Review: 6LACK: “Since I Have a Lover”

Posted on by Taijahnai Scott

Hailing from East Atlanta, 6LACK (pronounced ‘Black’) has finally returned to music with the release of his third studio album Since I Have a Lover following a six year hiatus. The album boasts three features, including a surprising Wale feature. Previously, 6LACK has established common themes in his music like break-ups and being a rolling stone who does not want to settle down. Since I Have a Lover expands his palette to new themes such as growth and healthy relationships, hence the name. He hasn’t topped East Atlanta Love Letter with this latest release, but the lyricism and emotion on this album are standouts.

This album feels incredibly personal and it’s evident that he spent a lot of time working it. While listening, I can practically feel the emotions he conveys. 6LACK has been very open with fans about his personal growth and how he has been coping with change as he enters new eras in his life, like fatherhood. This album explores the possibility of settling down, which was not a common theme in his previous music. He also reflects on experiences from youth and childhood that make him reluctant to do so. In an interview with Zane Lowe, 6LACK speaks on the album and what it means to him. He goes into detail about the choices he made and what helped him recognize there was a need for change. “(I) was putting (myself) in the position to have to make Free 6LACK 2,” 6LACK says, reflecting on self-sabotaging and pushing away people who cared about him. 

 

The album opens with the song “cold feet”, which is a term often used to describe apprehension or doubt, showing his reluctance to change. The song features an intro with a woman asking him to return to music. He addresses his absence by saying while his old projects were hot and made him feel alive he’s been waiting on something to set him on fire fulfilling those old passions.

In the second song, “Inwood Hill Park”, he starts to doubt his past life, but nevertheless appears hopeful. He contemplates marriage saying “I been thinkin’ about gettin’ on one knee, turn a solo to a feat”. He appears to have changed, realizing he loves the girl who has been there since the beginning. He echos this sentiment during the Apple Music interview, stating that if it had not been for his lover’s patience there may not be an album. He acknowledges his growth with a reference to his old album Free 6LACK:  “remember when it was all black and white, colors startin’ to feel real vibrant”. 

The next two songs (“Since I Have A Lover” and “playin house”) reference marriage again. This time, he dives deeper and discusses some things that could be holding him back and what it would take to sustain a marriage. On “playin house”, he uses great imagery to portray his unstable relationship with his lover, “spent all that time building a strong foundation, it’s like we need a renovation”. This demonstrates his growth as he acknowledges there is a need for change.

The first third of the album was lively and lyrically the strongest but after “chasing feeling” it’s harder to engage with the tracks. The mood shifts and it is not as captivating as earlier songs. The lyrics make it seem as if he is regressing back to old ways “You mine every day, don’t try to file no restraint”, he exclaims on “Decatur”. This is a huge emotional shift from someone who was just contemplating marriage and traumas a few songs ago.

But then, the last three songs come in and save the day, starting with “Stories In Motion”, which features eloquently written bars from Wale. Then, it’s fan-favorite “Testify”, which is accompanied by calming acoustic guitars and 6LACK’s beloved ultra melodic voice. The album wraps up nicely with “NRH” (which stands for night ride home). 6LACK reflects on past lovers, who cross his mind especially at night.

While it was not the heavy-hitting album I expected, lyrically it is one of my favorite albums of the year so far. He poured his emotions into it and shows a deep commitment to growth. I commend any artist that can expose that kind of vulnerability to the world.

Review: JPEGMAFIA and Danny Brown: “Scaring The Hoes”

Posted on by Jacob Feinberg

On the music side of Twitter, you’ll find one revolving joke: “Don’t put on ‘so-and-so’ or ‘whats-his-name’ at the function, or you’ll scare away the hoes,” and JPEGMAFIA, also known as Peggy, and Danny Brown are often at the butt of the joke. They embodied this with their new project, a collab album titled Scaring the Hoes. Two experimental and ambitious artists came together to make some of the strangest, yet most interesting music I have ever heard, and while I may enjoy it, I would not recommend playing it in front of the “hoes.”

Peggy’s seemingly ever-changing production style keeps you on your toes, with recognizable samples thrown in at every unexpected turn. While his high-profile sample clearances may be a mystery, his sampling itself isn’t; the artist revealed in a recent tweet that he “Made every beat on the album with one machine, The SP 404.” The use of this popular analog sampler, which is significant in hip-hop production, explains the muddiness of the mixes as well as the album’s old-school feel. Danny Brown’s vocals tie the sound together well, offering some of his best lyrical performances in years and hammering down on his unique delivery.

The pair took to the Danny Brown Show podcast to release the opening song and lead single, “Lean Beef Patty,” in late February, before releasing the track a few weeks later on streaming platforms. It introduces listeners to the slightly abrasive yet artistic sound of this album with a hyper-pop flip of P. Diddy’s “I Need a Girl (Part 2),” layered with cinematic synths and punchy lyricism. They revealed in the podcast that the song’s title is a reference to popular fitness influencer leanbeefpatty. As always with Peggy’s and Brown’s work, they don’t stray from touchier topics, and that is clear in this song with lines mentioning the recent social media antics of both Ye and Elon Musk among other things.

The second track, “Steppa Pig,” offers the most unique production on the record. The song sparkles, bringing the melody in and out with a crunchy bass-line and hypnotic chimes. Brown starts with an impressive verse, but JPEGMAFIA takes over in the second half, using his off-putting delivery to boast about his artistic originality and overall weirdness.

Next is “SCARING THE HOES” with its first full minute of clapping and horn chops that seem perfectly out of tune, but somehow cohesive. When the drums finally come in, they have an obvious rock influence; it’s something I would love to see more of in Peggy’s production. As the title suggests, this song is abrasive but a nice mission statement for the album as a whole.

The next three songs have the coolest moments of the album production-wise. “Garbage Pale Kids” samples Japanese commercials, including a meat packing commercial from the mid-80s. Paired with complex drums and a sick bass-line, it creates a cool soundscape that lays the road for a great Danny Brown verse. In “Fentanyl Tester”, Peggy drops one of the most recognizable samples on the album, Kelis’ “Milkshake”. The sample, in combination with breakbeat transitions and fantastic lyrical delivery, creates an immersive sound that makes the song one of my favorites on the album. “Burfict!”, likely about one of the dirtiest NFL players ever, feels familiar, drawing comparisons to Peggy’s recent LP. The horn chops are beautiful. The song is lyrically sound with countless references, including one to the elusive underground rapper Mach-Hommy. 

“Dogs cover they face, that bitch Mach-Hommy”

– JPEGMAFIA, Burfict!

Then, it’s the two-parter “Shut Yo Bitch Ass Up / Muddy Waters.” Brown and Peggy are in their element, with their respective halves catering to their individual style.

The sole feature on the album, Redveil, joins in on “Kingdom Heart Key”. As the title suggests, the song is enchanting, with elegant swells and vocals partnered with a lagged, 808-heavy drum loop. Every time the drums come back in I can’t help but get hyped. Redveil’s performance is impressive here; the young artist sticks to his sing-songy harmonies, before coming in hard with hooks and quotable lyrics left and right. I have been following him for the last couple of years, and to see him with such a large feature at 18 years old is inspiring, seeing his hard work pay off.

There are only few ‘bad’ tracks on here, but “Orange Juice Jones” and “Run The Jewels” fall into that category. While the production may be top tier (was a joy to hear “Going back to Cali” by LL Cool J in the latter), the lyrical content and mixing on these two were definitely below the rest.

The album begins to wrap up with the gospel-layered “God Loves You” and the jazz-influenced “Jack Harlow Combo Meal”, which, of course, questions KFC’s decision to use rapper Jack Harlow to sell their chicken. I particularly enjoy Peggy’s vocals on both of these, with his harmonies accenting the songs well.

“Man, I can’t fuck with y’all niggas, y’all let Jack Harlow sell y’all chicken”

– Danny Brown, Jack Harlow Combo Meal

“HOE (Heaven on Earth)”, with its swirly piano stabs and introspective verses, leads well into SCARING THE HOES’ closing track “Where Ya Get Ya Coke From?”. It is one of the most fun songs on the album, where JPEGMAFIA comes in with a catchy verse right after an intro straight out of a 90s game show. Brown brings the energy, exploding with jarring lyrics. He discusses things like the impact of his unconventional delivery, such as yelling and physically distorting his voice, to achieve certain sounds on his mental health, closing the album with perfect weight.

“Should be in the psych ward for what I do with vocal chords”

– Danny Brown, Where Ya Get Ya Coke From?

The album ends abruptly, which is perfect for this strangely wonderful album. JPEGMAFIA and Danny Brown created something amazing. With twists and turns between each sample and verse, this album is a journey I recommend to anyone who is not worried about scaring off the “hoes”. On the Danny Brown Show with Peggy, Brown mentions his worry about Peggy stealing his spotlight, but that’s not the case at all. Both have done nothing but thrive and grow throughout their careers, despite constant pushback due to the abnormality of their sounds—that is exactly what has pushed them both into figureheads for experimental rap. I am excited to see these artists independently grow (both have two solo albums releasing in 2023) as well as the impact that they will have on the next wave of artists (and hopefully we’ll get SCARING THE HOES Vol. 2).

Where Are All the Female Producers?

Posted on by Buket Urgen

In a recent email to its members, the Recording Academy boasts of nearly 50 percent of Grammy nominations in 2023 being women despite oversights in major categories, where women stood at 15.2 percent. The major categories are Song of the Year, Record of the Year, Album of the Year, Best New Artist, Songwriter of the Year, and Producer of the Year, Non-Classical. In fact, despite 65 years of existence, the Producer of the Year, Non-Classical award has never been won by a female nominee. However, the Grammys are not necessarily overlooking female and non-binary producers; there are just fewer of them in chart-topping records.

This was the third year in a row with all-male nominees since Linda Perry’s nomination in 2019, who was the first woman nominated since 2004. Perry is a rarity in an industry where only 3.4 percent of producers are women. For women of color, the pick is even slimmer, with only 13 out of 1,756 producing credits attributed to them. (Note: the Annenberg Inclusion Initiative only examines mainstream songs when gathering this data.)

Spurred by the Recording Academy’s Women in the Mix study, “hundreds of music professionals and organizations…pledge to consider at least two women in the selection process every time a producer or engineer is hired.” (Emphasis mine.) However, this pledge has minimal impact on the year’s most popular songs. In 2022, only one pledge-taker worked with a woman producer on a Billboard Hot 100 Year-End song and zero worked with women engineers. This is a decrease from last year’s four and five, respectively.

Although less prevalent, female producers do exist and are often pioneers in their own genres. Billboard’s Women in Music Awards recognized this by awarding Rosalía its inaugural producer of the year award. As Rosalía notes, the work of producers (and engineers) is often understated and far less glamorous. She declares “I make my own music and I produce my own songs and I write my own songs,” which is reminiscent of legendary acts like Björk and Missy Elliot, who she also recognizes in her speech.

Missy Elliot has received little recognition despite producing and writing songs for an impressive list of artists; and she knows it. She says “if a man would have done half the records that I’ve done we would know about it.” Björk, a pioneer in the avant-garde genre, feels the same way. Following the recent comeback of Kate Bush’s “Running Up That Hill,” which is entirely self-written and self-produced, Björk notes that both women have been brutally caricatured for their eccentricity. She says “We’re both producers…If we were guys, we would be taken more seriously.”

SOPHIE, who died two years ago at the age of 34, was a visionary producer in electronic and avant-garde pop. SOPHIE’s collaborations with Charli XCX, Madonna, Lady Gaga, Vince Staples, and so many more paved the way for so much of the music we hear today. SOPHIE deserves to be remembered as such.

These are just a few of the female and gender-expansive producers that fly under the radar. Besides Linda Perry, only six other women have been nominated for the Producer of the Year, Non-Classical award and half of them weren’t even nominated on their own. (The Producer of the Year, Classical award has had three female winners: Judith Sherman, Joanna Nickrenz, and Elaine L. Martone.) Although music lovers everywhere lament the death of its cultural relevance, with oversights like this, the Grammys are only compounding its issues.

The Recording Academy has generously pledged a total of $50,000 to companies focused on supporting women and girls in music, which is certainly a right step forward, but clearly more needs to be done. In their latest Women in the Mix study, the Recording Academy suggests increased resources and structural support in the form of mentorships, paid internships, and additional paid time off for better work/life balance to address gender disparities. In the meantime, we should recognize the talents and contributions of these innovative producers.

You can check out some of the organizations supporting women in the recording industry right here: we are moving the needle, girls who listen, Girls Behind the Rock Show, Beats By Girlz, and Girls Make Beats.

We’ve also compiled a playlist of songs featuring our favorite female and non-binary producers. Listen below now! Our playlist features the producers mentioned above as well as PinkPantheress, H.E.R., WondaGurl, and more. Think we missed any? (And we’re sure we did!) Let us on Instagram or Twitter!

Review: GROUPLOVE: “Hello, All!”

Posted on by Haley Gilbert

When the temperature reaches 70 degrees, certain things become non-negotiable for me: every outfit needs to include a pair of shorts, my car windows will be rolled down, and every playlist should contain at least one GROUPLOVE song to set the mood. Thankfully, with the surprise release of their new double single “Hello, All!” off of their upcoming album I Want It All Right Now, the band has provided me two new options to choose from.

Since the release of their appropriately titled debut album Never Trust a Happy Song, GROUPLOVE has become known for creating music that sounds like happiness feels, even with songs that contain heavy themes. The first single of the pair, “Hello,” a deceptively upbeat sounding number grappling with themes like loneliness and attempting to figure out your identity, is certainly no exception. The song still somehow remains bubbly and energetic even with lyrics like “When will you ever find yourself? / Inside, you feel like someone else” and “Yeah, you’re constantly numb ‘cause nobody sees you through / So you run, and it’s not enough for you,” a true testament to the bands signature sound. Honestly, if you listened to the music without paying attention to the lyrics you may not even realize the subject matter is depressing.

Second on the double single (but not in my heart) is “All,” a song about leaning into your struggles and leaning on those in your life. By swapping out loud instruments for loud vocals and delivering the outro consisting of lines such as “I want it all right now / I wanna take a long ride / With you by my side / I wanna be alright now” via passionate shouting, the point of the song gets across very effectively and proves that GROUPLOVE is not a one trick pony. This is certainly the more somber number of the two and the band successfully capitalizes on that.

These songs are reminiscent of the bands earlier music and remind me of exactly why they dominated the Indie Pop scene for the greater part of the 2010’s and if the quality of these songs is any indication of the rest of the upcoming album, there is a good chance they will rise to the top again. To help pass the time counting down the days until I Want It All Right Now comes out July 7, check out the video for “Hello, All!” down below.

Review: Musiq Soulchild & Hit-Boy: ‘Victims and Villains’

Posted on by Adeboye Adeoye

Following a six-year hiatus from releasing his own music, Musiq Soulchild returned to the scene in early March 2023. Victims and Villains is a collab album with producer Hit-Boy. This new album comes nearly 23 years after the release of his debut studio album Aijuswanaseing (I just wanna sing), but he still continues his E.E. Cummings-esque aversion to conventional capitalization and syntax.

Musiq Soulchild is a veteran of the music world and a foundational figure for modern R&B artists. Songs like “Love” and “Halfcrazy” are timeless classics, with the latter even being heavily sampled on Lucky Daye‘s 2022 breakout hit “Over”.

Hit-Boy is known primarily for working with rappers and is no stranger to working on collab projects. Burden of Proof with Benny the Butcher along with all three iterations of Nas‘ King’s Disease series are some of his most notable recent work.

The album opens with a question: will i touch the sky. Backed by a groovy bassline and enhanced by smooth vocal layering, Musiq’s talent and artistry is evident on this track. This is the most personal song on an album where almost every song is about love or a relationship. He laments in the chorus, “Feels like I’m drownin’, tryna keep my head up / Don’t lеt this broken smile tell you a liе / Lost in the crowd with myself to find.” This feeling of anguish is a relatable phenomenon, and it provides context for his mindset on the rest of the album.

Track two, i remember you my ex and track three, imreallytrynafuckwichu, serve as foils. The former is a vulnerable male breakup anthem in which his decision to stop the relationship outweighs his fond memories of the past. On the other hand, the latter is a more macho song where he lets a girl know that he’s down for whatever. It also has the album’s only listed feature, The Husel, who in reality is Musiq Soulchild’s rap alter ego.

The crux of the album is the title track, victims and villains. On my first listen, the simple drum beat and the expressive piano clued me in that he was about to really speak from the soul. He feels fooled and betrayed by a woman who has falsely claimed vitcimhood but in truth is actually a villain. He asks her, “Just how far will you go / Your mask is comin’ down / Thought no one would ever know.” The song’s strength lies heavily in its simplicity and repetition. It feels cyclical in the same way that an argument normally does when it comes to relationships.

On the seventh track, white rice déjà vu, he employs several similes and metaphors in his descriptions of a woman like, “You would think it’s white rice by the way we spoon”, “Love like a shot of Henny, I would chase it”, and “She wanna ride like an ’84 Caprice / You’ll be my passenger all between the sheets”. This track made it evident to me that Musiq Soulchild has definitely been influenced by popular R&B singers of the last few years. These lines feel more like rap bars rather than the lines of a love song, a stylistic choice that’s characteristic of contemporary acts like Brent Faiyaz and Bryson Tiller.

The final track, we were just binging, ends the album and a relationship, comparing them to a TV show that you would binge. What was once the source of joy and fun has now become tired and bored. It’s a somber but poetic end.

Yeah, we put on quite a good show

Now it’s time’s up, next episode

No need to re-up our subscription

The season has come to an ending

Oh, and I know in good time

You’ll find someone just right

Ain’t no victims or no villains

We wasn’t in love, we were just binging

Musiq Soulchild & Hit-Boy, “we were just binging”

With recent features on projects from Kehlani, Freddie Gibbs, Robert Glasper, and EARTHGANG, this project is likely the proper introduction to Musiq Soulchild for many new-generation fans. It details either different perspectives for a single relationship over time or a collection of multiple love stories accumulated by one man with different women. It doesn’t have the same sort of magic to me that his first few projects do, but sticking too closely to his traditional style would only beget music that’s tired and forgettable. As a whole though, this is a cohesive project and a worthy return for a music legend.

Review: Jordan Ward: ‘FORWARD’

Posted on by Jacob Feinberg

Jordan Ward is an unexpected new favorite of mine. I usually don’t go for the more “pop-y” and energetic side of R&B, but Ward’s sound has captured my attention. His joyful melodies and rhythms, partnered with a wavy ambiance, bring a fresh and inviting feel to his music, making it perfect for relaxing and easy listening. When Ward’s music comes on I can’t help but bob and bounce around no matter the theme, and his new album FORWARD is no different.

I discovered Ward through his collaborations with DMV rapper Joony, a talented upcoming artist making waves in the industry. Joony’s Pretty in Black saw the pair’s first catchy collaboration in “ZOOM ZOOM.” Shortly after, Ward released “IDC (with Joony),” the groovy lead single for his new album. This song perfectly encompasses how well the two mesh, with highlights where Ward provides harmonies over Joony’s melodic verse, which could be appreciated by any music lover around. It is a fun and cohesive song that shows off Ward’s lighter, more lively side.

Before “IDC” appears on FORWARD, Ward introduces the album with the somber “BUSSDOWN”. Here, Ward reminisces on his childhood and worries for the future, ultimately saying that his past is in the past and that he is hopeful for “how all this will pan out.” In the climax of this opener, a voiceover tells him that “that was then, it’s over, you know. You see, baby, they tell you you’re free, but you’re always reminded,” hammering down on the song’s theme: you can’t escape your past but it doesn’t define your future. This song sets the tone for FORWARD, showing Ward’s improved conceptual and lyrical depth that is evident throughout.

Following the emotional and honest “BUSSDOWN,” comes my personal favorite, “FAMJAM4000”. Its wavy, synth style and bouncy drums contrast the song’s darker lyrics, with Ward discussing his broken childhood home and a more recent lost love in two respective verses, with them both coming together in the chorus when Ward says “Can we bring the love back? I know that you’ve been waitin’ so long for it to come home again.” The line works in both situations, asking his dad or his ex-partner to return home, which seems to be a symbol of love for the artist. This song speaks on the importance of family to Ward, and his regret that it is not as together as he would prefer. It was released with a music video giving fans a view into his hometown, St. Louis, and quickly became a favorite.

After a smooth collaboration with Gwenn Bunn on “311,” we get to “White Crocs,” where Ward is joined by fellow St. Louis native, Ryan Trey. The song served as the album’s second single and has a distinct sound compared to the rest of the album, seeing the increasingly popular “plugg” style of production (a subgenre of trap, influenced by popular west coast sounds and sprinkled with heavy 808s) infused with more traditional R&B elements. Trey’s melodies and Ward’s hooks are infectious, making for an addicting song. The song has a cool swagger to it and shows off Ward’s unique sound, setting him apart from any competition.

The album is executively produced by Lido, who also makes an appearance on “PRICETAG/BEVERLY”. He is a close collaborator of Ward’s, working on PLANTAIN KARAOKE!!, a three-track ep of covers dropped on SoundCloud (which may have the sickest cover of SZA’s “Prom” I’ve ever heard). The pair once again shines on FOREWARD.

“DANCE MACHINE” once again proves how well Ward can create such enjoyable, catchy songs, but the following few tracks further cement the depth that he reaches on the album. Ward touches on loneliness in “FLIGHTS,” reluctant violence in “THINK TWICE,” and community conflict in “0495.” He also took a new Frank Ocean-esque vocal approach in this run, which added to the weight of these heavier themes.

Hate the way them drugs took my cousin, oh
Hate the way them drugs took my bro, oh
Last time we talked, he called from behind bars (Yeah)
He would probably say, ‘Boy you took that shit far’
I would probably say, ‘Didn’t you know I was just one call away?’
So I’m ‘a do this for y’all”

– Jordan Ward, FORWARD

The title track “FORWARD” is another highlight of the album, serving as the closing track (aside from the two additional bonus tracks). Here, we see Ward dive back into familial themes, but this time rather his relationships with them through the progression of his career. He mentions the pain of seeing loved ones die from drug overdoses or go to jail when he knows he could have helped, saying “didn’t you know I was just one call away,” ultimately taking that pain as inspiration and claiming that he is doing all it for them. In the second verse, he further analyzes the impact of his success on those around him. Ward wonders if he could have set his differences aside with them and had a more positive impact, despite the difficult circumstances. “FORWARD” wraps up the album and its overarching self-reflective themes perfectly.

Jordan Ward had a lot of pressure on him, finding himself in the spotlight after opening for Smino and JID on their tour and performing at J. Cole’s Dreamville Fest, but the proud St. Louis native absolutely delivered on his debut album. It felt effortless yet still intentional, offering one of the freshest sounds any artist has to offer in the music industry. I really enjoyed Ward’s work here and found myself impressed with his artistic evolution. It seems that he gets better and better with each project, so I will definitely be looking forward to whatever he comes up with next.

Spotify’s Latest Feature: A DJ Powered by Artificial Intelligence

Posted on by Taijahnai Scott

The phrase “artificial intelligence,” also known as AI, has become ubiquitous in 2023, but exactly what it does or what it means for industries can be elusive for most. According to a quick google search, Artificial intelligence is “a field of science concerned with building computers and machines that can reason, learn, and act in such a way that would normally require human intelligence or that involves data whose scale exceeds what humans can analyze.” In simpler terms, AI is a computer or machine that can act with human capabilities.

It has become widely used in the past few years in various industries ranging from finance to transportation. Recently we’ve also witnessed the rise in popularity of programs like ChatGPT, which is an AI-generated chat box. Users can give it a prompt to which it will create a unique response. For example the prompt “write a four paragraph essay explaining how WW2 happened” will produce a detailed and completely original response. In the artistic sphere, people now have the ability to create completely ‘original’ pieces with the help of AI. Although some people agree with this type of use, others argue that it takes away from real artists and many people do not support it. So, how does this impact the music business?

Right now, AI is a consequential talking point in the music business world—from AI-generated lyrics to voice-mimicking capabilities, it has created quite the buzz. Spotify is joining the hype with its brand new personalization tech powered by AI. This new “AI DJ in your pocket” is a guide that knows you and your tastes, and can curate brand new playlists based on that information. Moreover, Spotify will deliver AI commentary with “stunningly realistic voices.” They claim that this AI will empower its music experts to better do their jobs and better help users.

At this point, it’s too early to tell what exactly the future holds, but AI appears to be here to stay. Spotify’s AI DJ was released on February 23 and is currently a Beta Software for premium users in the U.S. and Canada. So, of course, I tested it out for you.

On my first listen, the AI introduced itself and explained to me the process—and I must say it sounded very human-like! Then, it curated a playlist from my past and current listening history, and songs it believed I would like. And if you don’t like what’s playing, you can just press the small blue button in the bottom right and it’ll change the vibe.

The DJ also explains everything as it’s happening. Depending on the function it might say something like “here are some rap songs based on your recent listening history” or “these are some R&B songs our editors think you might like”. It will even introduce the artist and say the name of the song. If you like what’s playing it will keep that genre in rotation for a few songs. If you skip multiple songs back-to-back it’ll come back and let you know it’s changing the vibe. While the feature is cool it obviously doesn’t emulate a DJ, it’s more so just a playlist with artificial intelligence.

This new feature is definitely innovative on Spotify’s part, maybe after a few additional features it’ll be even more impressive. As the rollout continues and expands to more people, it will be interesting to see what kind of feedback they get and how others will feel about it. For now, I can’t say I will be using it every day. So what are your feelings about Spotify’s AI DJ?

What To Do About Streaming

Posted on by Olivia Klindt

Streaming services have drastically altered the way we consume music. Luminate reports that on-demand audio streams boasted a whopping 83.2% of total shares of album-equivalent consumption by format in 2022. For better or worse, the internet era of music consumption is here to stay.

While streaming services have made the lives of consumers easier, artists are still struggling to be compensated fairly. In an email sent to Universal Music Group’s global staff, Chairman and CEO Sir Lucian Grange addressed the need for streaming service evolution. He says “There is a growing disconnect between, on the one hand, the devotion to those artists whom fans value and seek to support and, on the other, the way subscription fees are paid by the platform. Under the current model, the critical contributions of too many artists, as well as the engagement of too many fans, are undervalued.” He goes on to express the need for an updated model that is inherently artist-centric.

The current pro-rata payment model, in short, prioritizes and rewards the largest artists in the game and is currently used by most streaming platforms, including Spotify and Apple, the two largest ones. It pools all the money garnered by the monthly subscription fees, which hover around $9.99-$10.99, and divides it by the total number of streams on the platform. This, in turn, identifies a ‘per stream rate’ which is then multiplied by each song’s number of streams to determine artist payout. To illustrate, Miley Cyrus’s latest single has accumulated more streams than your favorite shoegaze indie-rock garage band (just a guess); therefore, your subscription dollars will go towards Miley, even if you never listen to her. 

Fans want to support the artists that they love; they’re fans for a reason! Many industry voices urge for a change to a user-centric model. This system, as opposed to the pro-rata model, takes a percentage of each subscriber’s fees and pays it out only to the artists that user listens to. (Point for shoegaze garage band!).

Impala, an independent music companies association, has created an infographic hosting a ten-point-plan on ways to reform streaming into a more equitable system. It provides four new-and-improved streaming payment models other than the user-centric model. 

First up is the active engagement model, which attaches a premium royalty value to plays where the listener has actively searched for a particular track or artist. The same would happen if the user were to save or pre-order a record. For example, Spotify algorithmically serves listeners lean-back plays that it believes the user will like. The active engagement model would account for this, and in turn, increase rewards to artists the user has specifically gone out in search of.

The second model is called the pro-rata temporis model. There is a difference between listening to the first 30 seconds of a song and listening to the entire 9 minutes and 7 seconds of Lynyrd Skynyrd’s “Free Bird”—this model addresses that value discrepancy. The pro-rata temporis model pays out more money for listens of longer tracks than shorter tracks. At the 30 second mark of any song a royalty rate is rewarded, but this model would give further payments triggered at 5 minute intervals within a single track, up to 15 minutes and 30 seconds. It would reward songs that garner a user’s attention the whole way through, thus giving true fans a sense of pride in supporting their favorite artists by listening to the full tracks.

Then there is the artist growth model, which I find the least likely to catch on. It proposes that the more streams and wealth an artist accumulates, the less incremental value each further stream will generate. Thus, smaller and more niche artists would generate a bit more per stream than top artists in order to accelerate their own growth and popularity. While this would support emerging artists in a significant manner, streaming platforms are likely to refrain from peeving larger artists—as it would essentially be biting the hand that feeds them. 

The fourth and final proposed model is called the user choice model (not to be confused with the user-centric model from earlier). The user choice model facilitates areas within streaming platforms for artists to gain revenues through implementing direct relationships with fans. This could come in different forms such as offering access to more tracks, better sound quality, or additional remixes. This model would allow the artist to generate more income, in addition to streaming royalties, as well as nourish a more personal relationship with their fans. I find this to be the most approachable and realistic option. 

At the end of the day, streaming platforms are a money-orientated business and not music companies. As opposed to us music fanatics who want to see small artists thrive and for our money go to the artists that we like—a corporation’s bottomline is to make money. Truthfully, I’m not sure if there is an inherent strength in numbers when it comes to this debacle, but I am sure that if key players such as Taylor Swift, who is known to ‘fight the man,’ were to make a fuss about this, we’d see more change. There is not yet a perfect solution, but that doesn’t mean there won’t be one day. As for now, do your due-diligence and support your favorite artists by buying their merch at concerts.

Review: PICTURESHOW: ‘A Night at the Picture Show’

Posted on by Buket Urgen

PICTURESHOW is one of the newest bands to rise from Athens, Georgia. On March 3, they released their aptly titled debut EP A Night at the Picture Show. Almost two weeks earlier, the band eagerly released their debut single “Fix,” which features cyclical riffs, passionate growl-singing, and sharp lyrics. The band’s EP is characterized by all the same elements.

The opening track, “Mean” is a slow burn, but a grand statement. The same musical motif repeats again and again while leader singer Jim Bass’s voice rises and falls back down with vigor. He uses volume in a playful manner, which is harder to capture on a record than it is to perform live; on this record, the desired effect is achieved. It is great choice as an EP opener. Next up is “Loving in the Real World,” which has an authentic throwback feel. It takes me back to my middle school playlist; it could sit squarely between a track by Mayday Parade and Secondhand Serenade.

“Breaks Like Plastic” and “No Words to Spare” are catchy songs despite (or perhaps because of?) the somewhat self-pitying lyrics. When I first listened through the EP, I thought that these would be the mosh pit songs, but that was until I heard the next song, “Fight Night at Flicker,” which turned out to be more suitable for that title. This is an absolutely cathartic release.

The final song, “Gyno Magoo” is an eccentric finale about a man who is good for nothing except sex. The end of the song reads like an inappropriate Dr. Seuss parody, but charming nonetheless, in its own way. One thing is for sure: PICTURESHOW has a raw, gritty and DIY feel that’s sure to be hit live.

Concert Review: flipturn Glows at the Georgia Theatre

Posted on by Haley Gilbert

Last Friday, Florida-based flipturn brought their Shadowglow tour to the Georgia Theatre for one glorious sold-out evening with support from Athens’ beloved Hotel Fiction.

Hotel Fiction, picture courtesy of Annabelle Wiedower

Hotel Fiction

From the second Hotel Fiction stepped on stage, it became abundantly clear that they were meant to be there as Jade Ireland’s soft vocals and Jessica Thompsons’s sharp sound balance each other out so brilliantly. Their distinct vocals allowed them to shine independently or as a duo, whenever they decided to grace the audience with some of the most incredible harmonies I have heard. This was especially true when they played their breakout hit “Astronaut Kids.” During their set, they asked the audience members to hold up their phone lights to make it feel like space and this was very consistent with the overall vibe of the show, which I can only describe as what I imagine it would feel like to attend a rave on a spaceship.

Seeing a band perform in the city they are from always elevates the experience; while I’m sure that “Athens GA” sounded phenomenal at every show, I’m willing to bet it sounded just a little sweeter in the Classic City itself. There is nothing quite like a hometown show.

They played “Man on The Moon” off their latest EP Enjoy Your Stay and not only was it my favorite song from their set, it is now one of my favorite songs from recent years—calling it phenomenal feels like an understatement, but for now that’s the word I’m landing on. I fully intend on listening to this song an absurd number of times until I physically can’t anymore. Then, picking it back up sometime around May and doing it all over again.

Towards the end, they played “Instead of us,” which is a triumphant number about putting yourself first. It is so well written that it makes me want to tell off people that didn’t even wrong me due to how empowered it made me feel. In only four minutes, the song both destroyed and rebuilt me. To close out their set, they asked the audience to sing along to their song “Monster,” but I am confident the crowd would have done this unprompted.

Every time a song ended, I was sad because I didn’t want it to be over, but once the next one started, I immediately felt on top of the world again. My biggest regret going into the show is only knowing a couple of their originals. To repent for this grave error, I will immediately be learning all of them. Although traveling to outer space may be ambitious, Hotel Fiction is certainly going places. 

Dillon Basse of flipturn

flipturn

I was familiar with flipturn’s music prior to the show but after hearing them during soundcheck I knew that I was in for something special. My expectations were high going into the evening, and they were absolutely shattered within ten minutes; the atmosphere in the venue was fantastic, the energy on stage was electric, and frontman Dillon Basse and bassist Madeline Jarman did high knees that put my high school tennis conditioning to shame. (They were also given sparkly cowboy hats by an audience member for “Space Cowboy” which really added to the ambiance.)

On top of being great musicians, they just seemed like great people. I watched at one point as Basse struggled to get the lyrics out, because he was too busy smiling at the audience’s response to the song. This made it clear that they were as humble as they were talented. Later, I watched as he jumped full speed into the audience while trying to crowd surf, but was unfortunately greeted by the Georgia Theatre floor instead of the loving arms of the audience. I think that he felt a full array of emotions that evening.

They have a great catalog consisting of songs with choruses that were designed to be played in front of a packed venue, and are somehow able to keep the atmosphere in the room lighthearted, even when performing songs like “Whales” and “Goddamn” that feature heavy subject matter, like dealing with suffocating pressure and mental health respectively. They have the unique ability of making a room full of people shouting the lyrics “Goddamn my mind, sign of the times / If everyone’s fine, everyone’s lying to you” feel comforting instead of daunting.

After seeing them perform “Halfway,” which features a nod to Houston, and “Chicago,” I concluded that they should write more songs that mention cities. (I would like to throw Athens’ name into the ring if they’re open to suggestions.) These are the kinds of songs that make me want to drive around with my friends and an open sunroof; they made me feel like I was in a coming-of-age movie even though I am a prehistoric 23-year-old.

While the set mainly consisted of songs from their debut album Shadowglow, released last August, as well as some earlier releases, they also covered “Everybody Wants To Rule The World” by Tears For Fears. With the way they dominated the Georgia Theatre, they just might be on track to do so.

During the encore they played “Vanilla,” a deep cut from their debut EP Heavy Colors. Basse prefaced it by telling the audience that it is not normally a part of their set, but they were making an exception since someone yelled it out earlier. Based on how the audience responded to the song, I think it was a pretty good call. At the end of their encore, they brought out Hotel Fiction to join them on stage for fan favorite “Nickel,” a song and moment that reminded me just how much fun live music can be.

They mentioned that this was their largest headline show to date, but judging by the massive amount of talent that I witnessed that evening, I have a feeling this won’t be the case for much longer.