Staff Picks 4/12/24
Charli XCX, “Club classics”
She’s done it again! Charli XCX returned with an exciting announcement: the release date and tracklist of her upcoming album, brat. With this announcement came two new singles: “Club classics” and “B2b.” XCX previously released “Von dutch” and its delightful remix “Von dutch remix with addison rae and a.g. cook” to wide acclaim from fans and critics alike.
“I wanna dance to me/I wanna dance to a.g./I wanna dance with George/I wanna dance to SOPHIE,” bops the Brit-popper over heavy hitting loops of a muted, glitchy “right now, right now, right now.” Floaty, shimmery undertones run beneath this ultra-clubby production. It’s no wonder Charli wants to dance to her own music—I do too.
“All night, not gonna stop ‘til the morning light,” chimes XCX, convincing you to keep the party rolling into the wee hours. -Liz Foster
Ben Folds, “Lost in the Supermarket”
Yes, this is a song originally by the Clash off of their iconic London Calling. However, Ben Folds, of Ben Folds Five fame, masterfully covered the track for the 2006 hit children’s animated movie, Over the Hedge. The film’s soundtrack–which I will soon be doing a deep dive on–
“We had a hedge back in the suburbs/Over which I could never see,” he sings, speaking to suburban blues and also the lament of the animals in Over the Hedge. In the film, a ragtag bunch of forest animals come together to build up a food supply for the winter. Naturally, hijinks ensues.
“I’m all lost in the supermarket/I can no longer shop happily,” sings Folds, filled with chipper energy despite the song’s message of isolation at the grocery store. It’s hard to not be happy when listening to this edition of “Lost in the Supermarket.” God bless animated film soundtracks.
See my review of Surf’s Up soundtrack here. -Liz Foster
Charli XCX, "B2b"
Queen Charli XCX's 2024 album rollout is one of the most successful pop release runs I’ve witnessed in years. Not only that, but she seems to have successfully brought electro-pop across the Atlantic almost singlehandedly, and the success of her recent singles is proof. My favorite release of hers this year has to be “B2b,” the aptly named B-Side of her most recent single, “Club classics.” “B2b” opens with a squishy, laser-like synth beat. Charli’s vocals fade in: “Back to, back to, back to, back to you / I don't wanna fall right back to us / Maybe you should run right back to her,” she sings with a depth and sense of certain nostalgia that brilliantly juxtaposes the clubby melody. The lyrics, which mostly repeat throughout, are vulnerable yet never overbearing.
“B2b” fits perfectly into a favorite genre of mine – “sad dance music” –epitomized by songs like Robyn’s “Call Your Girlfriend.” The production continues to surprise throughout, standing out mainly during the song’s bridge at 1:15. Although Charli’s vocals and lyrics hit the mark throughout, it is the song’s producers – pop and electro production legends A.G. Cook and Gesaffelstein – that make the track shine. Those familiar with these two artists will immediately recognize their unique musical styles woven into "B2b," 's arrangement. I couldn’t be more thrilled to hear these two production icons on a major label pop release. “B2b” is just the latest in a slew of releases that have poised Charli XCX’s upcoming album, BRAT, to be a seminal and transformative moment in pop music, and it can’t come soon enough. -Leina Gabra
Fontaines D.C., "A Lucid Dream"
(Post-)punk is not dead!!! Like their catalog frequently does, Fontaines D.C.’s “A Lucid Dream” takes the listener back to what many may consider a bygone musical era. The song begins with a tone-setting snare beat that morphs into a powerful, thrashing percussion. In the empty spaces, a melancholic bass guitar strums a four-note chord that sets the song’s gloomy yet fiery tone. Grian Chatten, the band’s lead vocalist, enters the arrangement with a mix of intensity, speed, and a certain Irish sensibility that perfectly matches the daring instrumentation. The song consists primarily of metaphorical verses until we reach the bridge. All the instruments quiet down, leaving behind just the lone bass guitar and snare drum the song started with. “Under fallen colours gone unthrown / Ah, you're all prone / To being anyone else / Other than you / Are you all prone? / Does anyone know?,” Chatten’s fuzzy voice asks before he switches back into punk mode; the noise, the instruments, and the energy build back up to deliver the last verse with a vivacious vigor that gives me hope and excitement for the future of rock ’n’ roll. -Leina Gabra
Fizzy Orange, "Wonder"
This is a song that makes you feel all gooey, carefree and buoyant inside. It is bound to add some magic to your day and I’m excited to play it for you all. Fizzy Orange is a is gnarly six piece soul group from Dublin City who transcends production styles ranging from the 60s to the 80s. This song has brought me an endless supply of joy, with keys that will hypnotize you into a dance of happy feet. It’s all good fun, and I’m honoured to share it with our Sparky audience. - Kimberly Moon-Chong
Dayo Bello, "U & I"
“We'll paint the sky with silhouettes of you and I.” No other person could present this line with the cradled elegance that Dayo Bello holds. In his November track, Bello speaks directly to the beings above, letting them know he’s found his match. He’s found the one that nothing can stand between. Simple as that. All the forces in the world could not pull apart their connection, and from the way he speaks about this love, nothing ever will. Dayo’s “U & I” is an angelic declaration of harmony, dedication, and loyalty, and I cannot wait to hear more of it all. - Kimberly Moon-Chong
Jake Minch, “whose you are”
Intimate, heartfelt, and delicate, Jake Minch’s EP ‘how many’ proves this emerging artist's invaluable writing skills. The track ‘whose you are’ from this EP, demonstrates Minch’s capability to make his soft vocals build to a climatic emotional chorus. Beginning with simple guitar strumming and soft vocals, the track brings a listener in - drawing focus to Minch’s lyrics and vocal tone. As the song progresses, so do the number of vocal layers, eventually building to a choir-like soundscape. The effective execution of this technique creates a fuller sound compared to the other tracks on this project. It heightens the overall emotion of the song and allows a listener to exist in the conflict Minch depicts throughout. I believe Jake Minch is an artist to watch in the folk genre, with cosigns from Noah Kahan and Jeremy Zuker, Minch’s music journey is only just beginning. -Matz Kiernan
Jorja Smith, “Feelings (ft. J Hus)"
https://www.youtube.com/watch?v=hAxy0xp55Mk
Flipping the cards since their last collaboration in J Hus's "Nice Body", Jorja Smith comes in with her controlled vibrato vocals to tell her story. Both equally demanding artists of UK music, J Hus and Jorja Smith, take turns complimenting each other's sounds. Although two unique voices paired up against each other–Smith's butterflying up to soprano and J Hus's heavy habit of gritty rap–the two do not miss each other. The back-and-forth of J Hus's and Smith's lyrics in this track are conversational. "You know I'm not gonna stay the night, no / I just need one reason / I know there's nothing wrong with it / It's hard to pretend, it's not what I want," Smith sings. "I know you got your reasons, yeah I know the meanin' / I know you're still healin', baby," Hus sings back. Yet again proving that neither Jorja Smith nor J Hus are musicians made to fit in a box, "Feelings" is the track for those who want to listen to it all: sleek, sexy R&B, slow grooving instrumentals, with a touch of flavourful afro-beat. -Rosa-Lee O’Reilly
berlioz, “wash my sins away”
As a majestic masterpiece of jazz music, this track embodies the simple sublimity of instrumental gestures. Not only does the saxophone mark a clear path of cadence, but the piano pairs alongside it to create a gentle beat that is all at once funky, groovy, melodic, and emotive. Never knowing what journey you'll be taken on, Berlioz has a track for every occasion. "wash my sins away" is a steady, intimate pirouette of instruments, dancing you around the kitchen in the morning as you engage in your morning cleaning duties. With such a clean and polished sound, this man makes doing the biggest pile of dishes seem not only manageable but thoroughly enjoyable. -Rosa-Lee O’Reilly
Avry, “Run Into Me”
Blending elements of indie pop and electronic music "Run Into Me" by Avry is a song that creates a captivating sonic landscape. With a desire for closeness and connection. It evokes imagery of two individuals coming together, for a moment of intimacy. With a yearn for passion and connection, the longing for companionship, and the emotional resonance that comes from shared experiences. A shared experience that seems fleeting at times until the memories flashback and the desire for more draws back. “Don’t lose me” he passionately exclaims throughout the song, hoping for another chance to make their love everlasting. -Hansel Adu Kwarko
noah., "On Your Own"
After a relationship ends, memories of happier times can linger, casting a nostalgic glow over the past. Whether it's recalling shared laughs, intimate moments, or inside jokes, these memories can evoke a bittersweet longing for what once was. Using a familiar melody “noah.” puts himself in a vulnerable position struggling to break away from a relationship in his song "On Your Own". Loving an ex also involves navigating the delicate balance between maintaining a connection and respecting boundaries. It's about finding a way to appreciate the person they once were while recognizing that they may no longer play the same role in your life. The lyrics explore the journey of self-discovery and learning to navigate life independently while also falling back to a comfortable environment with a person who he feels he can eventually share a future with. Hoping his loved one will realize that he keeps showing up and will always show up for them, through their indecisiveness. -Hansel Adu Kwarko
San Fermin, “Can’t Unsee It”
I had the opportunity to attend a listening party for San Fermin’s most recent album (Arms, released February 16, 2024) on behalf of my college radio station. After hearing “Can’t Unsee It” for the first time, I wrote in my phone notes: “Track three. Will both ruin and save your life.” The album’s theme of bittersweet loneliness courses through the veins of “Can’t Unsee It;” it’s a story of irrevocable love and self reflection. Ellis Ludwig-Leone’s a clever and honest songwriter, and his lyrics are made all the more powerful by the silky voices of Allen Tate and Claire Wellin. In the first chorus, Tate sings: “opened all the doors and you looked right through me / saw the place was empty and you moved right in.” By the end of the song, it turns into “busted all the windows when you stormed right through me / flooded all the spaces where the walls had been.” The repetition of “look at me now” in the song’s chorus and bridge is echoed by a heartfelt horn. If there’s one thing that can sell me on a song, it’s a good horn part. With shimmering reverb guitar, a soulful piano melody, and understated drums, “Can’t Unsee It” by San Fermin is a warm yet misty-eyed embrace. -Sky Hume
Iration, “Lost and Found”
We had one singular day of warmth and sunshine on Long Island this week, and I immediately broke out my summer playlist. Those songs bring me right back to summer lake days in Colorado, and “Lost and Found” by Iration is no different. The alternative surf-rock band makes waves with their bouncing reggae beats and catchy lyrics; you can’t help but smile and dance along. As the track opens, a simple and soft-singing guitar melody underscores the question: “Remember getting lost and found / your whole world inside a one-road town?” Then, a jaunty woodblock beat launches the song into its voyage as Micah Pueschel draws memories of “the valley of the kings on that old rope swing” and “sheets filled with sand and secrets in the banyan.” The swirling electric guitar and spirited beat of Iration’s “Lost and Found” is sure to wrap you in sunshine. -Sky Hume
