In astrology, Mars is the god of war; the planet of energy, action and desire. When we think of Mars, the first phrase that should come to mind is “do it.” A testament to the unwavering energy of the planet, Louisville R&B freshman, Marzz released her debut EP Love Letterz with Keep Cool/RCA Records last month.
Written in the artist’s bevy of color-coded notebooks she keeps in her backpack to help process her synesthesia, the project is a collection of diary entries in the form of song. “I’ve come to a point in my life where I really don’t care what people say,” the artist stated in an interview with Uproxx, “I have to do this, I have to put my feelings out because if not, it’s going to eat me up alive.”
Co-written by Timbaland, “Cleopatra” exemplifies the artist’s commitment to truth, even when it’s hard– especially the second verse: “I haven’t seen you shine in a long time, why? / Guess that means I gotta give you space, then bye / I see your true colors, please don’t make me / Feel your emptiness, you know that ain’t me / I got way too much on my mind, yeah we / Ain’t going back ’cause that shit ain’t healthy.” After stumbling upon it purely on accident, the first listen of “Cleopatra” resulted in an embarrassing amount of head nodding and shoulder shaking. In the music video for the track, you hear Marzz’s voice accurately preface what’s to come: “You are now entering a vibe.” And oh, what a vibe it is.
From childhood, the artist has used her color method to process and express her emotions as well. In an interview with Women In Pop, she dove into each color’s meaning, saying, “Blue is for when I’m excited. Purple is when I’m anxious, yellow’s when I’m sad, red is when I’m angry.” She continued, “I know for a fact that my red notebook was definitely my favorite. I used to write in that and whenever I got mad– I was never a verbal person –I’d hold my notebook up and be like, ‘No, listen, this is why I’m mad!’”
Marzz describes “Countless Times,” the latest single from the EP, as red and purple, saying, “You’re seeing a lot of anxiousness, a lot of worry. It was definitely a lot of draining emotion that definitely put a toll on me.” The track describes being on the precipice of the decision of whether to stay or walk away from an up-and-down relationship. “I know what I want now. The way that I want to be treated,” she stated, “I’m putting in the love and respect that I would want in return. I definitely believe in karma, so I feel like the good energy you put out is the good energy that you receive.”
Here’s the thing– are these singles particularly emo? Yes. Do they still hit the spot? Absolutely. And that’s what matters. Kansas City’s The Greeting Committee has managed to pry themselves out of the box they’ve been hiding in for 2 years with“Can I Leave Me Too?” and “Float Away.” The singles follow the alt-indie band’s 2019 EP, I’m Afraid I’m Not Angry and 2018 album, This Is It, a project that held my hand and my hair back through the majority of 2020.
“Can I Leave Me Too?” aligns with the band’s brand of happy-sad music, with melancholic lyricism held afloat by buoyant instrumentation: “Why does everybody drive the same car you do? / I’m scared of myself without you / I’ll change my ways for a few days if it means you’ll stay / I’m filthy, creepy, clingy for you always,” the band’s frontwoman, Addie Sartino sings in the first verse. “Can I Leave Me Too?” touts the kind of emotional codependency we’d normally rebuke, but that didn’t stop me from giving it multiple spins. It shouldn’t stop you, either.
“My girlfriend drives a Nissan Rogue, and after we broke up I felt like I couldn’t go anywhere without seeing that car,” Sartino said of the single in a press release. “I remember thinking, ‘There’s no way there are this many Nissan Rogues in Kansas City’ — but I think that’s a pretty universal thing to have happen when you’re going through a breakup.”
The latest single from the band is equally as emo, but in the best way. “Glad it’s raining, so I don’t have to go outside / And pretend I’m happy just to be alive,” Sartino sings in the first verse of “Float Away.” This record provides the kind of catharsis one can only find in music; anyone who has battled with depression and/or loneliness can identify with the single’s sentiments. When in that frame of mind, it can feel as though you’ve stepped completely outside of reality and outside of yourself; it’s difficult to see the light at the end of the tunnel when you’re walking through mud and thorns to get there.
In an interview with Rice and Spice, the band’s guitarist, Brandon Yangmi spoke on the single, saying, “This was a song that felt really genuine to all of us. It wasn’t a song that we overthought much; it was the easiest song that we wrote on the album.” He continued, saying, “We sat down, started playing the music, and it all came out. It wasn’t overthinking. It just felt like a genuine stream of consciousness and self expression. I hope that’s what people hear.”
“Float Away” was released in conjunction with the single’s music video, which features striking animation by artist Kezia Gabriella.
Today’s song is one with some of my favorite elements: horns and Mick Jenkins. The third single from TOBi this year is one that’s been in constant rotation since its release last week. When I say “constant rotation,” I mean exactly that. Forwards and backwards, up and down, side to side, this song was run into the ground and dug back up just to be run into the ground again.
Based off of title alone, you may assume this single is in favor of sobriety, but on the contrary, this song is one that is encouraged to consume while elevated. “When I smoke, I see things clearer and I’m way more aware,” TOBi disclosed in a press release for the single, “So I’m intentional about how I use it.”
He furthered his point of view by saying, “I think more money should go into researching things like cannabis and mushrooms for their healing properties. Just the way I look at it, so many things are actually drugs—alcohol, gambling, even social media cuz it affects brain chemistry, but all that shit is legal. Whereas things that can legitimately heal if properly understood and done correctly are stigmatized, it’s wild…. I just wanna live life to the fullest and enjoy this while it lasts. Life, to me, is a good trip if you let it be.”
The single features Mick Jenkins, who– to my knowledge, at least– can do next to no wrong, which he proves in his verse: “Reminiscing on them days when I would buy the pack to flip it / Couldn’t tell me I wasn’t gifted with the vegetation / Overdid it, sometimes too descriptive with my education / Edibles gon’ hit in ’bout an hour, that’s late registration / Class has been in session, we ain’t present.”
The single is the artist’s second release within a month’s time. Prior to “Off The Drugs,” TOBi released a collaborative track with one-of-a-kind Baby Rose titled “Come As You Are.”
“I’ve been waiting to do this song for years,” TOBi stated in regards to the track, “I had the concept written but never brought it to life until the pandemic hit and I found it again. What does it mean to love someone as they are and not as a projection of who they portray to the world? Not the layers and titles that we have given to each other. To recognize the humanity in each other as a mirror of self. It’s a lesson in self-love as well.”
The record is a testament to patience and acceptance of another as a whole, regardless of status or perceived limitations. The artist continued, “We know we are both here right now but we have the potential to be greater versions of ourselves and I want to be there for your blossoming, as you’ll be there for me. Sometimes we forget how the simplest things are often the most overlooked but the most important parts of who we are.”
Hailing from Denton, TX, sister duo, Eaglin, released their latest single, “Maybe (We’ll Get Better Soon)” last month. The single is a goosebumps-inducing, blues-infused ballad that somehow sounds the way that homesickness feels, with an incredibly captivating bridge that will, without a shadow of a doubt, have you singing, “Thinkin! About you! Brings a smile to my face, even now.” The track was blessed by the hands of Grammy award winner McKenzie Smith and lauded guitarist Joey McClellan. When the single popped up in my inbox, I decided I would be remiss if I didn’t try to make contact.
“Maybe (We’ll Get Better Soon)” is an ode to the pandemic in a way. Societal anxiety of the unknown became the cultural norm during the early days of the pandemic, which in turn, became a breeding ground for creativity for many artists. We have a cocktail of isolated free time and spiraling thoughts to thank for a good portion of the creativity that has been displayed in the last 15ish months. Eaglin is no exception to that.
“I was laying outside at my family’s home in Texas, with the sun shining down, after being cold in New York for the past 6 months,” Bailee said, painting the picture of how the track was written. “There was a moment where I felt so hopeful for the future and what the next year might bring following the grim, sad reality the pandemic was sure to bring. I also remember feeling so unbelievably grateful to be at home with my parents and sister,” she continued, “I was missing friends who were far away but I knew there’d be a day when we could reconnect and thought about how sweet it would be.”
Kenzie offers a more melancholy and less optimistic perspective to the track. “When I wrote the second verse,” Kenzie stated, “I was feeling some emotions that were dark and confusing, and I feel as though this song paraphrased those feelings, which resulted in a beautiful body of work.”
Eaglin released “Maybe” as a follow-up to “Vanilla,” which was released back in February. The tracks differ vastly in sound and subject matter, as “Vanilla” is a sweeter-than-candy pop-rock track. Eaglin’s self-titled debut EP, set to release later this month, will be an exhibition of their sweeping wingspan of talent. When asked what to expect of the debut, Bailee stated, “A range of different sounds with one common thread: summer! We wanted to make a sunny, fun body of work that also showcases our different writing and music styles. We have a lot of influences, Kenzie has a lot of vocal range, so we didn’t hold back. We really think there’s something for everyone, here.”
Those influences that Bailee mentioned include practically their entire family. I’m talking the whole roost. “We have a large family and are blessed to have known our grandparents and even our great-grandparents,” Bailee said, “We are multiracial and ethnically diverse as a family, so we really had access to so many different cultural norms and traditions.”
Eaglin’s multicultural rearing heavily impacted their musical preferences, which vary in genre. “Being biracial in the 2000s really effected my music taste,” Kenzie said, “I grew up listening to what our parents grew up listening to, as well as new artists they were into. Our dad played gospel and R&B, while our mom was super into Aerosmith, Journey, and Celine Dion. This introduced me to different worlds of music at a very young age, and I’m forever grateful.”
Bailee and Kenzie were blessed from both sides of their family with the musical gene; the duo’s aunt is a respected gospel singer in Houston and their father grew up singing in church choirs, but no one has inspired these sisters like their mother. “Our mother is an incredible singer as well,” Bailee said, “She’s my biggest inspiration without a doubt.”
The familial inspiration doesn’t stop there, though. Bailee, 24, is a self-taught guitarist who picked up the instrument thanks to her aunt. “My moms sister, my aunt Amanda, if I really take a second to think about it, might’ve been one of my largest musical influences,” Bailee said, “She was always listening to the coolest albums and going to live shows. She’d take me to live rock concerts on week nights when no 6/7 year old on earth was probably out, and it absolutely shaped my perception of musicians and performance.” She continued, “She bought me my first guitar when I was six years old or something like that and signed me up for lessons.”
Despite taking lessons, Bailee struggled to hone her attention, saying, “I couldn’t sit still or focus on anything the instructor was trying to teach me, so I quit very soon after and would only pick up the guitar to pretend to play or try strumming along to something but I couldn’t read music, and I didn’t know any chords so I’d mainly pluck along with single notes. At ten, my uncle bought me a new guitar, and showed me a g chord. The rest was history! I played so much and began to write nearly every day.”
I asked the sisters what the next year has in store for them, as a duo and individually, and the two agreed on one thing: more music. “A year from now, I think we can count on several Eaglin projects that we are super proud of,” Bailee said. “We have plans for later this year that I can’t even believe we’re getting to share. Individually, I see myself someplace sunny, chugging along and continuing to expand the role of music in my life.” Kenzie plans to attend college in the fall, but says music will remain a high priority for her.
UK soul singer-songwriter, Celeste released her debut album, Not Your Muse just in time for Valentine’s Day. From the romantic cover art to the project’s overall themes of love and loss, Celeste and her team knew what they were doing when they released in late January. Celeste, who has been on the radar since 2018, has seen a steady and gradual career incline, with accolades building in her treasure chest by the pound. The 26-year old is bringing back sounds of old with jazz and blues influence and a one-of-a-kind voice. The artist credits the loss of her father as motivation and inspiration to further her passion for purpose and music, telling Evening Standard, “Until that point my life had been rosy to an extent. It shocked me. Then after that I had so much more drive to do something I cared about. I focused everything on doing music from that point.”
On the album’s intro, “Ideal Woman” we have Celeste’s velvety voice singing against societal standards of what embodies an ideal woman. Coincidentally, the track just so happens to be constructed just like my version of an ideal woman: unexplainably sensual and almost effortlessly commanding of attention with humility and grace. The track, produced by Josh Crocker and Charlie Hugall, is the perfect foreplay for the main event that is the rest of the album. From the slow creep of guitar and gentle, modest chimes to Celeste’s smooth-as-butter voice, “Ideal Woman” lets you think it’ll do one thing just to do something different entirely. Just as you expect a sonic or vocal swell, production slows and Celeste takes a right when you’ve anticipated a left, resulting in the unavoidable tap of the “repeat” button.
Following the intro is the project’s lead single, “Strange,” which was originally released in 2018 on the artist’s EP, Compilation 1.1. The track, which was previously featured on TGG, is what propelled Celeste into the spotlight, incurring international discussion of the artist’s future endeavors. The deluxe version of the album features the original, extended version of this track with an additional chorus and bridge. Recorded in LA during a wildfire, Celeste gives credence to the smoke in the air for the rasp heard in her voice at the time of recording. Those gravelly vocals gracefully escort us through a somber tale as old as time: the evolution of love and loss, by choice or by fate. Picking up the pace and picking our jaws up off the floor, upbeat singles, “Tonight Tonight” and “Stop This Flame” come next on the project. The video for “Stop This Flame,” a tune about keeping love alive, sees the colorful city of New Orleans painting the scene.
On Not Your Muse, Celeste brings different varieties of love– romantic, familial, self– to the forefront. The album’s title track is a slow burn that gradually grows into a raging fire. The zenith of the project, the song is placed smack dab in the middle of sequence. The record deconstructs the dated damsel-in-distress and manic-pixie-dream-girl tropes with a delicate nature and beautiful simplicity only Celeste can dispense. Tugging gently on our heartstrings, “Beloved” is a declaration of longing. On the track, Celeste croons a letter written to a love unrequited. With its almost adolescent yearning fueled by the purest of intentions, “Beloved” holds its place as my favorite track on this project.
Immediately following the gentle plucky instrumentation on “Beloved” comes horn-infused ear-candy “Love Is Back.” The impenetrable swagger heard on this track is succeeded by the haunting, drifting mystique found in “A Kiss.” Continuing the trend of romance, the next track, “The Promise,” is a pledge of recommitment to an old flame. The transition from one track to the next here is an example of what I like to call “peaks and valleys” in a body of work. Where there is a rise, there’s sure to be a fall. It’s almost as if Not Your Muse is its own breed of love story, with a prologue of self-love and self-acceptance, love coming and going throughout until finally, bittersweet acceptance with the project’s outro, “Some Goodbyes Come With Hellos.” With a damn near perfect debut, Celeste has managed to bust down the doors of 2021 with lyrical finesse and a natural talent that’s yet to be matched. Not Your Muse will remain in my personal rotation until further notice. If you’ve got time to sit down with the album, without distraction, I would highly recommend doing so.
It should be no secret that creativity kept the majority of us afloat throughout a very tumultuous and traumatic year. With unforeseen obstacles around every corner, some new beast lurking and watching nearby, waiting for the right moment to pull the foundational Jenga piece right out from under, it was difficult to remain optimistic in the face of 2020. Today’s roundup is dedicated to the artists whose music kept me company during an emotionally, financially and socially grueling year.
A brief aside: With 2021 right around the corner, I’d like to take a moment for some mild sappiness to extend a hand of gratitude to this blog’s readers. I started TGG as a distraction from a lot of things I was struggling to face, and in turn was forced to face them in roundabout ways through music, introspection and discussion with a diverse group of people. With each roundup, it’s typical of me to mention the horrors of 2020, but without the trials of this year, you wouldn’t be reading today because this blog wouldn’t exist as it does in its current form. Thank you for reading, for the support and for continuing with me on this ride through 2021. Thank you to the artists for your submissions. May we all find ourselves sailing smoothly into the new year.
Back to business. Sadly, there will be no roundup for the month of December, but the roundup playlist has been updated in accordance to the month’s listens and releases. The autumn playlist has also officially transitioned to winter vibes, and will continue to be updated almost daily throughout the remainder of the season. Now, in no particular order, let’s get to the goods.
Synthetic Soul – Chiiild
A mysterious concoction of R&B, soul and synthesized pop results in 7-track EP, Synthetic Soul, the product of Montreal-based Chiiild. Virtually genre-less, Chiiild accelerates down a lane adjacent to Blood Orange or Tame Impala, where the point of focus falls mostly on the band’s sweeping instrumentals and sonic fluidity. We’re met with a gentle daydream of strings on the EP’s intro, “Count Me Out” which carry us through to the outro, “Easy On Yourself,” transforming into a luminous awakening. Favorite tracks: “Pirouette,” “Hands Off Me”
SuperGood – Duckwrth
As mentioned in a previous roundup, Duckwrth’s major label debut is, essentially, a 44-minute long love letter to the ladies. Bridging gaps between pop, hip-hop, funk and soul, SuperGood is a fitting soundtrack for one’s romantic reverie. Duckwrth eclectically executes the manipulation of classic sounds paired with modernity with personality and catchy craftsmanship throughout the album. The project’s undisputed standout, “Kiss U Right Now” might find some religiously moisturizing their lips out of sheer anticipation of the mere possibility of a kiss. Favorite Tracks: “Kiss U Right Now,” “SuperBounce”
To Myself – Baby Rose
Released in August, Baby Rose’s To Myself was a fitting conclusion to 2020’s Sad Girl Summer; the artist’s debut is a tender, simultaneously thunderous arrangement of truth and vulnerability. Pouring from an overflowing cup of talent and wisdom far beyond her years, Baby Rose’s velvety, rasping vocals sing tales of heartache and healing over somber, bluesy production on To Myself. Favorite tracks: “Borderline,” “Show You”
The Circus – Mick Jenkins
Following 2018’s masterfully executed Pieces of a Man, The Circus admittedly pales in comparison but shines in its own right. If there’s one thing Mick Jenkins isn’t gonna do, it’s waste a word. If there’s one thing Mick Jenkins is gonna do, it’s monopolize any opportunity to contort and stretch a phrase with the utmost of ease. We’re smacked in the face with a reminder of just that on the project’s intro, “Same Ol,” where the rapper’s undeniable witticism is matched evenly with a bass-heavy Hit-Boy beat. A professional in the game of double entendre, Jenkins’s wordplay leaves The Circus in rotation for more than just a couple of spins. If you’re left wanting more, allow me to direct you to the cornucopia of songs lucky enough to have been blessed by a Jenkins feature this year. From alt-indie band Vansire’s “Central Time” to Kipp Stone’s “Sprague Street,” to name a couple, no one can say Jenkins hasn’t put in the work this year. Favorite Tracks: “Different Scales,” “The Light”
Dance Without Me – DRAMA
If there’s anything DRAMA can do, it’s provide ample content for your breakup playlist. The Chicago-based electro-pop group released Dance Without Me, a body of work composed of upbeat songs contrasted by elegies of heartbreak, on Valentine’s Day. Two parts of a whole creates DRAMA: singer-songwriter Via Rose provides the whimsical lyricism and somber subject matter buoyed by producer Na’el Shehade’s golden touch. A valentine to those without a valentine, Dance Without Me requires you do just that– dance (and probably cry). Favorite tracks: “7:04 AM,” “Good For Nothing”
“GED” – Lute
A tale of a humble come-up and letter of encouragement for all who are down bad, Lute’s “GED” was one of my most played songs this year. The single was released in February, following Lute’s debut with Dreamville, critically underrated West1996 Pt 2 and a particularly explosive verse on 2019’s Revenge of the Dreamers III‘s intro, “Under the Sun.” With Dreamville bankrolling your promotion, your resources are virtually limitless; as yet another act of clever marketing from the label, released with the single is the GED credit card.
Petrol Bloom – LAUREL
Sneaking in just under the wire, LAUREL released 5-track EP, Petrol Bloom just this month. The EP’s first two singles, “Scream Drive Faster” and “Best I Ever Had” received a lot of love from me upon release, so it’s only fitting that the UK vocal powerhouse and creative wunderkind made it to the final roundup. Differing vastly from her debut, Petrol Bloom is a retro-pop time warp adorned with colorful synths and LAUREL’s echoing, sometimes aching vocals. Favorite tracks: “Best I Ever Had,” “Appetite”
Lost In June – Pip Millett
April showers bring May flowers with Pip Millett’s 8-track EP, Lost In June. The British singer-songwriter has been on the radar since her melancholic 2018 single, “Make Me Cry,” which still remains in rotation almost three years later. What sets Millett apart from the sometimes all-too-saturated world of UK neo-soul is the natural humanity and grace portrayed when delivering sweet and stirring vocals swaddled in emotionally profound lyricism. Why would anyone want to make Pip Millett cry? In order to gain a deeper understanding of something or someone, you must find the root. Millett pierces the veil with Lost In June, granting us an intimate peek at how and why she came to be the young woman she is today, paying homage and due retribution to her family and upbringing. Favorite tracks: “Heavenly Mother,” “Ava”
Alfredo – Freddie Gibbs and The Alchemist
The recipe cooked up between Freddie Gibbs’ effortlessly audacious lyricism and The Alchemist’s collation of beats sprinkled with soul and jazz brings Alfredo to the table. A surprise serving of sustenance, the collaborative effort between two hip-hop heavy hitters set social media ablaze upon release. With the project’s intro, “1985,” we pull back the velvet curtain to reveal a dimly lit room in the back where Gibbs’s sustained flow permeates the air like a haze of smoke. Like flies on the wall, we watch as the sequence unfolds to reveal much more than meets the eye. Favorite tracks: “1985,” “Something to Rap About”
New Me, Same Us – Little Dragon
Practiced and ever-evolving Little Dragon’s latest project finds the group at the intersection of funk and R&B, with Nagano crooning anecdotes of long-term growth and revelation. Formed in 1996, Little Dragon has journeyed through varying genres throughout the years, leaving some of their finest work on other artists’ projects. That isn’t the case with this album; a rose-colored bulb in the early days of the pandemic, New Me, Same Us was a soft light in the very dark room of 2020. Favorite tracks: “Where You Belong,” “Water”
Circles – Mac Miller
Posthumous albums were, unfortunately, in high demand in 2020. Mac Miller’s Circles ultimately set the tone for the rest of the year with its January release; beginning our year in remembrance of loss, forecasting another 12 months of, well, loss. Barely a month prior to the artist’s untimely goodbye in 2018, Mac released Swimming, a project held very dearly to many. In a similar light, Circles— which was also produced in part by composer John Brion– is one to sit with and ponder a while. Favorite tracks: “Right,” “Woods”
Spilligion – Spillage Village
The latest generation of Atlanta’s vanguard of hip-hop and neo-soul apostles ban together to bring us an offering of salvation in the form of 12-track Spilligion. The collective’s first project since 2016’s Bears Like This Too Much differs from the group’s Bears series, which can be described as chronological checkpoints for each artist; an outward display of their creative growth throughout the years. Spilligion preaches themes of family, spirituality, sex and weed and is bolstered by the project’s gather-round-the-campfire-style production. Favorite tracks: “Oshun,” “Mecca”
BETTER – Deante’ Hitchcock
Deante’ Hitchcock’s debut album, BETTER, holds a very special position in TGG’s archives as the first published review on the blog. Read my full review and see how far (thankfully) we’ve come since then. Favorite tracks: “Angels,” “Circles
For a more detailed overview of the year, peruse my 2020 playlist:
Hopefully this month’s roundup finds you well-rested (probably not), well-nourished (maybe if you’re lucky) and in your bag (in this economy?). With 2021 and the holiday season looming like a turkey vulture on a hot day, I believe we all may need a little reprieve from 2020’s dark realities. I come to you bearing gifts and a feast of a different sort– a feast for your ears. If you’re hungry for a little appe-teaser, check out my autumn playlist, updated daily. Tuck your napkins in, say grace and prepare to eat.
“Notice Me” – Fana Hues
25-year old singer-songwriter, Fana Hues pays homage to her roots with her latest single’s music video, which stars all 8 of her siblings and both of her parents, augmenting the song’s true meaning to Hues. Drawing from an arsenal of inspiration from the likes of Beyoncé and Anita Baker, “Notice Me” serves as a profound tribute to the artist’s upbringing.
Hues reflected on the song in a press release: “…I had found a sound that truly felt like me, so I was extra hyped about everything. I was rooted and reminded that all the things I doubted myself about, all my fears were ‘just an unpleasant dream.’ Just like my mom had said. At every turn of my life that I find clarity and meaning, I go back to the truest form of faith that I know, which is my Family. So when I shot the video, I just had to have that moment with my people.” The video, directed by Amira Hadiya, closes with an aerial shot of Hues enveloped by the arms of her family.
“Be With Me” – Miki Fiki
You might listen to Miki Fiki and wonder exactly what it is that sets them apart from your typical alt-rock indie band– one of those can’t-quite-put-my-finger-on-it ordeals. Hint: it’s the lack of guitar. The Nashville-based quartet consists of lead singer and keyboardist Ted Hartog, Julia Meredith providing all that sweet, sweet wind and brass, Alex Clayton on percussion and Hunter Mulkey on bass. Ted describes Miki Fiki’s sound as playful, saying, “I’ve been a bit sensitive my whole life, and time always seems to reveal an element of drama in those emotionally-charged experiences. [The emotions] are valid and what you feel is what you feel. But this band is a place to look at those emotions, those real, lived-experiences, and throw a soft smile on the whole thing.”
The band’s latest single, “Be With Me” is a declaration of ultimatums and boundaries in what one might call a “situationship.” The context of the song would be painfully transparent if it wasn’t so elegantly draped in those hopeful instrumentals Miki Fiki executes so well, softening the blow. The words “I don’t need to make you love me” never sounded so sweet.
England. – Gus Harvey
UK-based alternative R&B artist Gus Harvey released her 4-track EP, England., back in May. With a sound self-described as “UK street soul with grimy basslines,” Harvey takes us on a bit of a wild ride with this 14-minute EP. The artist gets in touch with her roots, literally, on the first track, “Garden,” which is written from the perspective of the earth. The second track, “The Frangipani Fellowship” goes deeper and darker as a diss track with experimental sampling of once-romantic-turned-ominous Cambodian music. Harvey slows things down with the last two tracks on the EP, allowing a brief but plaintive peek at unabashed vulnerability, specifically with the EP’s stripped-down standout, “Albion.”
there goes the neighborhood. – grouptherapy.
Fresh-faced LA hip-hop collective groupthrapy. released their debut album, there goes the neighborhood. in late October. Consisting of Jadagrace, KOI, and TJW, grouptherapy. brings a three-course meal to the table with their latest project. The group released an EP earlier this year titled this is not the album. which prepared us for the heat to come on there goes the neighborhood. With a trio as talented and versatile as this, we’re given a different flavor with each track on the album.
In the project’s intro, “yessir,” we enter the group session with confident words of affirmation: “Look like diamonds when I glow / Turn my trauma into commas / Take my time before I go.” Further along in the project, we have Jadagrace providing untamed and well-timed idiomatic bars over a Dee Lilly beat on the project’s first single, “raise it up!” which was released with a nostalgic music video paying homage to an early 2000’s classic, Bring It On. Things slow down with the project’s latest single, “watercolor,” a melodic track clothed in R&B. The project’s striking and abstract artwork is brought to us by ASLUR, which sees the three members distortedly and pleasantly portrayed in blue, orange and purple.
Therapy Through an LP – Nocturnal
From Connecticut-based hip-hop artist Nocturnal, conceptual album Therapy Through an LP has found a home in my library, and here’s hoping this project couch-surfs its way over to yours as well. The 15-track project cleverly begins with the outro which then leads into the spoken intro– a dialogue between the artist and a therapist over distorted dial tones and rising strings, preparing us for the voyage ahead. Nocturnal lays it all to bear throughout the project, staying true to the theme. Nostalgic, hungry production is a puzzle-piece perfect fit with Nocturnal’s classic cadence and merciless lyricism; Therapy Through an LP is a bloodthirsty and poignant exposition of what it means to feel without inhibition and leave it all on the page– or the mic.
“Broke Times” – Huckleberry Funk
Bringing in some hometown pride, we have Indiana-based Huckleberry Funk entering the ring with “Broke Times,” which hits a little too close to home. The best way to describe Huckleberry Funk is as a melting pot of sound– a sprinkle of hip-hop, a pinch of R&B, dash of soul and a whole lot of funk, of course.
In an email to TGG, Huck Funk’s lead singer Dexter Clardy details his hopes for how “Broke Times” may serve those who listen, saying the track “speaks a firm message that as people listen, it more hopefully can turn into more of an affirmation for folks to no longer allow themselves to be broken. Broken whether that be financially, in spirit or in faith in oneself.” Clardy continues with a concept I’m sure we’re all very familiar with, saying, “It’s very easy in this world we live in to get caught up in the day to day rat race of life, and follow the path we’ve been told all our lives. ‘Go to school, graduate, get a good job and you’ll be happy.’ We’re always told that we should follow dreams, but oftentimes aren’t encouraged, nor do we allow ourselves to do so once the time to actually grab life for ourselves comes.” Clardy closes with some final keys of wisdom: “We all have the same 24 hours, but what we do or don’t do with that time is up to us.”
“If I Gotta Run” – Tim Chadwick
Irish pop artist, Tim Chadwick is no stranger to identity confusion; in an interview with Gay Times, the artist spoke on his struggles with coming out, saying, “…when I came out I was actually struck with a lot more anxiety than I had before, because now there was this expectation that I would be my true and authentic self – but if you’ve never been that, how do you know what that is? I came out when I was 21, and it’s taken me until now – and you can see it in the music – to own my sexuality and finally be comfortable in a setting where everyone else is so proud and just being themselves. I tried to fit in to be straight and that didn’t work, so I was like, obviously I need to come out, but then it was like, ‘I don’t know how to act now’. It wasn’t that big euphoric coming out that I thought it would be. It was very much like, ‘Oh well now I have even more soul-searching and growing up to do’.”
Since 2019’s “I Need To Know,” the artist’s career has seen a steady incline and Chadwick is leaning into his booming emo-pop sound with his latest, “If I Gotta Run.” The single’s predecessor “Only Me” personally read me for filth so you could imagine my excitement at a new release from this one-of-a-kind artist– thankfully, I was not disappointed. “If I Gotta Run” couldn’t have come at a more perfect time for my fellow singletons during the most confusing time of the year: cuffing season. Chadwick is set to release a 5-track EP in January of 2021, so for now, we’ll be dancing in our bedrooms alone, eating the crumbs he’s so graciously left for us.
“Terry Crews” – Lo Village
TGG favorite Lo Village released an open letter in the form of “Terry Crews” to the actor back in October. In case you missed it, the actor has been in the hot seat for quite some time for his controversial takes on the BLM movement via Twitter. Lo Village’s discordant single, produced by Frankie Scoca features pensive verses from group members Ama, Kane and Tyler. The track is not only a letter to Crews but is addressed to others whose perspective might have become blurred by their own celebrity and status, as the melodic phrase “the money not gon’ save you” is sprinkled throughout. With the single comes a can’t-look-away visual from 3D artist, Daun, where Crews’s warped and lifeless floating head rolls to and fro.
If after this feast, you’re still hungry, listen to the roundup playlist, updated every month:
Disoriented and emerging from a cocoon of despondency, it is I, Jessica. I have arrived to perform my civic duties of providing you, my friends and readers, with the fuel we all need to power through these dark days– those good, old fashioned bops. Join me as we traverse my library’s recent history and enjoy the roundup playlist. For extra sauce, follow my autumn playlist, updated daily to decorate the season’s memories. Now, back to our semi-regularly scheduled programming.
“The Hardest Part” – Olivia Dean
Drawing inspiration from brutally honest songwriters like Amy Winehouse, east London’s Olivia Dean has no qualms about airing out dirty laundry. With her latest single, “The Hardest Part,” Dean unleashes uncomfortable truths about the struggles of moving on with an undeniably catchy hook. “The Hardest Part” is one of those songs you wish was just a minute longer; Dean’s smooth-as-butter vocals in tandem with the chorus’s beat drop leaves you with no choice but to hit the “Repeat” button just 30 seconds in.
Home – Masukified
Chicago-based independent Masukified released 7-track EP, Home, a little later than he had originally planned. Just two days prior to the EP’s intended release, the artist announced that the EP wasn’t quite ready yet, pushing the release back 10 days. Home was worth the wait. An endearing and fervent tribute to the his roots, the project gives us an up-close-and-personal look into who Masukified, or TJ, is– not only as a creative but as a person. The EP’s first single, “Nice to Meet You,” is epitomal of this artist’s unique brand of goofy-meets-heartfelt hip-hop.
“Scream Drive Faster” – LAUREL
With LAUREL, we have another lyrical and vocal powerhouse Londoner on the list. DOGVIOLET, LAUREL’s hauntingly evocative debut album was released in August of last year but has sadly only recently been on my radar. LAUREL released her latest single, a collaborative effort with producer Chrome Sparks, almost a full year after DOGVIOLET’s release. On a road paved with electronica and spirited bass, “Scream Drive Faster” finds you running from your problems, riding passenger in Doc’s DeLorean as you travel time back to the 80’s.
Morph – Tiny Jag
Hailing from Detroit, artist Tiny Jag presents 6-track EP Morph. Garnering artistic inspiration from the likes of Santigold and MIA, Morph is a creative exploration into the slightly warped universe that is Tiny Jag’s mind. The artist flexes her versatility with unique bangers rooted in gritty Motor City hip-hop like “Gone Fishing,” “Twin Flame” and “Weapon” then later unlocking the emo-tinged “City Kids.”
The Daydream – Later.
This 16-minute EP from Parisian alt-pop band Later. is a wistful 5-song collection best described as smooth, like fresh pavement. Upon the first listen of this EP, I was immediately called to the open road, so I hopped right in my trusty chariot and took her for a quick drive. From the first zesty bass riff in “All the Time” to the final “oohs” in “Daydream,” this project embraces like a warm hug and leaves you in a daze.
Renaissance – Lola Young
Born from a union of neo-soul ethos and folk storytelling, we have the UK’s Lola Young next on the list. Renaissance, a 3-track bundle, follows the artist’s debut EP, Intro, released last November. The 19-year old BRIT school dropout grasps messy concepts of distorted love and romance with maturity and a little bit of bite on “Pick Me Up” and “Same Bed.” The trio of songs ends with the stripped and feisty diss track, “None For You.”
“Amber” – Unusual Demont
Wisconsin-based artist Unusual Demont’s forthcoming EP, Hues, is an aural memoir of the artist’s past relationships. A tasty appetizer before our presumably juicy main course, the artist’s debut single, “Amber” was released in August and has remained in rotation since.
Happiness in Liquid Form – Alfie Templeman
17-year old Alfie Templeman is just a kid who wants to make good music, unaffected by any other hullaballoo within the industry. That very same exuberance and thirst to create the wave is evident throughout Happiness in Liquid Form, the artist’s fourth EP. Templeman, who was allotted a myriad of musical opportunity in his upbringing, has made good use of his resources; the varietal and slightly experimental instrumentation throughout his catalogue is what sets him apart from others in the bedroom pop genre.
Thank God Its Monday – Malz Monday
Malz Monday’s debut album, Thank God Its Monday, is a staggering showcase of Malz’s talent with the pen and limitless sonic potential. An artist’s debut is oftentimes make or break; lucky for Malz, he possesses the raw talent, wit and hungry determination to make it. Having gained initial traction from his YouTube channel where he would post weekly freestyles, the New York rapper has come a long way, landing a spot on NBA 2K21’s soundtrack with his single “How It Is.”
“Take Me Where Your Heart Is” – Q
Rounding out the roundup is Florida native, neo-soul artist and anomaly, Q. Following his 2019 EP Forest Green, Q releases “Take Me Where Your Heart Is,” a romantic track that perfectly encapsulates the blind hope and excitement new love can bring. Q released an endearing music video for the single where he’s seen serenading the object of his affection in a bowling alley, capturing the innocence of young love.
Yet another month down in the boiling cauldron that is 2020! How did we get here? I honestly haven’t the slightest clue, and I don’t know about you, but August really tested my patience and well-being. Now, that’s enough negativity for today– let’s get to the goods. As per the norm here at The Greater Good, I’ll be guiding your tour today through Bop City, rounding up this month’s picks. Please keep your extremities to yourself at all times. Follow the roundup playlist and save your favorites!
What Could Possibly Go Wrong – Dominic Fike
Dominic Fike’s debut album, What Could Possibly Go Wrong, was on regular rotation for me this month. Fike put himself on many people’s radars (including producer Kenny Beats) with 2017’s Don’t Forget About Me, Demos, which the artist recorded during house arrest and originally released while serving jail time. What Could Possibly Go Wrong is a body of work that mirrors Fike as an artist himself– unpredictable. As one of my good friends so accurately described the project: “He went from MGMT to Frank Ocean.” Favorite tracks: “What’s For Dinner?,” “Cancel Me,” “Good Game” and “Superstar Sh*t”
SuperGood – Duckwrth
“It’s classic, in essence — the shit that people fell in love with in the ’70s and ’80s and ’90s,”says Duckwrth of his major label debut, SuperGood. A romantic oeuvre, similar to Mac Miller’s The Divine Feminine, SuperGood seems like it was created for the ladies and those who love them. The album is a perfect summer send-off, with equal parts sonic nostalgia, sensual charisma and good, old-fashioned boppage. Favorite tracks: “Kiss U Right Now,” “Did U Notice?” “Tuesday” and “Super Good”
“Brown Skin” – Cam the Artisan
Atlanta rapper, Cam the Artisan made TGG’s playlist last month with smooth-as-butter and lionhearted “WYA?!” from his debut album, Hues. Cam’s latest single, “Brown Skin,” produced by Ashton McCreight, is just as addictive, to say the least. Another certified banger for the list, this record will provide nothing less than the best vibes for your summer function– money back guaranteed (by me).
“Something Good” – Harley Sulé
It wasn’t until after the 8th rotation of Harley Sulé’s “Something Good” that I came to the realization that I had been held hostage by a song. Please tell my mother I love her. The record is Sulé’s debut single under his own moniker; previously “anonymous” under soulful alias Jimi Charles Moody, the artist is nowhere near new to the game. The versatile artist also makes up one half of the UK hip-hop duo, Rizzle Kicks. Surgeon General’s Warning: If consuming “Something Good,” be weary of your surroundings as it may take you the way it took me.
“Without Your Love” – APRE
APRE released “Without Your Love,” the second single from their forthcoming project, Always In Your Head, last week. The UK-based alt-pop duo consists of members Charlie Brown and Jules Konieczny. The artists summarized the single as being “about the idea that you shouldn’t force yourself to make the relationship work – appreciate what it’s done for you, and keep moving forward in your life.” The single is one of my favorite breeds of song– upbeat, hopeful production with contrasting somewhat somber lyrics. Always In Your Head is set to be released in November.
“Comfortable With Myself” – Blaine Legendary
Self-described as having a “demeanor like Clark Kent but a stage presence that’s Superman,” Blaine Legendary is comfortable with himself. So much so, he wrote a song about it and we’re that much better because of it. The single’s music video is a reminder that although this year is a dumpster fire, we’re all burning together, so why not make the best of it and enjoy ourselves in whatever way we can?
“WIYULD” – Evann McIntosh
Continuing the theme of self-love and self-acceptance, we have 16-year old Evann McIntosh entering the ring with leviathan-level confidence with her latest single, “WIYULD.” This alt-bedroom-pop anthem is a record for those who need reminding that they are indeed a force with which to be reckoned. I’m talking to you. Yeah, you.
rest up – boy pablo
Following recent singles “hey girl” and “honey,” Norwegian artist Boy Pablo recently released two-track single pack, rest up, in anticipation of his debut album, Watchito Rico. The DIY artist has fine-tuned his sound since the 2017 viral success of his single, “Everytime,” leaning into his specific brand of sleepy, romantic bedroom pop. Perfect for those nights in, “rest up” is an exemplary addition to your self-care playlist. Watchito Rico is set to release October 23rd. Watch the absurdly charming video for “hey girl”:
“SULA (Paperback)” – Jamila Woods
If you don’t know, I am a certified Jamila Woods stan. There’s simply no other way to put it, and I have no qualms about being labeled as such. The artist’s debut album, 2017’s HEAVN personally helped me through some tumultuous times. Her latest album, a conceptual project of sorts, last year’s LEGACY! LEGACY! highlighted influential Black figures throughout modern history, further solidifying her position as an icon herself. Her latest single, “SULA (Paperback)” pays delicate homage to the Toni Morrison novel. “Sula was the first Toni Morrison novel I ever read and it inspired the first chapbook of poems I ever wrote,” the artist said in a press release. After revisiting the novel years later, the artist said, “It reminded me to embrace my tenderness, my sensitivities, my ways of being in my body. This song is a mantra to allow myself space to experience my gender, love, intimacy, and sexuality on my own terms.”
Fluttering about anxiously with bright-eyed optimism and breathless anticipation, Bea Bitter’s latest single, “Serpent,” perfectly encapsulates the drunken euphoria of plummeting down The Rabbit Hole of Something New. Similar to those colorfully winged vibrating insects, this song can be felt in the gut. The single’s bewitching instrumentation tells a story of its own– a bass-driven expedition, gracefully catapulting our vessel into an ocean of brassy swells with beautifully assembled elemental percussion navigating the route. “Serpent” is Bea Bitter’s Siren Song.
The single follows Bitter’s first solo endeavor, “Dopamine,” a melancholy song about coming to grips with the love lost over a relationship’s lifespan and the sudden sobering realization of what the self truly needs in order to be happy.
“I think ‘Serpent’ is almost the emotional antithesis to ‘Dopamine,’ in a way,”the artist told The Greater Good.“The song is about deeply wanting to be intoxicating and entrancing to someone in the way that they are to you— it’s all about longing and desire, whereas ‘Dopamine’ is about being stuck in a relationship that feels dull, muted, and suffocating,”she continued, “I think you hit the nail on the head, the lyrics for ‘Serpent’ were definitely inspired by those butterflies you get when you are absolutely infatuated with someone, and all you want is for them to see you the same way.”
I asked the artist about the trials and tribulations she’s experienced while being a young maverick in the industry, to which she responded, “I would say being an independent artist comes with restrictions in the way you can make your ideas become a reality when it comes to resources.” She continued, “It can feel lonely and a drudge in the worst moments, but those are the moments I try not to dwell on.” Keeping your circle full of those whose energies rejuvenate and inspire is of the utmost importance to help stave off the looming malefactor for any creative– burnout. “I’ve found that by surrounding myself with artists of all mediums that I respect and admire, we as a community can create some really beautiful stuff that we can showcase and be proud of.” She continued, “I think it’s so important to build up and support the creatives around you— I mean some of my favorite artists are also my closest friends. I look forward to watching them grow and pursue their art and hopefully grow alongside them.”
The young artist has much more in store for the future– in addition to an upcoming stand-alone single, “Pocket Knife,” Bea Bitter is currently working with Max Colbert crafting and formulating her debut EP, aptly named The Lull Before the End of the World.