Tag: Indie rock

Posted in Music

The Land, The Water, The Sky – Black Belt Eagle Scout album review

Posted on by madeline @ The Bookish Mutant

Happy Friday, bibliophiles!

I was first introduced to Black Belt Eagle Scout during the early days of quarantine, back in the spring where I was just drinking tea and plastering stickers on my sketchbook before the burnout set in. Black Belt Eagle Scout, the stage name of Katherine Paul (she/they), rarely missed when I listened to their first two albums, Mother of My Children (2017) and At the Party with my Brown Friends (2019) in rapid succession. Her air-light vocals combined with her sucker-punch guitar melodies made me a fan almost instantly, but I longed for more of the latter—I liked At the Party, but I found myself wanting something that leaned into her harder side.

More ended up coming with Paul’s third album, The Land, The Water, the Sky, which Paul said on her Instagram was inspired by “how important the role of connection to my homelands plays within my mental health.” With back-to-back moments of beauty, strength, and the guitars I’ve been wanting from them since At the Party, I might go so far as to say that this is the best Black Belt Eagle Scout album yet.

Enjoy this album review!

THE LAND, THE WATER, THE SKY – BLACK BELT EAGLE SCOUT (album review)

Release date: February 10, 2023 (Saddle Creek records)

TRACK 1: “My Blood Runs Through This Land” – 8/10

THAT’S how you do an album opener. Take notes, everyone.

This was the second single to come from The Land, The Water, The Sky, and it stands out as one of the most visceral and sonically heavy tracks from the album. It feels like it’s releasing everything that Paul meant to release, letting it all loose in a storm of some of the best guitar work on the whole album. Contrasting with Paul’s airy vocals, it’s a beautiful juxtaposition that opens the door for new directions on the record.

TRACK 2: “Sedna” – 7.5/10

“Sedna” slowly brings down the momentum of “My Blood Runs Through This Land,” but never diminishes it. Reminiscent of some of Paul’s slower tracks, the steady beat is imbued with electric guitar like strikes of lightning. It’s an anchor for the rest of the record after the explosion of the first track, and it’s a great guiding line for the rest of the songs.

TRACK 3: “Salmon Stinta” – 7/10

“Salmon Stinta” eases us back into the calm, grounding work that has characterized so much of Black Belt Eagle Scout’s work. It holds a little more water than some of her slower tracks on At the Party; with more instrumentation (LOVE the strings and flutes) to give it a larger landscape to work with. I’m not sure how I feel about the vocals from Phil Elverum, though—his voice just felt kind of flat, and since he was repeating the same lyrics as Paul, it didn’t add anything to the song for me.

TRACK 4: “Blue” – 8/10

“Blue” begins The Land, The Water, The Sky’s journey back to soaring heights. Katherine Paul’s voice never ceases to amaze me, but there’s something in the way she sings “and life is overwhelming” that reaches right down into my chest to tug at my heartstrings. Pair that with the powerful combination of guitars and a formidable string section, and you’ve got an instant highlight from the album.

TRACK 5: “On the River” – 7.5/10

Even though I’ve been going on about how much the increased instrumentation elevates Katherine Paul’s voice, it’s great to have a track where their voice is front and center, displaying all of their range, whirling like the breeze around you. It’s the shortest track on the album, but somehow, I don’t find myself wanting more—that’s a good thing, mind you; sometimes, songs are meant to be short, and “On the River” is just the length that it was meant to be.

TRACK 6: “Nobody” – 8.5/10

Nobody sang it for me

Like I wanna sing it to you…

Black Belt Eagle Scout, “Nobody”

I talked a bit about this one in my Sunday Songs for 1/22/23, and as the third single to be released, it was one of the perfect showcases for the album. The bright tones of the guitar shine through, and it’s the perfect slice of indie rock in every sense of the word. But the line “Nobody sang it for me/Like I wanna sing it to you…”…yeah, that gets me. That always gets me. Paul said on instagram that she wrote it about Native American representation and seeing herself in the music industry and beyond, but I think anyone who’s grown up struggling to see themselves represented can relate. Beautiful.

TRACK 7: “Fancy Dance” – 8/10

I have a crystal clear memory of what happened when this song came on the first time I listened to this album all the way through; I was in the dining hall filling my water bottle before breakfast, and for a minute, I got so lost in this song that I didn’t notice that the water was overflowing. Instantly hooking and consistently catchy, this is the Black Belt Eagle Scout that I always wanted to hear more of—loosening up and letting it all out. Absolutely a standout track.

TRACK 8: “Sčičudᶻ (A Narrow Place)” – 7.5/10

I see the way you look at me, dancing

I see the way you love me

I’m dancing…

Black Belt Eagle Scout, “Sčičudᶻ (A Narrow Place)”

In terms of instrumentation, it’s one of the softer songs on the album, but the power of the lyrics—which Paul explained in an interview with them. was about her identity as a queer, Indigenous woman—cannot be understated. In fact, it feels as though that’s what the relatively light background instrumentation (in contrast to the rest of the album) was meant to do: the deceptively simple-sounding lyrics reveal a much more personal meaning when taken in context with Paul’s identity and the way it’s shaped her experience and her connection to her ancestors and homeland. Continuously beautiful stuff.

TRACK 9: “Treeline” – 7/10

“Treeline” is my least favorite track on the album, but it’s not a bad song by any stretch of the imagination. It brings a sinister, creeping undercurrent to the album with its percussion slowly unraveling in the background, almost like the studio recording of Wilco’s “Via Chicago”, quiet chaos slowly unfolding. I couldn’t help but compare the first notes of Paul’s vocals to the vocal opening of her earlier track “Indians Never Die”—whether or not it’s a callback, I’m not sure, but either way, it’s representational of Paul’s growth as a musician from Mother of My Children to now.

TRACK 10: “Understanding” – 8.5/10

I know it’s wrong to love everyone but myself,

But sometimes I can’t even hold me…

Black Belt Eagle Scout, “Understanding”

One of the shortest tracks on the album, but way up there with the most powerful. “Understanding” is a song that keeps you on your toes—it starts out as any acoustic indie song, but just when you think that the quicker strumming is the fastest it will get, the electric guitars come in with all of the force of a tidal wave. With just one verse of songwriting, it delivers such a powerful message—learning to heal and focus on introspection rather than trying to please everybody else. Leave it to Katherine Paul to deliver such beauty in such a short amount of time with such force.

TRACK 11: “Spaces” – 7.5/10

Strangely, it took a while for this song to grow on me, but it’s easy to see its beauty now. With its sprawling instrumentals and the gentle power of Paul’s voice, it’s the perfect song to bridge to the end of the album. And not only does the music video feature Katherine Paul connecting with their father through art, both of her parents provided backing vocals on the chorus! It’s just so sweet to me…🥲

TRACK 12: “Don’t Give Up” – 9.5/10

And these leaves, they come from people who grow

But we’re to listen, guide us,

I want everyone to know

I don’t give up..

Black Belt Eagle Scout, “Don’t Give Up”

The first single from the album, the last track chronologically, and without a doubt, the best track overall. Black Belt Eagle Scout knows how to save the best for last.

Turning the emotional core of The Land, The Water, The Sky into a rallying cry, this is a song that always makes every positive emotion bubble over inside of me. There’s something so wonderfully empowering about it, Paul’s vocals soaring as she proclaims that “You wanted a second chance at life/Well, you’re alive.” It’s the culmination of everything beautiful on this album, and it’s quickly become my favorite Black Belt Eagle Scout song ever. The fearless outro of “The land/the water/the sky” is the perfect sendoff for a phenomenal album.

I cannot get over how cool she looks in this picture lol

I averaged out all of my ratings for each track, and it came out to about a 7.9! We’re not even 2 months into this year, but I’m so glad that we’ve had this beautiful album already. It’s a beautiful tribute to the connections we have—with nature, with our ancestors, with our identities, and out communities—that’s Black Belt Eagle Scout’s best work to date. What a stunning album, seriously.

Since this post is an album review, consider the whole of The Land, The Water, The Sky to be today’s song.

That’s it for this album review! And just like that, we’re a week away from another highly anticipated release—Cracker Island! I’ll be sure to review that soon too. Have a wonderful rest of your day, and take care of yourselves!

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Posted in Music, Sunday Songs

Sunday Songs: 1/8/23

Posted on by madeline @ The Bookish Mutant

Happy Sunday, bibliophiles!

I probably should’ve said something before tweaking my blogging schedule without warning, but I’ve decided to do a little something new instead of my weekly updates. I figured that I ended up saying most of the stuff I said in my weekly updates in my monthly wrap-ups, so this seemed like a more fun and creative use of my time.

Since last summer, I’ve been making graphics of songs that I’d been listening to during the week and shared them every Sunday, inspired by my brother. I’ve wanted to write about music more on this blog for a while, so I figured that I’d move my Sunday Songs to this blog as well to get the chance. As I said, these will probably replace my weekly updates, but you’ll be able to see everything that I’ve been reading in my wrap-ups at the end of each month. I know I’m going to enjoy writing about music more, and I hope you all enjoy the results!

the background format for this & all further Sunday Songs comes from a close up picture I took of the massive section of David Bowie CDs at Amoeba Records in San Francisco!

SUNDAY SONGS: 1/8/23

Gorillaz – “Left Hand Suzuki Method”

I can’t say anything about the whole album, but you know a band has endless talent when even the B-Sides (or G-Sides, in this case) sound just as good—if not better—than the original album material. I’ve been a huge fan of Gorillaz for years, but I didn’t hear about this one until it showed up in my YouTube recommendations out of the blue. And of all the things I expected to get from a Gorillaz song, Suzuki flashbacks was not one of them. I feel like I got whiplash the second I heard the sample of “Long Long Ago”, and suddenly, I was experiencing every piano lesson that I had from ages 5-7 (or something) as well as every recital that I ever attended at my old music school all at once. Whew.

But the way Damon Albarn utilizes this sample in “Left Hand Suzuki Method” is a testament to his creativity as a musician; building off a creaky sample that’s meant to teach kids how to play music, he creates a collage of funky keyboards and thick, punchy guitar intervals that transform a simple song into a collage of instantly catchy sound. Genius. Again, how was this a B-Side? (Sorry, G-Side…)

David Bowie – “All the Madmen”

I forgot up until a few days ago that this Sunday also happens to be what would have been David Bowie’s 76th birthday, so I’m glad I’m writing about him today. Happy birthday, sir. ⚡️

This one’s a bit lesser known than most of his (extensive) catalogue, but it’s crept up to become one of my favorite, underrated songs of his. Taken from The Man Who Sold the World, it’s loosely based on his schizophrenic half-brother, who was in and out of the institutions that the song fictionalizes. As you’d imagine, it’s appropriately chilling in that sense, but it has a lighter, almost nursery rhyme feel to certain parts of it—flutes and light drums that almost sound tinkling—before launching into epic, sweeping electric guitars that have come to define much of his early 70’s material. It all culminates into one of the most simultaneously creepy and catchy outros that I can think of in any song—as the guitars blend into synths as the song closes, Bowie begins a clapping chant of “Zane, zane, zane/ouvre le chien” (open the dog), a line which he later confirmed to be nonsense, seemingly the final nail in the protagonist’s loss of sanity. “All the Madmen” makes me appreciate Bowie so much more a songwriter—with his combination of sharp lyricism and musical craft, every song is a story.

Missy Elliott – “The Rain (Supa Dupa Fly)”

At last…I finally know what my mom was referencing every time she said “Beep beep!/Who got the keys to the Jeep?”…

And my mom is also the reason why I found this song, after I told her about how I rediscovered “Get Ur Freak On”, and I’ve been listening to it nonstop ever since. Hip-hop isn’t usually my go-to, but even from the two songs I know her from, Missy Elliott is masterful at making a song so smooth and seamless that you miss the samples within—I just found out that the main structure of the song was sampled from Ann Peebles’ “I Can’t Stand the Rain.” Like “Left Hand Suzuki Method,” “The Rain” creates a collage of smooth, instantly catchy sound out of a single, looped sample, creating a wider soundscape that keeps my head nodding through all 4+ minutes of the song. This phrase is definitely going to come up constantly in these posts, but…yeah, I need to listen to more Missy Elliott. So good.

Fontaines D.C. – “I Love You”

I know shamefully little about this band—before hearing this one on a friend’s Instagram story, the extent of my knowledge of Fontaines D.C. came from their glowing Pitchfork reviews (I think this album that this song is from came out on the same day as Everything Was Beautiful and got best new music instead of it? Come on, Spiritualized deserved it…I digress…why am I so fixated on these things?) and some guy’s hoodie that I saw in passing at the Smile show (“oh, the album with the elk on it?” – my internal monologue). I’m liking this song enough to explore more, though; through my first and only exposure so far, I love how “I Love You” slowly builds tension and breaks it just as quickly. With the faint bass and twinkling guitar notes in the quite first few minutes, the drums build to a slow, tight crescendo as the vocals intensify and then return to the peaceful, strangely sinister place where the song came from just as quickly, fading to nothing but a few strained strums in the very end.

So thanks, anonymous friend, for the new song and possibly new band to listen to! Maybe another album to add to my hydra-like list of albums that I have yet to listen to?

Yeah Yeah Yeahs – “Despair (Acoustic Version)”

Going back to a mainstay favorite of mine for several years, here’s a beautifully uplifting song to take us into the rest of the new year. I know, look at the title, but stay with me: the song is more about overcoming despair than the despair itself, don’t worry. We’ll save my sadgirl songs for later. Although the original makes the uplifting message all the more prominent (because how else would Karen O. dancing on top of the Empire State Building in a rhinestone-studded jacket make you feel? Really?), there’s a certain intimacy that I glean from the acoustic version; whereas the original is a rallying cry for optimism and hope in spite of the darkness that life brings, this feels like a gentle comfort, a reassuring word whispered as you’re tucked into bed, promising that the monsters under your bed won’t hurt you after all. “Through the darkness and the light/Some sun has gotta rise.” Leave it to Karen O. and company to keep the light going in these uncertain times.

Oh, and I just realized that the original is almost 10 years old now, OW…

Since this post consists of all songs, consider all of them to be today’s song.

I hope you all enjoyed my first time doing Sunday Songs! I love writing about music almost as much as I like writing about books, so hopefully you can enjoy it too. I look forward to writing more about music in the future outside of just album reviews (although I’m VERY excited to review Cracker Island when the day comes). Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Sometimes, Forever – Soccer Mommy album review

Posted on by madeline @ The Bookish Mutant

Happy Wednesday, everyone!

In a continuation of my assertion that 2022 is the year that the music gods have blessed us, here’s a review of one of my most anticipated albums of the year!

I’ve been a fan of Soccer Mommy since hearing her on the radio years ago, listening to all of her albums and even seeing her live a few times (once opening for Vampire Weekend, the next time headlining—the crowd SUCKED for that one but she was great). So when I heard that she had a new album coming out this June, I was ECSTATIC. Unfortunately, the album ended up coming out on the same day that they announced that Roe v. Wade was overturned, so…yeah, that soured my mood for the whole weekend. But when I was able to get back out of the muck, I listened to this album, and it solidified itself as my favorite album of hers—each one just keeps getting better and better, and Sometimes, Forever was particularly adventurous!

(for my review of the album before last, color theory, click here!)

Enjoy this album review!

SOMETIMES, FOREVER – SOCCER MOMMY ALBUM REVIEW

TRACK 1: “Bones” – 8.5/10

You make me feel like I am whole again,

But I think your heart could use a tourniquet…

Soccer Mommy, “Bones”

Especially with the rest of the album to contextualize it, “Bones” is the perfect opening track for Sometimes, Forever. It feels just enough like classic Soccer Mommy that it feels timeless, but it’s a catchy, familiar-feeling song that eases you into the different direction that the rest of the album goes. On its own, it’s the perfect little indie-pop song: hooky, lyrically witty, and filled with bright guitars.

TRACK 2: “With U” – 9/10

This is where the album starts getting adventurous, and I’m 100% here for it! Lyrically, Allison is sharper than ever, but the addition of the more electronic instrumentals combined with her classic guitar work makes an immersive soundscape that swept me off my feet on the first listen. LOVE IT.

TRACK 3: “Unholy Affliction” – 10/10

This. THIS.

“Unholy Affliction” was the second single to be released from this album, and after “Shotgun,” this is what made me certain that I was going to love the album. My family and I agreed that it sounded like a Chelsea Wolfe song, something completely unexpected—and highly successful—for Soccer Mommy! Dark, immersive, and pulsating, “Unholy Affliction” was an instant favorite on the album, and one of her most daring songs to date.

TRACK 4: “Shotgun” – 8/10

Look at your blue eyes like the stars,

Stuck in the headlights of a car…

Soccer Mommy, “Shotgun”

This was the first single to be released for the album, and while it’s not the best on the album, like “Bones,” it’s an instantly catchy indie-pop song. In comparison to the rest of the album, it almost seems like Allison is playing it safe, but it’s also proof that even when she’s holding back, she can produce something as fun and memorable as this.

TRACK 5: “newdemo” – 7.5/10

Hear the city roar,

A creature that feeds behind closed doors…

Soccer Mommy, “newdemo”

Dizzy and strangely sweeping, “newdemo” strays into new territory like “Unholy Affliction” did. It’s clear that Soccer Mommy and company had fun messing around with different synths and distortions while producing this song; it feels like it’s actively being warped around as you listen to it, veering slightly off-key but bringing itself back together just as swiftly. Not quite as successful as some of its counterparts, but still a success in and of itself.

TRACK 6: “Darkness Forever” – 9/10

Again with the Chelsea Wolfe sounds!! “Darkness Forever” edges close to metal on several occasions, with a creeping bassline and heavy, distorted guitars. Just like “Unholy Affliction,” Soccer Mommy’s experimentations with darker sounds lead to nothing but success—definitely one of her best songs in recent years!

TRACK 7: “Don’t Ask Me” – 8.5/10

With its fast, punchy guitars and Soccer Mommy’s airy, alluring voice, “Don’t Ask Me” has an easy time of cementing itself as one of the highlights on Sometimes, Forever. While it doesn’t delve completely into darkness like “Darkness Forever” or “Unholy Affliction,” it’s unafraid to get heavier, which works completely in its favor. An instant earworm and one of my favorites off this album!

TRACK 8: “Fire In The Driveway” – 9.5/10

Saw it in your blue eyes

When you were just a small child,

Now you’re only ashes of a man…

Soccer Mommy, “Fire In The Driveway”

“Fire In The Driveway” grounds Sometimes, Forever after the fast-paced “Don’t Ask Me,” delving into the nostalgic melancholy that makes Soccer Mommy so memorable. With its instantly memorable lyrics and bright, echoing guitars, this one is an easy standout on an already fantastic album.

TRACK 9: “Following Eyes” – 7.5/10

The lyrics are as potent as the rest of the album, but there’s something about this that puts it lower on the list for me. It’s still a fantastic song, no question, but it’s almost as though it tries to mesh older Soccer Mommy with her newer, darker sound. It’s very close to making it, but there’s some tiny bit missing, something that doesn’t quite piece the whole thing together. Nonetheless, still a great song.

TRACK 10: “Feel It All The Time” – 8/10

Like “Bones” and “Shotgun,” this feels like a timeless Soccer Mommy song—if you had told me that it had been from color theory or even Clean, I would’ve believed you. Yet still, it easily finds its place on this album, deftly adding to the mix of borderline-playing it safe to exploring new territory.

TRACK 11: “Still” – 9/10

I don’t how how to feel things small,

It’s a tidal wave or nothing at all…

Soccer Mommy, “Still”

For the closing track, Soccer Mommy brings it home with a somber acoustic piece laced with ghosts of the strange synths that adorned a good portion of the album. Unlike “Following Eyes,” the blend feels natural, and Allison’s knack for bringing genuine emotion to the forefront creates a beautiful end to the album, and a beautiful song that can stand by itself.

I averaged out my ratings for this album, and it came out to about an 8.6! I’d say that’s right on the mark; with every album, Soccer Mommy gets better and better, and Sometimes, Forever is her best work yet—dark and bold, but unafraid to return to her candid, emotional roots. Love it!

Since this is an album review, consider the whole album today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

WE – Arcade Fire album review

Posted on by madeline @ The Bookish Mutant

Happy Thursday, bibliophiles!

Welcome to another installment of “2022 is the year that the music gods have blessed us”…

Arcade Fire has been a fairly constant presence in my life for as long as I can remember; for years, I’ve been hearing and loving songs from Funeral and The Suburbs in my car, and I nearly got to see them live on their last tour (the concert was on the same day as a school trip I had 😭). So I was so excited to hear that they had another album on the way a few months ago—and now that I’ve listened to it, I love it!

Enjoy this album review!

(note: I will be excluding track 3, “Prelude,” from my review, as it’s only 30 seconds long of vague bonking noises and static.)

WE – ARCADE FIRE ALBUM REVIEW

Track 1: “Age of Anxiety I” – 8.5/10

Right off the bat, I was so impressed by this song! One of my favorite songs on the album, and the perfect opener too. With its steady beat and timely lyricism, it perfectly sets up the landscape of the rest of the album—love it!

Track 2: “Age of Anxiety II (Rabbit Hole)” – 7.5/10

Continuing the momentum from “Age of Anxiety I,” “Rabbit Hole” keeps its steady pace. As long as it is, it manages to keep itself afloat for the full seven minutes and still be consistently listenable throughout. Not as good as I, but still a wonderful continuation.

Track 4: “End of the Empire I-III” – 8/10

“End of the Empire I-III” takes a turn into slower, more introspective territory. Its lulling and waving melodies feel immersive and welcoming, and it demonstrates the extent of Win Butler’s lyricism, the intense introspection and reflection that makes Arcade Fire stand the test of time.

Track 5: “End of the Empire IV (Sagittarius A*)” – 8/10

Most of the songs on WE have at twin of some sort, and I’ve noticed a pattern—they’re never interchangeable, but they’re nevertheless inextricably connected. In the instance of “Sagittarius A*,” it’s a continuation of the slow, measured reflection of the strange mess of the world in the last two years. The lyrics are far more on the nose here (repetition of “I/we/she/etc. unsubscribe[s]), but they’re nevertheless timely. I love the little electronic strains at the end as well.

Track 6: “The Lightning I” – 8.5/10

The two “Lightning” songs were the first singles to come out of WE, and this one reminded me of why I love Arcade Fire so much. So many people, so many instruments, all in exuberant harmony—just the kind of energy that we need in these unpredictable times. Ties into the general theme of the album, from what I can discern—clinging onto hope and togetherness in a time bent on tearing us apart.

Track 7: “The Lightning II” – 8.5/10

It makes sense that the music video for the two “Lightning”s is all in one; unlike the other twin songs, this one is has the smoothest transition from one song to the other. And it continues its contagious, exuberant joy, bringing the album to a hopeful, explosive crescendo.

Track 8: “Unconditional I (Lookout Kid)” – 7/10

This is my least favorite song on the album, but it’s nonetheless sweet, especially considering that Win Butler wrote it for his kid. The lyrics are more than a little on the nose, but they’re lyrics that everybody needs to hear growing up, which is what makes them so lasting. Sweet stuff.

Track 9: “Unconditional II (Race and Religion) (feat. Peter Gabriel)” – 10/10

MORE REGINE CHASSAGNE PLEASE AND THANK YOU

I’ve had this on repeat for a solid week—my favorite song on the album! Régine Chassagne’s vocals have an infectious joy and excitement to them, and combined with the harmonious music and message, it makes for the best song on the whole album. It’s already the highlight of the album, but having PETER GABRIEL, FOR GOD’S SAKES—that makes it even better!

Track 10: “WE” – 7.5/10

A gentle, slow ease out of a fantastic album. Even though Arcade Fire’s strength is in their numbers and varied instruments, sometimes their acoustic pieces are almost just as good. That’s the case of “WE”—not the best song on the album, but a perfect segway out of an adventurous album and a softer comedown from “Race and Religion.”

I averaged out all my ratings from each track, and it came out to a solid 8.2! I feel like that’s an accurate portrayal of my thoughts; WE is, without a doubt, high in the ranks of my favorite albums of 2022 so far—timely, but still rife with the infectious joy that makes me love Arcade Fire as much as I do.

Since this is an album review, consider the entire album to be today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Lucifer on the Sofa – Spoon album review

Posted on by madeline @ The Bookish Mutant

Happy Saturday, everyone!

Sorry that I went M.I.A. for a bit there. I was visiting family in Florida over President’s Day weekend, and I just had zero energy once I got back. But now I’m here, writing a post that I’ve been excited to write for a few weeks!

You know what I think about a lot? The time my old English teacher though my Spoon shirt was a Morrissey shirt 😭

Spoon is one of those bands that have been a consistent presence in my life. I heard their songs on car rides, and car rides turned to concerts, and concerts turned to albums. For me, they’re one of the few bands I know who are better live than listening remotely—they bring such an exuberance and energy onstage, and their talents as musicians is apparent with every song they play.

So I was so excited to hear that they’d be releasing a new album in 2022! Prior to this, I’d never listened to a full album of theirs (although Gimme Fiction has been on my list for quite some time), but listening to Lucifer on the Sofa was such a bright, energizing experience. It’s only February, but this is already on my list of favorite albums of the year. (Though it’ll have some competition when Everything Was Beautiful comes out…am I getting too hasty?)

Let’s begin this review, shall we?

LUCIFER ON THE SOFA – SPOON ALBUM REVIEW

TRACK 1: “Held” (Smog cover) – 8.5/10

Starting an album off with a cover is a bold move, but at this point, Spoon can do no wrong. And this is a fantastic cover—if I didn’t know that it was a cover, I 100% would’ve thought that this was fully their song. I might even like it better than the original! The steady drumbeat and the melody that feels like it rolls over you create an atmosphere that sets up the whole album for instant success. Needless to say, I have not been able to stop listening to this!

(here’s the original by Smog, if you’re interested.)

TRACK 2: “The Hardest Cut” – 8/10

They’re sayin’ you need a little protection,

But following the leader gonna turn you off the religion…

Spoon, “The Hardest Cut”

This was the first single to come out of this album, and it reminded me of why I love Spoon. The guitars are what shine the most—”The Hardest Cut” doesn’t hesitate to dive into Spoon’s heavier side, and the guitars are the main driving force behind it. At the same time, it’s a relentlessly steady and catchy song, making this song proof of Spoon’s versatility.

TRACK 3: “The Devil and Mister Jones” – 8.5/10

For any album, there are some songs that you know will grab you way before you listen to them, just because of how hooking the title is. I don’t know what it is about the name “The Devil and Mister Jones” that caught my eye, but either way, it’s an undoubted highlight of this album. Catchy and bright-sounding, it has a timeless feel to it, like it could have just as easily come out of the 2010’s or even the 2000’s. LOVE it.

TRACK 4: “Wild” – 8.5/10

I was reminded every measure

Of riding trade winds, buried treasure…

Spoon, “Wild”

This one was the second single that was released, and another absolute earworm! The instrumentation is phenomenal, Britt Daniel’s voice stands out in the best way possible, and the beat makes it impossible for you not to nod your head. Instant classic.

TRACK 5: “My Babe” – 7.5/10

“My Babe” was the final single to be released from Lucifer on the Sofa, and although it’s my least favorite of the three, it’s still a perfect head-nodding, shoulder-swaying kind of song. However, there’s something about the lyrics that feels off-kilter. Not so much the message, but the way they sound, if that makes sense? I’m not sure. Not as strong as the others, but that’s a high bar—”My Babe” is still a good one.

TRACK 6: “Feels Alright” – 8/10

Standing here by myself,

A photograph with no correction

From me or anybody else…

Spoon, “Feels Alright”

Here’s another one that feels distinctly timeless. There’s an a quality to it that makes it feel ageless. For all we know, it could be from today, from the 2010’s, the 2000’s…even the future, who knows what Spoon will be doing five or ten years from now? That aside, it’s such a strong song! I especially love the piano/keyboard work on this one.

TRACK 7: “On the Radio” – 8.5/10

(I just realized that the animation for the official audios just zooms in on the album cover’s face…IT’S SO CURSED)

(WHY IS IT LOOKING AT ME LIKE THAT)

“On the Radio” distinctly feels like the last few singles pre-Lucifer—something about the key, the fast tempo, the overall tightness of the whole song that makes me remember hearing “No Bullets Spent” for the first time. The guitars feel so full and rich, and the effects layered over them only adds to the effect. Another winner!

TRACK 8: “Astral Jacket” – 8.5/10

“Astral Jacket” is where Lucifer slows down—just in tempo, certainly not in quality. This song, along with “Satellite,” remind me of how well Spoon can convey tenderness through music; there’s an atmosphere around it that feels like a tired hug on a warm night. Simply lovely.

TRACK 9: “Satellite” – 8.5/10

Continuing the soft, tender atmosphere that “Astral Jacket” started, “Satellite” creates a floating-in-space atmosphere that fills up my heart. It reminds me most of “The Delicate Place,” my favorite Spoon song; the melody goes up and down, but it’s consistent in its warmth.

TRACK 10: “Lucifer on the Sofa” – 8/10

And I’m chasing every thought

And I’m walking over water,

Thinking about what I lost…

Spoon, “Lucifer on the Sofa”

For Spoon, my focus is usually the music over the lyrics, but for “Lucifer on the Sofa,” it’s both. I love all the descriptions in this one, from ash on lips to winter skies. There’s a consistency to the music as well—the saxophones are a strange addition, but it works perfectly for the smoky feel of this song. Not my favorite of this album, but a great little closer.

I averaged out the scores for each track, and it came out to a solid 8.3! Feels just right for the album; I haven’t listened to enough full Spoon albums to say where it ranks on the list, but it’s a success regardless. I remember periods of my life in terms of albums, and Lucifer on the Sofa will surely be among the ranks of albums I remember this year by. Can’t wait to see them again this May!

Since this is an album review post, consider the entire album today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Making a Door Less Open (Car Seat Headrest) Album Review

Posted on by madeline @ The Bookish Mutant

Making a Door Less Open | Car Seat Headrest

Happy Saturday, everyone!

Those of you who’ve been following this blog for a while know how much I love Car Seat Headrest. Ever since…oh, maybe 7th grade (?), their songs have never failed to enchant me and pull me in. So naturally, I was absolutely over-the-moon when I found out that they were releasing a new album in the form of Making a Door Less Open. After a few listens, however, I’m not quite disappointed, but I think I set my expectations too high. That isn’t to say that it isn’t a decent album, but I think they released all the good singles first.

Anyway, let’s get on with the review, shall we?

WILL TOLEDO <3.gif

TRACK 1: “Weightlifters”–8.5/10

WOW. 

Now that is what I can an AMAZING start to an album. With the slow-burn effects, combined with Will Toledo’s signature, introspective lyrics, this is an absolute stunner of a first track. Probably my favorite of the songs that weren’t released as singles beforehand.

TRACK 2: “Can’t Cool Me Down”–10/10

This was the first single that was released, back in…March, I believe. A vastly new direction for Car Seat Headrest, but one that I enjoy thoroughly. Well-written and eternally catchy. Definitely the highlight of the album for me.

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TRACK 3: “Deadlines (Hostile)”–8/10

This feels like something straight off of Teens of Denial, and if we’re talking about that album, it’s always a compliment. Lyrically poignant and musically pleasing, this one 100% contributes to the album’s strong start.

TRACK 4: “Hollywood”–8.5/10

Here we veer into a briefly punchy and screamy direction for CSH, and it’s in no way a bad thing. I’m interested to see that Andrew Katz (drummer & producer of this album, correct me if I’m wrong on the latter) is starting to contribute vocals, and though I didn’t care for it as much at first, but it meshes well with the overall feel with the song

IT’S KINDA GROOVY

TRACK 5: “Hymn (Remix)”–5/10 

Eh…this is where the album starts to go downhill for me. It’s like they were trying to go more in the synthy direction of “Can’t Cool Me Down,” but it…didn’t work. Not much in the lyrics department, and a wholly unnecessary slathering of autotune and weirdness that ultimately sullies Will Toledo’s gorgeous voice.

God, I know I sound snooty, but personally, this is the worst song on the album…

TRACK 6: “Martin”–8.5/10

(First off, thank you to Will Toledo/Trait for retaining clean habits during these uncertain times…)

Such a sweet love song, with Toledo’s signature, beautiful lyrics. Catchy and unusually bright, considering most of the subject matter of…a good 75% of the rest of their discography.

TRACK 7: “Deadlines (Thoughtful)”–7.5/10

I feel like this is the weaker of the two “Deadlines,” but that’s not to say that I don’t like it. Though some of the effects don’t bug me, the a capella ending (starting at about 5:37) really manages to tug at my heartstrings.

TRACK 8: “What’s With You Lately”–7.5/10

Short and sweet just as depressing as you’d expect any CSH song to be. A tender meditation on creativity and seeing other people imitate your work. Also, we haven’t really heard Ethan Ives (guitar) contribute any other vocals other than backing vocals, so it’s cool to see him doing lead vocals on a song.

TRACK 9: “Life Worth Missing”–7/10

Certainly a decent song, and wonderful lyrically, but musically, it’s bordering on…spineless? With a song like this, it kind of needs punchy guitars throughout, and it almost gets there in the second half, but not quite enough to be potent.

TRACK 10: “There Must Be More Than Blood”–8.5/10

Another strong point on the album, this feels reminiscent of some of their older, longer songs, especially ones like “Famous Prophets (Stars)” and “Cosmic Hero”. Potent and tender, this one’s definitely one of the more memorable songs off of this album.

TRACK 11: “Famous”–6/10

Afer such a beautiful song as “There Must Be More Than Blood,” “Famous” feels like a letdown of an album closing. If not for the effects layered on the vocals, I probably would have liked it a lot better–the lyrics are incredible, but they almost get lost in all the discordant autotune layered over them. Eh.

Car Seat Headrest — Radio 1190

I averaged out all of the song ratings, and it narrowed down to about a 7.7/10. I’d say that’s accurate–it’s certainly not a bad album, but it’s not nearly as mind-blowingly good as Teens of Denial or Twin Fantasy (Face to Face). There’s certainly a multitude of strong points (“Can’t Cool Me Down,” etc.), but the more mediocre tracks only serve to weight it down. A daring exploration into a new kind of sound for Car Seat Headrest, but one that had its highs and lows.

Since this post was an album review, you can…pretty much just consider the whole album for “Today’s song”.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

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Posted in Music

color theory (Soccer Mommy) Album Review

Posted on by madeline @ The Bookish Mutant

Image result for color theory soccer mommy

Happy Wednesday, everyone!

I was introduced to Soccer Mommy via the car radio around a year ago, and I’ve been hooked on her music ever since. From listening to all of Clean to seeing her open for Vampire Weekend in October (!!!), Sophie Allison has always had such a signature sound that, no matter the subject matter, strikes a chord with me (no pun intended)–not quite in the lyrics as much, but most definitely in her masterful guitar work. color theory was just as good–if not better–than its predecessor, diving even deeper and finding beauty in vulnerability and grief.

Alright, let’s get this review started…

Track 1: “bloodstream”–7/10

Though not as emotionally potent as some of the other album’s tracks, “bloodstream” combines catchy, indie-pop riffs with lyrics yearning for the innocence of the past as Allison struggles to grapple with her present. The video’s pretty weird, but it definitely fits with the aesthetic that all of the album art/merch has been trying to go for. Not bad!

 

Track 2: “circle the drain”–8/10

What began with “bloodstream” has been effectively elevated to the next level. Allison is the master of the deceptively upbeat song; these lyrics, along with much of the rest of the album, deal with struggling with mental illness and grief. And yet, without listening to the lyrics, those two things wouldn’t have even crossed my mind. Absolutely catchy and lyrically potent.

 

Track 3: “royal screw up”–7.5/10

I’m not gonna lie here: the up-front metaphor of being the “princess of screw-ups” is a bit cheesy for me, personally. But sometimes, these things are necessary to get your point across after you dive into the more complex songs on the album. Aside from that, Allison’s bare guitar work shines on this track. And it’s an earworm in the best way possible. Mission accomplished.

Track 4: “night swimming”–9/10

Without a doubt, one of the best songs on the album, and a unique piece in the grand scheme of Allison’s work. Atmospheric, ethereal, and dreamlike, I feel as though I’ve been transported to a secluded lake illuminated by moonlight every time I listen to this song. Gorgeous in every sense of the word.

 

Track 5: “crawling in my skin”–9/10

Reminiscent of the punchy riffs of Clean, this one’s another favorite of mine. After the beauty of “night swimming”, “crawling in my skin” feels more refined, more thought out than tracks like “bloodstream” and “royal screw up”. Even if you’ve never felt this way, it perfectly portrays the feeling of being trapped in your own mind, and the fear of being left to your own devices at the wrong time.

My only complaint is that it always makes me think of this…

 

Track 6: “yellow is the color of her eyes”–9.5/10

Though it was one of the early releases, “yellow is the color of her eyes” still holds up for me as the most masterful song on the album. An emotional, 7-minute ballad of grieving, this is where the album reaches the height of its emotional potency, deftly balancing prose with up-front expressions of grief and emotional collapse. What a masterpiece.

 

Track 7: “up the walls”–7/10 

Though it’s just as lyrically potent as most of the album, and certainly very catchy, “up the walls” feels as though there’s something missing. The instrumentation sounds purposefully bare, but it doesn’t work quite as well as “royal screw up”. But nonetheless, the slight discordance is, in its own way, a testament to the feeling of falling apart.

Also, I’ll keep telling myself that the title/first line is a reference to this…

I mean, there’s a veeeeeery slim chance that it is, but I’ll just go back to my fantasy world now.

You fools, you didn’t think that you could escape this post without a Radiohead reference? [maniacal laughter]

 

Track 8: “lucy”–8/10

This one was the first single to arrive, out of the four that came out before color theory was released in its entirety. When it first came out, I wasn’t keen to it–I’m not sure what it was, but something just…put me off. But after a few more listens (and seeing her perform it live), I’m definitely hooked.

When I saw her live, she said that this was “a song about the devil,” and I’ve just now figured out that Lucy might be a pun on Lucifer…

…aaaaaaand now I hate myself for not catching that earlier.

But either way you interpret it, “lucy” is wonderfully catchy and the slightest bit discordant.

 

Track 9: “stain”–8.5/10

With every somber note, “stain” is the feeling of crumbling at the foundations set to music. Haunting and potent, Allison boasts another example of how a few lines of music can alter your mood for the rest of the day. I can’t decide whether I’m in awe or whether I want to go into my room and cry.

 

Track 10: “gray light”–6/10

Though the lyrics are almost as potent as “yellow is the color of her eyes” and “stain”, “gray light” feels unfinished: decent, but a mishmash of different effects overshadowing the haunting lyrics. Kind of a disappointing ending to the album, but it didn’t ruin it, not by any stretch of the imagination.

 

I averaged all of the ratings, and it came out to a solid 7.95, so I’ll just round it up to an 8/10 overall. Just as luscious and potent as Clean, color theory is a musical exploration of grief that should not and will not be forgotten. Long live Sophie Allison. 💗

 

I’ll omit a song for today because…well…this entire post is a “Today’s song”…

 

That just about wraps up this post! Have a wonderful rest of your day, and take care of yourselves! (And listen to/stream/buy color theory while you’re at it!)

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