With it still being peak summer music season, it’s a perfect time for pop-sensation Kesha to put out a song like “Joyride”, her comeback single released this July 4th. Despite Independence Day being known as a quintessential day for pool parties, barbecues, and American patriotism, Kesha’s choice to release the single then has a deeper meaning to it. “Joyride” is a representation of her own freedom and independence, as she begins a fresh start in her career as an independent artist with her own label and a new management team. This also marks the first release since last year’s settlement of a well-publicized defamation lawsuit with former producer Dr. Luke, a legal battle that took her away from popular music for many years.
The new single is a throwback to her earlier hits, like “Tik Tok” and “Die Young”, with a more anthemic and loose party vibe. It comes as a surprise considering the more introspective direction she has been taking her music recently, as seen in 2017’s “Praying” and last year’s Gag Order album. Still, it’s a welcome return to that sound and recalls 2000s EDM songs by Lady Gaga and Britney Spears, the latter of which also has received support in recent years following legal issues. The track’s production helps this semi-throwback vibe through producer Zhone who also worked on Troye Sivan’s smash dance single “Rush” last year.
Okay, enough background details. Is the song any good? The answer to that is, if you’re a Kesha fan or someone who only knows a few hits, “Joyride” perfectly brings back her original sound while still seeming fresh and exciting in its own right. Describing the song makes it sound like it shouldn’t work—Kesha going back to the intentionally sleazy, attitude-filled style of her early work, but musically with heavy use of polka accordions throughout and dramatic choir singing on the chorus. Really. Yet the campiness and bold sincerity of the track is what’s so appealing about it, even if it might be initially off-putting to some listeners. The house-inspired sound is danceable throughout, with thumping beats and bouncy synths to keep things light and groovy. It has its roots in campy Europop, and it gives off an “ABBA on acid” vibe.
Kesha has described this release as the first time she’s felt free with her career in 20 years, and if this is the unabashedly weird and eclectic direction she wants to go in, I’m all for it. “Joyride” will, hopefully, represent a new era of a pop star who’s ready to reinvent herself in whatever way she pleases.
As a music journalist (at least, until my internship ends), it’s always a delight to write about something super offbeat. Case in point, a weird and entirely distinct artist like DJ Sabrina the Teenage DJ. The pseudonymous London-based producer has an identity entirely their own, with their persona and pixel art imagery based on the late 90s sitcom Sabrina the Teenage Witch. Their musical style has its roots in lo-fi produced outsider house music but with wall-to-wall samples of the sitcom and other music/media sources from the 90s. It’s easily comparable to other house music that’s heavy with samples like Daft Punk and The Avalanches.
While DJ Sabrina has been releasing music since 2017, her breakthrough came with the monumental 3-hour-long album Charmed in 2020. As a pandemic release, its success strangely makes sense: her work has a trippy, transportive sense of nostalgia that whisks you away into a dreamy soundscape, a sentiment that appealed to people stuck in their homes. While her work is currently unknown outside of niche music circles, she’s been slowly but steadily gaining high-profile collaborations such as remixes for Porter Robinson and Nelly, as well as a co-writing credit on the single “Happiness” by The 1975.
This brings me to her newest single, “In Silence”, a teaser for an upcoming album due to be released this summer. Part of the fun of following DJ Sabrina is her wildly consistent work ethic, with a new single(s) per month, an album or two per year with 2-3 hours of quality tracks each, as well as professionally curated DJ mixes online. Yet despite being one of many in an endless sea of songs, “In Silence” still exemplifies DJ Sabrina’s strengths as a house producer who focuses on songs as wide-ranging experiences rather than just individual moments. It functions as a song you can still dance to in a club setting but has its sights on emphasizing feeling, atmosphere, and texture in a way that other house producers don’t aim for.
The cover art and music video have dreamlike imagery with various shades of purple and seems to be a clear reference to Kate Bush’s seminal 1985 album Hounds of Love (aka the one with “Running Up That Hill” from Stranger Things). “In Silence” earns this comparison by functioning in a similar mold as Bush’s work: kaleidoscopic synth-scapes that feel like their own little world. It’s layered with a lush atmosphere from pulsating synthesizers, and despite being entirely electronic, it still feels entirely warm and human. DJ Sabrina has always focused more on vibes and melody over dance beats (though the electro-funk here is still good) in a way that lulls you into the song’s hypnotic sense of surrealism. The vocals and songwriting here are more in a typical songwriting structure, though the sweet but sultry pitch that Sabrina sings at well matches the production.
“In Silence” isn’t one of her very best singles, and I would recommend listening to something from Charmed as an introduction to her work for newcomers. However, it’s still a memorable slice of danceable psychedelia from one of music’s most offbeat but original rising producers. With her upcoming album likely being very eclectic, based on every single released so far, it makes DJ Sabrina the Teenage DJ worth having a close eye on.
Mike Campbell is a classic rock veteran who’s never really gotten his due, at least in the eyes of the public. His musical track record is all over the map, as a founding member of the legendary Tom Petty & The Heartbreakers and a collaborator of other household names like Stevie Nicks, Bob Dylan, and Don Henley. This sort of throwback retro-rock sound pervades all throughout Vagabonds, Virgins, & Misfits, the third album of Campbell and his band, The Dirty Knobs. The band, composed of former Heartbreakers/Don Henley collaborators Steve Ferrone (drums), Chris Holt (guitar), and Lance Morrison (bass), began as a side project in 2000 for Campbell but became a full-time project from the dissolution of The Heartbreakers following Petty’s death. This is their third album after 2020’s Wreckless Abandon and 2022’s External Combustion.
Vagabonds, Virgins, & Misfits is musically defined by many of the same textures that defined the Heartbreakers’ sound: blues, rootsy country, and occasionally some hard-edged rock & roll. The album’s vintage vibes never attempt to reinvent the wheel, but that’s missing the point. Mike Campbell & The Dirty Knobs’ appeal is hearing a band of energized veteran musicians play the music they love without a care in the world, and it’s why the album succeeds on its own merits. Even if part of one’s affection towards the band may come from their own nostalgia towards the Heartbreakers and classic rock in general, it’s still a well-crafted piece of retro rock with consistently killer performances.
The best songs on the album are the ones where the band is firing on all cylinders, such as the loose and fast-paced rock-n-rollers “Shake These Blues”, “So Alive”, and “Don’t Wait Up”. They each have an irresistible groove with amazing guitar playing, and the band’s chemistry and individual talents all get to appear. Many tracks also feature a sound closer to the heartland rock played in the Heartbreakers, such as “Angel of Mercy” and “Innocent Man” and succeed as feel-good breezy songs that still have grit and muscle in their tone. I was even digging some 60s-inspired country songs that intermittently appeared, such as “Hell or High Water” and “My Old Friends”. Both provide enough changes in instrumentation (through a string section, harmonica, horns, and Americana staple steel pedal guitar) to work just as well as the more conventional rock songs. While Campbell’s age can show in some of his singing, it’s always off-put by the love and enthusiasm always shown for his work. The vocals are also helped by guest stars on the album, such as contemporary country star Chris Stapleton, fellow heartbreaker Benmont Tench, and Gen-X/boomer music maestros like Graham Nash and Lucinda Williams.
Again, some of the album can depend on your own feelings for classic rock and you may be more inclined just to relisten to Full Moon Fever instead. But even as an act that prides itself on older musicians and styles, Vagabonds, Virgins, & Misfits is an effortlessly enjoyable ride that’s built on a strong love for rock music.
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
It’s Bootsy, baby! If you don’t know who Bootsy Collins is, you absolutely need to get the funk out of this site and do your research. (Actually, stay to read the review, then do some listening.) Funk legend, bass player extraordinaire, fashion icon, and outrageous personality Bootsy Collins has just released a new single, the title track of his upcoming 23rd LP, Album of the Year #1 Funkateer. As you can tell, I’m a huge fan of Bootsy’s work, from his time in the Parliament-Funkadelic collective during the 70s, his solo career, and his contributions to The J.B.’s, the backing band of funk godfather James Brown. Yet despite his six-decade-long career, he’s still collaborated with newer artists inspired by his work, such as Silk Sonic (Bruno Mars and Anderson .Paak), Childish Gambino, and Kali Uchis.
Admittedly, I had some reservations about going into the new single. Many legacy artists, when releasing a new project, get cold feet about their current abilities and try too hard to update their sound. Whether it’s through auto-tune or trying too hard to capture a more modern style out of their comfort zone, there are lots of pitfalls that many older musicians willingly jump into when recording new material. Thankfully, I could rest assured as soon as the song started, as it led into a funk jam worthy of anything from the genre’s golden age. Musically, it fit right into the same sort of P-Funk bangers that made albums like Mothership Connection so tight.
All great funk depends on the band’s chemistry in keeping the groove and rhythm going. Obviously, Bootsy would know this as a genre pioneer, and the new single totally exemplifies this idea. The bass playing is squelchy and wobbly in a way that keeps the music bouncing, and the horn section is killer throughout. Admittedly, the production can have a bit too much of a pop-music sheen to it, and it prevents the synthesizers from getting freaky in a way that Parliament’s synth solos did, but it’s only a mere nitpick. I’m glad that Bootsy himself doesn’t sound too overproduced, with some minor polishes to his voice. His infectious personality still gets to shine through. However, he takes a backseat to let the backing vocalists and musicians shine, and the song is all the better for it. I especially liked guest vocalist Myra Washington, with her voice and personality bringing up memories of classic female funk vocalists like Betty Davis or Chaka Khan.
If you have the slightest bit of a taste for classic funk, this single is a total no-brainer. Bootsy Collins shows that, even at 72, he can still bring down the house with a funky jam like “Album of the Year #1 Funkateer”. Even if the upcoming LP isn’t our “album of the year”, he remains one of the most legendary funkateers. Album of the Year #1 Funkateer is out Oct. 25 via Bootzilla Records/Equity Distribution.
I’ll always jump at the chance to review music in my local area, so getting to write about DC-based indie band Pretty Bitter was super exciting. The band, (composed of vocalist Mel Bleker, bassist Miri Tyler, keyboardist Zack Be, guitarist Chris Smith, and drum-ist Jason Hayes) formed during the late 2010s and have released two albums, 2019’s Patchwork and 2022’s Hinges, with a third currently being scheduled for some time later this year. Their sound is self-described as “queer alternative emo dream pop-ish”, which is probably a fair way of putting it. Listening to some of their previous songs gave the impression that the band has eclectic tastes and doesn’t want their sound to be pigeonholed, especially considering the immense talents each member has. It seems inspired by a plethora of alt-rock sounds, namely dense pedal/feedback-heavy psychedelia (or shoegaze, if you’re annoying) with occasionally some distorted garage-rock guitars or danceable drumming and bass playing. For a band that’s still young, I appreciate their desire to keep listeners on their toes by having a decent range of playing styles.
Their newest single from February, the grimly titled “Roadkill”, is a great showcase of each member’s abilities and chemistry with each other as they make the track into a total gem. The vocals are bursting with confidence and enthusiasm, even when they’re occasionally buried by layers of guitar and synthesizer effects. Speaking of, the band continues to mix and match styles by incorporating some bubbly new wave-y synths that really pop, and keep the song fresh. The aggressive, relentless energy provided by the guitar, bass (wonderfully gritty during the bridge) and especially the drumming, which never seems to slow down for even a second. It complements the angst and frustration present in the songwriting, with lyrics that are personal and confessional like a lot of Pretty Bitter’s other work. Yet it’s still fresh and inventive through the band’s abilities and their commitment to not fully repeating themselves.
I’m glad I could write about Pretty Bitter, as the band is absolutely a shining star in DC’s growing local music scene. They have potential and musical expertise in spades, and seeing their further growth and evolution will be a joy to witness.
After releasing three singles, SoCal-based indie-garage band Willowake has released their debut EP, An Alter Ego. Their previous songs (“Bitterfaced”, “Playground”, and “I See Ghosts”, respectively) showed great promise in the band’s talents as musicians, making me eager to listen to their new release. While An Alter Ego mainly operates in the same direction that Willowake had been going in, it provides enough opportunities to show the range of each member and what they’re capable of. For a band that’s still discovering themselves, the EP is a strong, impressively performed set of songs that suggests exciting things to come from Willowake.
This is the band’s first release after signing with Wiretap Records, and the more professional studio production shows immediately, with each song sounding crisp and clear. Most tracks follow a similar formula to the band’s initial singles: fast-paced, tightly performed garage punk with a killer rhythm section and confident performances. Each member of the band (composed of JR Polanco on vocals/guitar, Gavin Alvarado on bass, and Dax Corcoran on drums) gets an individual moment to show off their musical chops and all of them are great. Alvarado’s bass is usually in the background as texture and atmosphere, but when it’s pushed into the foreground to rumble during “Dog”, it gives the song a darker and suspenseful tone. Corcoran’s drumming is consistently a pulsating highlight, with my favorite parts being the jittery hi-hats on closer “Tim Burton”. Polcano’s guitar playing is always lively and energized, and they’ve grown more self-assured as a vocalist since their debut single.
The one song to really break at all from the band’s established formula is “Not Romantic”, a more mid-tempo, downbeat song about relationship drama. It allows for a melodic sound with nice vocal harmonies and more space to breathe in the audio mix. It’s a type of song I hope the band tries more of in the future, as engaging as their louder punk songs are. Still, considering the strength of An Alter Ego, Willowake is a band I’ll be keeping an eye on.
The second album by any successful artist can be a critical moment in their career. It’s made to show the impact of their previous work wasn’t a fluke, and that they’re still someone worth giving your time and attention to. This is easy to mess up, as the term “sophomore slump” still gets used when describing artists not being able to make a follow-up that builds on their previous acclaim. The new album by Luna Shadows, bathwater, thankfully doesn’t fall into known sophomore slump pitfalls and expands on Shadows’ previous music from 2021’s Digital Pacific. It expands on her goth alt-pop sound by incorporating more guitars and orchestral arrangements, but also shows a deeper, more personal look into Shadows than before. bathwater is a slow-burn album that rewards listeners with poetic and vulnerable lyrics and gorgeous melodies that split the difference between songs you can dance or cry to in equal measure.
Musically, the album isn’t a complete reinvention of Shadows’ previous work, as it uses Digital Pacific as a jumping-off point to new sounds and textures. The previous album’s hazy synthpop and use of drum machine rhythms found in hip-hop or R&B are still present, but they take more of a backseat. As someone who doesn’t listen to moody alternative pop records (i.e. Lorde, Lana del Rey, Billie Eilish, etc.), the sound took a bit of getting used to. I deeply appreciate that Luna Shadows remembers to keep her music rhythmic and interesting, unlike a lot of alt-pop that focuses too heavily on vibes. However, some songs are produced more in minimal accompaniment with a greater focus on Shadows’ vocals and a richly produced dense atmosphere. Still, the album sounds great and even goes into psychedelic, somewhat ethereal territory that almost reminds me of dream pop like Beach House or even Cocteau Twins.
Speaking of Shadows, her vocal performances here are as pristine as ever; being breathy and somewhat whispered at points, yet still dynamic enough to convey the raw sense of vulnerability she’s going for. Her voice is soothing and occasionally functions as an instrument themselves when set against the eerie and psychedelic soundscapes she sings in. Fitting with her namesake and the album cover, her voice and persona all have an otherworldly, mystical quality that makes her music even more intriguing. All the vocal harmonies sound wonderful, alternating between misty, heartbreaking, playful, and just all-around pretty whenever the song demands it.
In terms of individual songs, my favorites are the more up-tempo pop-friendly singles like “bleach” and “heroine” which both feature killer electric guitar and breezy vocal harmonies. Some of the slower songs are just as strong, like the heartbreaking “monroe” with its desperate sentiments, and “honeymoon” which features some beautiful finger-picked acoustic guitar. The indie stylings mostly come down to acoustic guitar being used as background texture, like on the more R&B-inspired “tourist” and the ballad “superstars”. However, there’s still time given to use guitar solos on songs like “stay mad” and “nudes” that are consistently excellent throughout the album. Experimenting with string instruments like on “witches’ brew” and the closer “apocalypse love song” complements the melancholy and moody tone that the tracks themselves provide.
bathwater may occasionally feel its length with a track list of 14 songs (including an intro) and can go into the same sonic territory of ambiance a bit too often, but each song has enough personal feeling to justify its place. Luna Shadows likely made this album as a way of transcribing her personal struggles and conflicts into art, such as many other artists, and she succeeds by pushing herself forward musically and emotionally. For only a sophomore album, it suggests more great work from her is still to come.
As a music nerd, it’s fun to listen to new releases and try to figure out where an artist’s influences come from. However, it takes talent and real musical ambition to not just seem like an admirer of certain inspirations with nothing original to say. Inside Out, the new album from Florida-based singer-songwriter Jason Montero, wears its influences on its sleeve yet keeps things fresh with new ideas. It’s a record clearly worshiping a lot of classic rock but focusing deeply on grooves, shared chemistry between band members, and varied instrumentation to be a consistently enjoyable listen.
Montero, a guitarist and longtime performer in bands local to the Phoenix area (Honey Child, The Limit, The Wood Band), explained that this album specifically resulted from dusting off some late-80s/early-90s songs he never ended up recording. For the studio recording sessions, several old bandmates and friends from his life helped to contribute parts, and everyone’s enthusiasm for the project clearly shines through. Every song sounds like a portion of a fun afternoon jam session, with the backing band getting ample opportunities to contribute, whether it’s for rhythm or simply texture and atmosphere.
The first half of the album surprised me with how danceable and almost funk-driven it was. Songs like “No James Dean”, “Criss Cross”, and lead single “Thorn” all have delightful swinging grooves that’s toe-tapping fun throughout their entire runtime. The emphasis on hand drums and shakers during certain tracks turns what could be simple bar band blues-rock into something more worldly and cultured than expected. Sometimes the songs reminded me of Paul Simon’s Graceland or even Vampire Weekend’s early world music excursions. A song like “Conclusive Illusions” has layers of sounds to it, but each instrument develops tightly together into complex polyrhythms. It’s impressive at the level of musicianship present during certain songs.
The second half of Inside Out is less upbeat, introducing elements of folk and psychedelia. “Marvel at the Rainbow” and closer “Her Majesty’s List” are sweet and earnest, mainly featuring Montero with soft and gentle acoustic guitar playing. Speaking of which, his acoustic and electric guitar work are consistently great, with the latter getting to shine on heavier songs like “Gomorrah” and “Rebecca”. Montero’s vocals, like a lot of classic rock singers, are more about their grit and gruffness than necessarily their technical ability, and they complement the bluesier songs well enough. He also produced the album himself, and the sound of the production fits perfectly. It’s very natural and rural sounding to match the vintage influences and shines during the more acoustic sections of the record.
Inside Out isn’t perfect and may rely too much on classic rock conventions for some, yet that’s part of why it works. Going back to these old songs written decades ago was clearly a nostalgia-driven exercise for Jason Montero, and that passion shines through in every song. If he had rewritten and updated them from the work of a less experienced singer-songwriter, the initial appeal of recording the songs, to begin with, would be lost. As it is, Inside Out is a time capsule of songs that aren’t confined to the decades originally written from.
