, but not very memorable. It is about reminiscing on the past and is more down tempo than the rest. The chorus hits hard and is beautifully sung, enveloping the listener in a warm sheet. Leave You On A High is the band‘s attempt to end an album with a bang. It is underwhelming at best, but brings this release to a close in a fitting fashion. Romanticize The Dive will likely leave you in two minds about it. Its middle part is very good and will have you have fun for sure and stays with you, while what surrounds it is a feeling that this has turned out to be an album a bit too sober and technical for its own good. While self-reflection is desirable in an indie rock band, it can overstay its welcome, which it did here. But if you‘re willing to look past that and bear through its weaker moments, this is still a very good, modern and well-produced album that fuses synths with guitar- and piano-play in a way only this band has truly mastered.

Review: ★★★★☆
Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/album/75oefoG5Cn2MbBc32uNPnu?si=-zJt3s4gTOe23zyViKkHZQ

Zig is an album that paints a very dark image of coming of age from beginning to end. The opener has a driving beat that will get the audience moving and the lyrics are closer to rhythmic spoken word than singing. The line „Life is a commercial for death“ clearly sticks with you the longest as it is both provocative and has depth. There is some distorted screaming mixed in for good measure. Knockoff is a materialistic track about the genuine, authentic stuff. It is about clothes and boys that „look like the real thing“ and have to „prove it“. It is another track that leans into a production style that is geared towards danceability and it does succeed at that. Flicker and Zig are the flagship tracks of this album and succeed at getting your attention with a catchy hook and will burrow themselves in your subconscious mind in an addictive way. These tracks have a heavy beat and instrumentation that hits hard. After those, Linger is a calmer, lighter track. Even though it is still a dark song about obsession and possession but Poppy‘s singing is more melodic here, as she reminisces about a „strange love“. Motorbike is a strange track about a fetish for women on motorcycles. As weird as it is, Poppy makes it kind of work, but it is clearly one of the weaker tracks on here. The clincher called Prove It is a track that is a bit too simply constructed for its own good and features high pitched singing, a piano and a build towards the chorus. This, the chorus, is beautiful and brings this album to an appropriate close. While not being the best work of this artist, it is a bit different from the rest, as it is focused on danceable bass lines more than on the mids, as would be usual. It can sound a bit flat at times for that reason, but once you have adjusted to its dark tone, some of the tracks have staying power and have ended up in many of the playlists that are put together as a showcase of Poppy.

Review: ★★★★☆
Reviewed using headphones: Sony WH-1000XM5

Listen on Spotify https://open.spotify.com/album/6A2IQLnp76gVz8OJLWWVxF?si=Z1euESAET8iVEIS_TKsCZg

What are your current favorites?