Cherry Glazerr - Apocalipstick: Cherry Glazerr has been one of my favorite LA bands since their debut on Burger Records in 2013 with Haxel Princess. Front-woman and recent high school grad Clem Creevy writes funny, quirky songs with a feminist attitude about her experiences. Apocalipstick is Cherry Glazerr’s third full-length album, and it’s totally badass. The songs on this album range from surf pop (“Humble Pro”) to noise punk (“Sip O’ Poison” and “Apocalipstick”). The guitar melodies are as catchy as ever and Creevy is more sassy and punk than ever. This album feels different than previous releases by the band, but in a good way. They have grown up and moved on from Burger Records to their new label, Secretly Canadian, and this album shows it in the vocals and the addition of synths. Clem’s vocals go from a child-like ethereal soprano to powerful scream on “Only Kid on the Block,” reminiscent of Annie Clark of St. Vincent. One major step forward on this album is the addition of synths, which corresponds with the band’s new lineup, including Sasami Ashworth on synths and Tabor Allen on drums. “Lucid Dreams” features a lot of synths, which differentiates it from earlier Cherry Glazerr songs, like “Grilled Cheese.” My favorite songs on this album are “Moon Dust,” “Lucid Dreams,” and “Sip O’ Poison.”
All of the music videos for this album that have been released have been so fun! The video for “Nuclear Bomb” shows Clem making out with her guitar, and “Told You I’d Be with the Guys” is about women having to make space for themselves in a male-dominated patriarchal world. Their tour is called “Pussy Grabs Back,” which epitomizes the determined attitude-driven feminist ethos of Creevy, who has been especially outspoken about its importance since Trump (somehow despite losing the popular vote by about 3 million…ugh, thanks electoral college) became President.
Catch Cherry Glazerr on February 16 with Slow Hollows at the Teragram if you want to crowd surf and mosh and let out all your frustration about the patriarchy and this election! I’ll see you there. CHRISTINA
RIYL: St. Vincent, Bleached, Hinds, Girlpool, Colleen Green, Diet Cig
Recommended Tracks: 1, 3, 4, 5, 6, 8, 9, 11
Ty Segall - Ty Segall: There was a time back in high school where Ty Segall very well may have been my favorite person making music. Jay Reatard had just died, the White Stripes had broken up, but Ty's releases, frequent as they were, continued to feel electric and essential to the fabric of modern garage rock.
I peaked with Ty Segall around the Slaughterhouse/Twins era of his career, and haven't really vibed with a project of his since 2013's Sleeper. However, I will say that on a lot of tracks of this self-titled LP (his second self-titled album, which is hilariously confusing) he does a lot that reminds me why I was so into his music.
One of the things that has frustrated me about recent Ty Segall releases is that they often feel so clouded in psych that it makes the songs all sound sort of samey. While that does show up here, more straightforward tracks like "Break A Guitar" harken back to his roots as a garage rock savant, while acoustic tracks like "Orange Color Queen" do a good job emulating the emotional side he first showcased on Sleeper, but hasn't expanded on very well since.
The album is kind of all over the place, and it's not the spirited return to the loud guitar rock that made me a fan of his five years ago. But it definitely has its highlights, and is well worth a listen. JACK
RIYL: Jay Reatard, The White Stripes, Black Lips, Mikal Cronin
Recommended Tracks: 1, 2, 4, 7
Bonobo - Migration: So, I first got into Bonobo through his somewhat acclaimed 2013 release The North Border, and although I wasn’t a huge fan of the project, I did enjoy several of the tracks and definitely felt the more northern vibe that the album’s title seemed to suggest. Anyway, Bonobo is back with a new record including features from Nick Murphy (fka Chet Faker), Rhye, and more, so here we go.
Once again, much of Bonobo’s work brings to mind feelings of driving through snow covered landscapes, or perhaps wandering at night through a city from which the Northern Lights are visible. My favorite tracks, including “Migration,” “Outlier," and “Second Sun” are carried by this chilly, atmospheric texture, combined with subtly driving grooves, while still developing into a well-structured song with twists, turns, tension, and release. On the other hand, I didn’t particularly enjoy the Nick Murphy track, mostly because it felt out of place texturally with the vibe of the record. I also enjoyed “Figures,” which reworks an Elkie Brooks sample originally used in this Moodymann song in a new and interesting way, as well as “Grains,” which twists some unintelligible vocal sample into a mystic, primal rhythmic dance backed up by some luscious strings.
Overall, I really enjoyed this record. It has a uniquely emotional vibe that permeates through almost every track, as well as plenty of ventures into unexpected textures, harmonies and sounds. JATIN
RIYL: Lapalux, Boards of Canada, Cepia
Recommended Tracks: 1, 4, 6, 7
Litto Nebbia - Bazar De Los Milagros: Time to go back into Argentine history to highlight a pioneer of Argentinean and Latin American rock. Litto Nebbia, born in 1948, forever changed music in Argentina through his constant innovation and introduction of Rock into the mainstream.
I spoke with my father, David Mosquera, who was born in 1955 in Buenos Aires and experienced as a youth the music revolution that Nebbia was a prominent figure in. He told me that at the time in Latin America the music styles were primarily traditional, either folkloric or classical. Nebbia spearheaded the development of a genre that was at the time wildly different from anything anyone had ever heard before in Latin America. It was rebellious music made by younger musicians for younger people. Before Bazar De Los Milagros Nebbia had one iconic hit, La Balsa (The Raft). La Balsa encourages escapism, the lyrics call for leaving society on a raft, not to any destination but to naufragar (to sink). My father emphasized that very little music at the time openly dealt with the prominent emotional sentiment of the younger generation like La Balsa did. In a country with increasing political and military control, there was a growing sense of disillusionment and Nebbia was one of the first to empathize through music.
This album Bazar De Los Milagros (Bazaar of Miracles) released in 1976, the same year that Argentina would fall under dictatorship, stands out as Litto Nebbia’s most enduring piece of music stylistically. The album is not as culturally impactful as some of his other works but it stands up extremely well over the years as a piece of forward thinking and expertly composed prog rock. Litto’s strength as a keyboardist shines as he plays on Fender Rhodes, acoustic piano, Mini-Moog, organs, and other synths to create tracks that meld traditional Argentine stylings with prog, jazz and pop. The album encapsulates what Nebbia was able to do for Argentine music, build off of past work by bringing in new styles and create something new and wholly Argentinean.
As my father would put it, “Es una leyenda.” RAMIRO
RIYL: Jazz, Prog, World
Recommended Tracks: 1, 4, 5
SINGLES OF THE WEEEEEEEEEK
Show Me The Body - TRASH: Saw them once in Chicago, got punched in the jaw by the lead singer. This song allows me to relive that experience.
Thundercat - Show You The Way (feat. Michael McDonald & Kenny Loggins): The polar opposite experience of that Show Me The Body track, so if you hated that, then check this out.
Father John Misty - Two Wildly Different Perspectives / Pure Comedy: New politically charged material from Father John released earlier this week and today. Very somber tones.
ANOHNI - PARADISE: Anthony Fantano of The Needle Drop described this as a trap ballad, as if it that were a bad thing. What a fool.