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flowerboycaleb · 29 days

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there was no shortage of excellent records this month. a couple that i'm sure will end up on my year-end list for sure. there were also a couple of real stinkers ... but the less said about those the better! but uhhhh still read my thoughts on them!! to check out my thoughts on some of the songs that dropped this month click here!!! also feel free to follow me on rate your music and twitter <3

Bright Future - Adrianne Lenker

🥇 BEST ALBUM OF THE MONTH

◇ genres: contemporary folk, singer-songwriter

Adrianne Lenker has been one of the most prolific singer-songwriters for the better half of the last decade or so, but over the last 4 years especially it feels like she’s reached another level. Her 2020 solo record songs and the following Big Thief record Dragon New Warm Mountain I Believe in You are two of the finest folk releases in recent memory. The latter being a big, double album made me a bit worried at first for whatever Lenker would do next, but after hearing the singles leading up to this album those worries went away. This quickly became one of my most anticipated albums of the year and I think that anticipation paid off wholeheartedly. Bright Future is such a brilliant album.

The opener, “Real House,” is an amazing and sparse piano-driven cut. The subtle arrangement puts the main focus on Lenker’s lyricism and it ranks up there as one of her most poignant pieces to date. The track is addressed to her mother and it has her recounting old childhood memories in a really beautiful way. “Sadness As a Gift” follows that and it picks things up musically. More layered instrumentation with Lenker’s 12-string guitar, a piano, and a violin, it all sounds so rich. I’ve absolutely adored this track ever since it dropped. Here she meditates on the end of a relationship with so much subtle complexity. I guess it’s a breakup song, but it feels above that. There’s no anger or vitriol, just that lingering bittersweet feeling. “Fool” is another change of pace as it’s a bit more jaunty. I enjoyed this song when I first heard it, but my love for it grew when I heard it on the record. It conjures up so many warm feelings musically, even though the lyrics tell a story of conflicted feelings. “No Machine” slows things down again and it’s another one of Lenker’s best. I’ve talked about the arrangements on the album a few times already, but I can’t stress enough how amazing these songs sound. Beyond the great lyricism, every song feels so warm, intimate, and spontaneous. Like they caught lightning in a bottle in the studio.

“Free Treasure” was the most recent single leading up to the album’s release and it’s great. It’s one of those songs that makes you want to go outside and appreciate the beauty of what’s around you. Perfect Spring song. “Vampire Empire” has become an infamous track in the Lenker/Big Thief canon. Big Thief released the studio version of the song a few months ago and fans were outraged as it differed from the early live version that became a fan favorite. Little did they know that the best version of the song was still to come. The version here accentuates how remarkable the song is. There’s a shakiness to Lenker’s vocals, but there’s also so much fire and conviction to it. The instrumentation matches that perfectly. “Evol” has some sort of clunky moments to it and the “words spelled backward” thing is a little corny, but the sentiment and the performances on the song make it more enjoyable. The ending chorus of the song gives me chills, I love how the violin and the piano fade out alongside Lenker’s final lines. “Already Lost” has that campfire feel that’s present throughout a lot of her work. There’s this air of sophistication to it, but also this “hey, come join us, you can shake the tambourine or something” kind of vibe to it. Many of the songs here feel so inviting, while also feeling so personal to Lenker. It strikes an interesting balance. “Donut Seam” features prominent guest vocals and it captures the feeling of knowing a relationship is almost over beautifully. The lyric “Don’t it seem like a good time for swimming, before all the water disappears?” has been stuck in my mind ever since the album’s release. The record ends with the first single, “Ruined,” which has Lenker leaning into an ambient direction and it’s so heart-wrenching but also gorgeous. Bright Future feels like a victory lap in a lot of ways. Not exactly musically or lyrically, the album is quite mellow a lot of the time, but just with how fantastic this album is. Lenker isn’t slowing down or “falling off” anytime soon. The lyricism here is so layered, but also inviting. You can enjoy these songs on a less-focused listen, but these songs reward you for paying attention. They’re so fruitful. This album has firmly solidified Adrianne Lenker as one of the greatest songwriters of our generation.

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i won't let go of your hand - Adrianne Lenker

◇ genres: contemporary folk, singer-songwriter

A few weeks prior to Bright Future, Adrianne Lenker released this EP in order to raise funds for the Palestine Children’s Relief Fund. The songs here are very spontaneous, but filled with so much beauty. The instrumentation is a lot less fleshed out as on Bright Future, but it offers a more lo-fi experience. Her writing shines regardless. It's definitely worth a listen both for the quality of the music as well as for the cause. You can buy the EP here on Adrianne Lenker's Bandcamp! 100% of the proceeds to go the Palestine Children’s Relief Fund! Free Palestine 🇵🇸 !!!!!

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The Collective - Kim Gordon

◇ genres: industrial hip hop, noise rock, experimental rock

Oh man, I was so excited for this record, and my excitement paid off big time. Noise rock pioneer and alternative rock icon Kim Gordon has been dropping some insane singles over the last few months. These singles have seen Gordon explore sounds like experimental hip hop, rage, trap, and witch house among others. I’m not super familiar with witch house, but I need to be after this record. Anyway, the shocking part is that Gordon is genuinely doing cool things with these sounds. Blending in her signature, nonchalant vocals while also adding in the noise rock and even the occasional no-wave touch. It’s crazy how well it works. I wrote about the first two singles, “BYE BYE” and “I’m a Man,” in my previous Month in Review posts, but they still blow me away even after multiple listens. The former has one of the craziest beats I’ve heard in the genre in a while and the latter reaffirms Kim Gordon’s cool factor all these years later. The lyrical content of these songs felt like a cathartic stream of consciousness, but Gordon’s vocals never oversell them. I was a little worried that the rest of The Collective wouldn’t be as good as those two singles, but those worries quickly went away when I heard the rest of the album

“BYE BYE” is the opener and it sets up the album so well, but my attention was quickly drawn to the track following it, “The Candy House.” The beat is reminiscent of a Memphis rap track and Gordon’s vocals sound like they’re inviting you somewhere sinister. “I Don’t Miss My Mind” has this almost overwhelming bass to it that is so off-putting. It’s like evil club music. “Trophies” has some of my favorite guitar parts from Gordon on the record. It sounds so washed-out and electric in the coolest way possible. The third single released for the album, “Psychedelic Orgasm,” is a song only Gordon could pull off. No one but her could sing the lyrics “passing all the kids, Tik Toking around” and make it work. The most abrasive track here is “The Believers” as it veers pretty heavily into industrial rock, while also including some elements of alternative club that you might’ve heard on a SOPHIE project. This album is a lot to take in, but multiple listens have made me fall in love with it further and further.

It’s refreshing to hear an icon in experimental music continue to push boundaries this deep into her career. Doubly so given how a lot of their contemporaries and/or the bands Gordon and Sonic Youth helped inspire sound like they are forever stuck in purgatory on their new releases. Needless to say, I’m loving this new record a lot.

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A Lonely Sinner - samlrc

◇ genres: post-rock, shoegaze, ambient

I wasn’t aware of samlrc until a few weeks ago when I saw this album getting hyped up on Twitter. Unfortunately, I didn’t pay much mind to it and sort of forgot about it. However, in true annoying online music guy fashion, A Lonely Sinner really grabbed my attention when it reached number one on the RYM Top Albums of 2024 chart. I listened to it soon after and I’m so glad I did. A Lonely Sinner is a great record with an interesting and moving concept. She describes the record on her Bandcamp as “an album about a sheep experiencing love in its nature.” The album follows those themes both lyrically and sonically. It sounds carefully pieced together, using anything and everything to make something emotionally resonant. She corroborates this much also on her Bandcamp by listing some of the unorthodox items used to craft this album’s sound including “boxes, soda cans, [and] a violin bow.” I love lo-fi albums like this with big ideas that are fully realized in creative ways. If there was a bigger budget, sure things might sound sleeker and more polished, but the charm an album can gain through that lower fidelity outweighs that by a lot.

The album’s sound is predominantly post-rock with little detours into shoegaze, ambient, and even some metal. It’s a very slow-burning album, but it’s post-rock, you better get ready for some atmosphere, buddy! The album opens with one of its more atmospheric moments, almost bordering on drone, with “Lamb Theme.” This is a great setup for the 12-minute “Philautia” which blew me away on my first listen. The shaky guitar strums eventually coincide with the pointed string samples before giving way to the first verses on the record. The writing across the record is relatively simple but very effective. There are no sprawling verses, usually just a few lines that cut deeply before returning the spotlight to the instrumentation. The third track, “Sinner,” leans heavily in the post-metal direction and it works perfectly, greatly accentuating the lyrical themes of the track. These themes of struggling with the labels and expectations put on you by ones other than yourself are handled in such an interesting way here. Using the metaphor of sheep and wolves. “Storge” features a sample from the English dub of the Japanese animated film Chirin no Suzu, which has the sheep saying that they want to be strong and become one of the wolves. That struggle with rejecting who you are in order to either fight back and/or assimilate against the ones who hurt you is a constant struggle for many queer people, myself included. I would imagine it resonates even more so with trans people in particular.

The album closes with “The Beauty of the Present Moment” which is a gorgeous, string-laden cut and an uplifting way to close the album. A Lonely Sinner resonates with me more and more each time I revisit it. There are so many details I failed to mention in this write-up like the Sufjan-esque “ooo’s” towards the middle of “Flowerfields” and the string quartet cover of Björk’s “Hyper-Ballad” on “For M.” This album really took me by surprise, go out of your way to check this one out.

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Y'Y - Amaro Freitas

◇ genres: post-minimalism, third stream

I’m always on the lookout for newer jazz because most of my jazz experience is from the pre-2000s, so when I saw this album getting a lot of positive buzz I decided to check it out. Brazilian jazz artist Amaro Freitas has crafted an amazing, fluid record filled with really interesting ideas that are incredibly realized. This album can sound haunting, beautiful, and even a bit anxious at times, but Freitas balances it all very well. His piano playing is so dynamic and matches each shift in sound almost perfectly. From the steady and sharp playing on “Gloriosa” to the ascending keys on the Steve Reich-esque “Sonho Ancestral,” Freitas can do it all.

The second track “Uiara (Encantada da água) - Vida e cura” is a gorgeous minimalist piece that features some pretty multi-layered piano parts. That minimalist sound is present throughout the first half of the record. Each song flows seamlessly into the next and it makes for a fun listening experience. It all feels like one connected piece with a fair bit of surprises throughout. One of these being the super harsh sound towards the later half of “Dança dos martelos” which was very unsuspected, but I love it. The second half is a bit “jazzier” and each piece stands on its own. The title track brings in some flute to accompany his piano and it’s a great touch. I also adored Jeff Parker’s subtle guitar parts throughout “Mar de Cirandeiras,” this is probably the track I’ve returned to the most. The nearly 10-minute closer, “Encantados,” is probably the most reminiscent of classic jazz, but Freitas still puts his own spin on it with his keys. There are also a lot more jazz instruments factored in and it just shows how no matter what Fretias’s keys will stand out. Y’Y is an amazing record and one I keep coming back to. This is one of the most exciting jazz/minimalist releases in recent memory. Even if you’re not a big fan of those genres, I would still encourage you to give this album a shot.

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Catching Chickens - Nourished by Time

◇ genres: bedroom pop, alternative r&b

I heard Nourished by Time’s debut studio album, Erotic Probiotic 2, late last year but I fell in love with it almost immediately. So much so that it reached number 13 on my Top Albums of 2023 list. In the last couple of months Marcus Brown, the man behind Nourished by Time, signed with the XL label and announced this new EP, Catching Chickens. The lead single “Hand On Me” has been in constant rotation for me. It leans more into the pop side of his sound but in the best ways possible. He’s so good at making infectious bangers. All of the songs here have this sort of dream-like haze over them which makes this album really immersive. The best example of this is probably the track “Poison-Soaked,” which mixes some post-punk flavor into his sound in such a cool way. It has one of the most memorable melodies I’ve heard all year, I’ve been humming it all around the house. The closer, “Romance In Me,” sounds like a more intimate and modern take on a big R&B hit from the late 70s, I love it so much. Brown’s vocals here strike that balance between subtle and grand that I raved about so much from his last project. Catching Chickens is such a well-crafted EP and a great label debut for one of the most promising artists in recent memory. I can’t wait for whatever he drops next, but this will be in my rotation for a while.

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The Great Bailout - Moor Mother

◇ genres: poetry, electroacoustic

My first introduction to musician and poet Camae Ayewa, better known by her stage name Moor Mother, was through her 2020 collab album with billy woods Brass. From there, I listened to 2022’s Jazz Codes. Both of those records were very good, but I was instantly drawn to Ayewa’s writing more than anything else. Her words are damning and they’re often delivered with this haunting tone that forces you to pay attention to them. No longer can you turn away from the atrocities of the past, when Ayewa is speaking, you listen. On no album of hers is that more apparent than The Great Bailout. Here she ditches hip hop in favor of more ambient and atmospheric production which makes this perhaps the most chilling record in her catalog.

Ayewa’s focus on this record seems to be Britain’s apartheid rule over South Africa and how they exploited the people and resources there for their own gain. She also tackles how these events have manifested into generational trauma to this day. The opener “GUILTY” features weathered vocals from Lonnie Holley and ethereal vocals from Raia Was. The former had an incredible album last year which shook me to my core, Oh Me Oh My. Moor Mother also featured on that record so it’s nice to see them working together again. Ayewa’s poetry takes center stage throughout most of the song as she asks the chilling question “did you pay off the trauma?” These whispered, eerie backing vocals come in throughout the whole record which makes a lot of these songs feel absolutely arresting. Particularly on “ALL THE MONEY” which has Ayewa dressing down the “thieves disguised as explorers.” Pointing out the Crown Jewels and the items in the British Museum as some of the examples. It’s truly chilling stuff and shows how effective Ayewa can be as a writer. “COMPENSATED EMANCIPATION” switches things up a bit and hits you with an intense and disorienting wave of metallic synths which add even more weight to the words. Towards the later half of the album, I found myself still ensnared by Ayewa’s writing, but the arrangements started to make the album drag just a bit. The big exception being “LIVERPOOL WINS.”

The predominantly ambient style works on most of these songs, but it can also be a little tiring after a certain point and I found myself enjoying the more abrasive moments. Ayewa’s poetry is the main focus album though and on that front, she does an amazing job. I can’t say I’ll revisit this album often, but this is a very captivating project.

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I Got Heaven - Mannequin Pussy

◇ genres: indie rock, power pop, hardcore punk

Mannequin Pussy’s fourth studio album strikes a decent balance between razor-sharp indie rock and dreamy indie pop with occasional detours into hardcore punk. The album barrels past you pretty fast, for better and for worse. The title track kicks off the album with a bang. It features a blazing performance from vocalist and guitarist Marisa Dabice, as well as some provocative lyrics setting the scene for the album in a nice way. “Loud Bark” softens the sound just a bit, but it still has a considerable amount of edge to it. The chorus is so simple, but the way the band rises with it is really satisfying. The next few tracks are pretty standard indie rock, but they’re pretty good. Especially “Sometimes” which is just begging to be played on repeat on your local alternative station. I love how during the chorus the guitars get heavier and are joined by those hazy backing vocals. It creates such a cool dynamic. The first half of the record is pretty great, but the second half has a handful of weaker moments that make the album feel a bit disjointed. Namely those detours into hardcore punk. “Ok? Ok! Ok? Ok!,” “Of Her,” and “Aching” aren’t bad, but a lot of them leave me feeling pretty neutral. Ironically, the songs with the less harsh sound have more bite to them. This is my first Mannequin Pussy album so maybe these tracks are some kind of callback to their earlier albums that I’m just not privy to. The second half does feature both “Softly” and the closer “Split Me Open” which are two of my favorites on the record, so it’s not like it’s a complete drop-off in quality, it’s just a bit disjointed. The sub-30-minute length adds to that disjointed feeling. Despite this, I Got Heaven is very much worth a listen. There’s a lot of great stuff here and I might dive into the band’s back catalog soon.

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Pinball - MIKE & Tony Seltzer

◇ genres: trap, east coast hip hop

Just a few months removed from the amazing Burning Desire, MIKE has teamed up with Tony Seltzer for a short, but fruitful album. Seltzer adds new dimensions to MIKE’s sound here. Taking a step away from the abstract to more trap and cloud rap production. He fits this sound very well. I love the subtle glitchiness of the opener “Two Door” and the jaunty beat of “Lethal Weapon.” The beats all over the album are amazing. They might shine more than MIKE, but it doesn’t really feel like MIKE is attempting to demand your attention here. This just felt like a project thrown together for fun, a bit of a breath of fresh air after the sprawling concept album that was his previous record. Some other highlights are “On God” (which features a guest verse from Earl Sweatshirt), “Underground Kingz,” and “R&B.” This obviously isn’t MIKE’s most grand and impressive album, but it is definitely a fun listen.

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COWBOY CARTER - Beyoncé

◇ genres: country pop, contemporary country

Beyoncé’s last record, RENAISSANCE, was not only one of my favorite albums of that year, but it’s easily one of her best. An incredible celebration and reclamation of dance music that had the kind of superstar quality very few can deliver quite like her. That record is the first part in a trilogy, COWBOY CARTER is the second. Beyoncé shocked audiences during the Super Bowl when she surprise dropped two singles that showed her diving into country music. “TEXAS HOLD ‘EM” and “16 CARRIAGES” were decent, but they sort of gave me shaky expectations for the album on the whole. It was bold of her to shift her sound like this, but I was afraid it would end up being a step down from the previous. Well, it is. COWBOY CARTER is a bit too dense for its own good and not every track here is a home run, but it’s still a pretty good record on the whole.

The album opens with the bold country soul cut “AMERIICAN REQUIEM.” It features one of my favorite vocal performances of hers, but the arrangement and production leave a little bit to be desired. That’s a frequent issue across the record, but it’s usually not overwhelmingly detrimental. Regardless, this is a very strong opener. Then she does a cover of the classic Beatles track, “Blackbird,” which is just a bit unnecessary. The vocal arrangements are nice, but I feel like it’s a bit too grand for a song of its kind. She does another cover later on in the record of Dolly Parton’s “Jolene,” which sees Beyoncé rewrite the song in a more adversarial way. Again, a bit of a mixed result. The rewrites feel a bit too tryhard for my taste, but it still sticks out more than the “Blackbird” cover. I do enjoy the snippet of her cover of “I Fall to Pieces” on the track “SWEET ★ HONEY ★ BUCKIIN’,” I wouldn’t have minded a full cover of that on the record. Anyways, the covers don’t add much to the record, but the majority of this album is her original material. Most of it is quite good!

“PROTECTOR” is one of my favorites and it really shows how well she fares in that more intimate country sound. I often found myself zoning out during the more arena-ready tracks here, the real shining moments come from the more toned-down moments. I also loved the almost chamber-folk sound of “DAUGHTER.” It’s nice to hear her in this new, more intimate light. A massive exception to this is “BODYGUARD” which pumps up the energy to just the right level and blends the country and the disco sounds in such a cool way. One of my favorite tracks of the year for sure. The album shifts into a more hip hop/club direction on “SPAGHETII” and the aforementioned “SWEET ★ HONEY ★ BUCKIIN’” to unfortunately mixed results. Unsung country legend Linda Martell introduces the former by talking about how restricting genre labels can be, so I understand what the album is going for, but these are definitely two of the weaker tracks here. There’s a stretch towards the middle part of the album where she duets for a bit. The duets with Willie Jones and Miley Cyrus are highlights, but that Post Malone one does not belong here unfortunately. The later half of the record is a bit of a mixed bag as well, but “RIIVERDANCE” is amazing and honestly should’ve been one of the lead singles. Again, like “BODYGUARD,” it has the perfect energy level. COWBOY CARTER is a bit of a difficult record. It has very lofty goals and it frequently achieves them, but not as much as I expected. It feels very start and stop for me. I’ll love one song and then be underwhelmed by the next, that cycle continues throughout the record. The little radio station interludes and the guest appearances from country legends like Willie Nelson and Dolly Parton are nice, but on an album that’s already stretching the runtime, they can be a bit of a pace-killer. Overall, this is a weaker record than RENAISSANCE, but it's a project I definitely respect a lot despite that.

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BLUE LIPS - ScHoolboy Q

◇ genres: west coast hip hop, hardcore hip hop

ScHoolboy Q has been on my radar for years now, mainly through his work on other albums I love. For whatever reason, I’ve never listened to a full-length project of his until BLUE LIPS. Because of that, I didn’t know what to expect. Luckily, this album is a solid collection of hard-hitting hip hop tracks with beats that can be both grimy and jazzy. ScHoolboy Q matches both of those sounds with his delivery very well. A great example of this is on the heavy second track, “Pop” with Rico Nasty. His delivery has an edge to it that matches the beat very well. The track after that, “THank god 4 me,” has some more melodic moments in between the bombastic beat switch in the middle, and again, he matches his delivery to fit the track. The lead single “Blueslides” is an example of his forays into jazz rap on the album and it’s one of the best tracks here. It’s a really poignant track lyrically as he reflects on things like the loss of Mac Miller, his career, and his mental health. It feels like a confessional, an “I need to get this off my chest” kind of track. “Love Birds” is another one of my favorites here as it switches between experimental hip hop and R&B in a really cool way. “Cooties” has Q commenting on fatherhood as well as a scathing couple of bars on mass shootings in America. Unfortunately, the song feels like it ends before reaching its full potential. That’s the case for quite a few songs across the second half as well. Songs like “Nunu,” “Germany ‘86,” and “Time killers” have some good ideas, but end up not adding much to the album. There are still some bright spots here and there, especially “oHio” featuring Freddie Gibbs which might be my favorite track. I love Gibbs's verses here. On the whole, BLUE LIPS is a good album that could be even better if trimmed down here and there.

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Deeper Well - Kacey Musgraves

◇ genres: folk pop, singer-songwriter

Kacey Musgraves has made a name for herself over the last few years as one of the few country artists people who don’t listen to the genre feel comfortable admitting they enjoy. Her 2018 album, Golden Hour, was one of the most critically acclaimed country albums of the decade, and rightfully so. It was a shimmering collection of country tracks, calling upon some of the good aesthetics of the genre from years passed. The follow-up, Star-Crossed, was a bit disappointing, but this new album has Musgraves correcting course a bit.

Deeper Well is an album all about love and healing. It’s considerably more stripped-back than her previous albums and it ends up simultaneously helping and hurting a lot of these songs. The opener “Cardinal” is one of the more polished-sounding tracks here and it’s a nice way to start the album. The title track is also brilliant and it sounds like a ray of light. It’s one of my favorite songs of hers. The song following, “Too Good to be True” is another bright spot. The album loses a bit of momentum from here on out though. It feels like this shift in sound prevents these songs from entering into that second gear. Often, the album is never bad, it’s just decent. Enjoyable enough. “Sway” is excellent though and a moment where she uses this sound to the best of her abilities. The same can be said about “The Architect” which has some of the most twang on the record. The only outright awful moment on the record is “Anime Eyes,” which is an ill-advised song full of clumsy ideas. I understand the sentiment, but she does not stick the landing on this at all and it sticks out like a sore thumb. Deeper Well is a pretty decent album with a handful of tracks I will be returning to often, but it’s not her strongest group of songs on the whole.

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eternal sunshine - Ariana Grande

◇ genres: contemporary r&b, pop

My poptimist era is far behind me at this point. I feel like it was beaten out of me partly due to the past few years of things like Morgan Wallen, Jack Harlow, and that fucking Glass Animals song ruling over the Billboard charts. However before that, in 2019 or so, I was a full-blown poptimist. My pretentious inhibitions be damned, let me be a gay teenager who likes pop music. Around that time, Ariana Grande was popping off like crazy following albums like Sweetener and thank u, next. Even as the years have gone by and I’ve changed as a person, I still regard those records as some of the strongest pop albums of the decade. Because of that, I’ve always been sort of optimistic about her music in particular. I was a little disappointed by Positions in 2020, but I just kind of viewed it as a stepping stone to a bigger album later on. Unfortunately, if eternal sunshine is that “big” album, I’m kind of disappointed.

There’s nothing offensively bad about this record, I just think it’s sort of uninteresting. I was expecting the album’s sound to follow the dance-pop/house flavor of the lead single “yes, and?”, but the album falls more in line with Grande’s previous efforts albeit a lot more subtle for the most part. It isn’t a broken formula, I was just looking for something fresh. The best tracks on the album are the ones that do shake up the formula a bit. “bye” is a sleek, catchy number that grabs your attention with Grande’s triumphant vocals. I also love that understated disco guitar, wish it was higher up in the mix. “we can’t be friends (wait for your love)” has Grande paired up with some electropop production which is a nice change of pace that I would love to hear her explore further. While not really a drastic shift for her, I do enjoy “the boy is mine.” The beat on that track reminds me vaguely of a late 90s hip hop/R&B hit. There’s plenty of good stuff here, but not a lot that hits that next level for me. Admittedly, I am pretty out of the loop on whatever drama and gossip is surrounding this album. Maybe those who are deeply invested are way more into it than me and that’s cool. It also feels that Grande herself is using this album as a means of getting things off her chest regarding whatever situation is going on and that’s also cool.

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Bleachers - Bleachers

◇ genres: pop rock, indie pop, alt-pop

It’s impossible to not be at least somewhat aware of Jack Antonoff these days. His production credits have far outshined his other efforts as a member of fun. and even his band Bleachers. I was aware of Bleachers back in middle school through the Foster the People similar artists radio station. I didn’t have any premium music streaming subscription at the time, but I was really into that era of early 2010s indie pop, so I would use the free iTunes radio thing as a means to listen to all of my favorite bands (mainly when YouTube wasn’t available). That radio would constantly play the Bleachers song “Rollercoaster” and I didn’t like it. Every skip was precious and I would always use one to get past it. Looking back, it’s not that bad, and while I haven’t gone back to listen to that debut album in full, I did enjoy a decent amount of the previous Bleachers album from a few years back. I also enjoy a decent amount of this new record, but for every good moment, there are a ton of borderline sleep-inducing moments.

Antonoff’s production style on the Bleachers projects has this kind of faux-classic sound. Sometimes it works really well, like the first two songs for example, “I Am Right on Time” and “Modern Girl.” The latter is practically a Bruce Springsteen tribute song and it rules. “Jesus is Dead” is also a pretty great cut here and it’s basically Antonoff’s “Losing My Edge.” He even shouts out the DFA label so everything comes full circle! After that track is the where album starts to lose me a bit. The warbly effect on his vocals wears very thin and clashes awkwardly with the instrumentation. “Tiny Moves” sounds like it’s building up to some big payoff, but it never comes. “Hey Joe” is an ill-advised change of pace into folk. “Call Me After Midnight” is actually a GOOD change of pace and pretty easily my favorite song on the second half. It features writing credits from Kevin Abstract and others from the old BROCKHAMPTON camp so maybe it just has that sound I loved so much when I was in high school. It also removes that warbly effect on his voice! Bleachers isn’t a bad record and it showcases a lot of Antonoff’s strong suits, but it’s an album best listened to in the background. Massive props to the saxophones throughout though. Whenever they would come in, I locked in big time.

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Underdressed at the Symphony - Faye Webster

◇ genres: soft rock, singer-songwriter

I was looking forward to this new Faye Webster album. I really enjoyed Atlanta Millionaires Club and I Know I’m Funny haha, as well as the first single leading up to this album “But Not Kiss.” That single became one of my favorite songs of hers. I thought the production was excellent and the sound in general was an interesting change of pace from her previous albums. The next single “Lifetime" was also pretty good, but a lot more in line with what you would expect from Webster. Still not bad! Underdressed at the Symphony wasn’t announced until months later along with the single “Lego Ring” featuring rapper-turned-psychedelic-rocker Lil Yachty. A very shaky collaboration that sounds like it was fun for Webster and Yachty, but doesn’t offer the listener much of anything. Unfortunately, the majority of the album is like that.

This is easily Webster’s weakest release from a songwriting standpoint. These songs are so barebones and not in the “just chill out to it” kinda way. That direction can be easy to forgive if the rest of the song is interesting, like the aforementioned “But Not Kiss,” but most of these songs just feel like demos. “Wanna Quit All the Time” has some nice, soft lounge guitar, but Webster’s verses end so prematurely that it feels like it just isn’t finished. The rest of the song is padded out to a 4-and-a-half-minute runtime with a lackluster instrumental. The same is done on the opener, “Thinking About You,” and while it works a bit better it still just feels unnecessary. In some places on the album, Webster decides to put a subtle electronic effect on her vocals and it doesn’t fit. It can be heard on tracks like “Feeling Good Today” and “He Loves Me Yeah!” The title track is probably the second-best song here because it actually has memorable qualities. This is a pretty disappointing album, it’s not rotten bad, but it definitely could’ve used way more time in the oven. ━━━━━━━━━━━━━━━━━━━━━━━━━━━

Psykos - Yung Lean & Bladee

◇ genres: alternative rock, post-punk

So, I’m not super tapped into the drain gang stuff. I do enjoy a good bit of the Ecco2k stuff I’ve heard, but everything else I’ve checked out just hasn’t clicked with me. As for Yung Lean, I’m in a similar boat. This short collab album between Yung Lean and Bladee wasn’t a huge priority for me, but I saw buzz around it so I thought I would give it a go. Psykos has them moving away from their cloud rap sound into a more post-punk sound and it just doesn’t work very well. The majority of the songs here sound either too rigid or way too loose and sometimes that can be a little charming, but most of the time it makes it a tough listen for me. There are a handful of good songs here though. “Ghosts” and “Golden God” are standouts and feature good performances from the two. The beats on both of the songs aren’t remarkable or anything and the post-punk sound feels kind of like a pastiche more than anything, but I digress. “Hanging From The Bridge” is also good and I think it has the strongest writing across the whole project.

On one hand, Psykos is way too short and a bit clumsy to make a satisfying statement by the end, but on the other, if it was any longer I would probably like it even less. I plan on further familiarizing myself with both of their back catalogs in the future, even if I’m not super crazy about the stuff I’ve heard up to this point. Maybe when I revisit Psykos after that, I’ll understand what some of the hype is about.

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WORLD WIDE WHACK - Tierra Whack

◇ genres: pop rap, contemporary r&b, alt-pop

6 years after her quirky debut mixtape Whack World, Tierra Whack has finally released her debut album. Whack World was an interesting project made up of 1-minute songs filled to the brim with personality. The nature of how short the project was hampered some of the ideas, but the mixtape still showcased Whack’s abilities very well and made me excited about what she would do next. WORLD WIDE WHACK is definitely longer and more fleshed out, but maybe for the worse. Her writing still has that quirkiness to it with little bits of earnestness sprinkled in, but on the whole, it’s just so much weaker than I was expecting. The closest thing I can think to compare it to is that Cheekface album from a few months ago where everything was a joke, but the jokes just weren’t that funny. At least to me.

Given how much longer this project is than the others that came before, we do get to see some new sides to Whack. She ventures away from hip hop and R&B occasionally to move in a more alt-pop direction, which I think she fits nicely in. She works well with all of these different sounds, but the writing is the weakest link here. The one-liners are just lazy, like in the opener “MOOD SWINGS” where Whack sings “I stand tall, Shaquille.” Like I understand the joke, but it just feels lazy. “CHANEL PIT” is a really fun cut, but even it isn’t free of weak writing. Whack will sometimes step away from the silliness to be a bit more serious like on tracks like “IMAGINARY FRIENDS” and “DIFFICULT,” the former being my favorite track on the album as I believe it has her best writing across the whole project. These detours do give the album some more depth, but they can also make it feel a bit disjointed. Right after the latter, we get the irritating “SHOWER SONG” which is just about … singing in the shower. WORLD WIDE WHACK is an unfortunately disappointing debut album.

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Everything I Thought It Was - Justin Timberlake

◇ genres: contemporary r&b, pop

When the lead single for Everything I Thought It Was, “Selfish,” dropped back in January I knew this album would be something special. Not special in a good way, but special in the “oh this is going to be embarrassing” way. Timberlake’s performance had this desperation to it. He’s been seeing relatively middling chart success for things outside of the Trolls soundtracks, his years as one of the world’s biggest pop stars are numbered. He knows soon that his career will eventually shift into greatest hits tours, he’ll be seen as a nostalgia act. He’s planting the seeds for it too on this reflective new album. A cluttered mess of callbacks to the sound of years gone by mixed in with him trying hard to be contemporary.

The opener “Memphis” sounds like a gentrified Drake song and the following track, “Fuckin’ Up The Disco,” has him failing to get his groove back over one of the most uninteresting beats I’ve heard in a while. Calvin Harris did some production on it and he’s produced good stuff, but it sounds like everyone phoned it in here. The best stuff on the album is, no surprise when Timberlake joins forces with longtime collaborator Timbaland. He brings out the best in him, but it still isn’t enough to save this album. “Technicolor” is the most fruitful track here, but it pails in comparison to his hits from decades previous. “My Favorite Drug” brings the disco groove back, but Timberlake just fails to capture the energy. “Paradise” is one of the more transparent attempts at nostalgia bait as it sees him teaming back up with *NSYNC. The song is nothing more than a “oh, I guess that’s neat.” Everything I Thought It Was is full of non-starters and lazy attempts to rekindle Timberlake’s star power after a string of disappointing years. It isn’t very good at all, but I would be lying if I said it wasn’t a little bit funny. Better luck next time, JT.

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Geidi Primes (Lo-Fi Nightcore Edition) - Grimes

◇ genres: nightcore, indietronica, ethereal wave

yeah, sorry, no.

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genre : sadboy - mgk & Trippie Redd

◇ genre: emo rap

Ok, who is falling for this shit? Colson “I wish 13/14/15 year old girls weren’t allowed to be hot so I wouldn’t feel like such a creeper when I look at them” Baker’s, better known as Machine Gun Kelly’s, pivot to the pop punk and emo scene was as embarrassing as his ventures in the hip hop world. Yet, he had his most commercial success as a result of it. He’s a poser in every genre he inhabits. Not to say pop punk is this sacred genre or anything, but it’s just so obvious he’s playing into the genre’s stereotypes to fill a niche. On this new EP, he drags Trippie Redd down with him, as he returns to the rap world with his newfound mysterious, drug-addicted vampire persona.

Obviously, it sucks. Every song is filled with horrific melodies and dogshit lyricism. I genuinely believe, though I can’t prove it, that these songs were written using ChatGPT. There is no unique flavor to them at all. It’s just boring, clunky, schlock that should be a career killer for both artists involved. Machine Gun Kelly, who is 33 years of age, pathetically delivers the bars, “I hate that I grew up sad as a kid, then I grew up and got sadder again” on “no more.” I feel like that line sums up just how abysmal this project is. The only thing that would make this album any good was if it was a parody, but seeing as how they’re getting exclusive Hot Topic merch from this, I doubt they would want to break the illusion just yet.

━━━━━━━━━━━━━━━━━━━━━━━━━━━ thanks for reading :3

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griffin-girl-r · 7 months

Text

Sexy back

Created: 24.09.2023

Finished: 26.09.2023

Edited: 27.09.2023

Age: 19

Word count: 1,806

Warnings: Mentions of mature content

Request: No

Pairings: BlackHill, Peter Parker x Female!Reader, WinterWidow (Past mention)

Song: SexyBack by Justin Timberlake

—

"Hey, guys!" You shouted as you speed walked inside the living room "Have you seen my mom?"

The team turned their heads towards you and you saw the same look of confusion, that was etched onto your face, on their faces.

"We haven't seen her since breakfast." Steve shrugged confused "Why?"

"Do you think she might be out with someone?" You asked, looking from one person to the other "I can't find her anywhere."

"Now that you mention it..." Clint began, looking up at you "We haven't seen Hill in a while as well."

"Are they together?" Peter, your boyfriend, innocently voiced his questions "Like, in a relationship?"

"Maria?" You breathed out with a sarcastic chuckle "And my mom? Ain't no way, Pete. Maria is my godmother, for God's sake. She and Mama can't be together."

"Besides..." Tony smirked mischievously "I don't think Romanoff is into girls."

"I agree with Tony on this one." Bucky mumbled with his mouth full as he was eating a plum

"Papa." You sighed disappointed "Just because you used to bang Mama 20 years ago that doesn't mean she's still into men."

"Don't speak to your father like this!" Steve gasped "That's rude and unpolite."

"Oh, you know what, Uncle Steve?" You started walking towards him "You can suck-"

You stopped in your tracks when your ears suddenly picked up on a sound that was coming from somewhere in the compound and it was becoming louder and louder as the silence in the room grew.

'I'm bringin' sexy back.'

"Do y'all hear what I hear?" You asked confused, turning around on your heels toward the door

'Yeah!'

"Yeah." Everyone inside the room repeated as some of them nodded and the others stood up from their place

'Them other boys don't know how to act.'

"Is that a song?" Peter asked confused, making his way toward you

'Yeah!'

"I think so." You furrowed your eyebrows

'I think it's special, what's behind your back.'

"Come on." Bucky stood up from the couch "We have to see from where this is coming."

'Yeah!'

"Look, Mr. Stark!" Peter cheered excitedly "The song is agreeing with us."

Tony sighed and shook his head.

"You're unbelievable, Peter." Tony put his head in his hand

'So turn around and I'll pick up the slack.'

You grabbed your boyfriend's hand and hurriedly started to drag him upstairs.

'Take 'em to the bridge.'

A long line of people who resided in the compound were trailing behind you as you all walked up the stairs, the song becoming louder and clearer with each step you took.

'Dirty babe.'

"Is this coming from-?" You gasped, stopping in front of the door from where the music was heard

'You see these shackles baby, I'm your slave.'

"Natasha's room?!" Clint gasped and a smirk formed on his face

"I'm going in." You shook your head with a determined look on your face

'I'll let you whip me, if I misbehave.'

"Y/N, no!" Various people shouted

But it was already too late.

You opened the door with the speed of light and froze in place when you saw what was happening inside.

'It's just that no one makes me feel this way.'

The music kept blasting but it was all muffled in your ears as your brain tried to process what was happening in front of your eyes.

—

A pantless Natasha was lying handcuffed on the bed with her head thrown back, her eyes closed and her back arched as a shirtless Maria had her head in between Natasha's legs, working her magic.

"Is she..." Wanda, who appeared out of nowhere beside you, mumbled shocked

"Eating her out?" Bucky finished the sentence intrigued

"It seems so." Tony nodded, completely fascinated by the sight in front of him

"Mama?!" You shouted confused "What the fuck?!"

It was just then that the two women noticed the commotion that came from the doorway and turned their heads toward the sound.

The music suddenly stopped as both Natasha and Maria froze in their tracks.

A heavy silence settled over the room as you stared at your mother and godmother and they stared right back at you.

"Ummm..." Peter quietly began "Y/N?"

"Aunt Maria?" Your trembling voice managed to say "Mama?"

"Baby?" Natasha breathed out shocked

"Kiddo?" Maria mumbled, pulling her head back a few inches

"So this is what they meant by 'a family that sticks together.'?" You chuckled but your brain was still in shock "I'm not sure I wanted this level of stickiness!"

"Baby, we can explain." Natasha rushed to sit up, forgetting that she was handcuffed to the bed

"Well, I've heard of bringing sexy back, but I didn't realize it included bringing sexy back into the family photos!" Tony joked, completely entertained by the family drama that was about to unfold

"Well, I guess I can strike 'awkward family reunions' off my bucket list now!" Clint sighed, shaking his head while making a mental note to tell Laura all about this later

"Looks like our family tree has some interesting branches growing." Peter pointed out, his eyebrows shooting into his hairline

"I guess this means I should look forward to some really unforgettable family holiday cards." Bucky nodded, looking at Steve "Move over, Santa, it's time for some steamy mistletoe action!"

"Oh my gosh!" Tony spoke again, trying to make the situation as embarrassing as it possibly could be "I guess the 'god' in godmother must stand for 'goddess of scandal'!"

"Kid, look." Maria quickly sat up on her knees and covered Natasha's lower body with her shirt "It's not what it looks like."

"I get everything else." You mumbled, staring wide-eyed at the two women "But, why the shackles though?" You pointed towards the shackles that were keeping your mother handcuffed to the bed "Is that a kink?"

"And the music?" Steve pointed out

"Was it really necessary?" You continued

Both your mother and godmother opened their mouth to defend themselves but before they could, a sudden rush of sickness built up inside your stomach and you turned around towards your room that was right next to Natasha's.

"I can't!" You shouted, wrapping an arm around your stomach, before darting to your room with Peter hot on your heels

"F.R.I.D.A.Y.?" Tony laughed excited "I hope you recorded all of that." He told the A.I. before being interrupted by Natasha

Natasha let out a string of angrily mumbled Russian words as worry was written all over her face.

"What did she say?" Steve asked confused, pointing to Natasha with his finger

"Profanities." Bucky explained unphased, crossing his arms over his chest

—

"Sweetheart!" Natasha shouted desperately as she pulled at her restraints, trying to sit up "Y/N!"

"Kid!" Maria quickly sat up on her feet as she focused on following everybody else to your room

But there was one tiny detail that Maria had forgotten as she ran out of Natasha's bedroom.

"Maria!" Natasha screamed, catching the attention of the brunette commander who quickly ran back inside the room

"Sorry, babe." Maria gave the redhead a sheepish smile

"Open these!" Natasha shouted, pulling again at the handcuffs

Maria rushed forward, trying to open the shackles around Natasha's wrists but it took Maria three failed attempts to do so, as the key kept falling out of her hands.

"I told you we should have locked the door." Maria put her T-shirt on

"Where are my fucking pants?!" Natasha shouted back as she frantically looked around the room before spotting her jeans on the floor

"We messed up big time." Maria said, helping Natasha put her jeans on

"I'm going to kill you." Natasha threatened through gritted teeth, slapping Maria's arm before rushing to your room

"Hey!" Maria shouted offended, running after Natasha "You have to admit I did a pretty good job before we were interrupted."

Natasha rolled her eyes as she chose to ignore Maria's comment.

"I'm still hungry though if you're up for a second round later." Maria shrugged

—

"I need more!" You shouted from the top of your lungs

"Y/N, this is the third bar of soap you used in the past 10 minutes." Peter worriedly looked at you as you were bent over the sink in your bathroom "I'm not going to give you a fourth one."

"Baby, open the door!" Natasha desperately knocked on the locked door of your bathroom

"Y/N, give us a chance to explain ourselves, please." Maria pleaded from beside Natasha

"My love, please!" Natasha kept pleading, her eyes full of tears "Open the door."

"You can't keep washing your eyes with soap, Y/N." Peter tried to reason with you "It's not going to help."

"I need to wash away that awful image from my eyes, Peter." You explained, splashing your face with ice-cold water from the sink "I need to delete what I saw from my mind."

"Honey, please!" Natasha's voice said from the other side of the door

"Why the song, huh?!" You cried out "Why this song?!"

"Baby, we made a mistake." Natasha answered your question "We're sorry!"

"What about the shackles?" You shouted

"That was your mother's idea!" Maria shouted back, before getting a slap on the back of her head from Natasha

"Don't listen to her, baby." Natasha said "Please, just open this door and let's talk from girl to girl, from mother to daughter."

"And godmother." Maria jumped in, gaining another slap from Natasha

"You're such an idiot!" Natasha told Maria

"But I'm your idiot." Maria pointed out, leaning in to kiss Natasha

"Fair point." Natasha smiled, ready to receive Maria's kiss when she suddenly pulled back as she heard your scream

"Ahhhh..." You screamed, trying to stop whatever was happening on the other side of the door between Natasha and Maria "My mother and my godmother?! Banging each other on music?! No way!" You cried out

"You didn't say the same when we did it the first time on music." Peter smirked, hopping to receive a positive reaction from you

"Don't you dare mention that in front of my mother!" You threatened

"You did what?!" Natasha gasped "Peter, you're dead!"

"Miss Romanoff, it was just once, I swear." Peter defended himself

"You and my little girl can't do that yet! You're still kids!" Natasha sounded angry now "I'm going to take this door down."

"Honey, no!" You heard Maria scream

—

Maybe this wasn't the way you planned to spend your Saturday afternoon and, for sure, it wasn't the way you wanted to find out that your godmother was banging your mother, but here you were.

This day will forever remain in your family's history as a day of great embarrassment and hilarious jokes.

The day when you, unintentionally, discovered that your Aunt Maria and your Mama were eating each other's "cheerios" for pleasure.

—

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