New Track Jukebox – 9/13/21
A jukebox themed weekly recap of notable new releases
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CONTRIBUTIONS FROM: John Peterson and Samantha Sullivan
Add to Queue:
If we’re being real, the instrumental to this song is so good that it’ll make up for any grievances you have with the modern country music aesthetic. Honestly, give this one a shot. – John Peterson
Yebba Dabba Doo this album is so fire Fred Flintstone is scared of it. I don’t even know who to compare Yebba to: Amy Winehouse? Janelle Monae? Adele? Sam Smith? She’s got a sound all to herself and I’m telling you it is amazing.
No one has a voice like Moses. So it’s an interesting choice to heavily autotune something so magical and idiosyncratic. I think the risk pays off, however, especially in contrast to his less robotic overdubs, which sort of act as a group of live background singers. – John Peterson
There’s a certain (pun intended) charm to Big Thief’s recent round of low-fi releases. That being said, the demo-esque songs could benefit from stronger recording quality. It’s natural, it’s spontaneous, but it’s a bit too raw and cluttered.
A reverb heavy indie RnB ballad. What else do you expect from HOMESHAKE? It’s not meant to shock or wow, but it soothes and flows and reminds me of a park bench. – John Peterson
A pretty stunning and seemingly personal ballad about money’s effects and consequences. Keep an eye on Rachel Chinouriri, she’s gonna get much bigger than she is now. – John Peterson
I don’t care how many meme’s get made about Radiohead, they’re amazing. The slinking synths, cryptic lyrics, and eerie ambiance on this track further prove my point. “If You Say The Word” has an apocalyptic undertone that will send you into an essential crisis. – Samantha Sullivan
JOSE lacks the engaging sonic palette and strong songwriting of Colores, but finds new life in a more subtle and sincere sound. “La Familia” isn’t a song to perrear to, but it’s enjoyable just the same. – John Peterson
Lillie West is devastating. Over sparse instrumentals she sets out on a shattering quest for “the real thing.” Sleeping alone and wishing for them to follow her home, it feels like sheer disillusionment or the moment the world loses its magic. – Samantha Sullivan
I heard this when it was just a single and for some reason I wasn’t super impressed. With the context of the whole album, “Sorry” is definitely my favorite song of the week. SAD PARTY BANGER. – John Peterson
When’s the album dropping, yo. – John Peterson
This song radiates summer fling energy. With breezy vocals and a balmy bassline it feels like up-all night infatuation. Sun-kissed and steamy it will have you searching for your bikini. – Samantha Sullivan
Just a dope beat. The piano line has a similar chord structure to Anderson .Paak’s “Might Be,” which only adds to the appeal. – John Peterson
Up for Debate:
As impressive and engaging as Glass Animals’ production is, their songwriting has held them back. Even with a grooving bass and strong synth melodies, “I Don’t Wanna Talk (I Just Wanna Dance)” manages to remain flat with low energy vocals and a lifeless kick-snare drum pattern. – John Peterson
Top o’ the morning. Top o’ the morning. Top o’ the morning. Baby Keem’s newest project is full of simple trap beats that really rely on a powerful performance to keep listeners engaged. Unfortunately, Keem and Kendrick’s performance feels more like a novelty than something to be taken seriously. – John Peterson
Say what you will about Sir Edward Sheeran, he knows how to make a catchy song. Apart from the slightly awkward overly reverbed strings and the corny horn section, Shivers is a decent pop song. – John Peterson
It’s the same shit Los Retros always does. This time with less energy and more emotion. It’s a pretty lo-fi ballad that needs one or two elements to really stand out. – John Peterson
Get off the Aux:
As with 2018’s Golden Hour, star-crossed is an album full of compelling grooves, country sentimentality, and pop structures. Musgraves’ new wave country can only go as far as her songwriting however, which is not up to snuff. Her lyrics range from fill-in-the-blank simple to obliviously removed from the realities of everyday life. – John Peterson
