I Listened to World Wide Whack by Tierra Whack

 
Tierra Whack is one of my favorite artists. She is creative and unafraid to experiment and take risks with her music—i.e. her debut album, Whack World (2018), had fifteen songs and none of them were longer than one minute in length. So, when Tierra Whack is involved, I’ve come to expect the unexpected. And with that, welcome back to the music minded corner of Our Thoughts Precisely!

Don’t let the cheery, quirky, and colorful imagery—or its most lighthearted tracks like Shower Song and Moovies—fool you. Tierra Whack’s new album, World Wide Whack, released on March fifteenth, is a deep, contemplative body of work that often approaches (and examines) darker topics—think depression and so forth. It opens with Mood Swing, setting the tone for what’s next. And then it transitions into tracks like Ms Behave, Difficult, and Numb, before ending with 27 Club—which really drove home the themes and statements present on the album.

Tierra Whack’s production is always quite interesting to take a look at, and it’s a highlight of the album. She can catch a beat when rapping (Ms Behave, Snake Eyes, and X), and the background music perfectly meshed with her vocals and, ultimately, suited the tone of any given track, even if it didn’t seem like it would work.

As far as second albums go, World Wide Whack is an excellent one.

I Listened to Act ii: Cowboy Carter by Beyoncé

I’ve been anticipating the next part of Beyoncé’s trilogy project, which began with Renaissance’s release in 2022. Now, about two years later, she’s returned with Act ii: Cowboy Carter, which was supported by two singles (16 Carriages, Texas Hold ‘Em) released on February 11th, after a commercial that aired during this year’s Super Bowl. And with that, welcome back to the music minded corner of Our Thoughts Precisely!

When Beyoncé said Cowboy Carter was a Beyoncé album, rather than just a country one, she was telling the truth. There are hallmarks of the genre present throughout, but it’s a Beyoncé album: pitch switches, harmonies, and superb production with incredibly smooth transitions. As a follow up to Renaissance—one of my favorite albums—Cowboy Carter, with twenty-seven tracks, exceeded my expectations. From the artists she collaborated with, to covering classics— with Jolene and BlackBiird—with minimal (but meaningful) changes, to a wealth of original material, Cowboy Carter is an experience. It’s one that’s almost cinematic in the way it handles its concept and themes as well as smaller details—like having a full circle moment between the opening (Ameriican Requiem) and the closing track (Amen).

Like The Weeknd’s Dawn FM (2022), Cowboy Carter is structured like a radio broadcast complete with DJ interludes featuring artists like Linda Martell, Dolly Parton, and Willie Nelson (for example: Dolly P, Smoke Hour Willie Nelson, and The Linda Martell Show). But those weren’t the only artists featured on Cowboy Carter. There was Beyoncé’s duet with Miley Cyrus (II Most Wanted), her collaborations with Post Malone (Levii’s Jeans), Just For Fun with Willie Jones, and Sweet Honey Buckin’ with Shaboozey.

Cowboy Carter has Beyoncé’s vocal capacity and creativity on full display. As a sequel to Renaissance, it works. As a country album, it experiments, effectively creating a long but memorable listening experience. This is one of my favorite albums to come out in the first half of the year, and it set the bar high.

I Listened to Girl With No Face by Allie X

Before February was over, there was one last music release I was waiting on: Allie X’s highly anticipated third studio album, Girl With No Face. For context, it’s been four years since Cape God (2020)—and three from the release of its deluxe edition with five additional songs (Cape God Theme, Milk, Limited Love, Anchor, and Rising Tide). There was plenty of time to build anticipation for Allie X’s next project, and, going into 2024, Girl With No Face was at the top of my list for albums releasing in the first quarter of the year.

On February 23, Girl With No Face arrived. Before then, the direction of the sound, aesthetic, and themes were teased for months with the release singles like Black Eye and the titular Girl With No Face. This album is a blend of pop, synth, and a little bit of glam rock. It feels very retro, especially in terms of how the beats are arranged. But Allie X manages to set her music apart with her vocals and lyrical depth, which keeps the album from feeling redundant.

Some of my favorite tracks (not including the singles) were Galina, You Slept On Me, Staying Power, and even the closing song, Truly Dreams. Another good one is Hardware/software, which sounds, honestly, like a soundtrack you would find in a video game from the eighties.

 
Girl With No Face was another excellent project by Allie X. Even the most upbeat track on the album—in terms of sound anyway—deserves more than a passing listen. There’s so much to sit with and chew on, and I know I’ll be thinking about this one for a long time. For today, however, I’ll leave it here. Just know: I enjoyed every second of my listening experience.   

I Listened to So Much (For) Stardust by Fall Out Boy

Fall Out Boy was one of the bands that got me into rock music—particularly the rock/pop/punk scene—and their albums have been a staple on my playlists since the 2000s. It’s been about five years since the band’s last album. And among the big releases on my radar for March 2023—supported by singles such as Love On The Other Side and Heartbreak Feels So Good—Fall Out Boy’s eighth studio album, So Much (For) Stardust, was very anticipated on my end.

So Much (For) Stardust really felt like a return to some of Fall Out Boy’s earlier music. It had less of the style and sounds that dominated Mania (2018), and it went heavier on the aspects that really made me love the band’s music. It was nostalgic in the right ways but doesn’t lean too much on what they’ve already done. Instead it offered a sort of sequel—especially with the visuals for Hold Me Like a Grudge (a continuation of the music video for This Ain’t a Scene, It’s an Arms Race)—by delivering songs that felt refreshing.

As a longtime fan of Fall Out Boy, I’m so happy with this album!

 

I Listened to 1 by The NYChillharmonic

So, this year, I’m getting back into using Spotify regularly. After all, all of my current favorite podcasts are there too, and the recommendations are useful for finding more content to enjoy. Under one such recommendation page was I Lost It All by Aberdeen and The NYChillharmic. It was an interesting collaboration and one that I instantly loved. And that’s how I got introduced to what has fast become some of my top favorite music. It’s called 1, and it’s the 2016 album by The NYChillharmonic.

Their music is, in terms of sounds—and as the band’s name suggests—very orchestral in nature, which is something I love about 1. Each track felt like its own lovely little journey, with the epic feel of work you would find from Two Steps From Hell but with a singer who delivered consistent vocals across 1’s seven songs.

Overall, there isn’t much more I can say about this album. In a number of ways, it’s a delightful listening experience that I’ve already revisited more than once since adding it to my Spotify library.

I Listened To: December Music Roundup

Well, it’s been a minute since I wrote about the music that’s kept me entertained. But, it’s a new year, and I thought it would be a good idea to do a roundup of what I was listening to in December.

Of course, there are the usual holiday favorites, as well as some new additions to my playlist—which were my Music Monday picks during the month.

Besides the holiday stuff, I collected a few more individual tracks as well. One of the songs that made it onto my playlist was Girlfriend by Hemlocke Springs. It’s quirky. But, it has a really good sound, and it’s also incredibly catchy. Another newish artist I want to see more from is Adanna Duru. I’m a fan of what I’ve heard so far, particularly with the song that introduced me to Duru’s music, POP. Then, there was the song—Heads Will Roll—from the Gotham Knights trailer. I haven’t played the game and have no plans to. I just kept getting the trailer as an ad, and when I was searching around for the song, I stumbled onto the original. It’s by a band called Yeah Yeah Yeahs. I really can’t pick between the original and the cover, because both are great in their respective ways. Then, of course, there was Doechii’s live performance (for Billboard and Honda), which is one of my favorite versions of Stressed. The set design is topnotch, and Doechii nailed that performance.

In December, I mainly revisited a lot of music, since the year was winding down and I was due for my annual break from the blog. And, as a consequence, there was only one new album I listened to: SOS by SZA. I wasn't expecting it in 2022, but, as soon as it was announced (which was relatively close to its release date), I was more than excited. SOS is a long album, but I love every second of it! SZA does R&B so well, with unique sounds, creative lyrics, and her signature vocals. And it makes the wait time between each album, single, or feature worth it. Some of my favorites from it were Seek & Destroy, Kill Bill, Good Days, and Too Late. I can’t recommend it enough!

I Listened To: October Music Roundup

Last week, I talked about Rina Sawayama’s 2022 album, Hold The Girl. So today, I wanted to devote a post to all the other music that kept me entertained in October. I have two to talk about: Dirt Femme by Tove Lo and Midnights by Taylor Swift.

--Dirt Femme by Tove Lo (Release Date: October 14, 2022)--

I’ve enjoyed Tove Lo’s work since the Queen of the Cloud (2014) days, and I was pretty excited when I heard she was coming out with new music in 2022. Sunshine Kitty (2019) was one of my favorites the year it released, and that influenced the expectations I had going into Dirt Femme. Tove Lo has always done pop with a grungy edge. Dirt Femme felt a little lighter, and was sold as dance/pop by the four singles that proceeded its release—How Long, No One Dies from Love, True Romance, and 2 Die 4—but the usual lyric and vocal complexity was present. Even the tracks where the production was scaled down and Tove Lo’s vocals were the focal point (I’m To Blame and True Romance) were songs I had on repeat so I could catch the full meaning of the lyrics. The album was telling a story, and I was along for the ride. Dirt Femme is another great one from Tove Lo!

--Midnights by Taylor Swift (Release date: October 21, 2022)--

I’m not a consistent follower of Taylor Swift, but, over the years, I’ve amassed a list of favorite songs anyway. There’s been a plenty of good music released this year, so when I heard about her latest album, Midnights, I was interested in it too. This is probably my favorite Taylor Swift album to date, and I enjoyed pretty much everything about it. I have to give a special nod towards the production—which was consistent across-the-board—as well as the lyrics, for how poetic it was. There are so many examples I could give, but then I’d have to list the whole track list. Like I said above, it was consistent in its quality. All around, Midnights was an excellent album!  

I listened to Hold The Girl by Rina Sawayama

One of my most anticipated albums of the year is Rina Sawayama’s sophomore album, Hold The Girl. Released on September 16, 2022, its two years since Sawayama’s self-titled debut. Since then, there have been a number of features, notably a duet with Elton John (Chosen Family) and Charli XCX’s Beg For You (Crash; 2022). However, I was more than ready to see what she would bring to the table with another solo studio album.

Hold The Girl is Pop, but it has a wide diversity of sound. Leading with the single, This Hell (one of my top favorites from the album), each track offered a different listening experience. There was a little bit of country, a little bit of R&B and rock with an early 2000s feel (It’s something she’s done before—for example STFU! from her debut album.) The songs here were bridged together by Sawayama’s vocals, lyric themes, and a smart arrangement.

Hold The Girl achieved an easy flow from one track to the next, and I was quickly immersed by the album. It was a lot of fun. And as far as sophomore albums go, this is a good one.

I Listened To: September Music Roundup

Some of the music that kept me entertained in September was Juno, Remi Wolf’s album, as well as the deluxe version of Magdalena Bay’s Mercurial World.

Juno is the October 2021 debut album by Remi Wolf. I came across it well after its release date, because the sixth song, Volkiano, crossed my feed. It was an instant hit for me, and I quickly went on to listen to the rest of Juno. This album is a strong debut for Remi Wolf. The songs were fun, and the execution of the lyrics and vocals was superb. I also liked the music videos that were released in support of Juno. They were colorful and retro—the filming had a soft grainy quality to it—which reminded me of old cartoons or shows from the 90s.

Magdalena Bay released a deluxe version of Mercurial World on September 23, almost a year after the original’s initial launch date of October 8, 2021. I’m always interested in special versions of albums, particularly to see what the artists decide to add. Mercurial World’s deluxe adds a couple of new songs, remixes, instrumental versions, and 15 “Secrets” divided between eight intermission-type tracks (which added to the immersion). Mercurial World was already a great album, and I thoroughly enjoyed the robust list of additions.

What have you been listening to lately?

I Listened To: August Music Roundup

In August, I bounced between two albums: Beyoncé’s Renaissance and Megan Thee Stallion’s Truamazine. They’re two very different albums—in terms of sound, theme, and genre—but I appreciate them for what they are.

Renaissance

• When I read about what kind of album Renaissance was supposed to be, I had high expectations. And every single one of them was met. The range in sound made every track feel different than the last, but the strong themes and genre influences—dance, house, R&B, and more—made the album feel cohesive. I mean, even the transitions between each song were smooth. Its music you can move to. Renaissance is a treat.

Traumazine

• Moving on, Traumazine was another excellent album to come out in the July-August months. It had its foot firmly in hip-hop and rap. The title is indicative of what you’ll get with this one, and the complexity and depth of the lyrics is what keeps drawing me back to this album. Traumazine features some of my favorite songs by Megan Thee Stallion. It also had a handful of interesting features including Rico Nasty, Latto, and Jhené Aiko among others.

What have you been listening to?

I Listened to Supernova by Nova Twins

I first listened to Nova Twins shortly after their debut album, Who Are the Girls? was released. My first real thought was I like the noise, and I like it loud! It was this thought that came back when I heard the singles they released from Supernova; especially Antagonist, Puzzles, and Choose Your Fighter. I just knew I was going to love the album.

With the exhilarating intro Power, most of the album consist of their typical hard hitting guitar and bass (plus drums). Also typical are their grungy vocals for their dark and somber lyrics. Just take a look at K.M.B or A Dark Place For Somewhere Beautiful. And then it ends with the softer sounding  Sleep Paralysis. Over all, I really like Supernova. And while I know who the girls are now, I’m definitely excited for whatever is in Nova Twin’s future.

I Listened to Special by Lizzo

I’ve been a fan of Lizzo for a while now, and one of my most anticipated albums of the year was her follow-up to 2019’s Cuz I Love You. It was one of my favorites during its release year, and that album (and the ones before it) set the bar pretty high for the kind of fun and quality music I expect from Lizzo. (Don’t even get me started about her 2016 EP, Coconut Oil. I still love it.)

Lizzo’s latest release, Special, more than continued with that trend, delivering catchy retro 80s pop and disco beats, mixed with hip hop and funk. In terms of lyrics and messaging, Special is a pretty positive album overall, especially in its tone. However, it was also reflective and heartfelt too, especially with songs like 2 Be Loved (Am I Ready), Break Up Twice, and Special, just to name a few.

There are no features on the album, but honestly, Special didn’t need any. Lizzo’s artistry was on full display. What I thought was interesting was how she used a variety of samples to really drive home the aesthetic of the album, but they didn’t overpower the tracks.

The hype for Special was more than deserved. It really is one of my favorite albums of 2022, and I look forward to whatever Lizzo releases next.

Have you listened to Special yet? If so, what did you think about it?

I Listened to The End of the Beginning by Les Friction

Like anyone, I love a good story. But today I’m talking about music, or more specifically: Les Friction’s recent album, The End of The Beginning. If you check out Lesfriction.com you’ll see how this newer release’s story ties into Les Friction and Dark Matter.

Plot aside, The End of the Beginning is still in line with Les Friction’s sound, but a little more on the mellow end. However, that could just be me. Of course, there’s still the emotional, powerful, and buildup songs. All That Mattered (featuring Emily Valentine), The End of the Beginning, and Game Ender respectively, to name a few.

Above all, I thought The End of the Beginning had an otherworldly, ethereal flair about it. And I enjoyed all the sounds and melodies that came along with it. In the end, I really liked this one.

 

I Listened to Dawn FM by The Weeknd

I’ve listened to The Weeknd on and off over the years. I’ve certainly had my favorite songs. With the release of Star Boy (2016), I started following his music more closely. I enjoyed that album, especially for the collaboration with Daft Punk. After Hours (2020) produced some of my favorite tracks: Blinding Lights, Save Your Tears, Too Late, Hardest To Love, the titular After Hours, etc. It felt reflective, and it was also a tonal shift.

I finally got around to listening to The Weeknd’s 2022 album, Dawn FM. There are no words to describe how much I’ve been enjoying it. I’ve replayed it in full too many times to count, before I finally decided to dedicate a post to it.

The Weeknd does retro pop so well, and each track was precise in its messaging and consistently good in its lyrics and backtracks. All the hallmarks of dance and synth were present, but the album excels at feeling fresh and current. I really can’t name a single song that’s greater than the other, because Dawn FM was just one of those albums where I enjoy every track on its list.

I loved the concept here, as well as the delivery. It was styled after the experience of listening to the radio. Jim Carrey narrates the album, acting as a guide through The Weeknd’s version of purgatory. And the dark imagery I’ve come to associate with his style was present in the music videos that were released in support of Dawn FM.

All that to say: Dawn FM is one of my favorite albums of 2022.

I Listened to Hypnos by Ravyn Lenae

Crush EP is one of my all-time favorites. I enjoyed it for how well it took classic R&B with a splash of disco and synth sounds, and gave them a fresh spin. I’ve been waiting for more music by this artist too, and yet I somehow missed the announcement for Ravyn Lenae’s debut album, Hypnos.

Crush left a big impression. As I said above, it’s one of my favorite Eps, and what it lacked in length it more than made up for in quality. With a tracklist sitting at sixteen songs, Hypnos is a much bigger offering of Lenae’s artistry. It’s thoroughly entrenched in R&B with the same soft and soulful edge that I was first introduced to in Crush. As far as debut albums go, Hypnos is one of the best.

Hypnos is an album that’s arranged well, and I’d suggest listening to it in the order of its tracklist. The intro, Cameo, is short and to the point. M.I.A. feels a little like it was influenced by dancehall music. And while some of the middle section dips into a slightly mellower tone, it picks up again as the album moves toward the closing, Wish.

All-in-all, Hypnos was a solid album.

I Listened to Harry's House by Harry Styles

Its only recently that I started listening to Harry Styles’ solo music (thanks Coachella livestream), but I’ve enjoyed everything I’ve put on my playlist so far. So I was pretty excited when I learned that Harry Styles was releasing a new album not too long after that.

I waited up for Harry’s House, and I listened to it in one sitting. Some parts can feel mellow, but I actually like Styles’ slower songs. For the most part, there’s something that feels effortlessly bright, summery, and catchy about this album; which I appreciated so much. Even what I thought would be the simplest songs, instead offered a lot of good beats and lyrics to explore.

Music For a Sushi Restaurant is light and fun, as well as the perfect hook that offered an entry to the tone of the rest of the songs. The album’s single, As It Was, is already familiar (and its still one of my personal favorites). But there’s plenty more to latch onto. Some of my other favorite tracks included Cinema, Keep Driving, and Satellite. While Love of My Life offered a truly memorable and excellent closing note.

Harry’s House is definitely one of my top favorite albums of 2022 so far.

I Listened to Crash by Charli XCX

 

Charlie XCX is one of those artists where I know that whatever they put out, it’s probably going to be a good listening experience. With features including Rina Sawayama, Christina and the Queens, and Caroline Polachek, Crash—Charli XCX’s 2022 album—finds it stride and keeps it as it bops along to beats that can feel somewhat familiar without losing the edge that makes them enjoyable. 

Crash feels like a love letter to Pop and Electro-Pop, reminding me of some hits from the early 2000s. But Charli XCX puts enough of a spin to these sounds that makes the album current while it visits the past. It was a good combination, and it suited the vocals and lyrics.

The titular Crash drops right into the album, while Twice closes out the track list on a memorable note. Some of my favorite songs include Yuck, Lightning, and Beg For You featuring Rina Sawayama. Overall though, I really liked what Crash offered, and I know I’ll have this album on repeat for a while.

I Listened to Motordrome by MØ

 

It’s been a while since MØ’s last album (Forever Neverland came out in 2018). So, another one of my most anticipated albums of the first part of 2022 was Motordrome. I didn’t closely follow the singles leading up to the January 28th release date, but I was still eager to dive into this album.

Motordrome is MØ’s third studio album. There were no features, but honestly it wasn’t needed. Motordrome was a solid foray into pop music, with touches of electronic and a few beats that felt like a brief reference to the sound of MØ’s first studio album, No Mythologies to Follow. It was so good. Some of my favorites included Live to Survive, Wheelspin, New Moon, Goosebumps, and Hip Bones.

Don’t get me wrong though, Motordrome is its own thing. MØ clearly had something to say, and the album feels as if it’s telling a story to its listeners and is, overall, carried by a different tone in a lot of aspects. It was still markedly a MØ album, and there was a lot to enjoy about Motordrome.

I Listened to The Gods We Can Touch by Aurora

A lot of good music came out in January of this year. First with FKA Twigs’s mixtape, Caprisongs, and now with Aurora’s album: The Gods We Can Touch. 

With Aurora, I already guessed that the album would be thematic, and I was right. The six singles—Cure For Me, Giving In To The Love, Exist for Love, Heathens, A Dangerous Thing, and Everything Matters featuring Pomme—offered a taste of the tone of the album, and the title paints a pretty clear picture of what to expect.

The Gods We Can Touch was emotional and topical, but ultimately it was lighter and different than some of Aurora’s previous music. It felt a lot more experimental and upbeat, bringing in notes of electro-pop without losing the ethereal/dreamy nature adjacent quality that I liked about Aurora’s backlist tracks. Some of my favorites from this particular album include: Cure For Me, Blood Like Wine, Exhale Inhale, and A Dangerous Thing.

In some ways, it reminded me of Halsey’s 2021 album: If I can’t Have Love, I Want Power. They both have historical and mythology references, but the albums go about the presentation of themes in a way unique to the respective artist.

So, The Gods We Can Touch was one of my most anticipated albums of 2022. My expectations were sky high, considering how good the singles preceding its release were. Overall, this was a great album, and I’m looking forward to Aurora’s next project.

I Listened to Caprisongs by FKA Twigs

While I started my blogging year with historical nonfiction, on the music side, the first thing I listened to was Caprisongs, FKA Twigs’s mixtape released on January 14th. 

Mixtapes can be hit or miss for me; after all it’s a place where experimentation with style and genre can (and often does) occur. So when they’re good they’re good. Some of my favorites have been Magdalena Bay’s Mini Mix vol. 1 & vol. 2, as well as Angel Haze’s Reservation. And Caprisongs falls right in with some of the best I’ve listened to.

When FKA Twigs releases something new, I know I’m in for a good time. With features including Pa Salieu and The Weeknd (among a handful of others), Caprisongs delivered everything I was looking for. Proceeded by two singles—Tears In The Club featuring The Weeknd and Jealousy featuring Rema—FKA Twigs’s genre-bending style and distinct vocals were front and center.

I listened to Caprisongs in one sitting, and I enjoyed every minute of it. From the splashy intro (Ride The Dragon), to the features (Honda, Tears In The Club, Papi Bones, Which Way, etc.), and to its excellent conclusion (Thank You Song). This is a mixtape I’ll be listening to again.