V’s New Music Roundup – V Magazine

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Here are some of the biggest and best releases of the week

Here are some of the biggest and best releases of the week

Hello and welcome to our regular programming! It’s 2022, we’re in the new year, and hopefully it’s not as messed up as the year before (all signs point to a “good lord, who knows”). But welcome to V’s new music roundup, where we bring you some of the biggest and best releases of the week, from singles to albums. Because if anything got us through those tough times, it was good bops.

Here are this week’s top picks:

CAPRISONS by FKA twigs

Image courtesy of Young Recordings Limited

I really don’t know what I’m listening to CAPRISONS, and I say that in the best possible way. If you close your eyes, sometimes it could be a Karol G. record or a Melanie Martinez. Or a Tinashe. But that’s the beauty of FKA Twigs and the fact that you can’t define his artistry, you have absolutely no idea what’s next on this album. Each song is its own story, its own emotion, its own musical interlude, and you’re more than likely to walk away with at least one you like.

From a bird’s eye view by Cordae

Image courtesy of Atlantic Recording Corporation

Cordae doesn’t skip a single beat or word on his second effort, understanding that if he doesn’t tell the stories he grew up with and the thoughts in his head now, he never will. The album is listened to as if it had been meticulously thought out, each word written with foresight. But it’s the sounds that elevate it, reminiscent of some of the big names in ’80s and ’90s hip-hop and R&B. Beyond tracks like “Gifted” and “Chronicles” (which lean too far for my tastes), there’s a touch of grandeur that erupts in Cordae’s record, which guarantees that it will find its way into the playlist of many hip-hop aficionados.

“I Like It When You Hate Me” by Avril Lavigne ft. blackbear

Image courtesy of DTA Records/Elektra Records

As one of Lavigne’s biggest fans, I can say her second single from her upcoming album is a disappointment. As an objective reviewer, I can understand why. What “Bite Me” helped rediscover was a unique and distinct quality and vibe to an Avril Lavigne song that you won’t find anywhere else. This pop-punk aesthetic comes naturally to him. It feels a lot more fabricated, like a lot of 2020s songs can feel, and doesn’t sound as organic as it usually does. It’s a good song, but that’s not much to say about it.

“Love Me More” by Mitski

Image courtesy of Dead Oceans

In the kind of musical time travel that Mitski embarked on with his latest releases, we’ve now entered the 60s and 70s. With its disco and synth-pop influences, including utterly unexpected piano riffs and everything utterly welcome, the singer-songwriter finally embraces asking for that love instead of wallowing in the darkness of it all. A central theme of this era of music was self-love and control, which Mitski expounds on “Love Me More”. It might be completely unintentional, but that’s what’s so great about musical ties and coincidences.

“Hell” by Stromae

Image courtesy of Mosaert label

Stromae takes a dark approach with its new release, opening up to depression and suicidal thoughts. It ranges from a more stripped-down piano ballad to a much more production-heavy dance track. But it’s like a panic dance, when you writhe in agony as the voices in your head threaten to take over. The beauty of the music is in its ability to transcend language barriers, and even as a non-French speaker, I understand the very specific angst and pain that peppers this song, and it’s a testament to its creative talent. .

“Fuck Your Labels” by Carlie Hanson

Image courtesy of Warner Records Inc.

There’s a harsh irritation and frustration that makes “Fuck Your Labels” feel more authentic, which I think really helps it be more appealing. It’s easy to think “we don’t need labels, we can be whoever we want to be” and sound like you’re spouting empty platitudes. But with her trap and handclap rock-inspired track, Hanson blends her personal experience with a bigger, more meaningful message. This is one of those times when having an intimate connection to your material really, really matters. Plus, it’s just a fun track to listen to, I would say, I think.

“LAST DAY ON EARTH” by Tai Verdes

Image courtesy of Fourth Wall LLC

I don’t think any of us like to think about death (maybe someone more macabre? I’m not judging). So when Verdes attempts to dissect his last day of existence, his thoughts are fairly simplistic and don’t veer into the grandiose or the philosophical. It’s like one of those lists you make as a kid for things you want to achieve when you’re 40, like having a million dollars or an ice cream cone. It’s about appreciating the simple pleasures in life and cherishing the important things that make this simple, jazzy song such a charming listen.

“Won’t Stand Down” by Muse

Image courtesy of Warner Music UK

Muse has never been afraid to go heavier than usual, but this might be the heaviest they’ve ever done. They’re moving away from their usual hard-hitting rock guitar for a more metal-influenced sound for this track about standing your ground and standing up to those who try to put you down. Essentially an anti-bullying anthem that you can furiously headbang to, it might just be the adrenaline rush you need to find your own strength, even if that breakdown before the last chorus is one of the most confusing things. that I heard this week.

“Turn off the lights” by Bastille

Image courtesy of Virgin Records

From the harsh lows of Muse to the euphoric highs of Bastille, “Shut Off the Lights” might just be the highest they’ve ever reached. It’s not even about the contrast, it’s the fact that what makes each of these bands so good is that they are able to match the sound to the material so well. Bastille finds joy in the intimacy and exaltation of living in the moment and enjoying something as small and fleeting as a physical connection. It’s a nice rollercoaster to listen to one after another on, and it’s, maniacally, exactly as I would recommend.

“I Want That Back” by Brett Eldredge

Image courtesy of Warner Music Nashville

I often shy away from country music that encourages embracing the beer and truck life, mostly because it seems so heteronormative and unrealistic to so many people. But with the poignant “Want That Back,” you understand its appeal when placed against the backdrop of a world divided by hate and strife, a life that’s just full of disappointing news. Of course, I don’t want to walk around with a cheap six-pack or talk to the preacher in my hometown, but I understand why the simple pleasures in life appeal to him and so many others, mostly because they’re so magical compared to what we’re experiencing right now.

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