Great Records You May Have Missed: August 2021

Great Records You May Have Missed is a month-to-month music column highlighting a handful of latest releases we actually take pleasure in that you just may not have heard about elsewhere. It’s curated and written by former Paste music editor Lizzie Manno, so please inform her in the event you discovered one thing in right here that you just love. Explore all editions of the column right here.

In a month characterised by rats doing the backstroke, a devastating hurricane and poop within the Turnstile moshpit, I did my greatest to search out peace wherever I may get it. For August, that meant watching a number of soccer, enjoyable on my entrance porch and attempting to persuade myself that binge-watching The White Lotus wasn’t an entire waste of time.
On the music entrance, I allowed myself to hearken to songs that make me really feel good over and over—one thing I don’t do fairly often, as a result of there’s a lot music at our disposal that relistening with no regard for the play rely appears like an indulgence. I even have an unhealthy fear that listening to a music I like sufficient occasions will finally spoil it—form of like the way in which many individuals can take a superbly good picture of themselves, after which discover one thing they don’t like about it after gazing it lengthy sufficient.
For the previous couple of weeks, a type of indulgences has been Kiran Leonard’s “Sights Past.” Leonard is one among my favourite singer/songwriters, and his new single is so nice that I attempted to search out one thing mistaken with it to keep away from sounding loopy and hyperbolic in my reward—as a result of how may something sound this highly effective—however I got here up empty. Spanning 17 minutes of ambient folks magnificence and violent art-rock thrust, this music is a primal flood of emotion, and in the event you’re feeling the load of the world in your shoulders, it’s going to break you down and construct you again up in one of the simplest ways doable. Stay tuned for extra on Leonard in subsequent month’s version of this column.
Another prolonged tune that caught my ear in August was Angus Johnson’s “Something To Be Done,” a heat, folky electro-pop quantity with a killer crescendo. And if that music makes your ear perk up, I extremely suggest trying out his different mission, Savage Mansion, a captivating indie-rock band from Glasgow. Plus, I discovered solace in Peel Dream Magazine’s collaboration with Living Hour, “Double Bus.” At this level of their discography, I’ve realized to by no means underestimate the therapeutic properties of a Peel Dream Magazine music, and after dipping my toe into Living Hour’s again catalogue, I presume the identical is true of their music.
Now, for some extra phrases about good sounds, listed below are half a dozen August releases that brightened my month and are price your time.

Sault have solely been round for a couple of years, they usually have but to make their reside debut, however in a brief window, their 5 albums of forward-thinking soul have captured hearts and minds from all around the world. Sault vocalist Cleo Sol additionally releases music below her personal identify through the identical impartial label that unfold the U.Okay. group’s songs far and vast, Forever Living Originals, and her debut LP Rose within the Dark arrived final 12 months. Her album largely flew below the radar, however listeners will have the ability to detect related sorts of subtle aptitude and emotional honesty that additionally make Sault so electrifying. Sol grew to become a mom earlier this 12 months, so it’s solely becoming that her follow-up report is a celebration of the gravitas of motherhood. The LP is titled Mother, and in accordance with Sault’s Inflo, who produced the album, Sol recorded a lot of the vocals along with her child in her arms. Mother is probably the most understated launch from the Sault universe to this point, choosing gradual piano numbers and tidy instrumentals that enable Sol’s vocals and lyrics to do a lot of the heavy lifting, heightening the report’s intimacy. Sol writes in regards to the enduring love between generations, and the way religion and resilience have solely strengthened these bonds. Her compassion is unwavering, although she doesn’t draw back from describing the extra messy, conflicting feelings that threaten one’s persistence and dedication. The sudden gospel rush halfway into “Don’t Let Me Fall,” peppered with traces about fostering love, is a excessive level, as are the delicately fairly vocals on “23,” which hover over harp swells. And in the event you’ve already devoured the grace of each Cleo Sol information, you can too hear Sol on “Woman,” a monitor from Little Simz’ new album Sometimes I Might Be Introvert.

The new songs from Vancouver trio Curves scratch a number of itches. “Crybaby,” the opening monitor of their lo-fi mission Women’s Fitness Centre, is likely one of the funniest, grubbiest songs I’ve heard shortly, evoking crazed eyes and violent giggles, and the tune itself is fairly rattling good, too. Their raveled vocals are bratty to the core, heightening the humor of their lyrics, which discover the narrator berating themselves as a “loser,” “substance abuser,” “bonafide crybaby” and, maybe the sharpest dagger, a 2012 Mitt Romney voter. They additionally mimic the cries of an precise child with a snotty snarl, a becoming inclusion to a music filled with bluesy punk crud. Then comes the happy-go-lucky guitar pop of “Models,” which is sonically cleaner, but additionally packs some smirk-worthy lyrics. “No, you’re not a well-known mannequin / But you’re filled with issues that I wanna bottle,” they sing with appeal. Curves sound extra moody and aloof on “Skinny Bitch,” a music in regards to the burning concern of loneliness, they usually present their smooth, sentimental facet on “Malt Liquor,” an ode to clumsy, younger love. They even maintain the distinctive honor of releasing the perfect Galaxie 500-esque tear-jerker a couple of forklift (“Never Leave a Forklift Running If You Aren’t Certified”). The fairly melodies, garbled background voice, backwards guitar loops and refrain vocals that begin to journey over themselves create this glorious, ’90s lo-fi sound, concurrently triggering emotions of heat security and heartbreaking remorse. Reader, after I inform you I wept over this music, I imply a couple of occasions. While nearly all of the songs on Women’s Fitness Centre are a scrappy good time and prime candidates for a sticky dive bar, particularly in the event you’re feeling washed up and simply wanna drown your sorrows with pals round, you’d be promoting your self quick in the event you didn’t additionally use these for an excellent cry in your bed room or some menacing laughter throughout your morning commute.

Admittedly, any launch with the title MAXIMUMBLASTSUPERLOUD would’ve caught my consideration, however Dazy’s latest compilation has proved to be a lot greater than its eye-catching identify. And positive, this launch has loads of thundering girth, however the band pairs it with basic, tuneful pop, which, in my guide, is likely one of the most deadly mixtures in all of music. Virginia-based musician James Goodson is the only real mastermind behind Dazy, and this newest launch collects the whole lot the band’s put out to this point—two EPs plus 4 singles with accompanying b-sides—together with a handful of beforehand unreleased songs. Recorded at residence with a lone mic and amp, these songs are loaded with lo-fi rock goodness of the facility pop and Britpop varieties, and a few of the vocals even have an emo-adjacent appeal. Their distorted guitars present a colossal rumble all through the entire report, and the sun-drenched melodies make it an absolute must-listen throughout these dying days of summer time. One of my favourite moments is Goodson’s citrus-themed chorus over delectable, modulated guitar squeals on “Crowded Mind (Lemon Lime),” together with the swagger and meaty drive of “See The Bottom.” I view this album as a cousin to latest releases by equally sunny lo-fi pop/rock outfits Alien Boy, Pendant and Young Guv—which is to say it not solely appeals to my pursuits, nevertheless it additionally completely rips. Just like many genuine pizzerias forbid takeout to protect the pizza’s integrity, you need to crank this album as loud as you’ll be able to or by no means.

Skydeck’s groovy, pop-oriented music falls someplace between electro-pop and post-punk, mining the sounds of ’80s new wave whereas chatting with the grave anxieties of the current. Armed with a eager understanding of our demoralizing financial actuality and relatable fears in regards to the future, their songs are as sharp-tongued as they’re stylishly magnetic. The Australian duo’s second album Coupon opens with “Dogshot,” which showcases this mixture of impressed wit and earworm-y goodness. The bass-driven pop tune facilities on the gig economic system and the way in which capitalism tends to mutate in terrifying new methods (“Nothing’s modified, you simply name it by a distinct identify now”), and I can’t say there’s one other 2021 music I’ve hummed extra fervently than this one. Their FM synths and programmed drums deliver a sterile, retro sheen to the whole lot they do, whereas their guitars add dynamic distortion and a much-need rawness. Their songs are versatile, largely because of the contrasting kinds of their vocalists—Dom Kearton opts for melodic pop, whereas Mitch Clemens speaks in a confident low tone. Clemens brings a pensive dread to songs like “No Change” and “Salt,” whereas Kearton provides their songs a kick of bittersweet pleasure. The forlorn nature of Coupon usually fills out the foreground, which makes for a cathartic sulk, however don’t underestimate Skydeck’s euphoric talents. The candescent guitar warbles on “Uptight” are chic, and the enlivening melodies of “Anthony” finish the album on a heartwarming excessive. Coupon finds the band, like many individuals, on the crossroads of “a greater world is feasible’’ and “we’re past fucked,” and whereas this album received’t push you by hook or by crook, possibly it’s sufficient to know we’re not alone—but when it’s not, then holy hell, Skydeck are simply plain good at pop music.

Last 12 months, Chicago post-punk outfit Stuck launched their debut album Change Is Bad. It brimmed with forceful, intricate guitars, and it captured the form of nervousness and emotional pressure that rapidly adjustments type, merely subjecting you to a trip in its sidecar. While the album was largely written out of introspection, processing the extra obscure, skin-crawling emotions of residing in our present hell, their new EP Content That Makes You Feel Good examines these social and political agitations on a bigger scale. With extra exaggerated vocals and a bit extra rhythmic muscle this time round, they hone in on the methods capitalism alienates, exploits, and manufactures consent. Their guitars alternate between nimble fast turns and swaggering, dirty wallops, whereas vocalist Greg Obis spits right into a frenzy or at the least wears an amused smirk, including to the exasperation of their sentiments. “Labor Leisure” lays out the far-reaching ramifications of a work-obsessed society, whereas “Serf the Web” unmasks the ugly cycles of on-line gratification and alienation, and describes how artwork is inherently at odds with our sociopathic, data-driven world. “City of Police” and “White Lie” then shift the main target to unaccountable oppressors and the devastating sacrifices we make to maintain the system churning. Crucially, the latter monitor additionally addresses the lies capitalists inform themselves to really feel higher about their exploitation, and even perhaps extra depressingly, the lies common folks inform themselves to quell their resentment. We reside in a time when so many horrors and darkish forces mix collectively, making it troublesome to diagnose the supply of our basic malaise, however Content That Makes You Feel Good succeeds in explaining why scrolling by means of Twitter makes you depressing, and why your self-care matcha latte doesn’t truly make you’re feeling higher.

California singer/songwriter Chloe Zelma Studebaker makes dewy-eyed folk-rock as Zelma Stone. Following 2019’s Layla and 2020’s Dreamland, Studebaker has returned with a 3rd EP, The Best, and its glimmering sway is tough to withstand. With its pedal metal heat, calming mid-tempo tracks and Studebaker’s majestic vocal airiness, you’ll be able to virtually really feel the glow of golden hour. The Best facilities on grief—not the speedy aftermath, however the level at which you lastly begin to really feel your self transferring ahead once more. It’s sprinkled with messages of weighty encouragement, and reminds us to be light with ourselves, notably in occasions after we should change course with the intention to regain our sense of self. It’s a cleaning, reassuring pay attention, and conversely, its rustic, weathered guitar tones pay reverence to inevitable bumps alongside the highway to restoration. The unhinged, wailing guitar solo on “Money Honey” appears like a symbolic opening of the emotional floodgates, whereas her beautiful, breathy vocal efficiency represents a headstrong tranquility. “Sea of Diamonds” finds Studebaker amassing cherry blossoms, which characterize renewal and optimism, and she or he pledges to “by no means allow them to go”—it’s a heartening recognition of self-worth and the significance of creating particular, intimate pacts with your self. After a interval of loss, Studebaker has discovered knowledge, regained her want for companionship and, most significantly, saved up reserves of persistence for herself, and due to that, these songs are extra than simply glowing, timeless pop music—they’re fantastic works of poise.

Lizzie Manno is a music author, Coldplay apologist, bread lover and Spongebob memer. She’s a former Paste editor, with bylines at Billboard, Cleveland Scene and GRAMMY.com. Follow her on Twitter @LizzieManno

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