Who doesn’t love “Weird Al” Yankovic? Seriously, it’s impossible. The Grammy award-winning comedy/parody musician has brought joy to the hearts of millions for five decades and continues to be a singular presence in music. Al has spent a decade-long hiatus from new releases, with his last being 2014’s smash hit album Mandatory Fun. Though this hasn’t stopped him from touring and working on new projects unrelated to music, such as 2022’s parody biopic Weird: The Al Yankovic Story. However, he’s finally made a return to recording with his new single and animated music video, “Polkamania!” The track continues a long-time trend for him, as almost all of his studio albums have contained a medley of then-popular songs covered in the style of overly jaunty polka music.
Let’s face it: you should already know if this is something you’ll enjoy. “Weird Al” Yankovic is so iconic and beloved to where you’ll likely be on board before even knowing what the song is. And “Polkamania!” is as gleefully silly as “Weird Al” has ever been, showing that he’ll always stay true to goofiness and idiocy no matter what. The songs chosen to cover were big hits from the past ten years. These include: “Bad Guy” by Billie Eilish, “Hello” by Adele, “Flowers” by Miley Cyrus, “We Don’t Talk About Bruno” by Lin-Manuel Miranda from Disney’s Encanto, “Vampire” by Olivia Rodrigo, “Old Town Road” by Lil Nas X, “Despacito” by Luis Fonsi & Daddy Yankee, “Shape of You” by Ed Sheeran, “Uptown Funk” by Mark Ronson ft. Bruno Mars, “WAP” by Cardi B ft. Megan Thee Stallion, “thank u, next” by Ariana Grande, and “Shake It Off” by Taylor Swift. Phew!
The track is continuously jaunty and upbeat polka music, featuring Al’s signature accordion playing as well as a brass section for authenticity. It should appeal to fans of the songs covered or just fans of Yankovic in general. “Polkamania!” had its release coupled with an accompanying music video, which is completely worth watching too. It features several animators styling each part of the medley and has just enough sight gags and quirky humor to be a total delight. The animation is super dazzling, ranging broadly in style from 2D animation, CG, puppetry, stop-motion, and work I don’t even know how to describe.
All in all, this is an entirely satisfying comeback for “Weird Al” Yankovic, even if this is just a one-off single and not leading into a new album. Any amount of silliness from him is needed at any time or place, and he remains a massive icon in both the worlds of comedy and music.
The main appeal of the Mississippi-based indie folk band Happy Landing is their sweetness and love for one another which shows in each song. On Golden, their debut LP, the tight chemistry and connection that the band has is translated into an album that’s loveable, sweet, and sometimes willingly cheesy. The sound of the record (and the band) is one that combines the spirit of indie music with rootsy Americana sounds and is filled to the brim with expertly performed vocal harmonies. Both lead singers, Matty Hendley and Keegan Christsen respectively, blend their voices well enough, though each brings unique qualities when leading. Hendley has a raw vulnerability in his vocals that makes the lyrics seem true and sincere, whereas Christsen’s voice is more confident and boosts the harmonies. And these harmonies are the most easily identifiable part of their sound, as almost all the songs feature bold and soulful choruses where every band member joins together. It’s likely why the band is noted for their live shows, as each song easily functions as an inviting sing-along with an audience.
The first few songs of Golden work mainly in the same upbeat “stomp-and-holler” indie mold, with “Lose The Gun” being a strong opener and “The Family Band” presenting the band’s ear for melody. These tracks are easy to appreciate, with the former and “Let Me Out” being obvious choices for singles, but a lot of the best moments of the album come with more restraint. When the vocal harmonies are utilized in softer and more nuanced ways like on “My, My, My” or “Greyhounds”, it’s easier to appreciate the songwriting and vulnerability of the performers. Not to say the album’s production is at fault, as it’s one of its strongest points. Several songs balance layers of root instrumentation and vocal harmonies but never feel disorganized or incoherent. “Marriage Song” best represents this, with its vast and sweeping string section growing more powerful towards the song’s climax.
Golden is a rare album that has its sound matched perfectly by the cover. A golden crescent moon that seems to darken while set against a worn leather texture. It’s oddly similar to the sorts of images that came upon me while listening: watching a setting sunset amongst fireflies, or the coziness when curled up with a good book. This is an album that’s appealing and accessible without ever trying hard to do so, based purely on Happy Landing’s likeability.
This fall, Happy Landing will embark on “The Golden Tour”, with supporting act Arts Fishing Club.
What makes electronic music so captivating as an art form is its wide reach of sound and the way it’s so easy to reshape into something entirely new and unique. This is something that Manatee Commune, the project of Seattle-based producer Grant Eadie, realizes and allows his music to stay fresh by trying new things. His newest album, Simultaneity, which arrives this Friday, July 19, is emblematic of that by expanding on his style rooted in tropical synthpop and EDM with more lush and atmospheric textures inspired by ambient music. For its entire runtime, Simultaneity balances layers of samples and sounds into lush, hypnotizing melodies, yet remains danceable enough to show off Manatee Commune’s versatility. It balances club-oriented rhythms and brassy synths that’s made him an in-demand remixer, while still providing something new from his prior work.
I wouldn’t say the style and approach to dance music that Simultaneity follows is entirely unique. There are many electronic subgenres that clearly serve as reference points, such as ambient house/techno and micro house. Other artists have deviated from the EDM formula by also incorporating offbeat sonic atmospheres, pitch-shifted samples, and stripped-back instrumentation. Still, all the tracks are quality-made, with each of them having something interesting to provide. The album is a mix of more club-friendly songs with a focus on groove and rhythm, and songs that combine dance beats with soft, pillowy textures that are soothing and calming. These latter songs follow the rule of ambient music coined by Brian Eno, which is that “it must be as ignorable as it is interesting”, though that’s not at all an insult.
Simultaneity opens with “Love Tone”, which is more of an intro than a real track, focusing on ambiance and tranquility to set the mood. It’s a palette cleanser or a loading screen into the rest of the album and serves as a showcase for Eadie’s producing talents for each track. The more ambient-influenced songs are more intimate and domestic, and feature dozens of odd but strangely beautiful sounds and timbres. As someone who isn’t a musician, I admittedly wouldn’t know how Eadie produced much of the album. Calling the album “beautiful noises” isn’t quite descriptive, but it’s how I felt during many of the tracks here. Songs like “Amaat One” and “Cast” are rhythmic but feel like entire worlds in their sense of space. I feel like I can reach out and touch every element of them. The album closer, “Touch Theme”, has synth and orchestral passages so emotive and beautiful that it reminded me of “The Big Ship” by Brian Eno.
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The album isn’t perfect, as its focus on vibes and contemplation can be wearisome for a more impatient listener and certain tracks can feel their length. I enjoyed the groovier EDM songs like “Cycline” and the African-inspired “Closure”, but they can contrast too much with other tracks that are meditative as opposed to danceable. Still, Simultaneity is a solid and consistent LP that has something to offer for Manatee Commune’s listeners or fans of electronic music. It has songs to get a party started, as well as songs to mellow out and relax to. Few albums can strike that kind of balance.
Up-and-coming rap artist Lexa Gates just released an incredible new single “I Just Can’t Be Alone.” The song, produced by Billy Lemos, is a beautiful blend of self-awareness, embarrassing frustration, and somber acceptance common in unhealthy relationships. Gates, the Queens NYC native, has a long and rich history with music; her mother taught her music theory and composition as a child and eventually used music to get her through tough times as a young adult.
The harmony of this song is what makes it special. Gates’ voice is as deep as Amy Winehouse and blends beautifully over the rhythm and blues melody. The background vocals add tremendously to the jazzy, old-fashioned feel of the song.“I Just Can’t Be Alone” is very relaxing to listen to, especially on a slow morning or romantic evening alone. For lack of a better term, it is finger-snapping good!
The meaning of the song is exactly as the title insinuates– Gates cannot be left alone. She relies on a lover but hates the emotional turmoil of being in a relationship. She can’t make up her mind…does she want him (or her) in her life? But can she even live without him? From the verse:
“I’m so sick of sleeping in, putting you above everything. Let myself down everyday, I just can’t stay away…”
You can clearly tell she feels suffocated by him and is tired of always putting him first. Later in the song she compares her relationship with him to that of a chess game: she will always lose to him and willingly too because of the unspoken power he has over her thoughts and emotions.
The accompanying music video is downright charming. Gates is seen swaying to the music, wind blowing through her hair, and glancing at the camera every so often. Her background visuals and rose-tinted filter reinforce the vintage feel of the song, as Gates is seen sitting on a queen-sized motel bed, laying on a cream-colored sectional couch, and crouching down in a large soaking tub throughout the video. One impressive fact is that this music video is Gates’ single-handed masterpiece: it was directed, produced, edited, and styled all by herself.
Contrary to the title of their new single, “I’m Not Getting Better”, Canadian pop-rock band Marianas Trench seems to be getting better with each new LP. The track is a tease for an upcoming sixth album to be released later this summer, following 2019’s Phantoms album. It also follows two other lead singles released this year, “A Normal Life” and “Lightning and Thunder” respectively. Marianas Trench has always been an eclectic group with shifting interests, from the emo and punk-inspired sounds of their earlier albums to more accessible electropop styling in their newer work. Despite these changes, they still maintain a consistent identity without categorizing themselves.
These new singles represent the band’s diverse sound, with “A Normal Life” being an ambitious and epic six-minute orchestral pop song, and “Lightning and Thunder” being a new wavey throwback song with lots of glittery synths. “I’m Not Getting Better” continues this trajectory of what will shape up to be a wide-ranged sounding album, with a unique sound with influences from stadium rock, synthpop, and R&B. It’s a vulnerable, emotionally driven song about deeply rooted insecurities, all set to a robotic, stuttering synth beat and a wonderful sing-along chorus. It works because of the sincerity provided by the vocal harmonies provided by the band during the chorus, as well as the confident theater kid energy that lead singer Josh Ramsay gives off in his falsettos. The heavy guitars from Matt Webb add to the sentiments in the lyrics, and the programming on the drum machines keeps the song danceable throughout.
It’s an empowering and inspirational song that’s bound to be a live staple for the band, especially when they embark on their “Force of Nature” tour starting this September. “I’m Not Getting Better”, along with the other two singles, makes Mariana Trench’s next LP one to look out for as it drops later this summer.
Hold onto your headphones, music lovers! Alt-pop sensation Jagwar Twin has just unleashed a sonic rollercoaster ride with his latest single “tomorrow [ANGLE OF ETERNITY],” featuring longtime pals lovelytheband. Released July 12, 2024 via Big Loud Rock, this arena-ready banger will have you living for today and loving every second of it!
Fresh off his viral hit “Bad Feeling (Oompa Loompa)” (which racked up a mind-blowing 9 BILLION YouTube views!) and a European arena tour with Jared Leto and Thirty Seconds To Mars, Jagwar Twin is proving he’s the artist to watch in 2024.
This collaboration is pure pop magic! “tomorrow [ANGLE OF ETERNITY]” is a perfect blend of driving guitars, pulsing drums, and soaring melodies that’ll have you reaching for the stars. Jagwar Twin’s signature genre-bending sound collides with lovelytheband’s indie charm, creating an irresistible bop that’s impossible not to groove to.
But don’t let the catchy beats fool you – this track packs a lyrical punch! With lines like “We might not get tomorrow / Just close your eyes / Let it go,” Jagwar Twin delivers a feel-good message wrapped in an infectious melody. It’s the perfect soundtrack for embracing life’s wild ride and finding your own shine in the chaos.
“I’ve been friends with Mitchy for many years,” Jagwar Twin shares about collaborating with lovelytheband. “We grew up around the same music scene… It was such a pleasure to be able to do something together.”
The music video for “tomorrow [ANGLE OF ETERNITY]” is a mind-bending journey through AI-generated wonderlands. Created with next-gen studio Secret Level, it’s a technicolor trip that blurs the line between reality and digital dream. “Using AI to make art is fascinating to me,” Jagwar Twin says. “The imagination will be the only limit to what we can create.”
“tomorrow [ANGLE OF ETERNITY]” is more than a song – it’s a party, a pep talk, and a glimpse into the future of pop – all rolled into one addictive, upbeat little package. Ready to have your ears blessed and your mind blown? “tomorrow [ANGLE OF ETERNITY]” is now streaming everywhere, the trippy video is waiting to wow your visual senses on YouTube, and you can catch Jagwar Twin lighting up stages live with 30 Seconds To Mars on their upcoming U.S. tour dates – this is one rising star you’re not going to want to miss! Don’t miss this rising star as he continues to redefine pop and push the boundaries of music and visual art!
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