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Reviews

Listen: “Somebody’s Watching You” – The Jack Moves

People have to feel you through the record. If it doesn’t have feeling, it’s just pointless.

Zee Desmondes, for Passion of the Weiss

Creating what The Jack Moves describe as “sweet soul,” the duo released smooth-as-butter single, “Somebody’s Watching You” last week. The single is a flirtatious, modern funk dance ballad, that generates a whole lot of shoulder swaying and head nodding. The Jack Moves consistently provided sultry, funky throwback-style jams throughout their 2018 album, Free Money, and this single is no different. With nods to the greats like Curtis Mayfield and Bobby Caldwell, The Jack Moves rejuvenate a once-dying genre.

Consisting of Zee Desmondes (vocalist, guitarist, producer) and Teddy Powell (vocalist, multi-instrumentalist, producer) the Newark, NJ duo seem to simultaneously reject and embrace modernity with their music. The two first met at a skatepark in Manhattan’s Lower East Side, quickly bonding over their mutual love for 70s, 80s and 90s R&B, soul, hip-hop, and funk. You might be surprised to learn The Jack Moves gained their start, individually and as a duo, without any sort of musical training, just a love for a good groove. The two decided to join forces in an attempt to recreate and build upon the classic sounds they loved, acquiring their first workspace in a rundown building in downtown Newark.

In a 2015 interview with Passion of the Weiss, Desmondes shared, “We just started working on stuff. But we were hitting a brick wall because all of the stuff we were into—like, The Delfonics, Stylistics, all that stuff is kind of a mystery…how they did all that. How they did the strings and horns. The way they would layer the background harmonies—all that stuff. It’s like it was a lost recipe, as far as I was concerned.”

As a prime example of the value of knowing one’s own weaknesses and then taking action to improve, the duo’s frustration resulted in the two seeking mentorship from R&B/soul aficionados George Kerr and Paul Kyser. “We were learning with them for a while, working on some of their songs. Going to master class with the real veterans,” Desmondes said.

The learning process wasn’t always easy– the two described the experience as being somewhat strenuous at times. Desmondes chronicled the countless vocal takes Kerr would insist upon, saying, “The takes weren’t bad, I just think he wanted to drill it into me that it’s so important to put every little ounce of emotion into your singing, and to really push. People have to feel you through the record. If it doesn’t have feeling, it’s just pointless.”

With the help and golden touches of their mentors, The Jack Moves have utilized their learned insight to enlighten, and to pass along The Recipe to another generation of music. Close to a decade after working with Kerr and Kyser, The Jack Moves have– with respect to the classics– successfully replicated The Recipe.

Jessica K
Jessica K

Jessica is a writer in her late twenties and is casually withering away in the Midwestern Wasteland of Central Indiana.

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Reviews

Listen: “Hell of a Woman” – Papooz

As musicians, we needed to be way more demanding of ourselves.

Ulysse Cottin, on limiting distractions while writing and recording None of This Matters Now

Armand Penicaut and Ulysse Cottin, the key players in French indie-pop duo, Papooz, have been best friends since meeting at a Patti Smith show in 2008. “We would just be kids, smoke joints, talk shit, play guitar, and make up songs,” Penicaut says of the early years of their friendship. The carefree comradery and fellowship of the two overflows into their creations, resulting in three very different albums.

Papooz released their third album, None of This Matters Now just this month. The band’s funk-driven Green Juice (2019) precedes their recent release and differs greatly from folk-infused None of This Matters Now. The former is high energy, filled with songs meant for nights spent dancing, while the latter seems destined to be played on a weekend trip away with friends among the trees.

The entirety of None of This Matters Now was recorded in an all-wood studio, built by the band’s drummer, Pierre-Marie Dornan. “For a couple of weeks we would rehearse the songs during the day, and then record at night while drinking red wine,” Cottin shared in a press release for the album. The ease of the album’s flow is a testament to the band’s natural chemistry and desire for authenticity.

“As musicians, we needed to be way more demanding of ourselves,” Cottin shared, “We couldn’t just rely on fixing mistakes later. No one could get distracted by their phone or smoking a cigarette. It’s about focus.” The focus was due in part by being surrounded by likeminded and comfortable collaborators: “Plus it’s way easier to be focused in the room when it’s just your best mates, friends coming to visit late at night,” Cottin says.

Armand studied literature, and I’ve always loved poetry, so I think the best songs in life are the more intimate ones.

Ulysses Cottin on co-collaborator, Armand Penicaut’s talent for songwriting

The second single from the album, “Hell of a Woman” channels that revered 70s-inspired psych-rock sound that resembles a ray of sunshine, but be warned: the track is misleadingly melancholy. “Hell of a Woman” mourns the loss of light in a relationship that’s lived past its expiration, and accepting that loss with grace. The pre-chorus is especially bleak: “We’ve been together for so long it’s a crime / I’m stealing thunder from the rims of your eyes / You heard the words right / What in the world went wrong?”

With dreamy instrumentation, it’s incredibly easy to get lost while listening to None of This Matters Now, despite its candid lyricism. “Armand studied literature, and I’ve always loved poetry, so I think the best songs in life are the more intimate ones,” Cottin shared. With themes of global-warming-induced anxiety on the title track, of remorse and reflection on “I’d Rather Be the Moon,” Papooz creates a tenderly raw listening experience.

Jessica K
Jessica K

Jessica is a writer in her late twenties and is casually withering away in the Midwestern Wasteland of Central Indiana.

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Reviews

Listen: “Palm Sunday” – Papercuts

It’s about lost love and unfulfilled potential.

Quever, on “Palm Sunday”

The man behind the curtain of Papercuts, Jason Quever, is a lifetime student of the philosophy of music. Gaining and imparting his wisdom throughout his musical career, his talent for arrangement has graced tracks belonging to Beach House, Sugar Candy Mountain, and more.

Papercuts’ latest single, “Palm Sunday,” was released ahead of the band’s forthcoming album, Past Life Regression, which is set to release April 1. The single is an apt representation of where psych-pop-turned-folk Papercuts excels: lofty instrumentals weighted with wistful lyricism. Quever describes the single as being about “lost love and unfulfilled potential.” In a press release for the single, Quever shared, “It’s about someone you never quite forgot about, but left you feeling epically let down and full of longing.”

The single is paired with a music video depicting phone calls back and forth between lovers. Beautifully capturing the melancholy of “maybes” and “what ifs,” “Palm Sunday” evokes one of the most dreaded human emotions: regret.

Jessica K
Jessica K

Jessica is a writer in her late twenties and is casually withering away in the Midwestern Wasteland of Central Indiana.

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Interviews Reviews

Soul-Pop Band, Couch, is Easy to Love

At one of Couch’s very first shows, playing in Cambridge, Massachusetts’s Harvard Square, keyboard player Danny Silverston returned to his keyboard post-show to find a pillow with the face of Jeff Goldblum planted on the keys. To this day, the origin of the pillow remains a mystery. However, it has become a pinnacle of the band’s personality and charisma, making an appearance at each show. 

Initially formed in the summer of 2018, Couch consists of seven members: Jeffrey Pinsker-Smith, Jared Gozinsky, Danny Silverston, Will Griffin, Eric Tarlin, Tema Siegal, and Zach Blankstein. Being such a large group, everyone takes control of their own instrumentation. This, in turn, enables different flavors and a conglomerate of influences to create their cohesive sound that falls somewhere in the soul/pop category. 

Couch members, left to right: Zach, Jared, Eric, Tema, Jeffrey, Danny and Will

Couch is a long-distance band, with its members spread across the country. In their first few years, the recording process was completely remote. Each member added their instrumentation and vocals and passed it to the next, like Popcorn. The members play this same game as they rotate calling on each other to share their prominent influences. Jared, Jeffrey, and Eric discuss jazz, blues, and pop as their primary influences; Tema shares Carole King, Rachel Price, and Tracy Chapman as a few of her inspirations; Will highlights his love for classic and heavy rock, pointing to the Beatles album covers decorating his wall; Zach reminisces on growing up listening to Jewish music, motown, and modern pop soul bands such as Lake Street Dive and Lawrence. All of these different backgrounds mesh into the strong lyrics and melodic forms that make up Couch’s music. 

Lead singer, Tema Siegel discusses the development of their early songs, such as “Easy to Love.” After putting together the lyrics, Tema shared, “Zach and I would share voice memos back and forth of chord progressions, and we’d meet up over school breaks with ideas.” More of the members became involved during the pandemic and with the creation of the EP. 

For Couch, the songwriting process is morphing by transitioning to more in-person meetings and practice time. “Before, we’d cram like eight hours of rehearsing into a day, since we had limited time meeting together in person,” trumpeter Jeffrey Pinsker-Smith explains. “There were a lot of times when being a long-distance band was exhausting.” Because of these changes, Couch’s debut EP Couch , released in 2021, includes three or four credited writers on most tracks. 

The band explains how sometimes a song can start with one particular vibe and chord progression, but it ends up sounding completely different through the production and collaboration process. The identity of the song is flexible through all of the pieces beginning to come together through recording. 

“The identity of a song can seriously change,” saxophonist Eric Tarlin explains. “With ‘Still Feeling You’, that song was originally guitar and voice driven, an upbeat singer-songwriter song. But we pushed it more towards a disco-pop track, like Dua Lipa or Charlie Puth, with dramatic builds and a groovy chorus.” 

Through the recording process, the band is constantly keeping in mind the different ways in which the audience is listening, from streaming the music to the live shows. “When we play these songs live, we’re adapting to the arrangements to work with just the actual number of bodies we have on stage,” Tarlin says. “We rely more on our individual acts of brute force as we each contribute to the project.” Couch has managed to translate this immaculately on stage. 

This past fall, Couch went on tour for the first time as a whole, cohesive band, opening for Sammy Rae & The Friends, along with finishing the late fall tour with Juice. “This experience has been a dream come true. It was a joy,” guitarist Zach Blankstein says. 

Being around creative inspirations and meeting other musicians has helped the band transform their own sound and gain confidence in their performances. “It was so valuable and educational to simply watch them,” Siegel says of the experience. “Our personalities began to show more in the live performance. We became goofier on stage.” 

Couch performing at Higher Ground in South Burlington, VT

The transition from completely remote production and collaboration to touring was unusual for the band, but seeing their hard work pay off and watching the audience react was worth the wait. “We’re all musicians who are used to performing, so I don’t think any of us joined a band with the idea that we’d be in a band for three years without playing any shows,” Siegel laughs. “Now we’re finally able to play together.” 

Couch’s entire catalog to date was released before the band had performed live this fall. With that in mind, the band has had to adapt their music for live performances, adding acapella moments, clapping, and improvised solos and riffs. “We’ve opened up a lot more with this and have gone in a more jammy direction,” Blankstein summarizes. “We’re combining the two processes, and trying to find the balance between studio and live performances.” 

The fall touring experience is just the beginning for this Boston-based band. Just before the new year, Couch was featured on Firehouse Music Sessions, where they played acoustic versions of some unreleased tracks. They’ve recently signed with the booking agency, Royal Artists Group, which represents some of their favorite artists. “We’re working with two people who’ve helped us book shows and gotten us into the summer festival scene,” Blankstein mentions. “It’s already helped a ton with our time management and making connections within the industry.” 

New music is in the works and two upcoming shows have already been announced: March 5th at the Knitting Factory in NYC and March 18th at the Met in Pawtucket, Rhode Island. For the latter show, Couch will be sharing the stage with another band, Orange Guava Passion, where the theme is Spring Fling. The band calls for fans to dress in their school dance attire, another testament to the importance of connecting with the audience. The band is active on Instagram, TikTok, and YouTube with more updates and content. 

“We wouldn’t be the band that we are without that initial remote time,” Tarlin concludes. This experience allowed Couch to go into their first tour with a fan base already established. “It was really rewarding and cool to see people familiar with our songs, singing along in the audience.” 

For Couch, being able to perform live, meet fans, and connect with them through shows has been the most notable part of their musical journey. “Without listeners and without fans, Couch wouldn’t really be a thing,” drummer Jared Gozinsky says. “In one way or another, we’re always writing for the people who are listening to us.”

Molly MacDuff
Molly MacDuff

Molly MacDuff is a writer and editor currently attending Emerson College’s Publishing and Writing MA program.

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Roundups

2021 Roundup

Dear friends,

If 2020 was purgatory, 2021 was hellfire. Both personally and universally, 2021 was an absolute mess. Throughout the year, I felt as though I was missing something from music. I wasn’t enjoying it as much as I used to enjoy it. One could call it depression, some may call it “being in a funk.” However you spin it, I was frustrated with myself. Here, with the world at my fingertips, with the help of the supercomputers we’re all so dearly attached to– and yet, no interest in what once was my refuge. So imagine my annoyance when I sat down to write the annual roundup for TGG. No, really, just imagine it. Me, staring at a blank white page on my computer screen, sifting through my library, in an attempt to scrounge for enough to create a list worth writing about. “Impossible,” I thought to myself with Imposter Syndrome pumping through my veins, “Nobody cares and nobody wants to read old news.” 

Upon further reflection of the previous year, I’d realized that I had actually enjoyed quite a lot of music this year. Then– faint, like a whisper in a long hallway, a different thought came to me. What if you just wrote about what you want to write about, how you want to write about it? The little devil on my shoulder taunted me. I couldn’t do that, could I?

I could, and I did. Enjoy. 

XOXO, Jessica

Heaux Tales – Jazmine Sullivan (2021)

At the top of a somewhat chronological list, we have Jazmine Sullivan’s EP, Heaux Tales. Although 2021 ultimately felt like scraping the barrel for music, there were a few exceptional releases. Sullivan’s January release of Heaux Tales presented me with hope for the year to come. As a single woman in her late 20s, it felt like Jazmine was singing directly to me. With anecdotal interludes about relationships and sex, Sullivan and company created an experience similar to a night in with the girls, sipping wine and talking shit.
Favorite tracks & interludes: “Put It Down,” “On It” (with the ever-lovely, ever-real Ari Lennox), “Donna’s Tale”

Come Over – Kowloon (2021)

Up next, we have Los Angeles musician and filmmaker, Kowloon’s Come Over. In addition to the ladies of R&B, Kowloon’s debut album restored my faith in music in 2021. Written, recorded and mixed entirely in Kowloon’s apartment, Come Over is, essentially, a post-apocalyptic love story with hefty amounts of tragedy weaved throughout. Kowloon’s voice– reminiscent of Matt Berninger of The National– exudes a natural melancholy that bodes incredibly well in contrast to the somewhat upbeat, 80s-inspired instrumentation.
Favorite tracks: “Life In Japan,” “Wake Up,” “Paradise”

Skin – Joy Crookes (2021)

British singer-songwriter and TGG favorite, Joy Crookes, released her debut album, Skin, in October. A soul album with jazzy instrumentals (think: brass, wind, bass– all of our favorites, and lots of it), Skin was a breath of fresh air among some questionable releases this year. Crookes’s raspy vocals paired perfectly with timeless lyrics and violins on “To Lose Someone” should be enough for you to consider giving the rest of the album a spin.
Favorite Tracks: “Skin,” “To Lose Someone,” “When You Were Mine”

Vince Staples – Vince Staples (2021)

July was, by far, the best month for music in 2021. With artists like Charlotte Day Wilson, Snoh Aalegra, Isaiah Rashad and many others releasing full length albums, I was almost overwhelmed. Joining my July playlist of “to-listen-tos” was Vince Staples, who released a self-titled EP, produced by Kenny Beats. Clocking in at just over 22 minutes, Vince Staples was easily one of my favorite releases this year. A more mature project, Vince Staples highlights Staples’s best attribute: his ability to interweave humor with somewhat grim lyrical content. Vince Staples is an artist with an abundance of personality; with this EP, we’re privy to just one evolution (of, hopefully, many more) of the spectrum of his character.
Favorite tracks: “The Shining,” “Take Me Home,” “Law of Averages”

Inside Out – Nilüfer Yanya (2021)

London-born singer-songwriter, Nilüfer Yanya, released 7-track EP, Inside Out ahead of her upcoming sophomore album, PAINLESS, in October. Yanya’s unique voice maneuvers itself over airy melodies and ear-catching chord progressions so well that you almost forget about the somber lyrical content. A collection of previously released and unreleased tracks, Inside Out‘s sequencing is what left a lasting impression on me. The steady transition from anger and confusion on “The Florist” to dismal melancholy and fear on “Sliding Doors” presents a full range of emotion to sift through, both sonically and lyrically.
Favorite tracks: “Sliding Doors,” “Thanks 4 Nothing,” “Small Crimes”

Limbo Cherry – LAUREL (2021)

“I was expecting a lot of people who did listen to my old music to maybe say they weren’t liking the new music,” LAUREL shared with Pile Rats earlier this year. “Sometimes people want us to just stay the same, and not change anything.” As a continuation of her 2020 pop rebrand, UK’s LAUREL released her EP, Limbo Cherry in June. The artist made last year’s roundup with the first ideation of her newfound sound, Petrol Bloom. With the four-track collection, Limbo Cherry seems an apt sequel of exploration of sound and artist persona for LAUREL. 
Favorite tracks: “You’re the One,” “Wild Side”

The House is Burning – Isaiah Rashad (2021)

The long awaited third studio album from TDE’s Isaiah Rashad presented another glimmer of hope for music in the previous year. This one, I couldn’t wait to spin. With a five-year gap in his discography, it’s guaranteed that Rashad felt the pressure of millions to conceive a project that would be as indelible as 2016’s The Sun’s Tirade. I’d wager he succeeded in those endeavors with The House Is Burning. Rashad enlisted the talents of several others on THIB, including the talented Amindi. 
Favorite tracks: “Darkseid,” “HB2U,” “Lay Wit Ya”

A Touch of the Beat Gets You Up on Your Feet Gets You Out and Then Into the Sun – Aly & AJ (2021)

Keeping up with the alt-pop rebrand trend, up next we have Aly & AJ‘s Touch of the Beat Gets You Up on Your Feet Gets You Out and Then Into the Sun. The duo’s fourth studio album follows 2020’s We Don’t Stop, a project that I also thoroughly enjoyed (“Take Me” was at the top of my “Dance Alone and Drink Wine” playlist– don’t judge me). A Touch of the Beat is a 47-minute drive along the coast, with the wind and groovy basslines intertwining your fingers and tangling your hair. Forgive me, but listening to it makes me wanna leave it all behind.
Favorite tracks: “Slow Dancing,” “Lost Cause”

soft thing – LOONY (2021)

Neo-soul songstress, LOONY released soft thing, an 8-track EP in June. LOONY wears her heart on her sleeve with soft thing. Beautifully narrating the charms of unabashed vulnerability and trust in love with tracks like “raw” and “mine,” soft thing ended up being one of my favorite releases this year.
Favorite tracks: “beg,” “ours”

A Good Night in the Ghetto – Kamaiyah (2016)

This one is just for fun. Although fashionably late to the kickback, coming across Kamaiyah‘s 2016 mixtape was the most enjoyable musical experience I had this summer. When personal problems felt overwhelming, I called on Kamaiyah to remind me to, despite everything, “live every damn day like it’s Friday.” With bangers like “Ain’t Goin Home,” A Good Night in the Ghetto transports us back to a simpler time, when going out was more socially acceptable.
Favorite tracks: “Freaky Freaks,” “Mo Money Mo Problems”

Honorable Mentions:

Elephant in the Room – Mick Jenkins
Home Video – Lucy Dacus
the melodic blue – Baby Keem
Not Your Muse – Celeste
Both All the Time – Faye Webster
USEE4YOURSELF – IDK
Alpha – Charlotte Day Wilson
Lionel Boy – Lionel Boy
Lyrics To Go Vol. 2 – Kota The Friend

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Reviews

Listen: Hana Vu’s “Keeper”

Ahead of her forthcoming album, Public Storage, bedroom-pop artist Hana Vu releases latest single, “Keeper.”

What goes up, must come down– as with summer loving comes autumn heartbreak. Luckily, bedroom-pop artist, Hana Vu has provided us with the perfect bed to cry on with her latest single, “Keeper.” Encompassed by a haze of synths, “Keeper” emphasizes that we all have a choice; how we choose to view situations can differ greatly from how those situations may actually be. From wearing rose-colored glasses (“Are you a dreamer? / Oh, I dream in gold / Are you my keeper?”) to adopting a villainous narrative (“Oh, I’m fake, unreal / and all other evil things you think that I could be.”), Vu traverses different lenses and masks of the truth with the track.

Hana Vu photographed by Jing Feng

The single was released in conjunction with a music video featuring Vu performing emotive choreography by Jas Lin. After hearing the single, the video’s director, Maegan Houang, wanted to create a visual that would stress how isolating it can be to feel invisible or misunderstood: “By shooting the video in a single take we never let the audience off the hook. Just like Hana, we’re trapped in a cycle of being constantly ignored. I set the film in a family environment because as viewers we usually associate families with a sense of security and safety. The family environment created a contrast to Hana’s bursting performance and underscored the pain of not being visible, even sometimes by your own relatives.”

these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’”

Hana Vu

“Keeper” is a satiating appe-teaser from Vu’s forthcoming album, Public Storage, set to be released via Ghostly Nov. 5. Having moved around a lot as a child, Vu and her family made good use of storage units, hence the album’s title. Vu takes a similar approach to writing, producing and curating her chronicles as one does to moving house. A press release for the album describes Public Storage as Vu excavating an internal universe: “loading and unpacking memories, moods, and imagined scenes with brooding introspection, agency, charisma, and conviction.” Written from her bedroom, Vu describes the collection as “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” For most of us, our baggage tends to remain hidden and tucked away, but the courageous 21-year-old is proudly displaying her skeletons.

Hana Vu photographed by Jing Feng

The album’s lead single, “Maker,” is very sonically different from synth-heavy, booming “Keeper.” The track is a gentle, banjo-driven cry to the universe: “Save me, oh, my angel /Are you angry? / ‘Cause I’m not strongеr and I crumble / Oh, that’s my nature / Just like you.” Vu explained her thought process behind writing the song: “I am not religious but I imagined a sort of desolate character crying out to an ultimately punitive force for something more.”

We are still allowed to feel lost and search for meaning in everything we encounter, that the journey may be long and scary but we will all end up back in the fold of safety eventually or just where we’re meant to be.

“Maker” music video director, Lucy Sandler, via press release

The video for the single, directed by Lucy Sandler, provides a stunning visual representation of desperately seeking refuge, peace and guidance during times of feeling lost. Sandler stated: “I want the little girl to speak to everyone’s inner child, and remind us that nothing has really changed. We are still allowed to feel lost and search for meaning in everything we encounter, that the journey may be long and scary but we will all end up back in the fold of safety eventually or just where we’re meant to be.”

Jessica K
Jessica K

Jessica is a writer in her late twenties and is casually withering away in the Midwestern Wasteland of Central Indiana.

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Look & Listen Reviews

Listen: Love Letterz – Marzz

“You don’t have to be like everybody else. This is your life. Live it and be happy with it.”

Marzz, Rated R&B

In astrology, Mars is the god of war; the planet of energy, action and desire. When we think of Mars, the first phrase that should come to mind is “do it.” A testament to the unwavering energy of the planet, Louisville R&B freshman, Marzz released her debut EP Love Letterz with Keep Cool/RCA Records last month.

Photo credit: Elizabeth “Eli” Wirija

I’ve come to a point in my life where I really don’t care what people say. I have to do this, I have to put my feelings out because if not, it’s going to eat me up alive.

Marzz, Uproxx

Written in the artist’s bevy of color-coded notebooks she keeps in her backpack to help process her synesthesia, the project is a collection of diary entries in the form of song. “I’ve come to a point in my life where I really don’t care what people say,” the artist stated in an interview with Uproxx, “I have to do this, I have to put my feelings out because if not, it’s going to eat me up alive.

Photo credit: Braylen Dion

Co-written by Timbaland, “Cleopatra” exemplifies the artist’s commitment to truth, even when it’s hard– especially the second verse: “I haven’t seen you shine in a long time, why? / Guess that means I gotta give you space, then bye / I see your true colors, please don’t make me / Feel your emptiness, you know that ain’t me / I got way too much on my mind, yeah we / Ain’t going back ’cause that shit ain’t healthy.” After stumbling upon it purely on accident, the first listen of “Cleopatra” resulted in an embarrassing amount of head nodding and shoulder shaking. In the music video for the track, you hear Marzz’s voice accurately preface what’s to come: “You are now entering a vibe.” And oh, what a vibe it is.

From childhood, the artist has used her color method to process and express her emotions as well. In an interview with Women In Pop, she dove into each color’s meaning, saying, “Blue is for when I’m excited. Purple is when I’m anxious, yellow’s when I’m sad, red is when I’m angry.” She continued, “I know for a fact that my red notebook was definitely my favorite. I used to write in that and whenever I got mad– I was never a verbal person –I’d hold my notebook up and be like, ‘No, listen, this is why I’m mad!’”

Marzz describes “Countless Times,” the latest single from the EP, as red and purple, saying, “You’re seeing a lot of anxiousness, a lot of worry. It was definitely a lot of draining emotion that definitely put a toll on me.” The track describes being on the precipice of the decision of whether to stay or walk away from an up-and-down relationship. “I know what I want now. The way that I want to be treated,” she stated, “I’m putting in the love and respect that I would want in return. I definitely believe in karma, so I feel like the good energy you put out is the good energy that you receive.”

Listen to Love Letterz here.

Jessica K
Jessica K

Jessica is a writer in her late twenties and is casually withering away in the Midwestern Wasteland of Central Indiana.

Categories
Look & Listen

Listen: “Can I Leave Me Too?” / “Float Away” – The Greeting Committee

It wasn’t overthinking. It just felt like a genuine stream of consciousness and self-expression. I hope that’s what people hear.

Brandon Yangmi on “Float Away,” Rice and Spice Magazine

Here’s the thing– are these singles particularly emo? Yes. Do they still hit the spot? Absolutely. And that’s what matters. Kansas City’s The Greeting Committee has managed to pry themselves out of the box they’ve been hiding in for 2 years with “Can I Leave Me Too?” and “Float Away.” The singles follow the alt-indie band’s 2019 EP, I’m Afraid I’m Not Angry and 2018 album, This Is It, a project that held my hand and my hair back through the majority of 2020.

The Greeting Committee consists of four members: bassist Pierce Turcotte, frontwoman Addie Sartino, drummer Austin Fraser and Brandon Yangmi on guitar.
Photo Credit: Elizabeth Miranda

“Can I Leave Me Too?” aligns with the band’s brand of happy-sad music, with melancholic lyricism held afloat by buoyant instrumentation: “Why does everybody drive the same car you do? / I’m scared of myself without you / I’ll change my ways for a few days if it means you’ll stay / I’m filthy, creepy, clingy for you always,” the band’s frontwoman, Addie Sartino sings in the first verse. “Can I Leave Me Too?” touts the kind of emotional codependency we’d normally rebuke, but that didn’t stop me from giving it multiple spins. It shouldn’t stop you, either.

“My girlfriend drives a Nissan Rogue, and after we broke up I felt like I couldn’t go anywhere without seeing that car,” Sartino said of the single in a press release. “I remember thinking, ‘There’s no way there are this many Nissan Rogues in Kansas City’ — but I think that’s a pretty universal thing to have happen when you’re going through a breakup.”

The latest single from the band is equally as emo, but in the best way. “Glad it’s raining, so I don’t have to go outside / And pretend I’m happy just to be alive,” Sartino sings in the first verse of “Float Away.” This record provides the kind of catharsis one can only find in music; anyone who has battled with depression and/or loneliness can identify with the single’s sentiments. When in that frame of mind, it can feel as though you’ve stepped completely outside of reality and outside of yourself; it’s difficult to see the light at the end of the tunnel when you’re walking through mud and thorns to get there.

In an interview with Rice and Spice, the band’s guitarist, Brandon Yangmi spoke on the single, saying, “This was a song that felt really genuine to all of us. It wasn’t a song that we overthought much; it was the easiest song that we wrote on the album.” He continued, saying, “We sat down, started playing the music, and it all came out. It wasn’t overthinking. It just felt like a genuine stream of consciousness and self expression. I hope that’s what people hear.”

“Float Away” was released in conjunction with the single’s music video, which features striking animation by artist Kezia Gabriella.

Jessica K
Jessica K

Jessica is a writer in her late twenties and is casually withering away in the Midwestern Wasteland of Central Indiana.

Categories
Reviews

AZEB is Mereba’s Golden Hour

Imagine hovering just a few inches above the ground, donning a pearly-white smile with a far-off look in your eye, a gentle hum of strings following you wherever you find yourself. This is how I envision neo-soul songstress, Mereba, drifting through her day-to-day life. The Philadelphia native released an equally ethereal EP last month. 7 tracks of musings tinted in beguiling shades of hazel and cinnamon, AZEB follows Mereba’s 2018 album, The Jungle is the Only Way Out.

There are three common themes spread throughout the EP: war, peace and gold. “Aye, aye, it’s a war like every day / Keep my gold up in my safe / They won’t bring me to my knees,” Mereba croons on the project’s intro, “Aye.”
On the track, the artist navigates combat while clinging to pacifism: “I’m tryna master peace / Please don’t you disturb me / Your weapons can’t hurt me / My essence is shot-proof.

AZEB‘s minimalist approach to production leaves plenty of space for Mereba to do what she does best: flex her songwriting talent. AZEB is laden with social commentary cloaked in and intertwined with poetry, a skill that Mereba executes better than many songwriters today. The artist’s folkloric songwriting ability is the brush she uses to paint dark realities a golden hue. This has been proven true with previous tracks like TJITOWO’s “Heatwave” and “Black Truck.”

The music video for the EP’s first single, “Rider,” sees Mereba and company in the middle of a barren desert landscape. The scene is almost dystopian, like a crew of drifters seeking refuge in a post-apocalyptic era. The song itself is a declaration of commitment to a deserving lover: “I needed a real one/ Call me if you’re on the run / You knew just what it was / I knew just what it was / We knew that it was love.”

References of gold are generously sprinkled throughout AZEB. Similar to Mick Jenkins’s proclivity for drinking more water, gold to Mereba is representative of pure, all-encompassing love. “I want to remind people of love, too. The very thing we deserve the right to do, and to be,” the artist has stated. On “Go(l)d,” Mereba solidifies this deduction by equating it to being “like a lighthouse in a blackout,” even as “the world we know, it went up in smoke.”

“I want to remind people of love, too. The very thing we deserve the right to do, and to be.” 

Mereba

“Beretta,” my personal favorite track on the project, is a song gilded in optimism and commitment: “If this ink could seep into your cerebellum / I would so eloquently scribe my feelings unto thee / So that you would never not remember / But lemme see, if the way I feel for you is reciprocated too.


“Another Kin,” the project’s only interlude, highlights the mental and emotional fatigue of seeing death day in and day out. Clocking in at just one minute and eighteen seconds, “Another Kin” is a gentle proclamation of how grief has become a daily occurrence for people of color. “News Come” is a more in-depth plea, rather– demand, for social and racial justice, equality and a call for reparations: “I’m done being nervous / When they see us switch lanes and swerve it / Ah, we’re diamonds under the dirt here / System don’t deserve us.”

The title of the project, AZEB, is Mereba’s middle name. The word is an Amharic term for the very point in which the sun rises. With this project, one can assume Mereba hopes to not only shed light on systems that directly affect her and many others but to also bring light and precious gold to those who may be stuck in the dark.


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Listen: Don’t Let Them See You Cry – Shantel May

It’s pretty clear that 2021 has been a good year for women in R&B, starting strong with the release of Jazmine Sullivan’s Heaux Tales in January. Sullivan is one of a handful of artists effectively setting the precedent (and the bar awfully high) for others who fall into that category of music. Toronto-based vocal powerhouse, Shantel May gracefully rises to the challenge with the release of Don’t Let Them See You Cry. The EP is just a small appetizer for the 5-course meal that’s sure to come. Although there’s some push and pull throughout the EP– some tracks standing out more than others– Don’t Let Them See You Cry is an enticing introduction to Shantel May’s work.

With seemingly unending support from fellow R&B group, dvsn, May’s path to success is looking brighter and brighter. The duo also featured May on their third album, A Muse in Her Feelings. Nineteen85, dvsn member and award winning artist, produced May’s 2018 single, “Back n Forth,” which is also on the EP.

The tone of the EP is set within the first few seconds of the intro: “How the fuck do we have a conversation when all you do is lie?” Throughout Don’t Let Them See You Cry, Shantel May broaches the classic tropes of romance, sex and situationships. The 7-track EP ultimately highlights the artist’s growth of talent by featuring songs written and recorded years prior to the EP’s release intertwined with newly recorded tracks. The project truly excels in the second half with “Waiting,” the obvious standout (Warning: May’s vocals may cause chills and/or severe head-nodding) on the EP. Watch the video for the latest single from the EP, “Don’t Wanna Pretend,” below.

Listen to this month’s roundup playlist: