#i really love how you emphasize the glows of electro

[shemakesmusic-uk]

Pale Waves have dropped their new video for ‘You Don’t Own Me’. Taken from their just released new album Who Am I?, the clip fits perfectly to the 90s-slash-00s guitar pop aesthetic that runs throughout the record. All multicoloured hair and graffiti covered walls, it’s a bright, brash delight. [via Dork]

Los Angeles-based pop artist Cooper Phillip is known for her empowering anthems that highlight everything from strength and gratitude to self-love. Her latest single, 'Not Perfect,' is yet another example of her ability to craft uplifting tunes, encouraging listeners to start putting themselves before others in order to fulfill your own desires. The Russian-born singer has just dropped a new music video, and it's everything we expected from this flamboyant artist and more. The theatrical video emphasizes the importance of rebelling against the idea of being perfect and all that it represents. When you begin to let go of the idea of perfection, Phillip reminds us, life is so much better. Phillip wants to encourage you to live life a little less seriously, do what you want, wear what you want, and most importantly, be who you want. After all, our time on this planet is far too short to worry about living up to other people's standards and expectations. According to the artist herself, "'Not Perfect' is about self love and finding qualities about yourself that make you unique. There is no need to modify who you are just to fit in with society's norms. You have to stay true to who you are and carry yourself with pride and with dignity." 'Not Perfect' features Phillip's soaring, soulful vocals, big and bold melodies, and fast-paced, dance-worthy beats. Intoxicating to say the least, this song will worm its way into your mind all day long. By the end, it'll have you grinning ear to ear, and more importantly, it'll remind you who you are. [via Pop Dust]

Closely following the release of their new single, Maltese electro-pop outfit OXYGYN have shared the brand new video for ‘Mercy’. The new video continues from 2020’s ‘Wicked White Lies’, a portrayal of how society deals with social issues in which individuals are made vulnerable, as frontman Kurt Abela details: “We become angered by a social cause when it first emerges, but we are quick to break it down within our own minds and forget. Instead, we focus on our own personal issues, and are not able to overcome them. This video acts as a wake-up call to society that the social issues hinted at throughout the video are still present and need their due attention.”

Oxford alt-pop outfit pecq have unveiled the video for ‘Killing Time’ . The band say: "‘Killing Time' is about making the same mistakes over and over – dying relationships I kept going back to, destructive habits I can’t break. I’m a big one for drastic changes and breaking with the past but so many times I end up back where I started – burn it down and build it just the same." Killing Time is the second single from their forthcoming EP Stranger, due out April 15. [via Loud Women]

With us getting a taster of spring the past weekend, singer-songwriter Bess Atwell is keeping the momentum going with her dreamy new single 'Co-op'. Like the first blooms of spring, Atwell’s latest single unfolds with serene ripples of guitar strings surrounded by her lush calming vocals, leading us to a track that has us reminiscent of Lana Del Rey and Phoebe Bridgers. Similar to her previous offerings, the track maintains the same fresh and unique sound she has displayed throughout her career. Accompanied by a self-directed video, the singer puts the emotional context of the track at the forefront, directly referencing the lyrics with bold imagery and contrasting props. Opening up on the single, the singer revealed, “It’s an illustration of mine and my partner’s life together. The relationship seemed to provide me with some sort of permission to recuperate from family trauma, as if realising for the first time that there was a life outside of that chaos lulled me into an emotional slumber. Through the song, I grapple with the desire for, and fear of, comfort. I used references to Virginia Woolf’s Mrs Dalloway to depict a vivid nostalgia and an affinity for trivialities that serve to calm when darker thoughts set it.” [via Wonderland]

Polish alt-pop aesthete Brodka has shared her barbed new single 'Game Change'. The multi-hyphenate returns with new album BRUT, a fresh statement from a potent, outspoken figure. Huge in her homeland, Brodka has shifted and evolved with each project - and BRUT will be a further chapter in this. New single 'Game Change' is out now, and lyrically it's an expressive statement of feminism that comes at a timely moment for Poland. Brodka says that the single "is about gender roles in society; a topic that's particularly prevalent in her home-country of Poland at the moment, where reproductive rights are being rolled back by lawmakers." The dazzling video is online now, and it spins a repressive dogma on its head. She says: "While making the video for 'Game Change', I was inspired by the story of the Albanian Sworn Virgins. Women who, by taking a vow of chastity, take on a male role in society while gaining all the privileges associated with being a man. They are treated as men but can keep their feminine names. This story, although abstract, is relevant to the current situation of women in Poland. Sadly, you don't have to be a Sworn Virgin to have your rights decided by men in the 21st century." [via Clash]

After teasing the collaboration last week, Ashe and FINNEAS have unveiled their new single 'Till Forever Falls Apart'. The collaborative track is accompanied by a video directed by Sam Bennett that shows both artists dancing at sunset. Ashe says of the song, "'Till Forever Falls Apart' is one of my favourite songs with one of my favourite people. If I’ve learned anything from Moral of the Story, it’s that accepting the hard truth is strangely comforting. This song, while sounding like the most romantic song I’ve ever written, is about acceptance as well. The lyrics, ‘I’m gonna love you knowing we don’t have forever’ is about how it’s more important to have had the chance to love than to stay in love. FINNEAS is one of the most talented people I know and it’s fitting to release this song with someone I love so much. I'm lucky to know him and I hope to never know a life without him in it." FINNEAS adds, "Ashe to me, is a timeless artist. Her music will be as relevant and important 30 years from now as it is today. Making music with her has always been an extension of our friendship and I could not love this song more." [via Line Of Best Fit]

Charley enters into the Australian pop world with her debut single 'Hard For Me'. It's the type of slick, high-tier pop song that sits amongst the world's biggest stars, carrying the same acute level of sheen and confidence as Charley moves above a bright, synth-driven production that elevates her every word. It's the type of single that takes the foundations laid by modern-day pop heavy-hitters - she lists Katy Perry as an inspiration, for example - and builds upon them, evolving the sound forwards into 2021 and beyond. Produced by Stephen Schmultz in Nashville three years ago now, the song introduces Charley and everything you need to know about her this early on. You get a taste of her sound and the energies and inspirations that fuel them, as well as the intimacy that underlies a lot of her songwriting, and how she brings pockets of her personal life to the forefront through glitzy pop songwriting. She's a welcome addition to Australian pop, and you get the sense that 'Hard For Me' is really just the beginning. "[Hard For Me has been] a long time coming, and as a Virgo, I am not patient," she says on the single. "In my head, this has always been my debut release. It’s got such a special place in my heart. I’ve had such a vision for every single part of it. "Me and my boyfriend had kind of just gotten back together again at that point. All of the butterflies were heightened again. I just wanted to write a song about how I felt about him and how it gave me such a rush when I looked at him. Everyone has been there! When you just… melt." Take a dive into the single and its Mitchell McKay-directed video clip above. [via Pilerats]

After making a name for themselves with their dusty-yet-glowing self-titled debut in 2017, Chapel Hill duo Blue Cactus are announcing their return with their second LP called Stranger Again. Set to be released May via Sleepy Cat Records, the album continues the pair’s mission to blend classic country sounds with vintage ’70s pop sensibilities and a sobering sense of honesty, as heard on the record’s first single, 'Come Clean.' “Sometimes we are the last person to tell ourselves the truth,” vocalist Stephanie Stewart shares of the track’s lyrical origins. “We ignore our gut, suppress our instincts, and go through the motions of a life that other people have defined for us. We become the person everyone else wants us to be and lose ourselves along the way. ‘Come Clean’ is about radical self-love and acknowledging the struggle in that journey; that hard, unflinching look in the mirror. “In 2017,” she continues, “I was in the process of separating from my then husband. I wrote most of this song during that time. It wasn’t until a year later after the divorce was finalized that I was able to find the words that had been missing from this song. I was carrying a lot of shame and guilt, and once I finally let that go, I was free to rediscover who I was as a person outside of that relationship. I was finally free to love me.” The track’s video echoes these themes of rebirth and relearning, with the band members blindfolded and slowly making contact with the outside world. [via Flood]

Mermaidens have delivered their catchiest, dreamiest cut yet. 'Soft Energy' is the single teased with the announcement of their Soft Energy New Zealand Tour. The new track is stupidly good, and ushers in the next Mermaidens era after 2019 album Look Me In The Eye. Vocalist Gussie Larkin took the director's chair for the 'Soft Energy' video, and with support from NZ On Air and director of photography Ezra Simons (Earth Tongue), has created a blush-tinted world for the band to expose their soft, tender hearts and ask those with a "tough and detached exterior ... to act with softness and vulnerability". [via Under The Radar]

Along with the release of her debut EP, Swimming Lessons, 19-year-old alt-pop singer-songwriter Genevieve Stokes premiered the video for her newest single, 'Parking Lot,' on Friday. Shot in her hometown of Portland, ME, the 'Parking Lot' video is a wistful tribute to the first flush of young love. "I wrote 'Parking Lot' after I met my now-boyfriend for the first time," Stokes tells NYLON. "It’s about the intoxicating, obsessive feeling of a new crush and creating a fantasy world with them. " After teaching herself piano at the age of eight, Stokes spent her adolescence developing her sound, inspired by iconic female singer-songwriters like Cat Power and Regina Spektor. Swimming Lessons was recorded this past year in a cabin in the woods, a haunting, beautiful setting that seeps into the records' sound. [via NYLON]

You can’t blame us for wanting a bit of hedonistic relief after a year of going stir-crazy within our four walls. And as we yearn for release, and ache for the proximity and darkness of a packed dance floor, here to give it to us, no questions asked, is dark-pop trio KRUDO. Comprised of pop singer Olivia May Green, as well as established industry greats, producers Dan Duncan and Igor Tchkotoua, KRUDO blurs the lines of genre to make way for a whole new body-moving beast – and their latest release 'You Can’t Blame Me' is no exception. Moody warped synths, sinister bass lines and the haunting vocals of Green tell a story of empowerment and self-love, as she growls “I’ll never change or leave to fit your master plan.” Just the anthem we needed when many of us will be feeling disconnected and out of sorts. The trio have previously stated that their music is “not about polished pop music; it’s about memorable moments that hold a clear message.” And that much is clear from the formidable sonic palette of the new release, accompanied by a symbolic music video which shows Green breaking the picture-perfect shackles of industry expectation and rising phoenix-like into her own identity. Taken from their two-part EP of the same name, the release comes as part of the ever-expanding release schedule of label HE.SHE.THEY – the event series, record label and fashion brand operating as a safe space for individuals regardless of “age, race, sex, gender, ableness, religious background or sexual preference”. [via Wonderland]

Top popster Bebe Rexha has dropped a brand new single, titled ‘Sacrifice’. The track is taken from her forthcoming second album, which she claims is “by far the most challenging yet fulfilling project I have ever worked on. I wrote, recorded, re-wrote, re-recorded and then repeated that process in order to deliver an album that truly reflects who I am as a singer, songwriter and most importantly as an artist. I want to give listeners a journey of pop paradise fused with elements of rock and hip-hop. It’s important to me that my music continues to recognize ongoing themes of vulnerability, the cycle of self-destruction & self-realization, and female empowerment.” So there we go. ‘Sacrifice’ follows up on 2020’s ‘Baby, I’m Jealous’ which featured Doja Cat. You can check out the vampire themed video above. [via Dork]

Tulliah has debuted the video for her really quite lovely new single, ‘Distant Dreams’. Taken from her debut EP Fre$h Hugs – set to drop next Friday (12th March), the clip was filmed in her hometown of Mt Martha Beach, Australia and directed by Cass Wood. Tulliah explains, “30 degrees, snow gear on the beach, fish man = very weird dream! I had this idea for a while that the video clip for 'Distant Dreams' would be really weird and dream like. When I was in the studio we went on a tangent about being in winter clothes while sunbathing on the beach, flying on planes to Hawaiian beaches and little fishes eating big sharks. I have no idea why haha but I knew it was weird, just like all Dreams are”. Talking about how the track came together, she adds: “We set up my new piano in the backroom of my parent’s. My mum was moving a painting that they have had for years to the top of the piano when she read the back of it – it was called Distant Dreams. This song flowed out of me. I used to never really believe that I could achieve my dreams. This song is about not wanting to break away from my visions and goals. The lyrics ‘don’t go waking me up’ is a really direct demand to myself! It’s about not wanting to go back to doubting my capabilities.” [via Dork]

Ladyhawke is back with a brand new single, ‘Guilty Love’. The first taster of a new album, due to arrive later this year, the track features fellow popsters BROODS. Ladyhawke – real name Pip Brown – explains: “‘Guilty Love’ came about after some writing sessions with Tommy English in Los Angeles. Georgia Nott from BROODS came along to one of our sessions, and after we were talking a while, we realised we had all grown up Catholic. We shared stories and experiences; Georgia then suggested we write a song about shame”. “‘Guilty Love’ is important to Georgia and me for different reasons. Personally, growing up in the Catholic school system, as I reached my teens, I started to feel immense shame and denial about my sexuality. I suffered the constant fear of being judged and alienated by my friends and family. These feelings took a long time to shake off and work through. ‘Guilty Love’ is a way to share our experiences, and hopefully help anyone going through the same thing to know they’re not alone.” Georgia from BROODS adds “’Guilty Love’ came from the classic “in-studio heart to heart”. We talked about growing up religiously and how we carried a lot of shame around the idea of what a woman (or person) should be. This song is about that but also about finding our own way back to a sense of spirituality through love. The love that once caused so much guilt, ended up being the most healing and spiritual. END CONVERSION THERAPY EVERYWHERE!” Too bloody right. ‘Guilty Love’ comes with a video fitting of the song’s message. [via Dork]

Atlanta-based pop artist Siena Liggins shared her video 'No Valet' on Thursday, the second single from her upcoming debut album Ms. Out Tonight. The track serves as the follow-up to 'Dirty Girl' alongside Yung Baby Tate, seeing the singer take viewers from the dancefloor to the backseat of a car in the club parking lot. The quirky clip finds Liggins adorned and surrounded by sparkly glitz, cowboy hats, and disco balls, playfully performing with a full band. "'No Valet' is steamy, downtempo braggadocio disguised as a backseat car anthem for whatever happens after the after-party," Siena explained to FADER about the song. “I was listening to a lot of old songs produced by Timbaland before [producer] Nydge laid down this really sexy bassline that put me in the mood for something steamy and dreamy at the same time.... It’s the confidence I get after the function is over and the groove I need when I’m talking my shit." [via The FADER]

London's Mychelle is certainly an individual. Freshly signed to FAMM - the same management company as Jorja Smith and ENNY - her new single 'The Way' is a subtle but deeply powerful piece of songwriting. Soft and soulful, it relishes on nuance, allowing the most subtle element to rise and grapple with intensity. Mychelle's video for 'The Way' was shot on Hackney Downs in East London - fact fans might not that it's close to our office. Directed by photographer Michaela Quan it's a beautiful glimpse into her world. [via Clash]

Pussy Riot have announced a new EP called Panic Attack, due out next week — March 11. As a preview of the impending release, they’re sharing 'Sexist', a bold new single featuring fellow Russian rapper Hofmannita, which comes with an unforgettable NSFW music video. 'Sexist' is the second single Pussy Riot have shared from Panic Attack, following 'Toxic', their collaboration with Dorian Electra and 100 gecs’ Dylan Brady. Produced by White Punk and Count Baldor, 'Sexist' is a dark electro-pop hip-hop song about the severity of rape culture. Pussy Riot and Hofmannita take turns telling the fictional story of a heroine being invited to a hotel room by a male governmental official, being harassed, and, unable to escape, murdering him in self-defense. Consider shielding your screen before hitting play on the song’s music video. In the NSFW clip, various nude men pose as pieces of furniture while the singers casually push them around with collars and whips. Peppered throughout is plenty of latex apparel, BDSM positioning, and generally regal decor. According to Pussy Riot member Nadya Tolokonnikova, the video is meant to inverse the main premise of the patriarchal culture. “Instead of women and queer people being objectified and serving as furniture, we use sexist pigs as furniture,” she said in a statement. “The video does not encourage to oppress anyone, but rather satirically highlights arbitrary and absurd nature of any oppression.” [via Consequence of Sound]

[thepermanentrainpress]

SKOOKUM FESTIVAL: DAY 1 RECAP

Stanley Park is a great place to have a festival. It’s a central and accessible location in Vancouver, not directly near any residences or businesses, and features ample green space to accommodate thousands of people.

This was SKOOKUM’s debut year and first time festivals will always be a bit experimental. Entering the grounds, I noticed a lot of empty space in certain areas. While these spaces could’ve been used for booths, food trucks, or even an additional stage, it did help with crowd control and exiting. Overall, the spacing here was quite comfortable. It never felt too crowded or confusing, and allowed for quiet areas to take a break. The booths, restrooms, and food areas were all easy to find and not too far or close to the music.

SKOOKUM was advertised as “Music. Food. Art.” and strived to create experiences that could not always be found at other festivals. There were large mirrors and cubes, puppet sea monsters and jellyfish, and performers hanging from ropes in the air throughout the weekend. I would’ve liked to see even more visual and local art components, such as paintings and murals or costumed performers. The food areas included trucks and booths, with the booths serving artisanal options I haven’t seen anywhere else. I personally felt there were not enough food areas: during peak times, the wait was easily an hour for literally all of them. This was partially due to the fact that SKOOKUM had a no outside food policy.

SKOOKUM worked closely with First Nations of the area in building this festival—an important step in reconciliation and supporting the Indigenous populations of BC. There were Aboriginal speakers and leaders opening the festival with traditional ceremonies, and the musical lineup was 30% Indigenous artists. Stanley Park has a long history of being called home to Indigenous people of BC, and I applaud the festival for its land acknowledgements and striving to cooperate and share this experience with the Aboriginal population.

The first artist I saw was Vancouver’s own Little Destroyer. I’ve seen them a few times before in small club environments, and their live show is over-the-top amazing and bursting with energy. Playing an outdoor stage to a large crowd is a different experience, but they still brought 100% of the stage presence. Lead singer Allie Sheldan was clad in a happy face bra, jean shorts, and a large white feather boa. She ran around a lot on stage, climbing amps and squatting, but even her movements standing still brought a lot of energy; it’s in the ways she moves her hands and face while belting out passionate, almost angry lyrics. In addition to their standard set (their self-titled song “Little Destroyer” always floors me in its rage), they played a brand new song.

Little Destroyer makes music that you can and should move to, but the audience was barely moving. This is a stereotype of Vancouver, but still surprising and disappointing to see at a festival. SKOOKUM featured a lot of local artists, and I’m glad to have seen Little Destroyer (one of many female-fronted acts of the weekend!) be part of it.

Next up was another Vancouver duo, Dear Rouge. Fresh off the release of their second album Phases, they did a show of bright flashing lights on the main Mountain stage. Lead vocalist Danielle McTaggart was in an amazing, almost glowing golden robe that commanded attention. It was right about this time that night began to set in, and this added to the visual experience. The illuminated stage and Danielle’s high energy made the band seem like almost ghosts in the night, spectres delivering powerful electronic alternative rock. Dear Rouge’s music features a lot of synth, and it translates well live. They played a good mix of hits from their early work and new album, and have really established themselves as an amazing live band. I’ve been listening to and seeing Dear Rouge since 2013, and I’m so proud to see how far they’ve come. They’re an amazing addition to any concert or festival, and probably one of the best bands to have emerged from this city in the last few years. I can’t wait to hear more from them.

On side stage Forest I caught the set of Black Pistol Fire, whom split their time between Toronto and Austin, TX. This duo makes powerful old-timey rock music: vocalist Kevin McKeown has deep and gruff, Southern-sounding vocals. I noticed his sheer energy and stage presence: he jumped around a lot, running around the stage and rocking back and forth on the mic. I had never heard of this group before, but I’m glad SKOOKUM was able to bring them to us. The dynamic by both members was intense, and I’d love to see them play a small venue in an intimate environment.

I headed back to the Mountain stage for Montreal-based electro-funk duo Chromeo. Now promoting the release of their fifth studio album, Chromeo’s show was the most exciting and dance-inducing set of the night yet. By now almost all of the fest was watching their set, and they really know how to command a crowd. Both members Dave 1 and P-Thugg looked like real rock stars onstage, confident and smooth in their playing and banter. By nature their music is full of editing, electronic beats, and remixed vocals, and I was impressed at how well this translated into a live show. At one point P-Thugg did a robot voice through his mic, entertaining the masses with one distorted question: “What’s up, SKOOKUM?” They were genuinely excited and grateful to be where they were, telling stories of their beginnings and experiences with the city. “Vancouver was one of the first cities where people didn’t hate us, and the first time I made out with someone after the show.”

I didn’t know very much of Chromeo’s music before the set, but they really put on an amazing show. Their interaction with the audience was almost hypnotic: during one song they encouraged others to get on someone’s shoulders (“We made an agreement with security”), and there were at least a hundred people rocking out on top. Chromeo are an amazing live addition to any festival, and were one of the highlights of Day 1 for sure. They got people dancing more than any other act I saw that day, including Arkells. If this set taught me anything, it’s that we all live in 2018 while Chromeo is way ahead in the year 3018.

The final band of the night and main headliner were Hamilton’s Arkells. They’ll be releasing their fifth album in a month, and in the past few years have become popular enough that I feel confident calling them Canada’s biggest rock band. There’s something irresistible about them live: they have a great blend of passion for their music and their audience. Max Kerman was almost as much of an emcee as he was a lead singer, taking time to talk after almost every song. He repeatedly emphasized “the three rules at an Arkells show: dance, sing, and take care of each other.” He also discussed the band’s progress, noting that they had come from playing “the Biltmore, to the Commodore, to Thunderbird Sports Centre, to headlining SKOOKUM,” and that they were nothing without this supportive audience. At one point, they brought an audience member on stage to play guitar for one song—something I’ve never seen a band do before. Max also brought out his friend from Vancouver who he’s known since he was 17: he praised this friend for his work on the Downtown Eastside, and said “he does a much more important job than me” before hugging him and presenting him with a medal.

Arkells have received a lot of radio play in the past few years, and the audience was singing along to almost every song. There’s a special, sincere dynamic that Arkells bring with them at every concert: they are truly living the dream of a small band that made it big. They’ve stayed within their roots and now have universal acclaim and appeal, keeping so much integrity and gratitude in the process, During their encore, they sang an upbeat rock version of Whitney Houston’s “I Will Always Love You,” and even brought a man on stage to dance who was rocking a Whitney t-shirt. There’s no band in Canada quite like the Arkells, and they’ve hit all the right points in being a great rock band. They were an excellent headliner for Day One, and I think I can speak for the whole audience in saying they surprised and entertained even more than imagined.

The SKOOKUM lineup is an excellent mix of local, Canadian, and international talent. Day One was a very fun experience, and I think this festival has a bright future.

Written by: Cazzy Lewchuk

[wavenetinfo]

This week the Beatles celebrate the 50th anniversary of “Sgt. Pepper’s Lonely Hearts Club Band,” by reissuing the classic album, Shakira returns with an eclectic and globally-minded, guest-filled record, rapper Lil Yachty drops his proper debut album, alt-country singer Justin Townes Earle releases a new set and indie rockers Pet Symmetry deliver a brief but ever-shifting, attention-grabbing record.

It should surprise no one that the “Sgt. Pepper’s” reissue in honor of the iconic album’s fiftieth anniversary keeps the album at its respected, classic level. In fact, the two disc version not only showcases the original, it also has alternate and deconstructed takes.

The album gets a brand new polish up on its mix and sounds as fresh as ever. The rumble of Paul McCartney’s bass seems to have extra punch and all the album’s orchestral elements sound like they are in the room with you as you are listening. The second disc includes “Penny Lane” and “Strawberry Fields Forever,” which were taken from the same sessions. Both cuts are showcased with additional alternate takes, as well.

I suppose those alternate takes on the second disc are what makes this set the most notable. Some of these versions don’t even have lyrics yet or they have half-formed words so you can get an inside look as to how the compositions evolved. It’s funny, but the additional version of “Lucy in the Sky with Diamonds” only has Lennon’s verses intact. McCartney’s chorus isn’t in place yet but the backing music is still there. If you are like me, you’ll have to resist the urge to sing the chorus to “Hang on Sloopy” by the McCoys along with the recording. The two songs are very different from each other, melodically-speaking, but it fits perfectly.

The instrumental alternate take of “Getting Better” preserves the original track’s lushness. The keys and buzzy guitars bounce off of each other, while “Fixing a Hole” has an appealing harpsichord practice session before it jumps into familiar territory. The isolated orchestra on “She’s Leaving Home” is a marvel within itself.

This reissue will only be important the kind of Beatle fan who wants to hear everything dissected, although the new, pristine and detailed mix is worth the price of admission alone.

Five decades later, “Sgt. Pepper’s Lonely Hearts Club Band” still sounds revolutionary and fresh. In many ways this album finds John, Paul, George and Ringo at the peak of their powers. That being said, they have one of the most consistently stellar discographies of the rock era. This is still an eclectic rainbow of a record, even by 2017 standards.

Focus Tracks:

“Strawberry Fields Forever” (Take 26) This is a faster, more experimental reading of the famous single. This version is much less ominous than the classic single we have heard over the years. Ringo’s drumming here is especially thunderous.

“A Day in the Life” (Take 1 with Hums) This is especially interesting as Lennon calls out instructions presumably to George Martin. This version is also stripped of both McCartney’s vocals and of the orchestration, thus emphasizing the hidden elements of the song. The echo-drenched counting during what would be the orchestral portion is especially haunting.

“Being For the Benefit of Mr. Kite” (Take 4) Lennon, playing the role of the twisted carnival barker has some obvious fun on this alternate, stripped-down take. The way he sings the title in a purposely nasally way at the beginning of the track shows that he’s not taking himself too seriously.

Shakira’s first album in three years sort of finds the Colombian superstar mostly aiming to update her Spanish-language pop roots and she does so with an effective electro-fueled energy, joining forces with an international crew of guests. She sounds great beside fellow Colombian, Maluma, on both “Chantaje” and “Trap,” even if he insists on coating his voice with electro effects and on “When a Woman,” (which counts Julia Michaels among its songwriters) it sounds like she is aiming for Justin Bieber’s “Sorry” territory.

There are some interesting choices along the way, too. The initial verse-section of “Amarillo,” seems to evoke memories of the verse melody of Madonna’s “Papa Don’t Preach,” even if melodically-speaking it heads into a brighter, less earnest direction. On “Pierro Fiel” she is joined by Reggaeton singer Nicky Jam with winning results.

“Comme Moi,” her collaboration with French rapper Black M, gets an “English version” with MAGIC! called “What We Said.” Of course, considering one the English version only really relates to the guests since Shakira’s part on both tracks is in English. The multi-lingual, international tone to the record suits Shakira well and will no doubt lead to global chart domination in some places as she continues to show herself to be a likable presence who can adapt to a number of different sonic backdrops.

It is tempting to call this some sort of return to form, modernizing the sounds that initially made her famous. With the exception of the Prince Royce collaboration, “Déjà vu,” and the Carlos Vives-assisted, “La Bicicleta,” I’d say that classification might be a little hasty. Rather, “El Dorado” finds Shakira continuing to grow as a performer, even if she’s sticking to club tracks and love ballads. She’s developing a fitting, casual subtlety.

Focus Tracks:

“Me Enamoré” This bouncy, electro-tinged opener has enough detail and enough bubblegum punch to win fans across a variety of areas. It’s a slow-burning club monster, even with the digitally-stuttered lyrical breakdown.

“Amarillo” The weird “Papa Don’t Preach” melodic parallel actually provides an accidental hook but the song blossoms into much more as it progresses.

“When a Woman” This is an attempt to conquer the American and British charts and it sounds like a pretty glowing slice of pop. She’s done more insistent tracks in the past, but this is still worthy.

Lil Yachty is only 19, but he’s already caught the ire of hip-hop’s old guard with his “bubblegum trap” and “mumble rap.” Last year the legendary Pete Rock famously called him to task for his lack of skill. From his proper debut, “Teenage Emotions,” it is evident that maintaining a level of lyricism is obviously at most a secondary concern. Mostly he uses his songs to just repeat words over and over in quick repetition. If you guessed that the chorus to the Migos-assisted “Peek a Boo” was the “Peek a Boo” said over and over again, you are right.

“DN Freestyle” is a dreadful example that shows that Yachty has no interest in having any sort of a flow, either. He blathers on over an asymmetrical beat and you are left with your head spinning. The repetition strikes again on both “Say My Name” and “Harley.”

When he’s not attempting to rap, Yachty leans a little too hard on vocoders and Autotune. Sure, with “trap” music this comes with the territory, but it’d be nice if there was more variety and if he’d attempt to sing without any effects from time to time. Perhaps he isn’t doing that because the effects are a crutch.

Of course, the majority of this record is half-baked at best. Listen to the fifty-second sonic atrocity, “Otha S��t” and it might seem amazing that this made it onto a widely-released album. The woozy, electro energy on “FYI (Know How)” and “No More” will prove to be a difficult listen for many. When he tries to rap in a straight-forward way on “Priorities,” it is completely without any sense of charisma, like a kid practicing his lyrics in his bedroom mirror. But he’s way outside of his bedroom and he’s just not ready.

It’s already been pounced on that Yachty uses the phrase “blow like a cello” in “Peek a Boo,” which he has apologized for, because he apparently wasn’t aware of exactly how one plays a cello. I’m all for progressing hip-hop forward and taking it into new, experimental directions, but Lil Yachty showcases no concept of craft here. It often seems like someone turned on a beat, they turned on the vocoders and he walked in cold off of the street and was just told to spit some lyrics and this was the best he gave them. It seems like he isn’t trying.

He can do better. His collaborative re-make of Rob Base and DJ E-Z Rock’s “It Takes Two,” recorded with Carly Rae Jepsen and Mike WILL Made-It for a Target ad campaign isn’t great by any stretch but it at least captures a hint of faint ghost of the original classic.

“Teenage Emotions” is a bratty mess of a record and not in a compelling way. It’d be one thing if Yachty were ignoring conventions and pushing the genre somewhere fascinating, but he isn’t. When classic hip-hop artists shake their heads at Yachty for his perceived ignorance of the demands of the genre, that scorn is earned. Hip-hop and hip-hop culture along with the time-tested art of free-styling are sacred to many people. If you didn’t have skills and you didn’t have respect, back in the day you would’ve been booed off the stage. Yachty’s idea of hip-hop is a woozy, electro-fueled, fluttering internet meme in comparison to what used to pass the industry test. His lack of care for the music itself and his lyrics will be offensive to many.

There is potentially room for electro and trap elements in hip-hop but here Yachty is dumbing down a great genre. He’s adding more insult than ingenuity.

Focus Track:

“Running with a Ghost” (Featuring Grace) Honestly, picking a track worth recommending here is a challenging task, but Grace does a good job handling a hook that recalls Tegan and Sara’s “Walking with a Ghost.” Yachty essentially gets upstaged with better results.

The funny thing is about the “alt-country” label is that it often refers to more authentic country in comparison to the polished country-pop that fuels mainstream country radio. On his seventh album in nine years, Justin Townes Earle delivers some straight-forward country ballads combined with occasional shots of boogie-woogie blues. In a different generation, “What’s She Crying For” would have been a landmark hit, as would the opening romp “Champagne Corolla.”

On “15-25,” Earle plays the nefarious rogue quite well while working a formidable blues, while the title-track is a nostalgic trip to his childhood playing with his neighborhood friends. On “Short Hair Woman,” Earle describes his perfect mate, someone who is tall, “sharp as a diamond ring” and not too vain. It’s a winning workout of a track.

“Same Old Stagolee” is an old-time country folk number that no doubt will bring up memories of Lloyd Price’s classic hit “Stagger Lee.” While Price’s “Stagger Lee,” shot a guy named Billy, “Stagolee” here gets into a weapon battle with “Jimmy Brown.” Earle does sound like a throwback to a vintage kind of sound.

It’s no surprise that Earle impresses throughout “Kids in the Street.” He’s had a rather solid career. He also sounds like a smoother and less rugged answer to his famous father, Steve Earle. This is an album with many layers and Earle uses his voice to subtly convey emotion and tell stories very well. This is a rather strong offering that gains momentum with every successive spin.

Focus Tracks:

“Maybe a Moment” With its Ryan Adams-esque energy this will no doubt be a favorite of both alt-country and AAA radio. It’s a slow-burning hit waiting to happen.

“What’s She Crying For” This is a classically-minded, sad country narrative. Earle watches his subject very closely and there is care in his voice as he watches her break down.

“Kids in the Street” This is an ace bit of songwriting. Earle can really tell a detailed story as he laments that “this ain’t the way it was back in 1993.” There’s a palpable sense of lost innocence.

“Vision” is the second album from Chicago band Pet Symmetry. The band is an indie-rock super-group of sorts featuring Erik Czaja and Marcus Nuccio of Dowsers and Even Thomas Weiss of Into It. Over It. This is a brisk half-hour set that finds the trio constantly shape-shifting. Mostly it sticks with a brash, more polished cousin of emo-flavored punk on excellent tracks like “Stare Collection” and “50%.” Elsewhere there are softer moments like the acoustic and beautiful reflection, “Mostly Water” and the deeply resonant “You & Me & Mt. Hood,” which is lifted by its bass-line and its subtle sonic details.

On the flipside, there is the wonderfully destructive bash-fest found on “Eyesores,” a song that will have you pogo-ing across the room and will push your speakers to the limit with some brutal feedback squalls.

This isn’t an album that is easy to pin down. In spite of its brevity, it is a set that tends to reveal new layers and often it recalls the more pensive indie-rock records that emerged between the late nineties and the mid-2000’s. When closing track, “Lint Roller” ends in a complex, multi-part round, it creates a sweeping, enveloping atmosphere.

These 11 tracks pound away, the hit your tender side and they rock with effective force. Pet Symmetry is a tight band that deserves your attention. “Vision” is a commanding, sharp dose of intelligent indie-rock.

Focus Tracks:

“Mostly Water” With the refrain of “this is the me I’ve missed,” this really digs deeply. It is interesting that one of the album’s gentler moments stands out the most, but it makes the most of the quiet atmosphere.

“Stare Collection” This is a hard-hitting rock track with a pop core. It is loudly confident and has a level of brashness that is refreshing, balancing sweetness and instrumental brutality.

“50%” “I’m calling a truce between me and you.” These words begin this track. If most mainstream radio didn’t systematically ignore new rock, this would have some serious crossover potential.

Next Week: New music from Alt-J, Bleachers and more.

Missed last week’s? Get the latest from Snoop Dogg, the “Singles” soundtrack, Linkin Park and Magic Giant.

1 June 2017 | 11:29 am

Source : ABC News

>>>Click Here To View Original Press Release>>>

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