New Track Jukebox – 10/25/21
A jukebox themed weekly recap of notable new releases
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CONTRIBUTIONS FROM: John Peterson, Will Kirkpatrick, Angelika Gamwell, Erika Cutaia, Allison Beck, and Lindsey Hernandez
Add to Queue:
Hand Habits is a wonderful songwriter, and Fun House is an album that is both comforting, therapeutic, and bittersweet. In the track “Aquamarine,” Hand Habits creates an environment that is almost dissociative with their repetition of the question “who am I?” Definitely listen to this on an evening stroll or a quiet, introspective night in. – Angelika Gamwell
Boys serves as the first taste of the new Hippo Campus album and I have to say it makes me super excited. The song is reminiscent of their 2018 sound with a breath of fresh air. It’s fun, it’s hyper, and it’ll make you want to get up and dance. – Lindsey Hernandez
Wet is a must-listen for anyone into indie-pop. Drenched in reverb, her magical voice drifts over inventive instrumentals. At times dipping her toes into the corn-filled waters that all pop is subject to, Wet ultimately prevails as a powerfully touching and honest presence in the world of music. – John Peterson
Feeble Little Horse’s first full album release does not disappoint, especially for fans of the basement concert scene. Ranging from head banger, jam-band hits to softer, emotional ballads, the band’s range is not to be underestimated. – Allison Beck
Obviously an established master of colorful production, Helado Negro shows increased emotional depth with “La Naranja.” The song simply feels closer to his heart than the clutter of content he’s released previously. – John Peterson
It’s impossible not to lose yourself within the atmosphere that Liz Cooper creates time and time again. Shade’s songwriting centers around guitar rather than piano, lending a distinctly intimate touch to her already immersive music. With “Pale Interior,” listeners find themselves on the receiving end of a secret they were not meant to hear. Like a diary, Liz Cooper’s music is meant to be read by only her, yet we are all blessed to have an opportunity to glimpse at the pages. – John Peterson
I’m convinced that JPEGMAFIA never misses. This is a great high-energy album full of boundary-pushing musical choices supported by fantastic production. “REBOUND!” is a stand-out track on the album featuring DATPIFFMAFIA and will have you bobbing your head along to the beat from start to finish. – Angelika Gamwell
New 22° Halo? Pinch me. Ripple is fueling my anticipation for 22° Halo’s second album, “Garden Bed,” which is releasing on the 29th. The song creates a textured and dreamy landscape that feels like a brisk, gently-natured walk. It is simultaneously soft and spirited, gripping you with pauses that punch right back in. Immerse yourself in Philly’s finest. – Erika Cutaia
This new release from Gracie Abrams is rooted in layered strings and understated vocals. Aaron Dessner’s production makes the track feel approachable and meticulous at the same time, with gorgeous guitar picking reminiscent of Gracie’s early acoustic covers. It feels much more authentic than her bedroom pop EP, hopefully indicating a more grounded upcoming album. – Daphne Wong
Yeahhhh, you just gotta check this one out. Bittersweet songwriting meets an intoxicated and intoxicating beat. – John Peterson
Slap bass is usually unnecessary and indulgent. It’s a played-out gimmick that most legitimate bassists scorn as much as they admire. Still, the pulsing bass on “Theworstthing” reinvents the technique, commanding the rhythm section without distracting from the beautiful song itself. – John Peterson
Deerhoof delivers a characteristically hectic collection of songs with their latest album, Actually, You Can. The track list reaches a delightful respite with “We Grew, and We Are Astonished,” however, pulling listeners in with the hypnotic odd meter. Gently layered guitars rock back and forth with the harmonized vocals as the drums and bass bring a rougher edge that never oversteps its bounds. – John Peterson
Up for Debate:
As a jazz pianist, Alfa Mist’s available market has expanded with the subtle notes of hip hop that breathe into his music. He’s one step away from commanding the new wave of jazz in a very real way, but not there yet. Expect his name to be up there with Kamasi Washington in a few years. – John Peterson
I can’t say that this track is anything new from Aries, so if you’re looking for something fresh or unique, best to try somewhere else. Even though ONE PUNCH sounds like every other Aries song, he found a formula that works and I can definitely see this song being played at any party serving Natty Lite. – Lindsey Hernandez
This anthem about being a regular guy with stuff to do and fish to fry is summed up all in the title, regular. The song is fine, and it chugs along with determination. Hearing this live would be great. Naked Giants is a great group, and everyone should check them out. – Will Kirkpatrick
I love the 80s and I love spacey sound, so naturally, I have loved Black Marble in the past. “Somewhere,” I guess would be my favorite track off the new album, Fast Idol. It features the classic Black Marble recipe: synth, drums, the reminiscent feel of night life in the 80s, and reverbed vocals. But that’s the problem—it’s just the same classic Black Marble I listened to early on in high school. While I appreciate the consistency, I was hoping for something a little different and it just did not do anything new. – Erika Cutaia
The instrumentals are exciting and the fuzzy guitar is gritty. Jack’s incorporation of synths and other electronic instruments is interesting but feels somewhat out of place. The vocals are a bit “eh”: nothing special. It feels like a mid-2000s rock song that would be lost to time. – Will Kirkpatrick
Lush and soft, “The Solitude” continues the sonic landscape set up in 2019’s Bird Songs of a Killjoy. Nothing’s wrong, I just wish there was more experimentation. Though Bedouine has piqued interest, she has yet to captivate. – John Peterson
Get off the Aux:
One word you could use to describe Lana Del Rey’s latest album is loose. Another could be sloppy. In this demo-esque album, her voice simply cannot bring her off-kilter songwriting out of the depths of a college mixtape. I’m sure a lot of money was spent making this album, but it’s ultimately a creative detour resulting in a miss for Lana. – John Peterson
If I heard this at an electronic concert or rave, I would leave so fast. The Weeknd’s vocal performance, while usually something I appreciate, cannot save the pure bland energy seeping off of this track. Swedish House Mafia needs to learn that adding buzzing electronic noises that slowly get higher does not automatically make the epic beat drop that they think it does. – Angelika Gamwell
