Category: Reviews
Review: Samia: ‘Honey’
Samia’s introspective new album, Honey, opens with a delusional, searing confession delivered amidst a somber funeral organ. She parallels SZA’s recent hit, “Kill Bill,” and daydreams about killing an ex’s new lover. In recent interviews, she consistently describes her second LP as ‘pathologically confessional.’ True to her word, the album’s lead single and opening track, “Kill Her Freak Out,” feels like the emotional equivalent of a whimper from a wounded animal and it’s not even the most sorrowful track on the record.
In her next song, Samia flips the narrative on its head. In “Charm You,” she no longer cares to bend the truth for her partner. Instead, she’s cloaked in nonchalance, an evolution from her previous LP’s “Limbo Bitch.” In an interview with Atwood Magazine, she stated that each song builds on the next one, which is by no means a new or novel idea for songwriters, but the ability to reference older works and to build cohesive storylines (and to do it well) is an understated talent. Samia’s take on it is refreshing and revealing. Take for example, the three-song run “Pink Ballon,” “Mad At Me” and “Sea Lions,” which tells the story of a friendship gone awry.
“Breathing Song” is the clear standout from the bunch. It lacks the pop appeal of earlier singles like “Honey” and “Mad At Me” and will likely lag behind in streaming numbers. The unsubtle and brutal lyricism makes it hard to hear more than once in a row. It’s a moving and deeply painful account of what can only be interpreted as sexual assault. Perhaps the hardest part to bear is the song’s circular movement. She teeters between accepting her own reality and clinging to her abuser’s version of the story, denying what she knows to be true. There’s no resolution or solace to be found here.
“Breathing Song” was released as a companion to the title track (“Honey”), which tells the same story from a different perspective. The connection is faint and impalpable; it would be missed easily if we hadn’t been explicitly told so. Despite the dulcet tune of the song (pun intended), she describes this as ‘the saddest song [she’s] ever written.‘ Go figure.
But fear not, this story gets a happy ending. The final songs show Samia finding love and romanticizing the mundane (”Nanana”), serve as an ode to her friends (”Amelia”) and beckon forward an age of hope (“Dream Song”). With such a strong and charming second LP, Samia is set to become an indie darling.
Review: Bad Bad Hats: “It Hurts (Demo)”
To celebrate the 10th anniversary of the release of their debut EP It Hurts, Minneapolis-based indie-rock duo Bad Bad Hats will be releasing It Hurts (10th Anniversary edition) at the end of the month. The reissue will consist of remasters of all five songs, as well as the original demos, and will be the first time that fans will have the opportunity to purchase the EP on vinyl.
So far, the band has released two songs from the project: “Super America (Remaster),” and “It Hurts (Demo).” Upon first listening to “It Hurts (Demo),” I was emotionally torn—part of me is extremely grateful this version is now available, and the other part is devastated that it took ten years to have access to it. While both the original master and demo versions feature the same lyrics and melody, each version provides a completely different listening experience and the demo is certainly able to stand on its own. Compared to the original master, the demo stacks up quite nicely; the instruments are softer, the main vocals are sharper and delivered in a way that allows lead vocalist Kerry Alexander the opportunity to show off more of her personality, and the background vocals have been replaced with whistling and a more prominent kazoo that fills a void that I never even knew existed prior to listening to this song (and I would like to formally petition for all songs going forward to include a minimum of two kazoo solos). The song is able to balance the indie-pop formula perfectly; it is simple in a way that is refreshing but not boring, and repetitive in a way that is catchy and fun rather than redundant.
After listening to these two songs, I am eager to hear how the rest of the original demos compare to their remastered counterparts and get a greater glimpse into the evolutionary journey behind each song. It Hurts (10th Anniversary Edition) will be available digitally on January 27, and the vinyl is available for pre-order on their website now. In the meantime, listen to “It Hurts (Demo)” to fill the Bad Bad Hats shaped hole in your soul with a Good Good Song.
iii Points 2021 Recap: The Good, The Bad, and The Ugly
If you’re unfamiliar with Miami music festival iii Points, it’s quite singular as far as US-based festivals go. Gates run from 5 pm to 5 am, reminiscent of many EU-based fests, many of the acts identify with the dance music genre, and there’s a heavy emphasis on local and international talent. On paper, this should be the festival that fills the void of the late-night city festivals, like the now-defunct Day for Night (which in all honesty, good riddance), providing us rave-seekers an outlet to work out all this pent-up energy in the knees. But iii Points has been plagued with a slew of issues ranging from hurricanes to artist cancellations via the pandemic (RIP Zenker Brothers and Special Request). Regardless, promoters were dead set on a return to Wynwood in 2021 and they made it happen. It wasn’t all peaches and cream, more on that later, but I would like to think most that made the trek left with smiles on their faces.
The Good – The Music
In my humble opinion, this should be the main reason that anyone attends iii Points. The booking team provides a jaw-dropping curation of genres, house to techno to hip-hop to indie, second to only Coachella for my US dollars. If you don’t particularly care for a highly-detailed set of acts and are just looking to party with your friends, this probably isn’t the fest for you.
The first day was hectic. Rushing into the festival after a poorly-communicated rain delay, I was able to catch the tail end of Vegyn, who put a smile on my sullen face after transitioning a Playboi Carti leak into “Miss the Rage”. After Vegyn came Objekt, who tore down the Main Frame stage with a mix of breakbeats, 909’s, and an unexpected amount of groove. Kelly Lee Owens marked the point in which Main Frame became filled to the brim but managed to keep the crowd moving in the stew of sweat, smoke, and other smelly aromas. Yves Tumor blew my damn mind with a glammy opening of the hits, “Gospel For A New Century”/ ”Jackie”/”Noid”/ etc., before being rudely interrupted by a torrential downpour. However, I don’t think the band and it’s frontperson were too pressed as they almost summoned the rain and reveled in it before being told off by fest coordinators. This rain delay did give me a chance to stumble into a crowd of rollers and trippers dancing violently to local DJ’s, Coffintexts, hammering of breakbeats. Romy gave an unexpected dance party of a mix, fitting in perfectly before Peggy Gou, whose mix was everything and more than I had hoped for. She focused on techno for the Miami audience and kept the pace at 140 for the entirety of her set until crowd favorite and smash-hit “Starry Night” got everyone’s phone up in the air. Jamie XX ended the early-morning with a mix of bass, disco, and soul samples.
Day two was less hectic. I was only able to catch three/four sets: Virgil Abloh, John Tejada, Johnny from Space, and AceMoma. Virgil made the hour and a half time slot worth the price of admission with a full mix of his unreleased “Ibiza (Won’t Be Late)” and a mix of Cardi B’s “Bodak Yellow”, a unashamed favorite of mine, into Overmono’s “So U Kno” (shout out to those of you keeping up with VM’s weekly playlists). My friends and I couldn’t have asked for a better 1-2-3 punch from the Celebrity DJ. Next was John Tejada on the tucked away Isotropic stage whose techno mix strayed from his more minimal works, but perfectly soundtracked the news that the Braves had made it to the world series. After shotgunning a Stella Artois, I made the short trek to the S3QUENC3 stage, which by the way, was one of the coolest designs for a festival stage I’ve ever seen. Johnny from Space was currently keeping the party going for those who were preparing for my most anticipated and favorite set of the weekend, AceMoma. The New-York based duo did not waste anytime in getting the crowd to go nuts. Track after perfectly-mixed track turned the entire crowd’s clock to zero as a surprised yet over joyous MoMa Ready informed the audience that “We’ve only been playing for 30 minutes!”. The boys just about threw every genre, from house to Drum and Bass to Techno to what sounded like Mario Kart music, that the 4 CDJ’s could handle. To say it was a religious experience would be an understatement and I had to fight off tears at the end of the set. Magical.
The Bad – The Weather
Every festival promoter’s worst nightmare is rain. iii Points has a combative history with rain and 2021 was no exception. And boy, did South Florida have a lot of it to offer Friday evening. Gates were pushed back an hour and a half as faith in the 15-minute Florida shower theory dwindled to nill. No communication from the iii Points staff was sent out to attendees other than a wildly optimistic Instagram story stating “Clear skies ahead!”… yeesh. Once in to the festival the grounds weren’t too muddy as much of the venue was atop of concrete, yet the 5pm acts were unable to perform. As mentioned before, another Yves Tumor summoned storm hit around 11:30 pm, delaying all current sets, sauf pour Coffintexts, and funneling majority of attendees out of the fest or into the cover of the Main Frame (so much for getting close at Peggy Gou). Shoes were soaked, shirts ruined, and illness likely filled the lungs of attendees but unfortunately there’s none to blame other than mother nature. Hopefully, iii Points communication/decision making team learned a thing or two from the fiasco.
The Ugly – $6+ Water
Liquid Death. An incredibly stupid idea to can water that has been slowly gaining popularity within festival bars since 2018. Leading up to the festival, it became apparent there would not be free water stations and to that I ask… why?? Event coordinators should know that it is extremely dangerous to not have immediate access to free water and that waiting in the lengthy bar lines could be detrimental to the well-being of attendees. It would just seem to me that having water stations would be cheaper in the long run-in avoiding potential for lawsuits… profit should not be taking priority over the safety of attendees. Despite the ethical dilemma of no free water, the pricing on the trendy liquid death is abhorrent. $6 for water plus the 18% Miami service charge plus tip adds up quickly when combining it with other drinks/food. I guess there’s an argument to be made for the “Don’t attend the fest if you can’t afford it” but to those critics I’d politely retort “Fuck off”. So yeah, a Liquid Death sponsorship, which I should clarify is not problematic as long as there are alternative free water stations, awards iii Points with the title for “Most Expensive Water Options”. Coachella, you’re up next.
Overall, the good outweighed the bad and ugly at iii Points 2021. I left with memories to cherish for years and a smile on my face. As long the booking team can continue to provide a European-style electronic experience in South Florida, I see no reason why I wouldn’t return to iii Points, hopefully with a deeper wallet next time!
Tasting Notes – Fall Heat Wave
Welcome to my new column here at Vinyl Mag: Tasting Notes! I have had this idea bouncing inside my head for a little while now yet for some reason haven’t gotten around to writing it. Each edition of Tasting Notes will feature a themed menu with a few projects that deserve your time. This week’s theme is Georgia’s Fall Heat Wave. With the weather unable to decide if we will be blessed with Autumntime here in Athens, might as well make the most of the heat and enjoy some tunes better fit for summertime. Let’s take a look at the seasonal menu!
salute – Condition ([PIAS] Recordings)
You’ll have to forgive me as this selection is not a 2021 release, however, Austrian-born producer, salute, has been making waves in the UK Garage & Bass scene with his sweetly infectious DJ sets throughout the year. With his 2019 effort, Condition, Salute curated a tracklist with some of the most refreshing dance music in recent memory. Remarkably light yet sugary, listeners would be hard-pressed to find a better group of tracks to pair with sunny and 85°. Oh, and this is the project that birthed the idea for this column!
Light, Carbonates, Honeycrisp Apple, Ranch Water, Seabreeze, Chlorine, Fleur de sel, Lemon Zest, Pickled Radish
Ducks Ltd. – Modern Fiction (Carpark Records)
Toronto-based jangle-pop duo, Ducks Ltd., debuts their first full-length record on Carpark records in staggering fashion. Keeping pace with their debut EP Get Bleak, Modern Fiction satiates any indie-pop cravings with track after solid track of forwarding guitars and 4/4 drumbeats. It’s easy to draw comparisons to Ducks Ltd.’s influences and contemporaries (college rock guitars ala Real Estate meets UK post-punk DnB), yet the duo manages to use this to their advantage. Modern Fiction showcases Ducks Ltd.’s sprightly compositions and deft songwriting capabilities, perfect for dancing in a stranger’s living room.
Medium, Cinnamon & Almond, Hops, Coca-Cola, Cedar Box, White Pepper, Fennel, Bar-Tar, Morning Dew, Potato Leek Soup
Purple Kiss – HIDE & SEEK (RBW Inc.)
Where do I begin with Purple Kiss’ HIDE & SEEK? 2021 K-pop has required a savior after a glistening 2020… until HIDE & SEEK came along. RBW’s precocious girl group has proven themselves alongside the likes of K-pop veterans and label mates, MAMAMOO, in a little under 7 months. Title track “Zombie” is a Halloween dance party anthem emphasizing treat over the trick. “2am” contextualizes the ballad formula through a western lens with classical orchestration and pedal steel inexplicably reminiscent of early Faye Webster. The chorus begins: “I’m in love with this comfy mood”, explicating the project’s ethos with alarming self-awareness. Yet despite HIDE & SEEK’s candy-coated comfort, many of the tracks here focus on relational turmoil and questioning, namely standout: “So WhY”. I really couldn’t urge you enough to dance, cry, drive, or unwind with HIDE & SEEK… it’s all here.
Medium to Full, Grape Fanta, Acetone, Empress Gin, Crystal Rock Candy Lollipop, Oyster Shell, Pumpkin Flesh, Pour Over Coffee, Steel
Tems – If Orange Was A Place (Since ’93/RCA)
Breakout Lagos-born superstar Tems is following up an explosive 11 months of stardom, after fronting Wizkid’s mainstream hit “Essence” and finding herself on Drake’s Certified Lover Boy, with If Orange Was A Place. As if the music itself didn’t paint a vivid picture of the flavors incorporated, the title rounds this profile together quite neatly. Each track here oozes setting sunshine, almost as if you’re running out to the car before a long evening out. Lead single “Crazy Tings” opens on this liminal note; swirling rhythms and a one-sided monologue exclaim “So you need, someone to deceive/ And you’re trying to think that I’m the one for you”. Tracklist highlight “Replay” finds Tems in a moment of reflection and reassurance (“I’ve been distant to keep my distance/ Goodbye to a boring life”) amongst infectious melodies and syrupy-thick drum patterns. If Orange Was A Place is rich; a picture of a woman finding strength in herself lit only by the sun kissing the horizon.
Full, Pineapple, Lychee, Cashew, Ginger, Sea Bass, Magnolia, Worn-in Leather, Lanolin
Review: The Dazy Chains: “Electric Sunshine”
The Dazy Chains, a relatively new homegrown Athens band, didn’t let the past year and a half stop them from writing, recording, and releasing their debut full-length album Electric Sunshine, which came out Oct 8th at midnight. The album cover, like the contents within the album, is a psychedelic piece of art. It features the iconic steeple located on Oconee Street as an homage to Nuci’s Space, where the album was conceived, recorded, and mastered. On Electric Sunshine, the band travels through and merges multiple genres. Elements of psychedelia, rock, grunge, and funk converge with the distinctive vocalizations of Hannah Meachum to top it off. The end result is a garage rock album with different genres peeking through at select moments – a unique tribute to why making music with your friends matter.
The songs on the record are reflective and self-aware, not afraid to admit personal vulnerabilities or shortcomings. The admissions are curt and to the point. On “Counter-Clockwise,” Hannah passionately sings “you tell me I’m broken / well I don’t give a damn.” In “What You Are,” Hannah dryly admits, “you used me now / I’m not the same.” The admission is simple but there is a punch to the delivery. On “Hypnotize,” the narrator’s internal struggle is evident in the lyrics. With a clever shift in lyrics, the narrator’s perspective changes from being intoxicated with someone to feeling betrayed by them. It’s clever yet raw. These songs show that the band is in touch with their intentions and not afraid to vocalize their emotions.
On their debut album, the Dazy Chains frequently time bends, speeding up and slowing down without warning. On “Flow,” slick and rapid guitar licks and drumbeats transform briskly (yet smoothly) into a slower funkier melody. It’s pretty fun to listen to on the record and I imagine it would be just as cool, if not cooler, live.
This album is a melting pot of genres, and it reminds me of why I enjoy listening to local acts and (yet) unknown bands. Making music one cares about is the most important part. Everyone has something they enjoy and being able to bring that to life is a gift. The size of the audience is the least significant part. Congrats to the Dazy Chains for bringing to life a vision of theirs on their debut.
You can catch their album release show TONIGHT at Smith’s Old Bar in Atlanta with Alien Funk Academy and A.D. Blanco as the supporting acts. Doors are at 8 PM. Or you can catch them at this year’s first Nuci’s Space Jam on Monday.
Electric Sunshine by the Dazy Chains is out now on all streaming platforms.
Review: Hotel Fiction: ‘Soft Focus’
Hotel Fiction’s debut album Soft Focus is finally out today. Written and recorded over the past two years, Soft Focus is a complete introduction to the potential Hotel Fiction brings to the table as musicians, writers, and creatives. It’s rare that a musical act steps forward with such a complete vision and polished presence, but Hotel Fiction has done just that and more – it’s no wonder they keep climbing.
Since the release of “Astronaut Kids,” the duo has been hard at work gaining a following within and outside of Athens with five follow-up singles and multiple supporting tours. (Their first song has now garnered over a million plays on Spotify; they’ve also landed on two playlists curated by Spotify with their last single “Daydrifter.”) Now, in addition to their full-length album, they have an impressive line-up of show dates for the fall, including some dates opening for Adam Melchor.
If you’ve seen the band perform live, it quickly becomes apparent that Jade, Jessica, and their band ensemble (which continues to expand) possess unique chemistry on stage and have the skills and experience to deliver their vision to its full artistic capacity. These same qualities that make them so fun to watch live translate extremely well throughout this record. With a clear understanding of what makes a good record and what makes a great record, they create their own multiverse throughout each song with hidden musical elements, overarching themes, and small little details that tie everything together. The rhymes and the melodies throughout are so well-crafted and the production so refined, you’ll keep hitting repeat.
Soft Focus is a collection of coming-of-age songs set in the current zeitgeist. Hotel Fiction knows what it feels like to grow into adulthood in a time of ecological collapse, political unrest, social isolation, and the shattered illusions of “you can be whatever you want to be.” “Soft Focus” — the title track — is an incredible tribute to each of these and is surely the thesis of the whole album. It both understands that sometimes life is a shitshow and “the world is on fire,” but reassures you that as long as you keep things in perspective (or… soft focus, rather), you’ll be just fine. Both lyrically and sonically, the song transforms from longing for simpler times into the vibrant, messy present.
The album’s closer, “17,” is an emotional ode to missing the times you’ll never get back. It’s about leaving behind childhood. But also, about that moment when the floor gave out from under all of us and the things we loved so much (like dancing in our favorite clothes) were no longer an option. The bittersweet nostalgia of it all is ever so present here. By being themselves and telling their own stories, Hotel Fiction does what every band hopes to do which is connect with their listeners and make them feel less alone.
Soft Focus is available for streaming now on all platforms.
If you want to experience the magic in person, head to the 40 Watt tonight to catch Hotel Fiction, CLOUDLAND, and Daddy’s Beemer perform.
Not in Athens? Catch them on tour!
- 08/28 — Gainesville, FL
- 08/29 — Lee, SC (Hypefest)
- 09/09 — Asheville, NC
- 09/10 — Atlanta, GA
- 09/11 — Nashville, TN
- 09/16 — Richmond, VA
- 09/17 — Abingdon, VA
- 09/24 — Athens, GA (Athfest)
- 09/25 — Sevierville, TN
- 10/12 — Cleveland, OH
- 10/13 — Cincinnati, OH
- 10/14 — Indianapolis, IN
- 10/15 — Chicago, IL
- 10/16 — Appleton, WI
Hiding Places, Out of Hiding: “Homework”
Hiding Places are one of many bands emerging through the bustling post-pandemic creative scene, escaping from an isolation that long limited the ignition of projects in-the-making. Though most of us spent apocalypse-times contemplating survival, it’s quite refreshing to remember how isolation drove many to cultivate time and energy towards their art. I saw this vitality at work amongst musical friends, and more-so those that spend their free time playing around in elaborately concocted home-studios—a fateful reality for the making of Hiding Places. Embracing the gradual return to live music with the release of a new single and mini-tour announcement, Hiding Places are just starting out with already a whole lot to offer, ever-present in the impressions of “Homework.”
The indie four-piece release their debut song today, only a few days after a fun first show at Flicker Bar in Athens on Wednesday. The single showcases their music as a blend of classic indie rock and psych dreampop, drawing upon the melodic affinities of Soccer Mommy, Snail Mail, and Japanese Breakfast. Originating between the creative hotspots of Athens, GA and Asheville, NC, the group are reflective of their influences, yet organic in their delivery of nostalgic indie. The single was mixed and produced by guitarist Nicholas Byrne, whose range of talent is evident between his present band and experimental solo project, Arts + Crafts—a diverse collection of vibrant electronica that is also available on all streaming platforms (check it out!).
Although the band self-identifies their sound as “indie alt-country”, what “Homework” translates to is a slow-build of meditative, entrancing vocals matched by waves of floaty instrumentation. Harmonious layers of swirling guitar surround the space of the single, with a presence so immense and dominating it supersedes the chorus. Serving as a transitory daze between verses, the guitar & echoing ooh’s quickly effect the song into what feels like a psychedelic whirlwind (a comforting familiarity). The serene coordination between the two invokes a feeling both uplifting and reflective. Cyclical drums and bass shy in the background, complimenting the vocals/guitar and helping to cast you adrift the song’s contemplative dreamscape.
“Homework” is one of those songs whose instrumentals alone intuitively drive the volume up, and with such a pacifying voice, the varied potential of the band is eminent. Although hardly “alt-country”, the song invites an emotive yet heavy sound—similar in feeling to that of Melody’s Echo Chamber—a style the band has already proven to naturally embody. Between this and their future releases, which may dabble more in the realms of alt folk and country, I’m personally loving the psychedelic nature of “Homework” and am super stoked to hear how their music evolves from it. If you too are impressed by the band’s first release, you’ll be happy to know that they’ve recently finished recording a full-length album here in Athens, and plan to release the record both digitally and on pressed vinyl this fall.
Check out their bandcamp, & to stay tuned into their upcoming shows + new music announcements, do hit up @hidingplacesband on instagram!
Review: Hotel Fiction: “Daydrifter”
Athens-based duo Hotel Fiction released their latest single ‘Daydrifter’ last Friday. Like every other song in their catalog, this one was also produced by Tommy Trautwein of We Bought a Zoo Records. Best friends Jade Long and Jessica Thompson are determined to bring a fresh sound to the table with every new track they put out; “Daydrifter” is no exception.
The beginning of “Daydrifter” starts off with bird songs, which was coincidentally–or maybe intentionally?– how their last single “Think Twice” ended. The song instantly sounds like a campfire tune from the bright strum of the guitar to the smooth rhymes of each phrase. Although sonically different than their previous singles, Daydrifter returns to the psychedelic lyrics and imagery that made listeners fall in love with Jade and Jessica in the first place. In their first single, “Astronaut Kids,” Hotel Fiction wanted urgently to escape the growing pains of being 20 by becoming “an astronaut who sails the sea.” And now, two years later, things have come (almost) full. As shapeshifters in “Daydrifter,” the two pronounce that they are ‘sun sailors,’ watching the sky burn. In a similar vein, Hotel Fiction desired to go to the moon and take off into the sky in “Astronaut Kids.” Now, they are still far off in the atmosphere but in a more self-assured tone. This time they are the moon craters, watching the earth turn.
The pair (or rather the trio because I have a hunch that Tommy frequently plays an important role here) have previously shown just how much they enjoy changing their sound midway through a song, either by adding something new or by taking something away. For example, in “Think Twice,” when the first segment of the song ends, they add in a minute and half long instrumental that crescendos and then floats back down. Or like in “Ghost Train,” during the bridge, when the strings drop away momentarily and all you hear is piano chords, an echoey harmony, and Jade’s vocals with a new vocal effect. And on and on… A similar shift is seen in this song. The second half adds in dreamy slides, a little twinkle in the background, and even a whole new narrative in the lyrics. Just like previous songs, the subtle tone change here works beautifully, enough to make a listener want to keep listening (and coming back).
Hotel Fiction’s album comes out next month. And maybe you can catch them in your city during their Fall 2021 tour. “Daydrifter” is available to stream on all platforms.
Review: Skee Mask – ‘Pool’
Dance music has found itself in a stalemate throughout the age of pandemic. A genre whose beating heart lies on a club floor surrounded by individuals experiencing spiritual urges to move their bodies was demoralized at the snap of a finger. With physical spaces stolen away, the innate physicality of dance music became isolated inside and online.
Berlin-based producer Bryan Müller, aka Skee Mask, found himself further sharpening his production chops with a pair of EPs released at the prolonged apex of lockdown. Critics have pointed out retrospectively that these two projects are a direct response to required isolation, and I say looking back these two projects simply tease a taste of what was to come. After the well-deserved critical backing behind one of the 2010’s most fully realized electronic projects, Compro, ISS005 and ISS06 felt like a regression in scope for Müller. The stunning synthesis of ambient, dub, and break that catapulted Müller into the esteemed artist he is today were seemingly separated by an X-Acto knife. Each EP undeniably taut — breathing new life into grime and ambient production — yet lacking the humane “special sauce” that elevates Skee Mask above fellow contemporaries.
Expectations were set sky-high for Skee Mask’s full length follow up to Compro, and he meets expectations if not often exceeding them. Surfacing tracks that predate a lot of Müller’s released output while weaving current electronic ruminations into 100+ minutes of material, Pool does not amount to a mere compilation but rather feats a complete statement.
From start, opener “Nvivo” wraps listeners in a lightly tattered quilt of acid tech and ambient loops — a salutary encouragement to run outside and feel every tickling blade of grass beneath your feet. Müller follows this path towards amb-techno highlights “Rdvnedub” and “CZ3000 Dub”, with the latter track’s twinkly yet cathartic push-and-pull primed and ready to load into a CDJ. Müller’s toe-dip into footwork on “Pepper Boys” features a youthful whimsy akin to Suzi Analogue or Vegyn’s recent work. Pool leans into the sonic playground that dance music can be, further reminding listeners that only a sympathetic being could construct sounds such as these.
As Skee Mask handily swims further into the deep end, the current sucks in moments like “Breaking Method,” an unrelentingly aggressive breakbeat cut fitting in snuggly amongst the Ilian Tape roster. Another highlight, “Testo BC Mashup”, opens with a jumbled radio transmission only to dunk you head first into drum & bass rhythms followed by ambient soaked hats and pads allowing a moment for air, before the D’n’B pulls us back in. It would be remiss to not vet the contemplative “Ozone” or the subsequent exercise in self-doubt: “Rio Dub”. Each track operating miles above sea level for some necessary R&R. And this is not to say that Müller has depleted listeners’ stamina, rather each track takes the form an undulating body of water.
Skee Mask has cemented himself as an artist whose undying ambition remains his greatest strength. The “special sauce” missing from aforementioned Iss05&06 is the worldliness that Müller so effortlessly breathes into the inherently digital. For Pool, Müller looked outside for grounding: thin air mountain tops and crashing waves characterize the form these tracks heed to (easy to see why Müller pays respect to one of Germany’s ambient techno greats). Not only does Skee Mask deftly wield the line between analog and digital, but also the past and future. Each track on Pool is familiar via Müller’s comprehensive music knowledge and dedication to creating something wholly his own.
Review: Lucy Dacus: ‘Home Video’
Home Video is a stunning collection of delicate coming-of-age moments packed with emotional vulnerability and scenic poetry. Lucy Dacus, 26, brings to life nostalgic tales of her Christian youth camp days, friends dating subpar boys, awkward firsts and confused teens replacing pop culture references for a personality. Presumably, the effectiveness comes from the way she read through her teenage diaries on the road towards the finished product. In reflecting on the past, she has masterfully (and perhaps unintentionally) created a looking glass for listeners to project their own teenage emotions and formative experiences onto.
The charm of these songs comes from Lucy’s conversational tone, wit and self-awareness. “First Time” finds Lucy confessing, “I am just the fool you took me for.” She professes via Apple Music that the song explores discovering “your body and your emotional capacity” for the first time and the fear that you’ll never feel that way again. Then she admits, “I haven’t–but I have felt other wonderful things.” “Partner in Crime” reminisces on her early relationship with an older someone; Dacus makes her first experimental step into autotune, describing her desire to pretend and act older. In a casual voice, she sings, “You drop a hint that you got a girlfriend / I tried my best not to take it” over distorted guitars.
Home Video is a glimpse at art that is so personal, intimate and vivid that the stories it tells become approachable, cozy and universal. As you zoom into the picture, you find that there’s details that you can latch onto and make yours. Its diverse palette and keen observations enables one to shapeshift. Sometimes, you feel like the songs are about you, and sometimes, you feel like you’re Lucy and you’re seeing your friends through her interpretation. In “Please Stay,” the first verse describes the unkempt house of an individual struggling to find a reason to stay alive. The outro, assisted by her boygenius bandmates, sings pleadingly and desperately for the subject of the song to do anything but leave. In another song (“Christine”), Lucy describes the way her friend justifies staying with a boy who doesn’t treat her right. With unadulterated honesty, Lucy confesses that she would risk losing her friends respect to stop them getting married if it came down to it. Throughout each song, both the observer and the subject are continuously done justice in this way.
In the end, I can’t help but wonder how it must feel for the people in Lucy’s life to hear the songs that tell their stories, to hear their worlds come alive in a picture book painted by someone else entirely. In some ways, as a listener, it feels invasive to realize that these songs implicate real people. The consequences of putting these songs out into the world are genuine and to some degree, change how one consumes them. In a recent interview with Rolling Stone Music Now, Lucy describes the anxiety of anticipating to hear from the subjects of her songs. She confesses that the subject of “Brando” contacted her after the song was released and expressed hurt. On the other hand, “Thumbs” and “Christine” are two songs that she asked for permission to record from the people it’s about. Songs like “Triple Dog Dare,” “Cartwheel,” and “VBS” could still be conversations waiting to happen between Lucy and the people she is singing to, which is the price paid for hyper-specificity. She acknowledges that some of these conversations she welcomes and others she would dread but leaves you guessing as to which category they fall under.
When the world shut down in March 2020, we were forced to spend time thinking about the past because there was literally nothing else to do. There was nothing happening in the now and nothing to look towards or anticipate. Although recorded before quarantine, Home Video somehow captures this feeling, at least for me. This album is unique in that it reflects on pivotal moments in one’s life from the end of the road, yet the distance isn’t so far that the details have become hazy, and the aftereffects have been lost during interpretation.
Home Video is available for listening on all streaming platforms.