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Reviews

Navigating Dreamland: Sarah Meth’s Dead End World

London-based 20-year old songwriter, Sarah Meth, released her debut EP, Dead End World, last week. Consisting of just four songs, the EP was written over three years ago. “Dead End World is an EP I wrote during my teenage years, so naturally the lyrics are more centered around trying to make sense of the near-adult world around me, as well as who I was at that age,” the artist said of the project. Dead End World is a showcase of Sarah Meth’s confounding songwriting abilities accompanied by exquisitely assembled instrumentals.

Similar to the illusory experience of waking several hours before the sun on an early Sunday morning, the EP’s intro, “If Only You Knew,” leaves you in a fog, feeling somewhat isolated yet hopeful for the day’s potential. The song’s hazy layers of brass and strings interwoven with Meth’s lush vocals will find you wandering through daydreams without haste or any desire for grounding.

The EP’s title track comes next, guiding us through our continued delirium. “Dead End World” is the disembodied hand poking through the fog, and because we’ve just been left in a daze, we blindly reach out to follow suit. Despite being written 3 years prior to the EP’s release, the song eerily and aptly portrays today’s societal climate: “I see hospitals surrender to people sickly thin / but those first in line don’t seem to bat an eye / because they have the money rolling in / and our friends, our friends are dying / because of the color of their skin / so we cry because the system just ain’t right / but the sirens aren’t sleeping tonight.”

“Tangled,” the artist’s latest single follows the title track. The song is a stripped, raw reminder that as easy as it is to give all of ourselves to another, self-love should always hold precedence. In a press release, Meth said the song is “really a ‘note to self’ about how easy it is to get knotted up in the way you feel. It’s meaning to me continues to change over time, but it’s a song that always seems to make sense when I come back to it.” Watch the artist’s intimate live performance of the song:

“What Does It Mean” is our reflective and groggy end to the lucid dream that is Dead End World. Written when Meth was just 15, the song examines community standards of womanhood. Throughout the brief, 3-verse song, we hear Meth navigating the familiar– sadly, often sordid– path from adolescence to adulthood in the position of a young woman: “What does it mean if everything I stand for / is betrayed by my greed to give myself away? / and so, I lose all of my dignity / have I failed to be / everything a woman should be?

Listen to Dead End World here.

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Look & Listen

August Roundup

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.
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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.”

Categories
Interviews Reviews

Capturing Butterflies with Bea Bitter

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.”

Hailing from Nashville, TN, Bea Bitter, or Brenna Kassis, gained primary traction with indie-alt band Ill Spector. Former Ill Spector band mate and life-long friend of Kassis, Max Colbert is responsible for the single’s production. Fellow Nashville artist, Noah Nockels, mastered the track.

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.

Categories
Reviews

Charlotte Day Wilson’s Sad Girl Summer

Charlotte Day Wilson has somehow managed to acquire the coveted recipe for sonic success, consisting of the following compounded elements: the emotive prose of a celebrated folk songwriter, unique vocal capabilities– unobtainable by us mere peasants– and equal parts both heart and soul. Whether the artist made a deal with the devil in exchange for her creative gifts is yet to be determined; Wilson steers her metaphorical wagon down her own musical lane, taking alternative routes to the final destination: The Feels. In this week’s continuation of Sad Girl Summer, we’re covering Wilson’s most recent release, a transcendental single two-pack: “Take Care Of You” and “Summertime.”

Produced by Wilson and Jack Ro, the singles are an auditory expedition, with whispering acoustic instrumentation progressing into layered and augmented swells. On “Take Care Of You,” Wilson is joined by Syd, best known as the front-person for R&B collective, The Internet. The song is a sobering plea for vulnerability and trust, a delicate topic to broach with any relationship flight risk.

Wilson balances coping with the detachment from a romantic partner and welcoming the almighty villains of interpersonal relationships: time and distance with “Summertime.” The track gives us a sample tasting of the specific breed of confusion often only found in love, leaving us in a mental fog long after the song’s breathy outro. The track is short, coming in at two minutes and thirty-two seconds, and begs to be repeated.

With a catalog chalked full of collaborative efforts with the likes of Daniel Caesar, BADBADNOTGOOD, and KAYTRANADA, the vocalist surpasses others in the game with a trained yet subdued passion and funereal gloominess. The singles come almost a full year after Wilson’s 2019 single, soulful and somber “Mountains,” which continues to be in TGG’s regular rotation. The artist has yet to release a full-length, so here’s hoping this dual drop is foreshadowing the artist’s album debut.