Back in 2019, I never did get around to writing about III by Banks. It was one of the albums I was looking forward to that year, and I listened to it off and on through 2020. Recently, I finally sat down and gave it a proper listen. III is the kind of album that grew on me the more I listened to it, and by February 2021 I had a whole new appreciation for it.
III is a good album. Banks’s vocals are always fantastic, and I can say that the same quality can be found here too. Banks delivers a wide range of sound that incorporates all the hallmarks of pop with a somewhat sharper edge, which often treaded into electronic and synth as well. There weren’t dance tracks here, as the album seemed to favor a heavier sound. It worked well, given the emotionally charged and brooding atmosphere that seemed to be a signature of III—even more so than Banks’s previous album, The Altar.
A song like Stroke comes to mind as a good example of what I mean along with: Godless, Sawzall, Look What You’re Doing To Me, and The Fall among others. All you have to do is pay attention to the lyrics.
Music Monday is a weekly meme hosted by Lauren Stoolfire at Always Me that asks you to share one or two songs that you've recently enjoyed. For the rules, visit the page HERE
Breana: Laura Mvula is going to have new music later this year, and I'm excited about it. She also recently released an EP with new version of some of her songs and a cover of I'm Still Waiting by Diana Ross. I like all of the songs on 1/f. Check out the original and the new version of Sing To The Moon.
Andrea: This week I'm listening to Somebody Else's Guy by Jocelyn Brown.
It’s the 26th of February. So it’s time to talk about all of the short stories, miscellaneous posts, and podcast episodes I read or listened to in January.
The first short story I read In January was The Karyōbinga Sings To Jiro by Riyu Ando. This was such a simple and lovely story. The writing flowed. The story was good. It seemed to deal with loss, remembrance, and staying in familiar and comfortable places and spaces. It was done so well and overall it was an excellent read.
#Selfcare is the second short story I tackled in January. It was a lot, and I also loved it. #Selfcare was an easy read with a great message. It’s the kind of story that heavily focuses on social commentary—think gig economy and other topics relevant to today—except there was a slightly paranormal twist and a few hints of horror. This story had a great cast. I really liked Edwina, her friend, and the supporting characters. I also liked the direction Newitz took the plot. Overall, #Selfcare was pretty great.
Your Own Undoing was fantastic. It was an engrossing read, and I found it way too easy to really get into this story. For starters, it was written in first and second person, with a narrator telling the events of the story to another character. It was great. Your Own Undoing essentially tells how a scholar and sorcerer takes in a new pupil, whose penchant for darker magic and thirst for knowledge negatively effects everyone around them—specifically the character the story is being told to.
One artist I’ve had my eye on is Tayla Parx. I knew her first through her work for other artists like Ariana Grande (Thank U, Next) and Khalid (Love Lies, featuring Normani). Her debut studio album was one of my favorites of the year it was released, and since then I’ve been eagerly waiting for the follow-up to We Need to Talk. Well, that second studio album is here. Coping Mechanisms was released on November 20, 2020. I was pretty late getting to the album, but I’m glad I made time to give it a full listen.
We Need To Talk had a very mainstream pop feel and sound to it. While Coping Mechanisms has a somewhat different tone without losing the essence of its pop roots, and there were other sounds mixed in—think R&B. As a consequence, Coping Mechanisms feels like Tayla Parx honed familiar sounds into a style distinctly her own.
Coping Mechanisms opens with a song called Sad. It had a mellow vibe that acts as a perfect way to ease into what’s to come after. It goes right into Dance Alone, which is one of my top favorite tracks from the album and gives a smooth funky vibe with the guitar and synth sounds in the backtrack. While System—another favorite of mine—had a harder tone and electronic vibes. It was as equally good as the rest of the album. Some of my other top favorites included Fixerupper, Bricks, and Residue.
Coping Mechanisms was a fantastic, fun, and memorable foray into Tayla Parx’s work. It was a solid album, with excellent lyrics and catchy beats found on every track on its twelve song list. I was left with an overall positive impression.
Music Monday is a weekly meme hosted by Lauren Stoolfire at Always Me that asks you to share one or two songs that you've recently enjoyed. For the rules, visit the page HERE
Breana: One afternoon, I was surfing through my spotify recommendations, and I eventually landed on a page of new releases from artists I already follow. One of the songs I listened to and instantly added to my playlist was GLAM! by Allie X. I adore this song for its punchy, retro-pop brightness, and I wanted to mention it on the blog.
Adri: Hello, this week I'm listening to two vastly different artist I love. The first is Flowers by Kelly Rowland from her new EP, K. And the second, more on the metal side, is Pisces (Live Sesson) by Jinjer
Andrea: This week, I'm spotlighting music, performed, written, and/or produced by the late Prince Markie Dee (Mark Morales). Prince Markie Dee was a member of the Fat Boys and later released music with his band, Prince Markie Dee and The Soul Convention.
Can You Feel It by Fat Boys
Mark Morales, Darren Robinson & Damon Wimbley
Typical Reasons (Swing My Way) by Prince Markie Dee and The Soul Convention
Songwriters: Mark Morales, Mark Rooney, Raymond James Calhoun & Damon Johnson
