As with these musicians I highlight, I steer towards speaking positives more so than the negatives, considering they are flawed. They allow artists to have multi-dimensional depth and offer insight into strengths and weaknesses; with those weaknesses, fans will gather to follow the journey and eventually hear their growth. Fortunately, for an artist like Griff, her flaws are within this adjudicated realm where her strengths behind pure pop complexions aren’t as potent as when she weaves with her producers these unique concoctions that radiate and give us something fresh and memorable. Griff is an artist from Kings Langley, Hertfordshire, England, and her craft is something that doesn’t parallel many of the standard pop acts that push a faux indie-ness or glam identity with their music as opposed to coming off as more personable; it’s what makes her stand out more than some artists like The Kid Laroi and Zara Larsson, who don’t create lasting memorable hits and become afterthoughts after the first few limited hits. Griff, in some ways, is like them is flawed, but they are attachments to the music as we hear Griff sing more lukewarm productions.
My favorite work by Griff is her debut mixtape, One Foot In Front of The Other, which can tread some familiarity, but it’s a continuing growth that sees her applying more to the core textures of her sound that wasn’t so with her debut EP. “Heart of Gold” brings this radiating glitchiness into the production, subtly inserting itself in the vocals, which adds dimensions to a more simplistic construction beneath the verse sections. It has this personable 80s vibe, playing contrast to the bombastic compositions that got pop airplay, like what’d you think of when listening to some Haim records, just with a twist of earwormy catchiness that isn’t overly simplistic. One example is the song “Earl Grey Tea,” blending ticks and keys with moody synths to create this fantastic backing for a ballad-like performance that feels cottage-core. “Black Hole” contrasts that with something more bombastic, though not like the levels of Eddie Money’s “Take Me Home Tonight,” but more like if an early Billie Eilish song had more balance than chaos. Much of the production treads a safe line, not to palliate and overdo the compositions, instead finding a flow with concise in-song transitions. Griff expresses glee, heartbreak, and identity on my favorite off-the-tape, “Shade of Yellow.”
Griff has more of an identity, one where she’s showcasing her tender R&B laced vocals with more grand pop compositions, pushing outside borders like what Raye, Jorja Smith, and Joy Crookes do. It makes it clearer to hear where Griff fits among this plethora of female artists who have been cultivating their sound to be unique, and she does so with how the pop beats feel nuanced and vibrant within the expansive world of pop. Griff could best be described as Dark-Synth Pop meets R&B/Electronica, but she can be more than that; however, when she treads back toward more standard club/synth-pop (on her mixtape) you’ll notice that she follows similar patterns to maintain relevancy, even if they are at least somewhat adventurous. It gives you some equilibrium if you get enticed to hit that shuffle on her artist page on whatever streamer you use after reading this—from her Mirror Talk EP to her newly released Ver2igo Vol. 2, there is so much to hear from Griff; especially her last two EPs, which showcases two sides of Griff with sheer focus.
I would want to speak more on these new EPs, but I love the mystery more, meaning having you go into these newer EPs with a sense of wonder about what you will get compared to what I explained about her first two projects. I don’t write these pieces to push you away from an artist, I want you to explore like I do and keep discovering new acts that may become new faves. I have loved a lot of pop music coming from the UK recently, and Griff is another addition to the fray of pop acts who have held memorability with their releases over the last few years. I hope you get something from Griff, cause I know I did and she will remain one of the few memorable finds of the 2020s for me, and I hold no regrets because the music is that awesome. Give the tapes a spin, and let me know what you think in the comments.
Though I’ve been more centered in electronica when expounding on artists I’m loving in these mini written, that doesn’t mean I ignore other realms of music; I ventured with my love for the music of Young Miko last year, and now, I’m here to talk about PaoPao, another reggaeton artist who is finding her place in this path towards stardom. Having been a songwriter for artists like CNCO and later winning a Latin Grammy in 2021 for her work, PaoPao or Paola Nicole Marrero Rodríguez, is everpresent, and as others have written about her, like Hola.com and Rolling Stone, one aspect of her artistry that’s mutually admired is her lyrical bluntness, specifically with the feeling of sadness and being okay with it. It’s a hive mind that shows how PaoPao reaches new heights by being herself and creating these authentic songs, even when they get a little cheeky, like with their self-titled song that explores her identity while subverting expected tempos and vocals. As an artist, PaoPao easily maneuvers between reggaeton and alt-pop, creating immersive and delicate songs expounding on her strengths with sheer power and worth the time immersing yourself.
PaoPao doesn’t have a one-track mind toward sound—which can be present in many genres, like with BoomBap raps, and thus it’s down to the artists to forge their own identity with flows and lyrics—she brings varying elements to which beats she chooses, which keeps me returning, making the music something different and unique and not like the recent J Balvin collab with DeLaGhetto and Jowell & Randy, which treads towards familiarity. PaoPao, beyond looking at her bluntness, subverts, in her way, what one expects from the genre blends. It resonated with me potently when I started playing her EP from 2022 on loop almost all of January. That EP, diamante$ + espina$, doesn’t shy away from being original, even when it isn’t all perfect, like her new one, la nena de un gang$ter – EP, which blossoms by continuing to show what iamante$ + espina$ did, yet I still find myself returning to the first EP. PaoPao concentrated on moody reggaeton tracks, where the assimilation between the two has more synergy than some of the forced moments on Bad Bunny’s last album. With “Gatx,” the percussion breaches into this unique hybrid between dubstep and rock as one great example of such, amongst others. Though there is a reggaeton base, it develops much beyond some of the rhythms in the strings and synths, making them have their own identity, like “Como Siempre” and “n la disco.”
PaoPao’s self-titled track is another that subverts expectations with what was delivered prior. When looking at iamante$ + espina$, much of the music before “PaoPao” has these unique directional high points that make you skirt by some of the more linear productions that don’t get swaddled down to mediocrity because of the distinctive flows and melodies delivered by PaoPao. She can warp her singing to be more demonstrative to keep you on your toes, and that’s what she does with “PaoPao,” where the singing comes with ferocity to showcase how she feels with an empowering FU, allowing for the nuanced quality of other songs to hit stronger than before. Two that come to mind swiftly are “ea diache” and “cuenta,” which play looser with the melodies and other intangibles that allow them to stand out amongst the fray, mainly cause of PaoPao’s lyricism that takes directness seriously. Though the content treads towards some familiarity—i.e., talking about relationships or habits that overpower her in certain situations, like with the powerful “noches largas, faldas cortas,” where, alongside the lyrics, has this fantastic, bombastic percussion heavy production.
PaoPao is one to watch. In my review for RaiNao, I noted how hyperbolic we can be with these emerging artists, and though it can be beneficial, it could also hinder; fortunately, I can say PaoPao has the makings of a star, especially with her unique cadences and aesthetic delivering potently through her music. She has this punk rock core to her image that doesn’t translate outside of the sad and blunt music. I enjoy writing these blurbs, and though I don’t go too in-depth because the experience is worth more than just some words describing the music. I implore you to do so because the music is amazing and worth your time.
Allow me to reintroduce myself; my name is KEVIN–K to the E V—I still write bars down all week–N’ I’m still here for more words all year long. Alright, I’ll admit that line was corny, but I like having some fun; it’s why I try to keep some personality when writing my reviews, but as I reach my third year with this blog, I’ll be having some minor changes, specifically in the scoring system. I will be downgrading from out of 10s to out of 5s, and as such, I want to take the time to say, “Thank you to all the readers out there.” I know I’m just some guy from Jersey who loves to talk about music and share that with those who love to get perspectives from various angles. Thank you for sticking by me all these years, and I hope the content I put out keeps you engaged with every sentence.
It’s past that time of year when publications feel like December is a month filled with nothingness, and end-of-year lists appear like Christmas ornaments at your local store in August. But sometimes gems appear, and they round out what made 2023 a powerful and wonderful year for music. This year didn’t see that much, but as it goes: here’s my list for 2023.
25. THE ACES – I’VE LOVED YOU FOR SO LONG
“The Aces don’t forget who they are and what makes them so distinct beyond treading genre lines of Synth-Pop. Throughout their career, they have been tackling varying dimensions of pop, whether internal or external, as they establish a base without gender being a tag and becoming something unique on their own. They’ve built a base with intricate sonic layering, bolstering the contextual identity of the production, allowing them to separate from some of its simplistic percussion and string patterns, which becomes slightly less apparent on their new album, I’ve Loved You For So Long.” Link to Review
24. SKYZOO & THE OTHER PEOPLE – THE MIND OF A SAINT
“Like Black Trash: The Autobiography of Kirk Jones, Skyzoo keeps the narrative in constant motion, keeping the aesthetic realized from production to the verses, and never breaking character, keeping the swagger intact. The Mind Of A Saint is effusive and personal, at times expressing that sly coldness that comes with one’s own comfortability flexing this kind of success at the expense of the common folk and their addictions. It’s raw and honest, making you zero in on the nuances of his bars, and it starts to hit you in the middle as Skyzoo brings Franklin Saint to life, and keeping it real – the tracks, “Straight Drop,” “100 To One,” and “Bodies!” It doesn’t stop there as it continues toward a strong ending. Unfortunately, not all tracks are dense, as some allusions to interactions in the show can leave you with questions; it’s a positive that it’s significant enough to possibly influence one to watch it as it did with me.” Link to Review
23. ANIMAL COLLECTIVE – ISN’T IT NOW?
“Isn’t It Now? delivers balanced musical sensitivities between orchestrations without walking down the road mostly traveled on occasion. Much of it comes in the first half, where the quality is at an all-time peak; it gives the writing and vocals the free range to work around their creative avenues. It becomes a resounding comfort as you sit back, unwind, and let them paint these beautiful paintings within the moment. Some of it is oblique and interpersonal with its allusions to certain moods and feelings, and others are modestly more direct, like “Magicians In Baltimore,” where they focus on actualizing this sense of homeis where the heart is. In it – like “Soul Catcher” – the creativity flows through with these unique conceptions and reference points to bridge meaning.” Link to Review
22. JEEZY – I MIGHT FORGIVE… BUT I DON’T FORGET
“Unlike previous albums, Jeezy’s coming with high ferocity in a double album with no features (take that J.Cole). At 29 tracks and 87 minutes, Jeezy offers a more focused project that sees more reflections than flexes, further allowing us to get deep inside Jeezy’s person and mind to understand the trials and tribulations up to this point and the rewards from the positives. It isn’t perfect, especially with its slight bloatedness coming from tracks that modestly parallel, making the length feel overcooked. Unfortunately, it can be so with double albums, yet one inherent plus is the construction, “one for the fans, and one for me,” with the latter having the most significant impact.” Link to Review
21. JESSY LANZA – LOVE HALLUCINATION
“Continuing the course of techno-pop and electronica, Jessy Lanza showcases a hold of her style in essence through these whimsical vocal performances and lovely productions on her latest album, Love Hallucination. When speaking on her sound, it’s hard not to find yourself captivated by the melancholic bliss guiding you from beginning to end. Its central fuse is its percussion acting like it’s open to the world, becoming expressive while retaining this charming timidness, where the softspoken vocals weave complex yet relaxing depth. It almost leaves you calmed as some songs begin to sync and feel slightly homogenized between synths, and you get lost in a zone. ” Link to Review
20. BOYGENIUS – THE RECORD
“At 12 tracks, and 43 minutes, the record flows with a crisp and smooth pace that your first few listens will feel insightful and rewarding. This sentiment goes tenfold for fans that get these artists’ styles, especially as you hear about their growth since their self-titled debut in 2018. It doesn’t matter who you are when approaching the music because it speaks for itself in quality and through poignant and resounding poeticism. Whereas they construct these narratives with clear prose, the way it bridges together allows it to have these defining moments within the vocal performances, especially in the choruses, which balances the performers on the production and lets them feel enriched as they deliver it to you. But as you sit there, reflecting through all of it, you see the brilliance within the music as Boygenius produces a fantastic debut.” Link to Review
19. TAINY – DATA
“Tainy was one of the first significant producers I started to follow within Reggaeton. Since then, he has had a consistent pouring of production and has easily transitioned through eras with evergrowing musical ambitions that have shown us Tainy can do more than we know, which is precisely so on his album Data. We hear him shifting away from what his usual artists aim form – though sometimes sonically overlapping with past beats – and has them fine-tune and work with the artistic direction he goes with here. Tainy is finally letting the chains loose and producing something more experimental, elevating the predominant Latin sounds to new heights. He’s taking what one thinks about when they hear Reggaeton and shifts the conventions, whether through a beat switch or his direction of the music, like how he opens on a low note before hitting you with a wave of fantastic synths, drum patterns, and remarkable performances.” Link to Review
18. BLINK-182 – ONE MORE TIME…
“I’m guilty of succumbing to the nostalgia and instantly hyping myself up to get disappointed with the outcome; that was the case with last year’s Swedish House Mafia album, where sometimes you miss something formidable, and then you’re left picking up the pieces. That continues with the new Blink-182 album, One More Time…, which does more than remind us of the three talented goofballs who contributed to redefining pop-punk for the 2000s era and establishing themselves as a powerhouse – granted, it came to an end when Tom DeLonge left, came back made Neighborhoods and left again; they didn’t change their identity much since, but Tom’s return made this comeback have a broader appeal to nostalgic sensitivities. Fortunately, they return without missing a beat, delivering something that will have people of varying generations reminiscing and losing themselves to the music, even when it’s of teetering quality.” Link to Review
17. LARRY JUNE & THE ALCHEMIST – THE GREAT ESCAPE
“ Within Rap music, we have artists with the viscosity to deliver many projects throughout a 12-month span. There’s Curren$y, Boldly James, Papoose, Termanology, and G Perico, to name a few, but on the opposite end of the LA coast where G Perico hails from, there’s Larry June from the Bay area of California. Entrenched within soulful vibes, it becomes a guiding principle that boasts the production’s eventual turns as we get hints of refined melancholic sounds, which places a board for June to deliver visceral lyricism akin to his world. That’s what we get with the resoundingly beautiful The Great Escape, an album collaboration with famed Hip-Hop producer The Alchemist. Considering the hype behind both artists, it’s safe to say that the album delivers and then some; it keeps a smooth vocal cadence throughout, immersing the listener within the transparent sounds that push the writing to the front. ” Link to Review
16. THE FRONT BOTTOMS – YOU ARE WHO YOU HANG OUT WITH
“The Front Bottoms have a constant tangent of songwriting that travels varying avenues that feel more grounded than most rock and pop songs that value love and relationships as this emotionally gripping fairytale-like compound that needs to get expressed in various ways. Best described as a blend of folk rock, indie pop, and alternative rock, The Front Bottoms have kept their presence afloat with songwriting and tracklist construction; throughout the years of listening, ever rarely did I feel an album’s transition felt stagnated, despite not every song gliding seamlessly through the air with greatness. Their newest album, You Are Who You Hang With, brings introspection through unique narratives that focus more on being and understanding instead of lamenting over oversaturated themes like love or partying. Here, The Front Bottoms are letting themselves feel as free as ever, weaving together genres and creating this outlandishly grand venture that feels slightly philosophical without intention but packs a punch when it’s all said and done.” Link to Review
15. THE BLAZE – JUNGLE
“Like their first album, Dancehall, it doesn’t take long before the production puts you in a zone without shifting toward something more obtuse beyond a consistent breadth developing through the percussion and synths. You get this quick whiff instantly as Jungle opens to a track resembling something from an early 2010s Bon Iver or STRFCKR album; however, its production shifts the parallel further from it. The vocals are airy and coated behind this screen of atmospheric electronic textures, which creates a nuanced take on pop and French House, almost taking it as a guiding principle and establishing sounds that accentuate with cadence. Whether it’s on the opening track “Lullaby” or the subsequent “Dreamer” and “Lonely,” it separates itself from the production, becoming its own thing where the landscape shifts between being more percussion or synth-focused. While it establishes its core direction, one can easily get lost in its vibe, but as you swim through the ten-track album, it’s like exploring new avenues of rich sounds.” Link to Review
14. FOO FIGHTERS – BUT HERE WE ARE
“For many, the notion of loss is difficult to tackle when facing it head-on. Foo Fighters know this, and through the meticulous crafting created since the passing of their drummer Taylor Hawkins, and lead singer, Dave Grohl’s mother, nothing will stop them. It transfixes you with how they come together and tightens the familial bond as the music gets crafted. Despite the darker subject matter and instrumental subtexts, the Foo Fighter’s new album, But Here We Are, grips you with the sheer emotional force of the vocals detailing these stressors, these emotions that linger after the passing of a loved one. Its title comes off as defeated like they don’t want to be around the drum set since the reminder of Hawkins will be everlasting. ” Link To Review
13. KILLER MIKE – MICHAEL
“Aptly titled Michael, the album contains music pertinent to Killer Mike’s upbringing, the visualizations of the truth – where he takes note and relays the bias-racial divide – and flexing without regressing to the means of typicality. It’s awe-inducing – keeping me on my toes. There aren’t genuine moments where I found myself detached from the music, though minor inconsistencies have left me yearning for a tighter album, like its pacing, which begins to teeter slightly after the mid-way point. Yet, as I kept it looping, there weren’t moments I disliked, despite being a little flawed. Michael sees Killer Mike triumphantly returning as he rounds the bases with some illustrative music that you can overlook the minor missteps.” Link To Review
12. CAROLINE POLACHEK – DESIRE, I WANT TO TURN INTO YOU
“From “Welcome To My World” to “Sunset,” there is a burgeoning desire to let it all loose as Polachek builds upon pop traditionalism like the Trip-Hop controlled “Pretty Is Possible” and the summery “Sunset,” which incorporates more Spanish, Italian, and Romani melodies. Polachek, along with co-producers Danny L. Harle, Sega Bodega, Dan Nigro, Jim-E Stack, and Ariel Rechtshaid, keeps it consistent with steady tones to keep its themes focused on its impact when a track closes. Harle and Polacheck produce a bulk of the album collectively; however, what others bring, is this vibrant sense of direction, no matter what gets set up at the base.” Link To Review
11. BLONDSHELL – BLONDSHELL
“Much of the album’s greatness comes from a consistent balance between vocal performances and production, especially when the leading artist is more of the singer-songwriter as someone else produces. Though Sabrina Teitelbaum’s input into the composition is here and pivotal, producer Yves Rothman brings it to life, allowing us to hear these multi-dimensional songs carrying viscerally raw emotions. Whether it’s dreary and dark like “Salad,” where Teitelbaum sings about contemplating murderous revenge on a friend’s abusive partner, or somberly speaking on sobriety and relapse on “Sober Together,” the way these tracks’ production contrast each other shows depth between styles. Though these have their own sense of being and flow, keeping in tow a consistency of sound, the more rockified pivots with “Veronica Mars,” “Sepsis,” and “Joiner” boast the angst within, letting feel entrenched with her emotions, allowing us to feel the kinetic synergy between the two as you fall in love with captivating aesthetic and melodies that are occasionally more deadpan than vibrant, but fits her true sense of self.” Link To Review
TOP 10 OF 2023
10. OVERMONO – GOOD LIES
“Overmono’s debut album Good Lies is full of rich textures, encapsulating breakbeats and some fluid songwriting as they continue to showcase the range and potency of their music. Like most dance/electronic music, there’s usually a bridge between tones, allowing sonorous self-reflections to exist within a zone of dance fever. The synchronistic connectivity the two have comes from this notion of dancing your problems away, and it does so without being so black and white. There’s depth and nuance within the productions that you’re inhabiting a new sphere of music where vibes are there to get you elevated, but at the same time, intaking these rich layers of sounds that make the whole electronic genre more than just something to dance to.” Link To Review
9. AVALON EMERSON – & THE CHARM
“Going into & the Charm, I knew little, having only heard Avalon Emerson’s DJ-Kicks album, but as I kept digging and exploring the caverns of these nine songs, there wasn’t a moment I was bored. It’s captivatingly consistent in vibe and tone, circumventing genre exploration for a direct flow. It’s nontangential, but that isn’t to say it lacks depth. There is a lot moving with greatness, from the lyrics to the performance; it opens the door for it to become realized with a sense of personable relativity. I couldn’t recommend this more than the score I give. It was a significant surprise for me, one where I didn’t want to press pause, so there is no denying this is staying in my rotation.” Link To Review
8. DANNY BROWN – QUARANTA
“Throughout Quaranta, Danny Brown brings some nuance to it. It’s a well-rounded flow of greatness that seems to continue feeling like a given for Danny Brown’s solo work in album form. I was a major fan of the album, though it may not be one return to because of the subject matter, but that isn’t a detriment as it just means the album is more centered on a mood and can’t just be something played casually like “Detroit vs Everybody.” Give Quaranta a shot; it has some juice that delivers while letting you hear his identity beautifully.” Link To Review
7. RAYE – MY 21ST CENTURY BLUES
“Raye is a reminder that music is starting to transcend beyond getting defined by a monochromatic-core genre. We’ll still see artists releasing genre-specific albums, but Raye delivers an impactful review that is off in varying lanes on her debut, My 21st Century Blues. It goes through various avenues of styles, and often, you’ll get caught by surprise. One minute you’ll hear Raye rap – the next, she’s delivering a stellar dance-pop – then some trip-hop or house, it’s a treasure trove of limitless possibilities, and it gets boasted by a poignant personal narrative she takes us through. She sets up this intimate setting – we hear her get up on an old club stage, speaking to an audience before embarking on a significant musical journey that makes us dance, feel, and witness harmonious brilliance in effect. Creating this visual allows the shifting sounds to come with a positive punch, further making you love how fantastic this album is from front to back.” Link To Review
6. PARIS TEXAS – MID AIR
“When I first wrote about Paris Texas (Louis Pastell & Felix), the LA Hip-Hop duo, I was left in awe by their aesthetic and approach to rapping, building, and boasting a successful hybrid between Rap and Punk-Rock music. It buoyed this unique aesthetic that has become reminiscent of individual methods reflective of some others – think JPEGMAFIA, Gorillaz, or Rage Against The Machine – you get something special with their debut album Mid Air. It’s an album with focus, steering towards more of an alternative approach, elevating the range between the organic instrumental synergy with the strings and drums and ones that bring hardened elements that bolsters the manic energy ferociously. Burgeoning through fantastic songwriting and a keen ear when co-producing tracks with other producers, my fondness for Mid Air exceeds expectations, especially when songs don’t blare with similar notes heard on their mixtape Boy Anonymous.” Link To Review
5. JAYDA G – GUY
“Guy is magnificent. It’s leveled with a sense of triumph as Jayda G constructs with her co-producers; this extraordinary and entrenching journey into what she compartmentalized while watching and reading her father’s diary entries. It left me looping it constantly without being dissuaded from continuing through to the end. The stuff that didn’t work for me is so minimal that I can’t really take a lot of markings from what I feel, and I feel this is one of the three best albums of the year so far! With a sonic construct built around the lyrics, you get more focused on what Jayda G wants to say instead of how she wants you to groove, and despite having some equilibrium between the two, I found myself contemplating more than dancing.” Link To Review
4. JULIE BYRNE – THE GREATER WINGS
“Predominately written by Byrne, except for “Flare,” where she got collaborations from songwriter Em Fontaine; she writes about her grief after losing Eric Littman mid-production of The Greater Wings. I noted it in the opening paragraph, but it isn’t all low and sad, as she’s looking back on the positives and how his presence won’t ever leave her. Byrne writes through different paths that help us understand the lingering sadness, but the clarity of the next day where she can continue knowing everything they shared never got forgotten. This notion is heard beautifully in “Portrait Of A Clear Day” and “Moonless” – where the former speaks more about acceptance, the latter has us visiting this tender moment they shared in a hotel. It’s an encompassing mood, like writing as if she wants to feel the sun on her skin on “Summer Glass” – a sense she got from listening to the arrangements of the synths. Acceptance runs deep within this album, and it ends with a triumphant mark where she sings about his essence staying with her and this understanding that their connected story speaks more prevalent than theirs, individually. It honestly left me teary-eyed.” Link To Review
3. ROMY – MID AIR
“I won’t front; I love Mid Air by Romy, but it’s because it’s more than just a dance/electronica/pop album; it balances two contrasting ideas and grounds them between different aesthetics while still keeping depth in its writing and vocal performances as the latter becomes an angelic motif throughout. I’m fond of electronic music of all varieties, and albums fluctuate in style, as not all get personal or in-depth with the writing and performances; some are subtle and nuanced since the sonic molds surrounding them are the energy one relishes at the nightclub. Mid Air is more of what I had mainly steered towards; the singer-songwriters who do it both because they have much to say and use this medium to get it across since, after all, it has the space to expand the mold of your sound while staying tangential. That isn’t to say I dislike more straightforward DJs, but there is something to these artists who add definition and more direct personality. Jayda G did so with her album Guy this year, and Mid Air does so with more potency and memorability; Romy’s singles set that mentality, and it delivers.” Link To Review
2. SOFIA KOURTESIS – MADRES
“Madres is that one album this year, within its genre, to keep me engaged and surprised at every corner. It isn’t some perfect album where all its tangibles get delivered at this high degree of conscientious fortitude, where you get left guided by the vocally emotional and sonically tonal dimensions that offer something more than its surface. It has some instrumental tracks that sway from internalized vocals that make sense of what one should feel, and instead, opening up the floor for an entrenching time that leaves you juggling these fleeting moments with more attention. Listening to these instrumentals offered this distinguishable break that helps you bridge between soundscapes, like that of “Cecilia,” which smooths over some lavish synths and drum patterns—reminiscent of classic house music—before hitting you with something more lucid and commandeering.” Link To Review
1. DAUGHTER – STEREO MIND GAMES
“It’s been seven years since the last time Indie Folk/Rock UK trio Daughter released an album, and that absence has been felt; exponentially so, as I went through listening to Stereo Mind Game. They have returned, bringing visceral orchestrations and vocal performances centered on atmospheric tendencies without diluting the lyrical depth driving its poignancy. Thematically focused on directional emotions deriving from moments you reflect on loved ones you miss or separation of self when balancing who you are, for example, taking you on a smooth and respective retrospective journey of enriching sounds. In some ways, the album covers niche grounds where it blends aspects of alternative rock, shoegaze, and dream pop into a lyrically heavy concoction while leaving out catchy pop conventions so you’re engaged through other avenues. It delivers these profound moments where you can stop but keep it playing on repeat as you get entrenched within the confines of its fantastic production and relatable songwriting that will have you returning again and again through that connectivity.” Link To Review
I was once one with the people of Whoville, then I became a slight Grinch, but as I’ve become a modestly more cynical adult, I share my indifferences; however, the music reigns supreme in my head—from the various pop megahits to the enormous array of orchestral piano ballads and jazz wonders that have kept the spirit alive throughout December. I love Christmas music—aside from the recent pop hits ingrained so egregiously in the zeitgeist. Unfortunately, Hip-Hop and Christmas haven’t seen much pop crossover, with the iconic track still being Run DMC’s “Christmas In Hollis.” We’ve had “Christmas In Harlem” by Kanye West, Cyhi Da Prince, and Teyana Taylor, a random Christmas song by Lil Jon and the Kool-Aid Man, and most notably within the Hip-Hop community, Gucci Mane’s varying Xmas theme album The Return of East Atlanta Santa, a follow up to an iconic mixtape, East Atlanta Santa. However, there is more than meets the eye within the world of Hip-Hop and Christmas, like Snoop Dogg’s “Santa Claus Goes Straight To The Ghetto” and Eazy-E’s “Merry Muthafuckin’ Xmas,” Ludacris’s “Ludachristmas,” and so forth, but for me, my go-to has always been the work of Cookin’ Soul.
Cookin’ Soul is a production duo from Spain, two DJs who go by Big Size and Zock, and one thing they have done so excellently throughout the years has been making remixes and mashups of songs from revered Hip-Hop artists. They have an exquisite grind, delivering so much work, so it’s no surprise that their tapes are some of my most replayed, especially around the holiday season. They have Merry Little Xmas, Ready for Xmas (A Biggie Mash Up), Stockin Stuffers Hood Xmas (an album with Smif-N-Wesson), Wu Xmas, A Tribe Called Xmas, and Doom Xmas, and to be frank, these mash-ups are incredible, or rather, that’s is what I believe. Cookin’ Soul repurposes the beats and interconnects some distinct Christmasy overtones to bring forth that feeling. With A Tribe Called Xmas, they rework the “Butter” beat from The Low End Theory and bring some sonic influence like the twinkly bells and subtle orchestral notes akin to the elements we hear in older and modern pop Christmas songs. It’s a fantastic mix that gives the best of both worlds and gets done effervescently. It’s been the case since the first mash-up I discovered, and still love, Ready For Xmas, the Biggie collab.
One of the first songs on Ready For Xmas is “WHAT did I Want,” which incorporates a lot of original notes to boast an atmosphere equivocal to that of sitting in warmth in front of a fire as it snows outside over a base percussion taken from “The What” off Ready To Die. It tip-toes more toward originality than merely repurposing, but it does so as you notice the flows align with what gets added, making them feel like their own thing. It’s about quality, and they deliver such, making them such fantastic listens. Cookin’ Soul is more than just these tapes, as they have produced and retained semblance in Hip-Hop producing for many artists. They bring a much-needed balance for these many songs made throughout the years that haven’t had much of a presence since, like “Ghostface Xmas” by Ghostface Killah and “Jingle Bellz” by Jim Jones, two artists I love, but these songs have nothing compared to the beautiful mixes/mash-ups Cookin’ Soul makes. It may sound overly glowing, but I remember how seminal the Biggie mash-up was for me in 2012 when Xmas traditions changed, and everything felt new.
I’m writing about this because I just want to spread the glee this music gives me, and I hope it does so for you. The mash-ups are whimsically snowy, and the rhymes stay fresh as ever. I can replay the Biggie and Wu-Tang one for eons, and hopefully, that same love reflects on you. Give their Christmas Mash-Ups a spin and see how dope it really is. You can get all of them on their YouTube and wherever they have uploaded for download, which can get found on their site or YouTube descriptions.
This year has been slightly stagnant with my write-ups about artists I’m discovering and vibing with consistently. I remember making a decree saying I would try to write more frequently about them, and though that is true comparatively, I feel like I’ve done almost enough to warrant what I said so far this year; however, as much as I look back and feel like I haven’t been so outright with new write-ups monthly, I know people are reading and taking my recommendations, whether I’m informed or not. Music is love, and spreading what I love is all that matters; I’m here to continue delivering more recommendations, like today’s piece on Finnish DJ/Artist Yotto. His presence has been pertinent throughout the years, and my discovering him now goes to show how much the lot may care for Coldplay, as one defining moment in his early career was being hand-selected to remix “Adventure of a Lifetime;” from there, his artistry grew despite being a name stay in the electronic music sphere, specifically with his appearances at prolific festivals like Tomorrowland. And man, I’m just excited to talk about his work, so here it goes.
When I began delving into Yotto’s work, it was more stagnant instead of being linear: a few mixes here, some remixes there, and extended mixes elsewhere – eventually, I took this step back and listened to what was getting crafted; I knew this was special. Yotto’s music delves deep within the confines of House and Deep House music, occasionally branching off into more downtempo sounds. But Yotto’s output is crazy, and the work in an extensive repertoire is ear-popping and dance-inducing. That’s what hit me instantly when I started with his more fluid and, at times, rudimentary Hyperfall, though in hindsight, I will say I was very much of a fan, even if the work after it is something I latch onto more. He has an ear for cadence, where his will to find unique, danceable melodies in the ever-shifting BPMs of the production showcases the masterclass of which these DJs/Producers/Artists can weave through songs that are instrumentally focused instead of vocally balanced. The instrumentally heavy grooves are what I attach myself more to, as these club-pop songs don’t shift the parameters of the meter since the vocals tend to mirror what seems more apropos with the electronic genre as a whole, except for the recent Romy album.
Yotto’s 2021 release, Songs You Might Remember from Some Parties, is one of those albums that is instrumentally focused. It opts to unravel through these hyperactive synths plugging through subtle percussion, keeping a steady tangent afloat as you become engrained with its sonic structures. Though it has some predominantly faint vocals, they add depth to the music, as if they are this ominous chant that keeps you zoned into the groove while it toys with different approaches. It has been a cornerstone to Yotto’s craft, whether in live mixing/performing or producing, and as highly regarded as I have Songs You Might Remember from Some Parties, Yotto’s tenacity and talent for this instrumentally heavy direction have been there from the beginning, like with his North EP, where the percussion comes on high alert, maneuvering through the synths and finding equilibrium between the different complexions and tones. It makes listening to the progression of his music much more awe-inducing, especially with the kinetic energy he brings to his performances and the mixes he curates for streaming.
One thing DJs do that I love – I thank Cercle for expanding on it – is the mesmerizing performances in more glamorous locations, offering us aerial shots from different angles and getting the listener emersed into the aesthetic and overall vibe. Yotto did so with a snowy Lapland, Finland, where the trees glisten with fluffy white flakes and the contrasting lighting between different elements, like when you fly through over the river in the video. Additionally, Yotto’s b2b sets are available on the Anjunadeep label’s YouTube channel, and like the varying sets I’ve seen, they are equally great. Though different from what comes from an album, his ease and cadence in performing are always fun, even when the venue is more limited and austere, which I think offers a better glimpse at their talent on the boards. It makes it worth putting it on YouTube and letting it run while you get going on your stuff or kick back and get yourself in a groove on those nights alone.
There is one final project I’d love to recommend, Erased Dreams, his downtempo-influenced direction that encompasses a world and takes you there. The production is like a canvas filled with different art styles blended to create this unique journey through lowly synths and luscious percussion that does enough to keep you in an astral plane where the canvas displaying this world makes it feel actualized. I felt myself gripped to the soundscapes, allowing myself to take in everything, furthering my connections this realm created by them. It had me bent back and wanting to get more from him while in this realm, this trance. But as it was with previous albums, his second official album, Growth, is more dance and clubby while still retaining some of his core tendencies with the elevated synths; it offers an intriguing contrast to it all. There is only so much one can say without throwing out a word salad, so it’s your typical try it as you may find yourself loving his craft. Yotto has so much it’s fun to dig in and expand. I hope I’ve done my job and you get as much enjoyment out of his work like I did.
IT’S BEEN A WHILE SINCE I SPENT THE TIME TO TALK ABOUT AN ARTIST FLOODING MY EARS WITH ENERGY AND I’M BACK TO GUSH ABOUT ANOTHER ARTIST, UK DJ Elkka.
It wasn’t long ago when I first discovered Elkka. It was via a brand new and her first DJ-Kicks, a series of mixed albums by varying DJs and Electronic artists; it feels more of a blessing. When I hit play on this new Elkka, I knew I was in for a rewarding journey of House-based rave-influenced euphoria. I later went to her EPs and singles to get a sense of her artistry from the other side of the spectrum. It’s one thing to mix tracks and create a rhythmic juggernaut that comes with transitional ease between different sonic complexions; having a sense of originality with your production is another, and Elkka excels at both. I might have ended up more privy to the former – especially after sitting back and listening to the whimsical house and, at times, trancey influences within her craft, like on her Beats In Space Mix, creating this sense of danceable hypnotism without an overreliance on vocals to craft a memorable melody. Some songs that are a pure embodiment of what I’m reflecting on are “Every Body Is Welcome” from 2019 and “Morning Fuzz” from 2021, but no matter the route you choose to go on for this journey, I hope I won’t steer you wrong as Elkka is someone watching.
Since switching from writing to producing in 2016, Elkka has been changing her landscape for success via growth as a producer and co-founding a label with her partner, Alex Lambert, focused on inclusivity toward the queer community, empowering them to spread their wings and create. As someone who is part of the community and is gay, Elkka is doing wonders to continue striding toward higher plateaus, and part of it comes from having a presence in music, which she has in continuing to play festivals and more. Additionally, the label curates playlists of their artists while distributing their artists’ work and giving fans the option to purchase from their site; frankly, I love that B2C option as streaming is still flawed with the plays-to-sale ratio. Check out their latest playlist below.
Elkka additionally has signed with Technicolor, a subsidy of Ninja Tune, the UK label that has been a platform for Brainfeeder, aka Flying Lotus’s label, and other Electronic artists whom I’ve spoken about prior, whether through reviews or miscellaneous. It isn’t a predominantly Electronic-Centric Head Label, as they have continued to sign and deliver great acts like BICEP, Bronson, Floating Points, Jayda G, Black Country New Road, and Kamasi Washington, to name a few, so it wasn’t a surprise for me to see them backing and bolstering Elkka’s presence in the electronic scene. Though one shouldn’t hold Record Labels in such high esteem, sometimes you have to take the jump with one as consistent as them, especially since Elkka is predominantly an instrumentalist DJ, whose tangential connections come from this ability to keep a consistent motif while differentiating the instrumental layering. Elkka takes different avenues with her music, so when you reflect on how she evolves through different soundscapes while stabilizing transitional bliss.
Elkka’s DJ-Kicks album is this effervescent mix of different palettes that relay one fluorescent and shimmering vibe to the party. There are eclectic transitions that don’t make you turn your head; it isn’t the case for all of the DJ-Kicks albums, but it’s definitely special when you get to make one, as they are rare, comparatively. It’s the same with her other mixes, like that Bass-centric mix for Boiler Room in 2022 or the spacial remedies of her Beats In Space Mix with Apple Music. Yet, there is one lingering constant that remains through all of it: the euphoria, the magnetic BPM switches bolstered by these enigmatic drums and synths that are never coy with its presence; it has a direction, and it may not be for everyone, but what I do love is her attention to finding the transition point between songs like when she takes the transition from the fluid EDM/House track in “Adama” by Omri Smadar, Roy Shpilman to the more bass and drum-centric “No Hay” by Pelada to the elevated house number in “Keep Time (Nobody)” by Matthew Herbert without skipping a beat and keeping the dancing going.
However, that isn’t all where Elkka has stricken cords with fans and media within the electronic music industry. In 2020, Elkka released “I. Miss. Raving.” as part of a two-track single that personified the feeling of isolation with intense energy you’re almost lost in this haze of nightly, neon-infused dance bliss, as Earmilk would write about it in 2020: (it) “combines euphoric synths and melodies with bouncy breaks and percussive stabs to create a stripped-back, simplistic slice of dancefloor elation. Despite its minimalistic sound, everything comes together to make an absolute body-shaker.” The second half of the final sentence stays resonant throughout her songs, even through the euphoric, mid-rave flows that personify the mental and physical connectivity to some of her music. When listening to “Burnt Orange” off Euphoric Melodies, I got this newfound love for what I was getting into when choosing to go back and listen to the work pre-DJ-Kicks. It’s bubbly synths, euphoric without treading too far into obscurity, and bringing it all together with transient vocals whirling through as if it’s exploring new dimensions.
With her DJ-Kicks album, Elkka delivers some original work which gets beautifully blended in without overpowering the experience. That’s what DJ Mixes usually are, and displaying varying aspects of one’s craft and style is exemplary. Elkka’s is just one fantastic collection that will never let the summer feel like it’s dwindling, offering a fiery and refreshing atmosphere to get the party going. It’s a definitive contrast to her more euphoric house constructions in her EPs. Its outstanding moments of euphoric-rave connectivity speak loud, and there’s no better artist to recommend who does so – I’m mean, sure, there may be others, but the love I have for Elkka’s music speaks loud. Check out her music, and let me know what you think!
Aly & AJ’s return to music hit a momentous high on their excellent follow-up to some remarkable EPs: a touch of the beat gets you up on your feet gets you out and then into the sun, and that consistency shined through and through. It keeps us fans, but as fans, we also understand what we like and don’t, so for their follow-up, With Love From comes with incredible highs, continuing that consistency with potent new directions that elevates the craft beyond pop, shifting to pop sounds that carry the influence of Americana and Country music on its sleeves. Unfortunately, the album doesn’t stay with this throughout, sometimes shifting back to a more pop-rock-focused sound, even when they aren’t as bad. These pop songs woven within the tracklists feel like it panders to the pop music fans have gotten to love when they could have had more consistency by keeping the aesthetic constant. But With Love From is one solid album that expands beyond the acoustic-driven fortitude of its sonic influences, creating an emotionally potent album.Link to Review
19. SKYZOO & THE OTHER PEOPLE – THE MIND OF A SAINT
Like Black Trash: The Autobiography of Kirk Jones, Skyzoo keeps the narrative in constant motion, keeping the aesthetic realized from production to the verses, and never breaking character, keeping the swagger intact. The Mind Of A Saint is effusive and personal, at times expressing that sly coldness that comes with one’s own comfortability flexing this kind of success at the expense of the common folk and their addictions. It’s raw and honest, making you zero in on the nuances of his bars, and it starts to hit you in the middle as Skyzoo brings Franklin Saint to life, and keeping it real – the tracks, “Straight Drop,” “100 To One,” and “Bodies!” It doesn’t stop there as it continues toward a strong ending. Unfortunately, not all tracks are dense, as some allusions to interactions in the show can leave you with questions; it’s a positive that it’s significant enough to possibly influence one to watch it as it did with me. – Link To Review
18. Zombie Juice – Love Without Conditions
Love Without Conditions feels like a lucid trip, except in reverse, as the contemplative work comes at the beginning and end; the midway point brings more of that aggro-druggie typicality we’ve heard from the Flatbush Zombies and The Underachievers prior. Though I could call this a two-track pivot in the middle more of that heightened visual pretense that you get told about when it comes to LSD, but not as unique. It’s what happens when it becomes habitual, or more recurring, that its visual effects aren’t as potent like the first time. They have a leveled balance that would make fans of the groups rejoice with delight as these two groups were significant cornerstones in the shift of NY East Coast Hip-Hop in the early 2010s; it just doesn’t all work here since they feel more like blank slates to flex over. It’s like they are the visuals, coming late to the party, letting the listener/user feel engulfed in their thoughts. It’s a downturn from the intricate and intimate balance within tracks like “Hootz” or “Say Enough,” where the piano becomes a vital component, fleshing the base of the beat by Tyler Dopps to new heights.Link to Review
17. SKRILLEX – DON’T GET TOO CLOSE
Quest For Fire builds dynamic intensity within the pores of its percussion notes. A type of intensity that your typical club flair couldn’t capture the energy amassing from the hard-gripping percussion that you’ll just want to mosh instead of relaxing to some crisp melodies that fit a wider audience without thinking lesser of its listener. Quest For Fire is like a rave, a fantastic time, and uncontrollable. Don’t Get Too Close is like having your moment under blue lights, sometimes neon, and vibing more loosely to the sounds instead of grooving chaotically. Quest For Fire has a few danceable moments, like “Butterflies,” “Ratata,” and “Leave Me Like This,” but beneath that aesthetic, the percussion loomed over the synths and bass; it becomes more defined through its individuality. It kept the album centered on a resounding sonic theme, while Don’t Get Too Close does so with its approach to delivering the vocal melodies and keeping its tones consistent. The individual performances wane, some shine, and some hit the nail perfectly while acquiescing with the production fluidly. Link to Review
16. LP GIOBBI – LIGHT PLACES
I often come across artists that capture my attention to the fullest, furthering my pursuit to listen to their discography or a short collection of songs before an impending release. Recently that has been the case with LP Giobbi, a Piano House star in the making, precisely as she continues to establish an identity beholden to who she is and more. As noted through her Instagram and interviews, Giobbi grew up a Dead Head, i.e., a core group of superfans who used to travel just to watch The Grateful Dead perform, and that has stuck with her today, specifically in her craft. As Evan Sawdley of PopMatter.com noted, “The idea of mixing the music of the Grateful Dead with contemporary dance trends sounds sacrilegious on paper, but for LP Giobbi, it is nothing short of a dream.” We’ve heard LP make remixes of the music of The Grateful Dead and Jerry Garcia’s music and deliver Dead House sets, blending the music of the former with house; now she’s giving us her debut solo album that continues to highlight her strength as a pianist and electronic musician.Link to Review
15. The Aces – I’ve Loved You For So Long
The Aces don’t forget who they are and what makes them so distinct beyond treading genre lines of Synth-Pop. Throughout their career, they have been tackling varying dimensions of pop, whether internal or external, as they establish a base without gender being a tag and becoming something unique on their own. They’ve built a base with intricate sonic layering, bolstering the contextual identity of the production, allowing them to separate from some of its simplistic percussion and string patterns, which becomes slightly less apparent on their new album, I’ve Loved You For So Long. Though past albums made the directional minimalism feel profound when constructing these enigmatic rock anthems, they still have flavor as they continue to steer focus towards the strings and synthesizers – more so the former, which has its share of solos and quick licks that you can’t help but keep latching, especially with the synergy it brings with the performances. As viscerally gripping as their hooks are, they still come second to the written verses that establish thematic poignancy within the crevices of their words and shine through with viscosity, despite the album hooking you, unlike their last output, Under My Influence.Link to Review
14. JENNY LEWIS – JOY’ALL
Joy’All is a fantastic equilibrium of seriousness mixed with amusing anecdotes that speak wonders about who Jenny Lewis is and how she thinks and creates. That first waft hits you significantly, specifically as Lewis takes it upon herself to define this rebel Americana that sings to her rhythmic and lyrical desire. Thus, it isn’t much of a shock when continuing after the opening song, which plays on this notion of being seen as a “Psychos” – one focus is being different, happy, and thriving, despite others thinking she’s out there. The content of the music stays grounded with its content, never seeming to exceed into fantastical territory, keeping it real with the choruses – bridging connectivity, you’re in lockstep with Lewis’s musical direction – co-spearheaded by Dave Cobb, a Nashville producer who has worked with Chris Stapleton and Jason Isbell, as examples. Joy’All isn’t a pure Country record, but as past acts have done, the inclusion of a Country music producer adds musical dimensions, as they have a more distinct ear for emotionally potent string arraignments – there’s a twang to the layer progression, furthering the emphasis of specific notes Lewis sings – Cobb is no stranger to it, especially working with the guitar-focused works of Chris Stapleton, or the rounded indie flair of Americana that he co-produced on Brandi Carlisle’s last two albums.Link To Review
13. Gorillaz – Cracker Island
Cracker Island is a vibrant orchestration of sounds that levels the varying sonic styles we’ve heard throughout the years. It doesn’t truly aim for all the glitz and glamour, reminding us more of earlier Gorillaz, stripped down and direct, while showing a sense of growth as they assimilate naturally to ever-shifting sonic palettes. I can’t help but get their reggaeton song with Bad Bunny out of my head, like most of the album, which I hope does similarly with you. You get entranced from beginning to end by the synergy created between vocals and instrumentations, and maybe you’ll let the lesser tracks come and go without a blink.Link To Review
12. Boygenius – Boygenius
Entwined with the seismic grasp of indie rock’s guitar-centric oeuvre, Boygenius has found a way to bring more value than some systematic construction, especially within the areas of the choruses and bridges. Much of that comes from members Lucy Dacus, Julien Baker, and Phoebe Bridgers, who are equally adept at writing these auspiciously poignant songs that turn into something expansive from common themes it imbues, bringing dynamic lyrical and melodic depth over whimsical strings. What separates Boygenius from others is their ability to create polished production through this subtle rough studio aesthetic that pushes the instruments toward an individualized spotlight. They continuously showcase the elements of rock, conjoined through the motions of the trio’s collective musical characterizations. It gives fans a sense that each brings this unique touch, whether coming from the slower emo textures of Baker & Bridgers or the more nuanced singer-songwriter vocal aesthetic from Dacus. The vision Boygenius has is evident as it gets delivered powerfully on their debut album, the record.Link To Review
11. The Blaze
Like their first album, Dancehall, it doesn’t take long before the production puts you in a zone without shifting toward something more obtuse beyond a consistent breadth developing through the percussion and synths. You get this quick whiff instantly as Jungle opens to a track resembling something from an early 2010s Bon Iver or STRFCKR album; however, its production shifts the parallel further from it. The vocals are airy and coated behind this screen of atmospheric electronic textures, which creates a nuanced take on pop and French House, almost taking it as a guiding principle and establishing sounds that accentuate with cadence. Whether it’s on the opening track “Lullaby” or the subsequent “Dreamer” and “Lonely,” it separates itself from the production, becoming its own thing where the landscape shifts between being more percussion or synth focused. While it establishes its core direction, one can easily get lost in its vibe, but as you swim through the ten-track album, it’s like exploring new avenues of rich sounds.Link To Review
10. Foo Fighters – BUT HERE WE ARE
Foo Fighters aren’t trying to sugarcoat what they’ve felt. They brought to life the influence and greatness of Taylor Hawkins through specialized performances not long after his passing, and those thoughts, whether celebratory of a remarkable life or demonstrative shift towards the darkness, knowing your friend is gone forever. In some ways, you can hear it from Dave Grohl’s emotional poignancy in how he hits the bass, snare, and cymbals with vigor, making it as if it is keeping the music together; it does. Bringing as much emphasis to this is the songwriting, which tackles loss through different perspectives and avenues to relay its effect, either instantly or through time. It’s an introspective reflection on lessons learned and the value of patience and grief, considering how deeply affected the Foo Fighters are, especially Dave Grohl, who can’t seem to escape an unreal landscape and retreat into reality. It’s as if he doesn’t want to accept it, and as the title says, But Here We Are, the title song brings nuanced reflections which allow us to hear and witness how disillusioned one can be with loss.Link To Review
9. Blondshell – Blondshell
After giving Blondshell a few listens, one element of the music’s appeal became evident, the lure it uses to grip the listener. It keeps us hooked by letting the songs flow on repeat without focusing on forcing something to be catchy, whether it’s the hook or lightly layered melodies and rhymes. It’s centered on the performance and the multi-faceted layers beneath the vocal performance, where the instruments elevate and evolve the music exponentially. It makes it known instantly with the riotous “Veronica Mars,” placing a stamp on a type of aesthetic that will get heard again later in a listen-through. In between tracks of that ilk, Sabrina Teitelbaum brings some tempered balance with these downshifts, letting us hear the depth of her artistry with some stripped-down but layered instrumentations that balance modest pop vocals with its indie rock core. As we listen to her deliver themes of heartbreak, anger, toxic relationship dynamics, addiction and substance abuse, and social anxiety, there is this rich sense of understanding amongst varying levels. Though it may be a lot of themes, Blondshell never feels bloated or over-sizzled, as Teitelbaum keeps a steady balance between performances. Link To Review
8. Overmono – Overmono
Overmono’s debut album Good Lies is full of rich textures, encapsulating breakbeats and some fluid songwriting as they continue to showcase the range and potency of their music. Like most dance/electronic music, there’s usually a bridge between tones, allowing sonorous self-reflections to exist within a zone of dance fever. The synchronistic connectivity the two have comes from this notion of dancing your problems away, and it does so without being so black and white. There’s depth and nuance within the productions that you’re inhabiting a new sphere of music where vibes are there to get you elevated, but at the same time, intaking these rich layers of sounds that make the whole electronic genre more than just something to dance to.Link To Review
7. LARRY JUNE & THE ALCHEMIST – THE GREAT ESCAPE
Within Rap music, we have artists with the viscosity to deliver many projects throughout a 12 Month span. There’s Curren$y, Boldly James, Papoose, Termanology, and G Perico, to name a few, but on the opposite end of the LA coast where G Perico hails from, there’s Larry June from the Bay area of California. Entrenched within soulful vibes, it becomes a guiding principle that boasts the production’s eventual turns as we get hints of refined melancholic sounds, which places a board for June to deliver visceral lyricism akin to his world. That’s what we get with the resoundingly beautiful The Great Escape, an album collaboration with famed Hip-Hop producer The Alchemist. Considering the hype behind both artists, it’s safe to say that the album delivers and then some; it keeps a smooth vocal cadence throughout, immersing the listener within the transparent sounds that push the writing to the front. It fits within June’s repertoire of music that follows a similar aesthetic; however, between less engaging choruses, there is so much to love about the album, especially Alchemist’s production.Link To Review
6. AVALON EMERSON – & THE CHARM
Explorative and melancholic, Avalon Emerson takes what she has learned via making music and performing music since first tapping into it at an early age, eventually leading to her delivering a fantastic debut with & the Charm. It isn’t a reflection of histrionics and more so a tempered and expansive POV into the mind of someone who aims to take that next step in musical creation, furthering from the more House/Dance aesthetics of past EPs – fewer vocals, more dance grooves – tapping into the corners of varying sub-genres of Electronic music. In doing so, Avalon Emerson continues to dig deeper into the performative aspect of creating an album, one where she doesn’t have to thoroughly rely on the production to form a sense of being as a means for the listener to get instantly catapulted into a positive stupor emboldened by vibes. As you hit play, you get lost within this wormhole of Electronica, some Trance, and Ambient, that Avalon Emerson weaves, allowing us to dig deeper into the complexions of her artistry and sense how poignant her songwriting is.Link To Review
5. CAROLINE POLACHEK – DESIRE, I WANT TO TURN INTO YOU
Production exploding with momentous energy, vibrant songwriting, and whimsically enigmatic vocal directions, there was so little I didn’t love about the new Caroline Polachek album, Desire, I Want To Turn Into You. Polachek’s follow-up to Pang offers a continuation of nearly transcendent sounds beautifully engineered and delivered with rich depth; it keeps the album’s distinct direction flowing in constant motion as we get whimsically fantastic lyricism. It’s as if Polachek had varying canvases and painted them with grace, allowing these varying genre complexions to flash and coat her emphatically moody poppy melodies with more than just an identity. It gives it meaning beyond the conjectures of its finite production; Polachek weaves intricate themes through metaphorically inspired storytelling as she tackles individualism and spiraling upward while balancing thematic melodic and sounds through others. It’s a triumphant continuation that has kept its presence on loop significantly, even with its less-than-stellar moment, which are rare, and further delivering one of the best projects of 2023 thus far.Link To Review
4. Killer Mike – Michael
Aptly titled Michael, the album contains music pertinent to Killer Mike’s upbringing, the visualizations of the truth – where he takes note and relays the bias-racial divide – and flexing without regressing to the means of typicality. It’s awe-inducing – keeping me on my toes. There aren’t genuine moments where I found myself detached from the music, though minor inconsistencies have left me yearning for a tighter album, like its pacing, which begins to teeter slightly after the mid-way point. Yet, as I kept it looping, there weren’t moments I disliked, despite being a little flawed. Michael sees Killer Mike triumphantly returning as he rounds the bases with some illustrative music that you can overlook the minor missteps.Link To Review
3. Raye – My 21st Century Blues
My 21st Century Blues has innate consistency, weaving through contrasting and detailed styles that expand beyond pop. The first few tracks have this gripping sense of musical grandeur, which boasts the impact of the songwriting, like the trip-hop heavy “Hard Out Here,” which sees Raye reflecting on her bleakest moments and weaving infectious confidence about making it out here. So it’s safe to say I was immediately mesmerized by the production; it bolsters Raye’s performance to showcase the emotional density she brings. It reflects in Raye’s melodies, which shift from the more atmospheric Dance-Pop aesthetic of Euphoric Sad Songs to unearthed complexions within and adding some hip-hop flows. We’re listening to that lyrical potency from Euphoric Sad Songs growing into naturally seamless synergy between the beats and performance, creating this larger-than-life book with each page centering on the blues. Raye isn’t sugar-coating the lyrics, coming at it directly while being able to paint the scene for the situation or story she chooses to tell.Link To Review
2. Jayda G – Guy
When “Both Of Us” began blowing up beyond the underground House music scene, it became evident to many that Jayda G was a talent we shouldn’t be sleeping on. She soon established herself as this luminously outward dance DJ and producer, shifting trends to stay authentic with her artistic direction. It’s there in her 2019 release Significant Changes, and even more so with Guy. With Guy, we hear her pivoting inwards, getting more personal with the writing and vocal performances, taking a direction that’s not as focused on sound first, and instead more introspective and illuminating. Jayda G lost her father, William Guy, at 10, and before his passing, he recorded videos recounting his life for his family; using those audio samples, Jayda G delivers significant range as she finally processes it all as an adult. She went through the archives, his journals, and videos, creating a concept album where the focus is never lost. Speaking from the perspective of her father, and her journey discovering these stories, Jayda G delivers a stunning album where it only stumbles in the pacing briefly. Link To Review
1. DAUGHTER – STEREO MIND GAMES
Softening the listener with a melancholy instrumental as the intro, Stereo Mind Game quickly grabs your ears and pits you against a concurrent run of deep songs where its themes come to life like popping out of a book. We’re hearing Elena Torna, lead singer of Daughter, sing about these moments where you feel sullen, unknowing how the world shifts around you as time passes, and the feeling of displacement while motionless on “Dandelion.” We hear her sing about contrasting emotions that come with loneliness, like the peaceful feeling on “Be On Your Way” or the depressive longing that comes from not seeing certain loved ones on a regular on “Isolation.” It continues to build and build with the production elevating the senses further. Reflections of these themes are resonant through differentiating directions and unique constructions where originality becomes a dominant positive. It allows you to dig deep and listen carefully, getting through these auspicious themes that carry semblance from track to track. It extends beyond this, as there are roots within them that build character depth and growth.Link To Review
Welcome back. It’s been a while since I spent the time to talk about an artist flooding my ears with vigor, and I’m back to gush about another artist, Young Miko.
A Rapper/Reggaeton artist from Puerto Rico, Young Miko’s making waves with her vicious flows, creative lyricism, and boastful Latin trap beats. My first exposure was at a friend’s house; we were taking turns on YouTube while cyphering a joint – someone went and played a recent hit, her single with Colombian Reggaeton singer, Feid, called “Classy 101,” there on, I went down the rabbit hole. In that hole, I noticed how easily Young Miko can morph flows to constantly feel connected with the beat, never losing traction even in a beat switch, especially coming out front past some mundane drum patterns on her debut album Trap Kitty. However, Miko’s strengths, specifically her distinguished writing and flows, especially over more Reggaeton/Poppy beats, is keeping me looping on repeat. She’s able to assimilate with the best of them, and it becomes more evident with the singles she released in 2023, whether embracing some more reggaeton notes in the beat or weaving some excellent overall constructions, like major highlight “Lisa.”
Young Miko’s music is easily digestible, despite being predominately in Spanish. Even so, Young Miko captures the essence of a quality hitter and is worth the listen. She has these captivatingly fun flex bars and bilingual rhythms, allowing for more kinetic boasting – “Gano el juego como checkmate/Cinta negra como sensei/Palabreo como essay/105 por el freeway” (“Freestyle 105”) – she also does it when expanding toward danceable territory – “Si se enteran, fuck that (Fuck that),/chingamo’ y playback (Mmm)/Yo tinteo el Maybach (Skrrt) y te quito el full black, ah” (“8 AM”) – actualizing her identity consistently so you never forget. She also has a knack for writing some wicked fun hooks, where you’re left vibing like you were hearing it in a club designed with walls to amplify the bass. One track that would electrify in that setting is “Lisa.” It’s this captivating romp that sees Miko trying to deduce what kind of bad bitch she wants with her, but the popularity makes it hard when everyone is cramming to love Young Miko. It may sound typical, contextually, but it’s creative and fun, especially as Young Miko continuously finds new avenues to approach her flows and rhyme schemes, like the tempered drill/trap influence in “Lisa.” It’s as if she’s a chameleon, despite the audio levels of her minimally raspy voice. It’s great because it can also escape the small margin of error for a homogenous approach.
The topics Young Miko covers tread familiar territory – the druggie, partying, or perreo stuff, but her unique approach adds definition, making it a crisper and hyphy listen. When listening to Trap Kitty, I got this sense – to overcome what could be seen as derivative to the genre – she still brings new ways to go about it, adding more layers to the lines, like when she raps, “Yo no la quiero si no tiene un checkbook/Si me jode’, tiramo’ el left hook (Ja)/Paw, paw, tengo el thunder like Westbrook/Young Miko, no me ganan en versus (Ah, ah),” playing with the dualities of strength by finding allusions to a case where Ja Morant hooked a 17-year-old. The writing is as significant as the beats, if not more so – that’s the case with Trap Kitty. As I’ve mentioned in the previous paragraph, how Miko approaches it, there usually isn’t a dull moment unless you can’t overlook some trap conventions of particular beats.
Starting with a Hip-Hop foundation – playing to the classics within Trap/Drill-Like ecosphere – the building blocks become more pronounced as you hear some sazón with bass lines or synths. Some bombastic rhythms are getting weaved through the seams, forgoing nuance, so Miko stays centered and focused for the listener. It’s triumphant, albeit not being as significantly consistent; they work as a means to boast Miko’s strengths and more. Though this isn’t a slight on her primary producer Mauro, as Trap Kitty contains some memorable beats, and despite the co-producers on tracks, his sensibilities have worked best with Caleb Calloway and Panda Black. It’s that a lot of the production is homogenous with its in-song transition, and to hear how elevated her talent is, it’s the singles and features where she shines brightly, as she raps over these other fantastical beats, like on “Condado” with Chris Jedi and Lunay or “8 AM” with Nicki Nicole, where her flows transcend the nightclub aesthetic. There is just so much to her craft; I’d rather you listen to it as it’s truly an experience.
I reiterate, Give Young Miko a listen, and notice how she keeps her hardened but chill persona in check while offering an equilibrium of fun and hard-hitting bars. Trust me; I will not steer you in the wrong direction with this one! Young Miko will continue making strides, so those who read: I hope, like me, will go on to join her on her musical journey from here on out.
During my second semester at Pace University, I was introduced to Chance the Rapper when my friend played me the music video of “Juice.” It was playful and beautifully outlandish, something unlike the seriousness of non-commercial Hip-Hop, where it’s not too comical for parody, as Chance let it all breathe, setting up what would be a tremendous step in his evolution as an artist. The production wasn’t as slow but more colorfully eclectic, weaving its structure like the drug that influenced Acid Rap, LSD. It was a predominant vibe entrenched within one’s mental stasis, where they reflect on the highs and lows while expressing this fluidity about their youthful core. It resonated when I saw him live, opening to Mac Miller, and in my rambunctious youth, that performance brought joy. When he brought out Ab-Soul for “Smoke Again,” I had to spark it up again. But I slightly digress; I’m here to talk about Chance’s extraordinary moment on the come-up, where he garnered over a million downloads on DatPiff, a music hosting service predominantly serving the Hip-Hop community before streaming became what it is today. It’s about the music, how it made me feel, and what’s everlasting about it.
At the time of release (April 30, 2013), Acid Rap became a peak of my musical journey where I could experience a wide range of music beyond apropos Hip-Hop and Indie/Alternative Pop, and it bled through the number of plays shown on an old 2011 MacBook. I kept digging more into non-commercialized hip-hop and zoning, whether through rapping on the side via freestyles or wearing a penguin cap just to dance to it; not my proudest moment, but there are no regrets on my end. It all came together during a performance, opening before Mac Miller in the summer of 2013, where Chance the Rapper brought the charm; he’s an optimistic young adult who loved the presence and the music and relished in it. It gave me a new perspective on his performative nature, which doesn’t come as a surprise based on his musical roots in Chicago, especially that of being in a dance troupe. As Acid Rap replayed, I kept falling in love with the music, especially when we got a weaker verse from Ab-Soul that felt lost within the assignment. It feels like an artifact from a time when the music was looser as avenues hip-hop took were more boastfully esoteric.
Acid Rap was part of a shift in Hip-Hop where new, intriguing soundscapes became more pertinent than drops by Styles P or Busta Rhymes seem not as hot as they were in the early 00s. I may sound a little facetious, but its growth came at an apex where what was hot on the streets wasn’t what we were used to. These older rappers dropped heaters, sometimes as a featured artist on a pop song remix; it wasn’t anything new, unlike these distinct sounds we were acclimating to, like the Houston chop-n-screwed influence within A$AP Rocky’s first few tapes. What made Chance the Rapper unique was that he came off as playful, colorful, bombastic, and profound to the point where you can just plug and play and go about the world like you just dropped a tab of acid, and you get left with your vices. I am no stranger to LSD or hallucinogens in general, having gone through my misadventures with them, and the more I kept taking them, I was stuck between two sides of Acid Rap. I was juggling between the introspection of “Paranoia” and “Acid Rain” and having lively fun with “Good Ass Intro” and “Smoke Again,” using the latter song as a calling cry to spark up again.
The mixtape had such a wild rotation that if I leave it for a year and return, I’ll remember the lyrics easily. It continuously brings back memories. I was chain-smoking cigarettes because I felt free from the hold of my family and going on wild journeys through Brooklyn and Manhattan. I remember the mixtape playing a lot on shuffle with a few friends I had. Memories are endless, and many of Chance the Rapper’s lines spoke true to the nature of my being, whether it was rolling and puffing at Prospect Park in Park Slope, Brooklyn, or varying areas of Central Park and Riverside Park. I was just a joyful loose canon trying to get into the production world before concerts became part of what made music that universal love. I was always a fan of music; hell, it was what I grew up loving as much as The Simpsons that I used to pretend to be performing on stage. That extended toward a short-lived joke with college friends where we’d get stupid high and record me in a penguin winter hat and just dance. I did so with my introduction to Acid Rap, “Juice,” an energetic song that fit the tones of the intro, “Cocoa Butter Kisses,” and “Favorite Song.”
The contrasting introspection and the non-colorful track vibes have come from the confines of the non-lucid moments of a hallucinogenic trip, keeping a balance between the shifting moods and vibes, whether you’re toning down in the visual department or slightly elevating your thoughts. Chance the Rapper expands his horizons, taking us through his thoughts on the socio-political climate around him (“Everybody’s Somebody”) or weaving a tale of lovers who realize they aren’t fit for each other(“Lost”). The paths he took the music in gave it the purpose of being more than just what it is on the surface layer. The production on Acid Rap breathes with consistency, allowing each track a moment to linger within our minds as we come to our conclusions. It’s no more present than on the second track, where Chance starts this transitional shift between when he goes deeper into his mind and flexing. There are so various avenues Chance goes, and multiple times, coming out on top with a track that stays with you, despite it only being ten years. It’s especially so with the songs that offer more personal perspectives, which comes from his inner thoughts.
Chance the Rapper gives us varying layers within the writing or performance, that was rather absent on his last album, The Big Day. It isn’t something to marvel at, like listening to Raekwon or Ice Cude, as Chance keeps it real with his POV approach to the delivery and fluidity with rhyme schemes, playing to his strengths, like when he rapped, “With my drawers hid but my hard head stayed in the clouds like a lost kite/But gravity had me up in a submission hold/Like I’m dancing with the Devil with two left feet and I’m pigeon-toed/In two small point ballet shoes with a missing sole/And two missing toes,” on “Everybody’s Somebody.” It plays with different suffixes, keeping the rhyme intact with these overlong syllabic lines that come off phonetically smooth. Same with the slightly sullen and deep “Acid Rain” or the soulful “Chain Smoker.” It may not be the most astute, like the masterwork wordplay we’ve heard from better lyricists, but Chance takes it to the nines by giving what the beat entails.
On “Good Ass Intro,” we get to hear Chance the Rapper rap with glee and marvel at his success, rapping, “Did a ton of drugs and did better than all my Alma mater/Motherfucker money dance, hundreds xan, gallon lean/Make a joke ’bout Leno’s hair then piggyback on Fallon’s spleen/Balancing on sporadicity and fucking pure joy/Nightly searches for a bed and I just came off tour with Troy.” Here, Chance goes off with joy, reflecting on what he did. More importantly, he brings a significant stamp by noting he was touring with Donald Glover, aka Childish Gambino, and exposing himself to the world. In turn, that exposure allowed Chance to get the clout to boast and bring the Chicago rappers emerging alongside Chance, like Saba, Vic Mensa, and Noname, and ones that have made a name for themselves, like Twista. I also include Action Bronson from Queens, New York, who has been materializing underground prominence. Additionally, Chance plays with the name at the end of that set of bars, using Troy, his character from the cult NBC comedy Community. The little things, like allusions and alliterations, like the bars, “Get a watch with all that glitters, come in clutters, different colors/Ben-a-Baller, Benford, butlers, chauffeurs, hit a stain-er, did I stutter?,” which brings dimensions to his writing and flows, keeping you entwined and returning to such an enriching experience.
So as Chance the Rapper takes these distinct pivots, I’m constantly reminded of an LSD trip, though part of that comes from having done the drug. The mixtape’s musical concept getting built under the influence directing these jazzy, soulful, playful, sometimes moody components into the lyrics and music, elevating Chance’s performance in the studio. His flows aren’t totally on par with some heavyweights, but it stays original as Chance switches from melancholy to expressing innate fun that boasts the sonic structure it embodies. Between its more stylized and sometimes compartmentalizing production from Blended Babies, brandUn DeShay, Cam O’bi, Ceej, DJ O-ZONE, Jake One, Ludwig Göransson, Nate Fox, Nosaj Thing, Peter CottonTale & Stefan Ponce, the quality stays high, giving Chance that extra push. We’re listening to smooth transitions between styles, witnessing this modestly trippy music guide us through the different sounds we get, especially as it shows maturity within Chance’s choice of beats. It isn’t a perfect mixtape, as he poorly chooses to spit a homophobic slur on “Favorite Song,” where his approach to nuance isn’t the strongest or even correct – similar to “Smoke Again,” with a slightly lesser verse from Ab-Soul that isn’t the good type of comical. Yet, what surrounds it is greatness that I had to write about it, especially with its importance in my young adult life.
So as I sit back and reflect on Acid Rap, there is so much that gets funneled through my mind; I get a little zany just remembering the live performance, the drugs, and the music that allowed me to feel free and expand horizons beyond the pop, commercial hip-hop, and techno/electronica. I still find myself replaying the tape more regularly than Chance the Rapper’s others, specifically Coloring Book, which I think is a step above Acid Rap. However, Acid Rap is remarkable as it takes a construct and evolves it beyond the known stereotypes, like the slow, hazy beats or simpler rhyme schemes. It has beautiful range and dynamic synergy with the listener, where you can feel that grounded writing Chance delivers. So as you finish reading this, take a moment to open your music player and play that old Datpiff downloaded audio from 10 years ago. It’s a fantastic mixtape that truly drives home multi-faceted dimensions toward feeling and living, and hell, it’s an overall fun listen.
The Weekly Coos 