by Leander Cohen, editor-in-chief note: this originally ran in the June 2017 print edition of Bound Magazine I was first exposed to PC Music over Christmas break two years ago. For weeks I had obsessed over the online-persona of a certain upper-termer producer-DJ, and scrolling through his SoundCloud likes, I came across “Every Night” by Hannah Diamond. And I hated it. Why did the cover art look like it was stolen from a 2006 Radio Disney ad? Why was it so repetitive? Why were the lyrics so empty and meaningless? And who was Hannah Diamond? Since discovering Pitchfork as a seventh grader, I had prided myself on my music taste. I played LCD Soundsystem at parties; I shared all my Neutral Milk Hotel-filled Spotify playlists on Google Plus. A ninth-grader well-versed in all things “indie,” I wondered, How could my upper-termer idol like something this generic? I investigated the page that posted the track— PC Music. A British label founded in 2013 by A.G. Cook, a recent art-school graduate, “Every Night” was their most popular song. Combing through the page, I quickly discovered its diverse body of work— each artist had their own well-defined, distinct sound. For GFOTY (Girlfriend of the Year), it was shallow, Ke$ha-esque party girl lyrics over choppy, abstract instrumentals; for Kane West, it was cheap-sounding techno beneath computerized voices; for Hannah Diamond, it was simple, middle-school-romance- themed lyrics that often bordered on melancholy.
Last month, the label announced a “Month of Mayhem,” promising to release new material every day for the month of May. Not only did they follow up on this promise, they released some of their strangest, most inventive works to date. “POBBLES,” a collaboration with visual artist George Michael Brower, is a one- minute burst of bright, fast-paced pop, sung by a cast of smiling, animated balls. The vocals are high-pitched and heavily affected, the lyrics are unintelligible, but both the melody and the ball characters are incredibly endearing, making for a short, captivating project that begs to be replayed. In GFOTY’s “The Argument,” she sings entirely in gibberish, only adding in the occasional English word: “Harum, hum hum klum, crumb crumb crumb crumb cum, lum lum / Mair, marum, mum mum mum marum, a neuron.” In both these tracks, the meaning lies in the apparent absence of one; as listeners, our willingness to enjoy and engage with such unintelligible lyricism reveals our tendency to value certain pop conventions (a catchy instrumental) over others (meaning). This is what PC Music does best: through their outsider approach to the sounds and structures we associate with pop, they constantly blur the lines between satire and sincerity, leaving us, the listeners, to ask: What is this, and why do I like it so much? It’s in the warped, percussive synth-bleeps of SOPHIE’s “Lemonade” and the shrill, frothy vocal samples of Easyfun’s “Laplander” that PC Music shows us again and again that they can generate sounds that are intriguing and fun to listen to, all while adapting, parodying, and questioning the conventions of modern pop music. Constantly pushing boundaries and making us re-evaluate our notions of what pop music can be, PC Music is the alien world of pop I fell in love with.
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by The Editorial Board Note: To narrow down our selections, all the songs listed are singles. 10. Death Grips |
| Death Grips are as liminal as they are sublime. On “Hot Head,” the lead single from their latest release, Bottomless Pit, they continue to expand the boundaries of hip-hop, taking influences from punk, noise, and electronic music. The intro, or A-section, is as avant garde even for them. However, a strong sense of rhythm dominates amongst the dissonance. The B-section is characterised by strong guitar riffs and MC Ride’s repeated cry of “selllllf-inflicted.” Overall, the track is incredibly heavy and dynamic, a powerful reminder of Death Grips’ continued reign of success. -Brendan Sullivan |
9. Deakin
Just Am
| Deakin has long been the most overlooked member of Animal Collective. He’s only appeared on half their albums, he’s sang on just one track, and until this year, he hadn’t done much solo work. But with Sleep Cycle (his debut album, released earlier this year) Deakin unveiled his musical identity—bringing poetic, introspective lyrics and an intimate, textured sound to the forefront. “Just Am” serves as the centerpiece to the album—instrumentally, it layers echoing guitar and piano onto a looping bass riff—lyrically, it gets at the importance of stepping out of one’s comfort zone. If you’ve never heard of Deakin or Animal Collective, “Just Am” and Sleep Cycle are definitely still worth a listen. -Leander Cohen |
8. Anderson .Paak
Am I Wrong
| In "Am I Wrong," Anderson .Paak reflects upon the early years of his career. When he entered the music industry, Paak believed he was going to rise to fame quickly. In the song he says: "The cards will fall where they may / And what about me? I believe in fate." In this song he recalls the hard times in which he doubted himself, and how hard it was to believe in his music and continue to aspire to achieve success. The song is lighthearted and funky, earnest and heartwearming--one of the best from his latest album, Malibu. -Cristóbal Uribe |
7. Danny Brown
Really Doe
| An often overlooked trend of 2010s hip-hop is the resurgence of the posse track. On “Really Doe,” Danny, Earl, Kendrick, and Ab-Soul exemplify everything that makes a posse track great. It helps that all four rappers are young and on their games. As with any great posse song, there's a sense of competition: everyone wants to have the best verse. The result is simply unrelenting. Every verse is intense and hard-hitting while still displaying the unique aspects of each rapper's style. Ultimately, "Really Doe" is a standout track on one of the year’s best albums. -Brendan Sullivan |
6. Solange
Cranes in the Sky
| With "Cranes in the Sky," the only single from her album A Seat The Table, Solange delivers a powerful account of what it means to be a black woman in America. In the hook she sings, "Well it's like cranes in the sky / Sometimes I don't want to feel those metal clouds." The cranes represent the constant presence of racism and sexism, man-made constructions that loom over every facet of her daily life. With each verse, she list the ways she tries to distract herself: "I tried to drink it away / I tried to put one in the air." Through each distraction, a sense of sadness and defeat remains, illustrating just how deeply discrimination is rooted within our society. The production is sleek and elegant, and Solange's vocal delivery is top-notch--making for an all-around fantastic track. -Leander Cohen |
5. Kero Kero Bonito
Trampoline
| On “Trampoline,” the final single from their latest album Bonito Generation, Kero Kero Bonito deliver a fun, bubbly track filled with exaggerated synths, video game-inspired effects, and even a rap-bridge in Japanese. Though the production can sound very campy and a bit cheesy, that’s what KKB’s sound is: a playful and upbeat blend of J-pop and electronic over fast-paced, energetic drum lines. With its cheesy, inspirational lyrics, the amount of satire within the song is up for debate (even among the editors of this magazine). However, unlike its equally-cheesy, chart-topping counterparts, Kero Kero Bonito deliver a more grounded, realistic message: "I know I've got to come down / put my feet on the ground soon / but that's okay." In any endeavor, there will naturally be highs and lows, but coming to accept the lows helps you recognize the highs. Overall, it's the imagination within the composition of “Trampoline” and the positivity in its lyrics that make it such a fun song to listen to. -Ethan Schwartz |
4. Young Thug, Travis Scott
pick up the phone
| “pick up the phone” is one of the most surprising tracks of the year. Since when did Travis Scott, Young Thug, and Quavo--or a collaboration of all three--deliver happy, almost wholesome vibes? And yet, from the very start, the instrumental and Thugger’s vocal melodies create an overwhelmingly cheerful and captivating atmosphere. The hook and bridge, from Travis and Young Thug, respectively, are as catchy as they are devoted. Quavo’s verse keeps the energy going strong; never has a 5 minute track felt so short. All of the risks pay off, and Young Thug and Travis Scott stay on their A-game, once again. -Brendan Sullivan |
3. David Bowie
Lazarus
| David Bowie never slowed down. In “Lazarus,” his final send-off, he reflects on his life, his death, and his image—culminating in a resoundingly reassuring statement: “Just like that bluebird / Oh, I’ll be free.” In typical Bowie fashion, he embraces death for all its artistic value—using music to tackle humanity’s greatest fear. Drawing musical influences from Kendrick Lamar and even Death Grips, his sound remained fresh, creative, and even experimental until the very end. On “Lazarus,” he says it himself: “Ain’t that just like me?” -Leander Cohen |
2. Japanese Breakfast
In Heaven
| This year, Japanese Breakfast (Michele Zauner of Little Big League) released her first studio album, Psychopomp. The opening track, “In Heaven"--written about her late mother--blends ambient strings, synth, and electric guitar, along with longing vocals that perfectly evoke her feelings of both loss and frustration at her mother's passing. Beginning almost slurred, her voice swells into a piercing chorus where Zauner calls out to her mother, surrounded by an array of guitar and strings in a beautifully sad send-off. “In Heaven” also manages to be uplifting, despite its somber subject matter. Its fast paced, upbeat melodies lend themselves to a sense of positivity and closure for Zauner, and help set the tone for the rest of Psychopomp as an emotional exploration of her life in the wake of her mother’s passing. -Ethan Schwartz |
1. A Tribe Called Quest
We the People....
The powerful leading single from A Tribe Called Quest’s first album in over fifteen years, “We the People” illuminates the day-to-day struggle of people of color and LGBTQ+ groups in the U.S. The first line, "We don't believe you / cause we the people / are still here in the rear, ayo, we don't need you," alludes to the founding principles of our Constitution and the failure of today's government to protect blacks and other minorities. Police sirens heard throughout the song hint at the ongoing cases of police brutality that have tormented black communities in recent years. The hook: "All you Black folks, you must go / All you Mexicans, you must go / And all you poor folks, you must go / Muslims and gays, boy, we hate your ways" also takes aim at the hate and discrimination rhetoric that minorities continue to face through politics, media outlets, and day-to-day interactions in 2016.
"We the People" was released just three days after Donald Trump was elected president. After witnessing the success of a campaign that repeatedly alienated blacks, Mexicans, Muslims, the LGBTQ+ community, and women, A Tribe Called Quest showed us that art can often be the most moving, most effective form of protest. -Cristóbal Uribe
by Lily Goldberg, staff writer
In 2015, Spotify changed the game by releasing a feature called “Discover Weekly.” For those of you unfamiliar with “Discover Weekly,” it’s a personalized playlist compiled of tracks that are similar to ones you’ve played. For those of you who are familiar with “Discover Weekly,” it’s pretty clear that it’s a hit or miss kind of deal. Here’s a playlist compiled of my Top 10 Discover Weekly Hits!
1. “Danger” by Lijadu Sisters – This funky song is the first track from the Lijadu Sister’s 1976 album of the same name. The Lijadu Sisters, identical twins from Nigeria, achieved fame in their home country for their signature blend of Afrobeat, jazz, disco, and reggae styles.
2. “Sharpness” by Jamie Woon – London-based recording artist Jamie Woon hasn’t caught on in America yet, but this song’s fantastic synth and percussion paired with Woon’s sWoonworthy vocals had me breathless. (Plus: the live version is even better; listen for the break at 1:58)
3. “Lupita” by Fashawn – I cheated – this song wasn’t actually from my Discover Weekly. “Stars,” the fourth track on Fashawn’s album Boy Meets World, was the song on my Discover Weekly that led me to listen to the rest of this album and stumble on “Lupita.” Other honorable mention is “Samsonite Man (feat. Blu).”
4. “Alaska” by Maggie Rogers – The story behind this song is actually pretty funny - Maggie Rogers is a student at NYU’s Tisch School of the Arts, and she attended a Masterclass where Pharrell Williams came in to offer critique on songwriting. When Maggie played her song for Pharrell, he just sat stunned, shook his head, and then compared her to Wu Tang Clan. And then cries. (video of Pharrell here: https://www.youtube.com/watch?v=TyimCGEkiUc )
5. “Smoke” by Luke Levenson and Abbey Smith – This stripped down song only features a guitar and a drum yet still manages to feel multi-layered and interesting. Abbey Smith’s inspired riffs and runs pack punch into this track.
6. “So Damn Fast” by Lawrence – Brother/Sister duo Gracie and Clyde Lawrence are not what you’d call a typical “family band.” Their incredibly inspired soul mixes synth sounds with big band. Also, the live version is 10x better than the recorded, because sister Gracie’s absurd pipes are featured much more.
7. “No Room For Doubt" (feat. Willy Mason) by Lianne La Havas – This song is perfect for your seasonal depression. I fell asleep at 6 p.m. the other night just listening to it on repeat. The combination of La Havas and Mason’s voices together is simply angelic, and the lyrics are gorgeous.
8. “Things Are Changin’ - Live [Solo Acoustic]” by Gary Clark Jr. – While Gary Clark Jr.’s rollicking blues guitar helped him gain titles of “Hendrix Reincarnated” in other songs, this stripped down track highlights his incredible voice and soulful vibe.
9. “Freaky Feedback Blues” by Benji Hughes – Benji Hughes literally looks like he could drop the song of the season about rednecks with beers and pigs and terriers in trucks, so I genuinely wasn’t expecting to like this song at all. Actually, I didn’t think it would be anything but country, which it is not.
10. “Miss Right” by Anderson .Paak (Live from Spotify Sessions) – The live version of this track from Venice popped up in Discover Weekly, and it showcases two of my favorite features of live recordings – audience reactions and the band’s solos and riffs. .Paak himself barely even sings on this recording, as it is mainly taken up by the band just jamming out after 2:00.
1. “Danger” by Lijadu Sisters – This funky song is the first track from the Lijadu Sister’s 1976 album of the same name. The Lijadu Sisters, identical twins from Nigeria, achieved fame in their home country for their signature blend of Afrobeat, jazz, disco, and reggae styles.
2. “Sharpness” by Jamie Woon – London-based recording artist Jamie Woon hasn’t caught on in America yet, but this song’s fantastic synth and percussion paired with Woon’s sWoonworthy vocals had me breathless. (Plus: the live version is even better; listen for the break at 1:58)
3. “Lupita” by Fashawn – I cheated – this song wasn’t actually from my Discover Weekly. “Stars,” the fourth track on Fashawn’s album Boy Meets World, was the song on my Discover Weekly that led me to listen to the rest of this album and stumble on “Lupita.” Other honorable mention is “Samsonite Man (feat. Blu).”
4. “Alaska” by Maggie Rogers – The story behind this song is actually pretty funny - Maggie Rogers is a student at NYU’s Tisch School of the Arts, and she attended a Masterclass where Pharrell Williams came in to offer critique on songwriting. When Maggie played her song for Pharrell, he just sat stunned, shook his head, and then compared her to Wu Tang Clan. And then cries. (video of Pharrell here: https://www.youtube.com/watch?v=TyimCGEkiUc )
5. “Smoke” by Luke Levenson and Abbey Smith – This stripped down song only features a guitar and a drum yet still manages to feel multi-layered and interesting. Abbey Smith’s inspired riffs and runs pack punch into this track.
6. “So Damn Fast” by Lawrence – Brother/Sister duo Gracie and Clyde Lawrence are not what you’d call a typical “family band.” Their incredibly inspired soul mixes synth sounds with big band. Also, the live version is 10x better than the recorded, because sister Gracie’s absurd pipes are featured much more.
7. “No Room For Doubt" (feat. Willy Mason) by Lianne La Havas – This song is perfect for your seasonal depression. I fell asleep at 6 p.m. the other night just listening to it on repeat. The combination of La Havas and Mason’s voices together is simply angelic, and the lyrics are gorgeous.
8. “Things Are Changin’ - Live [Solo Acoustic]” by Gary Clark Jr. – While Gary Clark Jr.’s rollicking blues guitar helped him gain titles of “Hendrix Reincarnated” in other songs, this stripped down track highlights his incredible voice and soulful vibe.
9. “Freaky Feedback Blues” by Benji Hughes – Benji Hughes literally looks like he could drop the song of the season about rednecks with beers and pigs and terriers in trucks, so I genuinely wasn’t expecting to like this song at all. Actually, I didn’t think it would be anything but country, which it is not.
10. “Miss Right” by Anderson .Paak (Live from Spotify Sessions) – The live version of this track from Venice popped up in Discover Weekly, and it showcases two of my favorite features of live recordings – audience reactions and the band’s solos and riffs. .Paak himself barely even sings on this recording, as it is mainly taken up by the band just jamming out after 2:00.
by Brendan Sullivan, editor
It’s fair to say that J. Cole and Young Thug are currently two of the most talked about artists, at least online. J. Cole was the subject of the absurdly overused “double platinum with no features” meme, and Young Thug--well, Young Thug is a meme. We’ve seen an uptick of these with the release of J. Cole’s latest work, 4 Your Eyez Only. Memes usually label an artist either trash or good, but there's never a consensus; an artist can be hailed as Jesus in one meme and complete garbage in the next.
However, J. Cole is almost always seen as the more legitimate rapper. There’s something about Young Thug, whatever it is, that makes him often be taken as a joke by fans and haters alike. Despite this, Young Thug is just a flat out better artist. The two are polar opposites, ends of the same spectrum; where Thugger is bold, creative, interesting, J Cole is typical, safe, and boring. Young Thug breaks molds with his androgyny and sexual ambiguity, dabbling heavily in women’s clothing, posting instagrams with painted nails, tweeting about “smoking penises,” and sparking debates over his sexuality. Thugger is arguably the most fashion-forward male musician since Prince, and he’s doing it while still earning respect from his peers in the hyper-masculine Atlanta scene.
It’s hard to compare J. Cole, just because we have so little to work with. We know he’s from North Carolina, he’s married, and...what else? His fashion sense is boring, especially considering he’s rich enough to afford whatever he wants. He showed up to a full-body cover photo shoot in some decent J’s, a conservative, stereotypically hip-hop choice. Young Thug showed up to his photo op in a designer dress. You could spend all day talking about the contrast of images, but instead, let’s get to the music.
4 Your Eyez Only starts off well with “For Whom the Bell Tolls,” a quiet and smooth intro track that seems to be promising. By the next track, “Immortal,” Cole is back to his old tricks. He starts off with this:
Now I was barely seventeen with a pocket full of hope
Screamin', dollar and a dream with my closet lookin' broke
And my n***a's lookin' clean, gettin' caught up with that dope
Have you ever served a fiend with a pocket full of soap?
N***a I can tell you things that you probably shouldn't know
Have you ever heard the screams when the body hit the floor?
Flashbacks to the pain, wakin' up, cold sweats
Six o'clock in the mornin', gotta hit the BoFlex
Get my weight up on the block, keep watch for the cops
God they love to serve a n***a three hots and a cot
This is a pretty good example of J. Cole’s lyricism. It’s hard to knock it--his rhymes are solid, he’s flowing pretty well, and I get why he has so many fans, why this album will go platinum. But at the same time, is it anything special? Is he telling us anything we haven’t heard before, not only from his previous work, but also from every single other rapper? Growing up in a tough place, hustling to get by, keeping an eye out for the police: this is hip hop’s bread and butter. But a restaurant needs more than bread and butter to earn a Michelin Star. Hip Hop’s transcendent artists, its legends, are those who find new ways to talk about it. “Immortal” is a solid song, but disappointingly, it turns out to be one of the best songs on the whole album, an honor it does not deserve to hold. “Deja Vu” basically copies a beat from Bryson Tiller’s “Exchange,” with no recognition, and fails to improve on the original track. It continues similarly from there, the production being solid throughout, but none of the beats are gems. “Neighbors” is a standout track, but the album overall feels like a step back for Cole. 2014 Forest Hills Drive wasn’t the best album, but it had higher highs, more energy, and more personality.
However, J. Cole is almost always seen as the more legitimate rapper. There’s something about Young Thug, whatever it is, that makes him often be taken as a joke by fans and haters alike. Despite this, Young Thug is just a flat out better artist. The two are polar opposites, ends of the same spectrum; where Thugger is bold, creative, interesting, J Cole is typical, safe, and boring. Young Thug breaks molds with his androgyny and sexual ambiguity, dabbling heavily in women’s clothing, posting instagrams with painted nails, tweeting about “smoking penises,” and sparking debates over his sexuality. Thugger is arguably the most fashion-forward male musician since Prince, and he’s doing it while still earning respect from his peers in the hyper-masculine Atlanta scene.
It’s hard to compare J. Cole, just because we have so little to work with. We know he’s from North Carolina, he’s married, and...what else? His fashion sense is boring, especially considering he’s rich enough to afford whatever he wants. He showed up to a full-body cover photo shoot in some decent J’s, a conservative, stereotypically hip-hop choice. Young Thug showed up to his photo op in a designer dress. You could spend all day talking about the contrast of images, but instead, let’s get to the music.
4 Your Eyez Only starts off well with “For Whom the Bell Tolls,” a quiet and smooth intro track that seems to be promising. By the next track, “Immortal,” Cole is back to his old tricks. He starts off with this:
Now I was barely seventeen with a pocket full of hope
Screamin', dollar and a dream with my closet lookin' broke
And my n***a's lookin' clean, gettin' caught up with that dope
Have you ever served a fiend with a pocket full of soap?
N***a I can tell you things that you probably shouldn't know
Have you ever heard the screams when the body hit the floor?
Flashbacks to the pain, wakin' up, cold sweats
Six o'clock in the mornin', gotta hit the BoFlex
Get my weight up on the block, keep watch for the cops
God they love to serve a n***a three hots and a cot
This is a pretty good example of J. Cole’s lyricism. It’s hard to knock it--his rhymes are solid, he’s flowing pretty well, and I get why he has so many fans, why this album will go platinum. But at the same time, is it anything special? Is he telling us anything we haven’t heard before, not only from his previous work, but also from every single other rapper? Growing up in a tough place, hustling to get by, keeping an eye out for the police: this is hip hop’s bread and butter. But a restaurant needs more than bread and butter to earn a Michelin Star. Hip Hop’s transcendent artists, its legends, are those who find new ways to talk about it. “Immortal” is a solid song, but disappointingly, it turns out to be one of the best songs on the whole album, an honor it does not deserve to hold. “Deja Vu” basically copies a beat from Bryson Tiller’s “Exchange,” with no recognition, and fails to improve on the original track. It continues similarly from there, the production being solid throughout, but none of the beats are gems. “Neighbors” is a standout track, but the album overall feels like a step back for Cole. 2014 Forest Hills Drive wasn’t the best album, but it had higher highs, more energy, and more personality.
Young Thug’s Jeffery, on the other hand, is alive with passion and personality. Although it’s his latest drop, it’s not quite new, so I’ll keep the review short. However, suffice it to say that Thugger expertly plays to his strengths. It’s no secret that his lyrics aren’t particularly profound, but unless you’re trying to hate, you really won’t notice or care. His sense of melody and ability to switch up flows quickly and smoothly remain unmatched, and his production is tight as ever. The album is bookended strongly, starting with the incredibly catchy “Wycelf Jean,” a good track with a great hook. The last song, “pick up the phone,” is simply one of the best pop-rap songs of the year. Throughout, the album stays vibrant, with an excellent selection of features. Features, actually, are something 4 Your Eyez Only could’ve used (Isaiah Rashad, Kendrick, so many people could’ve killed it). But I can’t bring myself to criticize Cole for something so many of his fans apparently consider a strength.
The point of the comparison here is ultimately that Thugger and Cole are taking two very different approaches. J. Cole plays it safe, and for the most part it seems to be working for him. But taking risks is the very essence of art! No matter how many people disagree with Young Thug’s artistic choices, his personality will always shine through on anything he touches. With 4 Your Eyez Only, J. Cole seems content to, as the memes say, put us to sleep.
The point of the comparison here is ultimately that Thugger and Cole are taking two very different approaches. J. Cole plays it safe, and for the most part it seems to be working for him. But taking risks is the very essence of art! No matter how many people disagree with Young Thug’s artistic choices, his personality will always shine through on anything he touches. With 4 Your Eyez Only, J. Cole seems content to, as the memes say, put us to sleep.
Ready to get groovy? Here’s 15 smoof tracks that’ll comfort you after you get those Q1 grades back:
https://open.spotify.com/user/boundmagazine/playlist/7y7BXXtwZiqEl0g4987Jhr
1. “Skipping Stones” by Jhene Aiko and Gallant: I thought Gallant’s falsetto was groovy as hell at 0:16, but then he came and literally melted me at 0:36. Very smooth, very sexy.
2. “Nakamarra (Rox N Stix Desert Mix)” by Hiatus Kaiyote: You can never go wrong with an acoustic cover, and Nai Palm’s angelic vocals on this stripped down version of Hiatus Kaiyote’s biggest hit prove it.
3. “Back to Me” by Moonchild: Bands that have less than 300,000 monthly listeners on Spotify are like your favorite restaurant that has a C on its Health Inspection Rating--there might be a reason it’s undiscovered, but for the meantime you can enjoy the crazy horn section on this cool song.
4. “Mad” by Solange ft. Lil Wayne: This goes without saying. A Seat at the Table is fantastic and I love this song especially.
5. “Florence” by Loyle Carner: The way to a woman’s heart is through her stomach; I drafted my marriage proposal to Loyle Carner promptly after Emma Farrell showed me the music video for “Florence,” in which he makes crepes for 3 minutes.
6. “Biggest Joke of All” by Fatima: R&B has never sounded so good. Discover Weekly hit me with this find, and I’m eternally grateful.
7. “Birds Don’t Sing” by TV Girl: The first 10 seconds of this song sound like elevator music, and then it explodes! This is the perfect song for dancing around the house to, and it’s constantly stuck in my head.
8. “Bye Bye Baby” by Noname: If you haven’t listened to the entirety of Telefone, stop reading and go listen immediately. I read on Genius that this song is actually about abortion, which makes me sad but also incredibly impressed that Noname can express herself so beautifully in this incredible track.
9. “Lost One” by Jay Z: Oldie but goodie.
10. “Fall in Love (Your Funeral)” by Erykah Badu: The bassline of this song is really groovy, with groovy cover art to match.
11. “Celebrate” by Anderson .Paak: Again, the entirety of Malibu is great, but this uplifting track will hopefully help you out of your first quarter slump.
12. “Easy Easy (20syl Remix)” by 20syl, King Krule: 20syl is one of like three Soundclouds I follow (the other two are leanderandco and yung hot pocket) and I have never once regretted it. Bonus: his “Walk Walk” remix (original by Yael Naim) is also really great.
13. “Just Like You” by Bosley: Another one plucked from Discover Weekly. Really good vibe.
14. “TOGETHER” by KAYTRANADA ft. GoldLink: KAYTRANADA is just flawless. Listen to all of 99.9% (especially LEAVE ME ALONE). The featured artist on this track, GoldLink, is one of those rappers I was convinced I had “discovered.” Blatantly untrue, but I can still appreciate the jams. Honorable GoldLink mentions: “Fall in Love," “Late Night (Swell Remix)," and “Bedtime Story.”
15. “Self Control” by Frank Ocean: wehfjadkslxcribuessfjk.jreiosdfhljkrl.e/sd;lf
https://open.spotify.com/user/boundmagazine/playlist/7y7BXXtwZiqEl0g4987Jhr
1. “Skipping Stones” by Jhene Aiko and Gallant: I thought Gallant’s falsetto was groovy as hell at 0:16, but then he came and literally melted me at 0:36. Very smooth, very sexy.
2. “Nakamarra (Rox N Stix Desert Mix)” by Hiatus Kaiyote: You can never go wrong with an acoustic cover, and Nai Palm’s angelic vocals on this stripped down version of Hiatus Kaiyote’s biggest hit prove it.
3. “Back to Me” by Moonchild: Bands that have less than 300,000 monthly listeners on Spotify are like your favorite restaurant that has a C on its Health Inspection Rating--there might be a reason it’s undiscovered, but for the meantime you can enjoy the crazy horn section on this cool song.
4. “Mad” by Solange ft. Lil Wayne: This goes without saying. A Seat at the Table is fantastic and I love this song especially.
5. “Florence” by Loyle Carner: The way to a woman’s heart is through her stomach; I drafted my marriage proposal to Loyle Carner promptly after Emma Farrell showed me the music video for “Florence,” in which he makes crepes for 3 minutes.
6. “Biggest Joke of All” by Fatima: R&B has never sounded so good. Discover Weekly hit me with this find, and I’m eternally grateful.
7. “Birds Don’t Sing” by TV Girl: The first 10 seconds of this song sound like elevator music, and then it explodes! This is the perfect song for dancing around the house to, and it’s constantly stuck in my head.
8. “Bye Bye Baby” by Noname: If you haven’t listened to the entirety of Telefone, stop reading and go listen immediately. I read on Genius that this song is actually about abortion, which makes me sad but also incredibly impressed that Noname can express herself so beautifully in this incredible track.
9. “Lost One” by Jay Z: Oldie but goodie.
10. “Fall in Love (Your Funeral)” by Erykah Badu: The bassline of this song is really groovy, with groovy cover art to match.
11. “Celebrate” by Anderson .Paak: Again, the entirety of Malibu is great, but this uplifting track will hopefully help you out of your first quarter slump.
12. “Easy Easy (20syl Remix)” by 20syl, King Krule: 20syl is one of like three Soundclouds I follow (the other two are leanderandco and yung hot pocket) and I have never once regretted it. Bonus: his “Walk Walk” remix (original by Yael Naim) is also really great.
13. “Just Like You” by Bosley: Another one plucked from Discover Weekly. Really good vibe.
14. “TOGETHER” by KAYTRANADA ft. GoldLink: KAYTRANADA is just flawless. Listen to all of 99.9% (especially LEAVE ME ALONE). The featured artist on this track, GoldLink, is one of those rappers I was convinced I had “discovered.” Blatantly untrue, but I can still appreciate the jams. Honorable GoldLink mentions: “Fall in Love," “Late Night (Swell Remix)," and “Bedtime Story.”
15. “Self Control” by Frank Ocean: wehfjadkslxcribuessfjk.jreiosdfhljkrl.e/sd;lf