New Track Jukebox – 8/27/21

A jukebox themed weekly recap of notable new releases

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CONTRIBUTIONS FROM: John Peterson and Samantha Sullivan

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A 40 minute confessional, Any Shape You Take sees De Souza dwelling on death, struggling through change, and lighting up over love. With a certain car-crash intensity she makes you feel like the world is simultaneously magical and miserable. Whether you’re screaming-crying to “Kill Me” or blushing over “Hold U” she captures all the coming of age ambivalence. – Samantha Sullivan

Madeline Link will make you totally lovesick with this Iceage cover. As she half-whispers about trying to get as close as she can to someone, her soft finger-plucking feels like drifting to sleep. Delicate and dreamy, this song is the auditory equivalent of a butterfly kiss. – Samantha. Sullivan

It was a pleasant surprise to hear the boys of Griselda dropping lines on Kanye’s highly anticipated album, Donda. Known for their hard hitting and old school approach to rap, Westside Gunn and Conway The Machine’s verses work astonishingly  well in a new environment. Church-like synth-organ and a powerful chorus from KayCyy add new depth to Griselda’s sound. – John Peterson

The ode to 7/11 you’ve been waiting for. The most relatable 1:15 of your whole week. “And I got me a slurpee, and it’s on the way, ‘cause they’re open 24/7.” – John Peterson

CHAI can do anything. Slinking and synth-heavy, “Miniskirt” is a major jump from their usual bubble-gum pop, however it’s just as infectious. – Samantha Sullivan

Closing the new Big Red Machine album, “New Auburn” sees Anaïs  Mitchell take lead in an emotional ballad. Instrumentally, the track plays like an extended hug, but Mitchell’s vocals are what really sell the song. The maker of Hadestown blends well with Justin Vernon’s voice, but accomplishes the rare and impressive feat of outshining him. – John Peterson

What if it was PINK? The new Turnstile album has some ups and downs but this one is definitely an up. The light and groovy verses contrast perfectly with the much heavier chorus. It’s modern. It’s classic. It’s pink. – John Peterson

After a string of boring singles following his impressive 2020 album, Colores, J Balvin seems to have discovered an interesting sound in this collaboration with Tokischa. Her unique voice provides a great contrast to J Balvin’s usual laid back approach. – John Peterson

Men I Trust return with their usual brand of unobtrusive bedroom r&b. Overall, the album leans towards a forgettably pleasant listen, but certain stand out tracks like Sorbitol succeed in elevating their sound with a unique sonic palette and beautiful melodies. – John Peterson

New Beach Fuzz new Beach Fuzz new Beach Fuzz. The Philly band’s new Losing Touch EP delivers delicious end of summer vibes with warm vocals, groovy guitar, and beautiful chords. Under the Waves is the perfect song for anyone who likes artists like Boy Pablo or Dayglow. – John Peterson

I’m not even going to review this, it’s just that good. Consider this your official PSA to listen to it. – Samantha Sullivan

Up for Debate:

Despite the fact that The Velveteins debut album, Slow Wave, came out 4 years ago, they still sound exactly the same. It isn’t necessarily a bad thing, but it does make you wonder how much balmy dream-pop 4 dudes can make. Their latest single isn’t bad, it’s just more of the same. – Samantha Sullivan

You shouldn’t mess with perfection, yet that’s exactly what Dehd seems hellbent on doing. After they announced they would be releasing a version of Flower of Devotion, featuring remixes done by their friends, they were met with some skepticism. While Lala Lala creates something cool, it ultimately feels a little unnecessary. – Samantha Sullivan

Though the atmospheric beat is by no means one-dimensional, the vocal deliveries from Blackman and Albarn are unable to generate enough energy to carry the track. The flurry of quirky synths provide plenty of ear candy, but the song as a whole is ultimately damned to a chilled-out purgatory. – John Peterson

“Orange” is a climate conscious waltz, which tells you about as much as you need to know. The vocal performance is stellar, but both the instrumental and lyrics fall into banality. Honestly, the full band version seems to take away from the charm of the songs original acoustic release. – John Peterson

Admittedly, it’s pretty ballsy for Halsey to team up with Trent Reznor and Atticus Ross of Nine Inch Nails fame. There’s a dark edge to her new album that feels more honest than most of her previous work. Dissonant piano chords can only bring you so far, however, and the songwriting is simply subpar. – John Peterson

Get off the Aux:

The unfortunate truth that Selena Gomez has yet to accept is that she’s not a very good singer. Despite the pleasant production and catchy melodies, this song is ultimately inhibited by an unconvincing performance and bizarre vocal affectations. – John Peterson

Good thing Lou Reed is dead, I wouldn’t want him to hear this. – Samantha Sullivan