@@@ GloRilla: Nut Quick (Interscope, 2022) Mainstream female hip hop day here at Deep in the Music. This is some pretty disposable strip club hip hop and it’s a female dominating her males sitch here. Ms. GloRilla’s flow is okay, a bit lumpy in place and she does it all while a piano chord just bangs and bangs. Pun intended. It’s pretty average, high energy, not very interesting sounds, even the hook is pretty poorly executed. It’s a little difficult to believe these two releases here are by major labels, this is the kind of stuff that used to get sold out of the back of Buick trunks.
@@@ Latto: It’s Givin (RCA, 2022) Latto is similar but a bit more interesting musically when she starts the track. She’s more relaxed on the mic and the sounds are more interesting than GloRilla. I mean they’re not the most amazing sounds but they’re poppier and more ear catching. She really starts kicking it out around 1:25. She keeps using this phrase that sounds like ball speech, how could that be? No small toys, no broke toys. This is not the kind of record you can listen to over and over, it’s pretty disposable. Well done disposable business.
@@@ Davey Long: Flesh and Blood (N/A, 2022) I got to this piano driven anthem via a music publicist in Ireland. It’s big rock, big piano rock. This is most definitely music for normies. I’m not a normie, I just came out differently but while this sentiment doesn’t super work for me, there are more normies than there are versions of me. Unfortunately. The vocal hook is that we’re all flesh and blood and we’re doing the best. I get the first part but some of us aren’t putting in much effort. This is for the suburban housewife Elton John fans and if they’re reading this here blog, have at it!
@@@ The Cool Greenhouse: Get Unjaded (Melodic, 2022) This artist is namechecked on this week’s Line of Best Fit and it’s related to the first track. We’re somewhat engaged in a battle of earnest vs. jaded, right? This is an art school nerd punk jam with spoken word vocals, circular simple and aggro guitar cycling and rock drumming. I don’t usually love the art school business but this is all right. I like the Captain Beefheart-esque dissonant guitars, the singer I’m agnostic on, and the vibe is cool, not jump up and down but cool. I like the second tune Sod’s Toastie the best of what I heard.
@@@ Weyes Blood: Children of the Empire (Sub Pop, 2022) Two listens this morning off this week’s 10 most reviewed albums on Pitchfork. My first impression is that this is a less trick version of Joni Mitchell formulas and vibes. 70s feels delivered in faded rock format, piano driven. I had to click out of that track when it came to the fingersnaps and the tambourine but that’s on me, not on the artist. The next track, Grapevine, is an acoustic guitar track. The full band comes in and it gets big and swirly. I like it, I don’t love it but it’s all right. I could use a bit more energy from the singer and more contrast from the band.
@@@ Fleshwater: The Razor’s Apple (Cloased Casket Archives, 2022) This is the third track on the record and it’s a big rockin’ sound, up in yer face with a female singer, big guitars etc. I’ve switched it out to the first track to see if I cans get some feelings from this — this is a musical formula that’s well worn but I think it’s okay to want a bit more from it. Big rock has been done, if you want me to check out yer slightly grungey big rock hit me with some freshness. I like the drummer but I could use more chaos from the guitar player and the whole outfit. Lose yer shit, I always dig that.
@@@ Rihanna: Born Again (Def Jam/UMG, 2022) I’ve never really understood why Ri Ri is such a big deal musically. I understand she’s a cultural and business force but I find her music to be pretty unremarkable. This is slow piano jam, a tearjerker but she brings it mostly with a strong powerful vibe so it’s a blend of sadness and empowerment which I think works for the new Black Panther movie. There’s a strange break where she’s sort of grunting/chanting and I think it signifies struggle. Points for weirdness. That’s actually the end of the song and it’s a strange end to a track. I think it’s an alright track, nothing to special so my perception is reinforced.
@@@ Margo Price: Lydia (Loma Vista, 2022) This is another slow jam, this time with strummed acoustic guitar and cello. Price comes in almost mouse-y and I dig that as the epic vocalizations can get tiresome. There’s alot to like here — the plainness of the production and the sparseness of the arrangement really emphasizes the lonesome nature of the lyrics which I believe is an ode to a woman who’s having a rough go. Addiction, aloneness it’s in that neighborhood. It’s a 6 minute banger so I hope it morphs a bit to keep me interested. It’s not an all time track for me but I like it.
@@@ Slavo Rican Assembly: Thunderbadger (Riverboat Records, 2022) Both of today’s listens are off this week’s WRIR playlist email. This is the fourth track and I haven’t heard a record get so close to classic Parliament feels as this record does in quite a while. It’s not light funk, it’s not quite as deep and black as the original but it’s thick. They take the Parliament undercarriage and put some sax on top and then a piano solo so it’s a stew — not just funk, but Meters’ style funk/strut, and jazz. Lemme peep a coupla other tracks but damn nice piano solo. I’m checking out track 2, it’s called Zrejilo Je Zito, and from the title of the outfit I’m thinking this is a mixed group. This second track puts a smooth female vocalist on top of some bubbling funk. It’s definitely a full on mashup of different sounds, I’m not sure how I feel off the bat, but I’m starring the record and will peep it when I have more time. I love the rhythm section, dig the pianist, and am agnostic on the sax player and the vocalist but I could be convinced. They’re definitely getting their freak on and I respect that.
@@@ Liraz: Roya (Glitterbeat, 2022) I dig the Glitterbeat imprint as they put out some really stuff and these guys come hopping out of the gate with a rocking electric number and a female singer kicking ass and taking names. Not flashy or diva but right there in the mix. Lemme Googlepimp these guys to see where they’re from, I’m guessing Turkey. Turkey, Israel and Iran. Let’s peep some more — this is popping. This second track, Azizam is blazing, great overarching Middle Eastern melodies, tight rhythm section and just a lot of energy and spot on playing. I’m going to circle back on this but these guys have it going on. Firing on all cylinders. Great drummer here, super flavorful.
@@@ Lamentations: Passion of Depression (Willowtip, 2022) I got to this metal record via Twitter. It pops right out of the gate with the tune Terminal, lots of classic guitar riffage and octopus drumming and a synth that sounds like it comes straight out of a Styx track. Then the caveman, what will these nuts think of next? At other points they bring the tune down to a flaxen haired sounding gent and acoustic guitar playing. All over the place. It’s not the all over the place-ness that doesn’t work for me, it’s that classic metal is a tough sell for me. Lots of energy and lots of shredding but I enjoy more chaos.
@@@ Wesli: Azounke an Yanvalou (Cumbancha, 2022) A Haitian musician that blew up last summer (I think?) with a full length that sprawls from traditional drumming and singing to full band somewhat Cajun flavored band music. I understand Cajun music was influenced by Haiti and not the other way ’round I was searching for a connection. It’s hard to make any definitive statements regarding this record because it’s 85 minutes and it’s all over the place. I like the tunes that are smaller ensembles though a part of me will always get down with big drum circles with vocalizing. Poke around to find some jams you didn’t even know you were looking for
@@@ Big Joanie: In My Arms (Kill Rock Stars, 2022) A couple of last listens from this week’s Pitchfork 10 most reviewed albums of the week. This is the fifth track on the record and it’s a smash up of Bruce Springsteen rock and indie vocalizing. A little less New Jersey than Bruce Springsteen but connected for sure. I dig the half nasal Buddy Holly type singer here, it’s super nerdy and makes the track much more interesting. Some pretty nice guitar work as there are two guitars, one holding it down and one doing some melodic work. I’m going to check another track to see what they have going on and I’ve chosen the third track Confident Man. This track has an interesting oscillating synth to go with the indie rock guy, it’s a bit of an indie sendup of electronic music and I find it charming. All right I’m considering if this record could go on my best of year list as I dig the singer and I’m giving the opening track, Cactus Tree, a shot. It’s a bit more epic but does bring the rock and the synth action simultaneously which is kinda cool. This smells like an honorable mention type record but listen for yourself.
@@@ Horse Lords: Zero Degree Machine (RVNG, 2022) More rawk, more rawk!!! This opens with the track clipped below and this some Yes type shit — half art school, half rockin’. As it unfolds it does indeed get more wound around itself and quite proggy. I like some of what’s going on here, but it needs more grit for me to embrace it, it’s got this smooth and clean as a baby’s bottom feel to it that I can’t roll with. Just as I finish typing this they get into a quasi Meat Puppets circular madness thing that I dig, oy I can never win.
@@@ Tenci: Two Cups (Keeled Scales, 2022) Off this week’s 10 most reviewed albums at PItchfork. This record is slotted as folk and you get the guitar arpeggios and a bit of breathy saxophone to open this record. There’s plenty of indie jank in this opener so it’s a combo platter, not straight traditional folk. I like that. It’s got a bit of an orchestral feeling with multiple melodies happening at once. It’s a quick one at the open and then we’re on to the second track, Vanishing Coin. I’m not a huge fan of indie music but I find this interesting, it’s unpredictable and not standard mope. Much more on the dreamy side than on the mope-y side. I don’t have the time to check out a ton of this record as I’m at the beginning of my last podcast push for the year but I’m on the third tune and it’s been all good thus far. Also these ladies can sing, or lady, I don’t know if it’s one or two, nor do I care.
@@@ Dawn Richard and Spencer Zahn: Vantablack (Merge, 2022) I’m a big fan of Dawn Richard and I saw this collaboration between her and someone I’ve never heard of. It opens jazz like and ambient with a track called Coral and let’s see where this goes. The sorta New Age-y intro track hopefully will give way to a banger, a dancefloor banger but thus far the second track is spillover from the first track. Oh Lord, I fear there are to be no bangers on this record, it’s thus far chill sitch New Age-y sax playing with a little electro garnish. Color me bummed. I was hoping for some pumped up abstract dancefloor banging and I got was a lousy t-shirt.
@@@ Skanks the Rap Martyr: Take it to the Streets (Anarchy Records, 2022) I got to this independent hip hop via a music publicist email. Skanks the Rap Martyr has plenty of jams up on Apple Music but not this track and it’s Friday and I’m lazy so wé’re just gonna rock the GooglePimpTube video below. A brisk retro-ish beat heavy on snare with lyrics lamenting violence in the hip hop community. There’s a really nice flute sample and energetic but not full on rhyming. It’s a straight forward track, I like the lyrics and the bounce.
@@@ Persher: Man With the Magic Soap (Thrill Jockey, 2022) I got to this metal outfit via a weekly email from Crack Magazine out of the UK. I have a conflicted relationship with Thrill Jockey metal releases — sometimes it’s noisy metal and I dig that and sometimes it’s more art school metal and I like that less. C’mon you gotta give props to any record title Man with the Magic Soap. This is not your typical metal, it’s more of an art school noise rock project. Plenty of fuzz, punk drumming, blasted distorted vocals. I like the first track but I didn’t finish it so I skipped to the second while mentioning that’s not a great sign. This second track Calf is pretty good with a spooky bassline and a shuffly beat. It’s cool. I think this is solid B stuff, I like a bunch of what’s going on here but I’m not jumping up and down. To my ears it’s an extension of Rob Zombie’s horror movie music without a lot of metal, more punk and no glam.