Muna – MUNA: Review

At the turn of 2022, among many tracks to get played with immense consistency has been Muna’s “Silk Chiffon,” featuring Phoebe Bridgers. Their instrumentations/production and vocals are captivating and buoyed by strong songwriting, which creates an audible shift from conventional pop melodies. They have creative structures that elevate their music to replayable levels. MUNA has a shaping focus sonically and emotionally. While Save The World saw them working with and creating luscious tracks within the realm of electropop, power-pop, and synth-rock with fluidity, these styles become a subtle driving force in the dance-pop/synth-pop core that guides MUNA to new heights. They have these creative tempo shifts which keep you afloat through sheer lyrical and thematic parallels; the production takes distinct turns expanding beyond the core-base aesthetic, which rounds itself into another special release for the trio.

MUNA is captivating, and there were no doubts about that going into the first listen. Knowing how phenomenal “Silk Chiffon” is, Muna gives new or unknown listeners something to feel energized about as they continue to turn the corner and continue doing what they do best. “What I Want” shifts from “Silk Chiffon” lyrically and sonically, taking us away from a track about the beauty and happiness of queer love, likening a softness within their lover’s aura and body to silk chiffon to one about self-love. “What I Want” brings immersive dance-pop and electro-pop coatings in the waves of synths. It’s an evergrowing narrative filled with emotional complexities that allows you to create a sense of relativity, despite personal angles from band members Katie Gavin, Josette Maskin, and Naomi McPherson. 

It gives us parallels, one where we can feel free and enjoy the electrifyingly rhythmic tracks while seeing how they continue to extend past certain safety nets. But within, Muna finds a happy medium. Their lyrics reflect the essence of the sound with tremendous effect, like the previously mentioned “What I Want,” which stylistically embraces the lonely dance track like “Dancing On My Own” by Robyn, “Party For One” by Carly Rae Jepsen, or “Big Time” by Angel Olsen. They each embody these different tones, and for Muna, it’s more about the feeling, like “Brave” by Sara Bareilles, and within “What I Want” is the thrill of being yourself in any environment. Lyrically poignant, they continue to grow, filling us with these immersive lyrics and vocal performances that have their consistency in impact. It’s especially the case with the ballad “Kind of Girl,” which brings some twang to the vocals as they sing, reflecting on the kind of girl they are. Its unique placement adds some more frailty between the more dance-like “Home By Now” and “Handle Me,” two tracks that offer keen sensibilities toward vibing, dancing alone in a groove. Unfortunately, they sound too similar, with the former having more of an impact.

Muna has a vibrant cadence in their sound, bringing emotional catchiness while making feelings reflect through complexions heard, like Dark Pop on About U, their debut. It isn’t a focal genre; the production tiptoes between darker lyrics and dreamy, starry production swifts you off your feet as it comes to a close. “Loose Garments” blossoms, bringing a focus to orchestral strings to implement a glimmer to the sequencing of the track, allowing for inner transitions to come across smoothly. That glimmer reminds me of listening to melancholic indie-pop that boosts your mood when you just want to kick back and look at the stars; maybe you want to smoke some pot and let yourself get whisked away. It’s a similar sentiment that has stayed consistent throughout their first two albums, and it continues on MUNA.

Within its dance/synth-pop core, most of the tracks have a synth-dance pop hybrid core, but the overlaying qualities build upon its identity. It is effervescent. When you hear “What I Want,” it highlights 80s-style Disco-synths as it bleeds into, and dances with, the percussion to a jubilantly danceable pop track. And when you hear “No Idea,” you get the jamming synth-rock that has budding energy with the emotional core of the songwriting. It speaks to that unrelenting feeling of wanting to express your real feelings because the person your care for may lose interest in pursuing the relationship further. Driving the potency of the emotional songwriting are impactful vocals that bring weight to the final construct and output of danceable relativity. 

Muna offers compelling consistency, and more so on their latest, self-titled release, MUNA, where the vibes are immaculate. There isn’t a moment you won’t find yourself in a mood to groove as the sounds shift in unique directions that it’s sometimes hard to keep up. But within the 11-track album, some tracks have replay value akin to “Silk Chiffon,” while others remind us of how their sonic complexities as artists elevate the sound, whether full-on or subtle. It may not be perfect, but MUNA has a lot to love and enjoy, and I hope you do.

Rating: 9 out of 10.

Weezer – SZNS: Spring: Review

Weezer’s constant output has never ceased to amaze me, sometimes it lands, and other times they become mostly forgettable duds. They have had moments where, for every three or so mediocre to okay albums, there is one great one, but fans rejoice for new music–I know I do– there are always a few solid songs that stay with you. For the past two decades, they have seemed to pull all their effort in the first half of the decades than the second–this trend makes it easier for others to know when to come back. 2021 has been a great heel turn for them as they’ve explored new avenues musically, and continue to do so on their new EP, SZNS: Spring.

You may ask, is SZNS: Spring fantastic? It’s not even close, especially when comparing to previous Weezer albums; however, to say it isn’t another fun experience after Van Weezer wouldn’t be doing it justice. SZNS: Spring is like any run-of-the-mill power-pop/rock project from Weezer that offers melancholic fun with the instrumentations and the songwriting, which oozes middle-age dad levels of fun and relaxation. Ok Human had us singing about audible and reading Grapes of Wrath or a fun time at the Aero movie theater, and that is prominent on SZNS: Spring as Rivers Cuomo weaves a tale of “The two angels descend from heaven down to Earth because they’re tired of being so prim and proper up in heaven,” as per his press release.

SZNS: Spring is a flow of power-pop consistency before steering toward more standard rock complexions. Weezer has an idea of where they are spearheading the story, but the production sometimes is too much or Rivers Cuomo misses the mark melodically. When it comes to Weezer projects of this caliber–which I’ve mentioned prior–it starts to downward crescendo into a mundane burger of basic melodies. “The Sound Of Drums” is the first that didn’t hit as well as the others. Rivers brings melodies we’ve heard done similarly and excellently on past albums, but’s simplicity doesn’t hit as smoothly since the production–sometimes–muddles Rivers singing and leads you to the next two songs, one of which shines like three of the first four songs. 

Starting with “Opening Night,” you hear that sense of dad-Weezer taking form as Rivers sings about Shakespeare and how reading his work makes him happy. Frankly, if it wasn’t for the fun use of Vivaldi’s Four Seasons concerto number 1 in E major, opus 8, RV 269, “Spring (La Primavera)”, I: Allegro (in E major), the track would lose its mysticism since we’ve had funner and better songs about loving books from Weezer–If you take away the sample, then you’re left with another track like “The Sound Of Drums.” It barely keeps the interest leveled high for me to return. There are the songs “Angels On Vacation,” “A Little Bit Of Love,” “The Garden of Eden,” which carry nuances to melodies that make them lovable and fun, especially as they remind you of the fun times listening to OK Human and the array of fun piano melodies and synths.

SZNS: Spring is fun, but for an EP, it wears off quickly, with a more concentrated effort given to the earlier songs than the latter. However, this is Weezer and we get entertaining songs for the moment but forgettable in the long run. It’ll stay in my Weezer playlist full of fun songs, but don’t expect me to return swiftly with desire.

Rating: 6 out of 10.