Recent singles that have become stuck in the memory banks…
Impossible not to fall under the spell of this understated and groovy mood on “The Florist” from Abby Sage.
New Hand Habits, “Greatest Weapon,” with an epic chorus: time is the ruler of my hell.
Cate le Bon‘s latest is dark and cracked. Singular and consistent.
Funky fuzzed production on the new Laundromat track. There’s cowbell.
Guilty pleasure pop of the month: Gretel Hanlyn.
Over the past two years, Fire Talk Records has become a trusted go-to source for finding great new artists. They’ve curated a tight roster of acts who fall across a wide spectrum of post-punkish indie style rock. Rack em’ up: Deeper, Cola, Dehd, Mamalarky, and Bnny to name a few – but it’s been Wombo, a power trio out of Kentucky, that has most captured my imagination over the past year. While they have two albums prior that are wide sprawling in ideas and performance, it’s on last year’s excellent “Keesh Mountain” EP where they leaned into a decidedly more angular and Dada approach. Their new album Fairy Rust builds on top of that in layers, pushing further on their ability to veer from math rock to pop hooks and finds them hitting a solid stride in carving out a sound all of their own. It’s a clean sparse production that puts their tight instrumental interplay front and center, with bassist/singer Sydney Chadwick’s detached and eerie voice tying the time-signature shifting skronk together in ways that belie the cacophony often going on underneath.
100% peak Cronenberg, with all of his historical body horror themes cranked up to eleven (bio-mech transhumanism, mutation vs evolution, fetishization of body trauma). If you are a long-time fan, you likely will not be disappointed. He’s not been as weird, gory, and pseudo-political as this since Videodrome 39 years ago and the entire film has a surreal subconscious dream feel, akin to Existenz. The cast is fantastic in inhabiting and selling this dark bizarre world, and while it’s purposefully pretentious satire in portions and is not for the squeamish, it’s so absolutely strange and singular in its vision that it lands as a true return to form. Go in blind, let things unfold of their own accord, and good luck.
33 of my favorite songs from 2021, hand-sequenced in an unranked fashion.
Nilüfer Yanya‘s “Crash” single from earlier this year was a catchy synth and guitar stomper that benefitted from fantastic cavernous production. Her voice is stunning: a confident lower register with the ability to octave jump, chant, and chirp in ethereal ways, all in lockstep with her clever syncopated guitar work.
A remix version of her Feeling Lucky EP was released a few weeks back, which contains both the original and remixed versions of every track, and from which I came across an earlier single, “Day 7.5093” (embedded above). It’s punchy and propulsive pop, exhibiting all the aforementioned vocal and production traits. Her ability to evoke and drive a mood with each phrase is masterful. It’s been on non-stop repeat.
In an untypical surprise, I also find the remix of the track to be incredibly revealing and worthy of its own praise. Brooklyn’s KeiyaA pushes things into an entirely different zone, with a full transposition of the song’s melodic underpinnings into a spacious dub-jazz that counterpoints Yanya’s vocals in ways that convert the track into a haunting lament.