Album Review: That! Feels Good! - Jessie Ware

Before the release of her 2020 album What’s Your Pleasure?, English singer-songwriter and international sensation Jessie Ware almost stepped away from making music. Citing a lack of momentum and stalling of her creative process, Ware nearly retreated to the comfortable but modest confines of family life, leaving behind a fandom that saw the potential in her that she did not yet see in herself. After the release of What’s Your Pleasure?, however, it became clear that Ware’s passion for disco-inspired dance anthems and soulful ballads resonated with an even wider array of listeners across the globe, as this project quickly became her most commercially successful and critically acclaimed. Her newest album That! Feels Good! has released three years later, and this highly-anticipated project is a very natural continuation of the sonic landscape that Ware has been developing for some time. Cohesive, uplifting, innovative, camp, and just downright groovy, That! Feels Good! is not only one of the best dance records in recent memory, but one of the best records in recent memory altogether.

Always accompanied by her supportive team, Ware made sure to include her loved ones and collaborator in the opening title track’s self-referential and communal introduction. Backed by a driving bassline and sensual lyricism, Ware sets the stage well for what’s to come in the rest of the tracklisting. “If you’re going to do it, do it well (That’s the only way I do it)” is repeated throughout, and Ware proceeds to walk the walk of this philosophy on following tracks. “Free Yourself” was the project’s lead single and carries its contagious energy onto the album rollout. Its high tempo, encouraging lyricism, and spotless production make this a standout on an already impressive project. “Pearls” was another that teased this album with smooth production, playful lyrics, and killer belted vocals to round things out. Ware worked with Dua Lipa’s production team on this track, which is evident upon hearing its glistening and dynamic instrumentation.

“Hello Love” is a breather on the tracklisting, utilizing Jazz-inspired production and instrumentation. Ware is no stranger to a love song, and this fits very well into her discography as it channels pastel summer skies and electric butterflies. “Begin Again” is next and may be my favorite Jessie Ware song of all time after repeat listens. Discussing self-acceptance, rebirth, purpose, and introspection, this track touches on some of my favorite themes. The track continually builds and develops, eventually crescendoing into a climax larger than life itself - bigger in scope than anything Ware has attempting before and gracefully sticking the landing. “Beautiful People” is another electric track that encourages us to seek and appreciate the beauty of those around us, particularly in an often ugly world. There is an escapist quality track that serves a daydream or reminiscing of a time of partying long ago.

“Freak Me Now” is an unapologetic club banger that doesn’t rely on traditional songwriting structures, instead pulling directly from French house influences and practically begging to be played in clubs around the world. “Shake The Bottle” is a melodramatic and performative camp track easily likened to Ware’s “Ooh La La” that uses a narrative full of innuendo. While the following “Lightning” is a slow jam and change of pace that’s done generally well, it lacks the indescribable energy found in the rest of the tracklisting. Finally, the album’s closer “These Lips” is just as much an invitation as it is a promise — just because the project, the party, or the era is over doesn’t mean that the fun has to stop or that there isn’t another around the corner. Ware’s refrain of “These two lips can do so much more” is a sensual confirmation that her songwriting days aren’t coming to an end, but that this may just be the beginning of her resurgence and development as a world class artist.

Jessie Ware’s two most recent projects, What’s Your Pleasure? and That! Feels Good!, are a reminder that dreams should never be let go of. Ware almost gave up her calling, but instead chose to continue pursuing her art and blessed her fanbase with two incredible projects and a lifetime of music yet to come. Glamorous talent on full display, That! Feels Good! can brighten up the darkest days. This is one of my favorite projects so far this year, and I can’t wait to watch her reach even newer heights in the future.

Favorite tracks: “That! Feels Good!”, “Free Yourself”, “Pearls”, “Hello Love”, “Begin Again”, “Beautiful People”, “Freak Me Now”, “These Lips”

SCORE: 9/10

Album Review: the record - boygenius

One of the most fascinating phenomena in all of music is what has been colloquially coined the “supergroup.” Many of these ultimate collaborations work well on paper, consisting of likeminded and sonically-similar artists coming together to create projects larger than the sum of their parts. In some instances, however, the culmination of superstars can lead to a “too many cooks in the kitchen” effect that actually detracts from the individual elements that brought each artist to stardom in the first place. boygenius, made up of heartfelt singer-songwriter Lucy Dacus, moody and confessional singer Julien Baker, and indie sweetheart and heartbreaker Phoebe Bridgers, is the latest attempt at an alternative collaboration that is natural both because of the members’ friendship and their similar sounds & subject matters. the record is the long-awaited debut album from the group following their critically-acclaimed 2018 self-titled EP.

The new project opens with a harrowing and contemplative a cappella track “Without You Without Them” that demonstrates the trio’s natural harmony with one another. On this track, the supergroup ponders the difficulties of life if they did not have one another — an uplifting track to kick things off. The following three tracks, “$20”, “Emily I’m Sorry”, and “True Blue”, were released as a pack of singles months before the album’s release and continue to serve as highlights now that the record has arrived in full. Each artist gets to shine on this three-track run; Baker’s punky lead vocals define the electric “$20”, Bridgers’ plucky acoustics and ethereal vocal effects pair incredibly well with the vulnerable subject matter of “Emily I’m Sorry”, and Dacus’s incredibly-written exploration of unwavering and unconditional love defines “True Blue”.

“Cool About It” depicts a deteriorating relationship over a country-inspired acoustic backing guitar reminiscent of Plain White T’s “Hey There Delilah”, but lacks the staying power of some of the other tracks here. “Not Strong Enough” served as the fourth and final single leading up to the project’s release, and remains my favorite on the album, with thought-provoking and devastatingly relatable lyricism that culminates in the entire group harmonizing effortlessly. “Revolution 0” has a difficult act to follow, but unfortunately it doesn’t seize that opportunity as well as I would like, coming off more as a Punisher B-side leftover that left me scratching my head.

“Leonard Cohen” is one of the highest-potential tracks on the album from the title alone, but with a runtime under two minutes, this sounds more like the idea of a great hit than the execution of one. I enjoy what this song could’ve been had it not been so underbaked. Luckily, the following “Satanist” makes up for its shortcomings, serving as another major highlight and standout. Evocative lyricism regarding satanism, anarchism, and nihilism paired with a sick electric guitar riff and memorable lyrical contributions from each member, define and demonstrate what this group does best — rock the fuck out together. In the opposite vein, however, “We’re In Love” is the most heartfelt song on the album, with Dacus baring her soul with lyrics like “You could absolutely break my heart / That’s how I know that we’re in love.”

“Anti-Curse” is another mini-highlight, with Baker recounting and reflecting on a very real near-death experience she had at a public beach, and as impressive as this three-track run is, it feels more like a compilation than a proper album because of its lack of thematic cohesion and progression. We close with “Letter To An Old Poet”, a piano-backed ballad that serves as a rewarding final track that contains reference to one of the group’s most popular songs “Me & My Dog” that will likely bring many to tears.

the record is boygenius's attempt at achieving supergroup stardom, and it exceeds expectations in many ways. The group’s chemistry is undeniable, but each individual member’s contributions are both unique and essential to form a sonic aesthetic that hasn’t been achieved before. While some of the songs feel underbaked and don’t stick the landing for me here, the standout highlights are some of the best tracks released so far in 2023, and leave me hoping for a bright future for these three immensely-talented artists.

Favorite tracks: “Without You Without Them”, “$20”, “Emily I’m Sorry”, “True Blue”, “Not Strong Enough”, “Satanist”, “Anti-Curse”, “Letter To An Old Poet”

SCORE: 7/10

Album Review: Live at Bush Hall - Black Country, New Road

Days before the release of what has since become their widely-acclaimed chamber-pop classic Ants From Up There, English rock group Black Country, New Road faced unprecedented circumstances. Citing mental health challenges, lead singer and eclectic storyteller Isaac Wood announced that he would be stepping away from the group’s endeavors indefinitely. Not only did this present the obvious long-term obstacle of having to redefine the group’s sound and personality over time, but their upcoming tour was now in question since all of the band’s material from their first two albums was defined by Isaac’s contributions. This left many Black Country, New Road fans experiencing the bittersweetness that the group so often evokes in its narratives, but this time about this band itself. Where would they go from here? Could their future music ever live up to the impossibly high standard set by For the first time and Ants From Up There? What happens now?

Fortunately for Black Country, New Road fans, it’s apparent that putting this group of extraordinarily-talented musicians in the same room together leads to nothing short of sonic euphoria. Instead of replacing Isaac with another lead single and touring the group’s album tracks, they took a chance by assembling a brand new setlist of songs that highlighted each member’s abilities in a refreshing light, even allowing instrumentalists like May Kershaw, Tyler Hyde, and Lewis Evans to lead the charge and attempt to fill the large (basketball) shoes left behind by Isaac on the mic. Their most recent project, not quite a third full-length LP but certainly more than a just collection of tracks, Live at Bush Hall is a special recording of the setlist the group arranged after Isaac’s departure recorded on both audio and video in one of London’s most historic venues.

From the first track “Up Song”, it’s apparent that Isaac’s departure is very much still on the minds and hearts of each of the group’s members. Despite this, this excellent opener is a triumphant victory lap and self-congratulatory reminder that these are all friends making music, with an ear worm of a chorus that states: “What at what we did together, BC, NR - friends forever!” Track two, “The Boy”, explores a heart-wrenching, theatrical narrative of a Robin losing its ability to fly and attempt to restore its broken wing. While somewhat shrouded in layered vocals and a unique narrative structure, this song’s symbolism quickly becomes apparent, and May’s vocal contributions demonstrate that a varied style could provide refreshing and useful for the group moving forward.

“I Won’t Always Love You” is one of the most structurally-captivating pieces the group has released up until this point, with the narrator struggling to lie to herself about a relationship that has slipped past the point of no return. As the song progresses and she finally admits to herself that the love she once felt is no longer, she is able to speak more clearly and directly, with an ever-swelling instrumentation that eventually blooms into the full Black Country organized chaos that fans have grown to adore.

“Across the Pond Friend” is up next, and so is Lewis Evans - whose semi-flat vocal delivery would prove jarring if not for how well it is accompanied when juxtaposed to the upbeat instrumentation of this track. The story of living more adventurously than you’re accustomed to and doing something as simple as visiting a distant friend is both fulfilling and crushing, with crushing lyrics like “On our last night, we watched a film and had a cry / How could I be ready to say goodbye? / And just like that, you’re in my mind, you’re back into my arms again / My across-the-pond friend.”

Speaking of crushing, the following “Laughing Song” is anything but a knee slapper, as it explores Tyler’s experience in losing someone incredibly close to her whether to death or to circumstance. I may be presuming, but I hear the subject being discussed here as Isaac, with lines like “Laughing at our own songs again / How we laughed, you made me laugh / Well, what does that say? / What does that say? / When I have accepted that no-one else will make me laugh like that - ever again?” seemingly confirming the depth of impact that Isaac’s departure had on this group of friends. This isn’t to fault Isaac for taking the actions needed to preserve his mental health, but instead to explore the often bittersweet nature of life that Black Country, New Road so frequently captures the essence of.

“The Wrong Trousers” is an uplifting and sometimes humorous track, but even the Weyes Blood reference could’ve elevate it above forgettable to me, especially when surrounded by such powerhouses. None exemplify this more than the following “Turbines/Pigs”, which I hope is adapted and featured on a future full-length studio project. One of my favorite Black Country, New Road songs to date, this piano-backed epic’s chorus is haunting, with May Kershaw repeating “Don’t waste your pearls on me … I’m only a pig” and eventually culminating in the brutal “Without a broom or bubble, you learnt to fly all by yourself / You could see through the mess / You chose to fly above us.” Chills.

“Dancers” is another highlight, with the central core metaphor of dancers standing still on a stage as shells of who they once were. When paired with the revelation that Tyler is struggling with self-hatred throughout the track, this song proves to be yet another tearjerker. Finally, “Up Song (Reprise)” puts a thematic bow on this project by resurfacing the opening track’s lyrics and a final, existential look inward with the lines “Look at what we did together / Don’t know how you did it / Have you come out half the woman you were before / Or twice the person you ever dreamed you could be?” Hopefully the answer to that question is quite clear at this point — Black Country, New Road as a whole has seemingly used very unfortunate circumstances to evolve, adapt, and continue to expand their sonic capabilities even further than the sky-high standard they set for themselves. But the question even being asked reveals that their identity as a group has been shaken, and they are unsure if this new formula will yield the same brilliance that their debut and sophomore albums captured.

While not a conventional release, I found a live album the perfect next step forward for Black Country, New Road. This project highlights the many skills of their members, offering an array of new sounds and ideas to fans, while capturing the same aesthetic and tonal quality that we’ve grown to love. This project will not be a part of my year-end list because it was released under such particular circumstances and isn’t being framed a formal third studio album from the group, but that doesn’t mean it won’t be one of my most-played favorites this year, even with an asterisk next to its name. Black Country, New Road has already established a special place in my heart with their first two albums, and Live at Bush Hall is yet another moment that leaves my jaw on the floor and leaves me excited for what’s in store for this band in the coming years.

Favorite tracks: “Up Song”, “The Boy”, “I Won’t Always Love You”, “Across the Pond Friend”, “Laughing Song”, “Turbines/Pigs”, “Dancers”

SCORE: 8/10*

Album Review: SCARING THE HOES - JPEGMAFIA & Danny Brown

At long last, a hip-hop collaboration that has been teased for years has come to fruition. Rappers JPEGMAFIA and Danny Brown, known for their eccentric styles and unconventional approaches to the rap genre, have finally come together to release their collaborative debut SCARING THE HOES. Named after a Twitter meme and with a tracklist full of niche internet inside jokes, this project promised to deliver with its lead singles “Lean Beef Patty” and title track “SCARING THE HOES”. Luckily for the hip-hop community, this long-awaited project has lived up to and even exceeded all of its high expectations, delivering both hilarious and complex bars over intricate and hard-hitting instrumentals that highlight both artists’ skills in many different ways.

At only 36 minutes spread over 14 records, this album doesn’t leave much room for filler or lackluster songs. By forcing themselves into the creative difficulty of brevity, JPEGMAFIA (Peggy) and Danny Brown rely on a lightning-in-the-bottle approach and encourages a rapid pace throughout the tracklisting. The project’s opener exemplifies this well, cutting straight to the chase in under two minutes and setting the tone for what’s to follow. Both rappers are known for their unique styles: New York’s JPEGMAFIA orchestrates multi-instrumental, complicated beats that propel his always top-notch bars, and Detroit’s Danny Brown has an immediately recognizable and distinctive nasally deliver that complements the often lewd and exhibitive subject matters that he tends to discuss.

There is a certain level of grunge and inaccessibility to this project, with challenging but rewarding sonics that seldom turn conventional or euphoric. Simply put, this album will not be for everyone or every occasion, even those already versed and familiar with the genre. Many of the tracks on the album’s front half are very abrasive, from “Steppa Pig” and “Garbage Pale Kids” to “Fentanyl Tester” and a personal favorite “Burfict!” Only JPEGMAFIA could find a way to interpolate Kelis’ “Milkshake” and reference “It Takes Two” on the same song successfully, which is exactly what he does here and throughout the entire project — pairing unlikely ideas together cohesively.

The album’s second half is generally more playful and melodic than the first, as demonstrated by the biblically-sexual double entendres on “God Loves You” and piano-backed, hysterical “Jack Harlow Combo Meal”. This project never tries to reinvent the wheel, but unintentionally paves a path forward for hip-hop and experimental rap in general with its brazenly confident, well-architected, and playful tracks following each other one after another. JPEGMAFIA and Danny Brown excel in their individual lanes, and I’m glad that their friendship has spawned such a natural collaboration that greatly expands both of their discographies.

It has been a long time since I’ve enjoyed a rap album without political subtext, personal exploration, or thematic cohesion this much. Every track here instead is simply an ear worm with distinct, memorable one liners and schemes, never overstaying its welcome and instead offering some of the most shocking but captivating hip-hop in a long, long time. While it’s often evident that JPEGMAFIA was the primary creative force driving this album and shaping its sonic soundscape, as he was the sole force creating these instrumentals, Danny Brown’s contributions pair too nicely to call that a fault. I hope this exceptional album is just a sign of what’s to come from two of the best in the game. We have an album of the year contender on our hands with SCARING THE HOES.

Favorite tracks: “Lean Beef Patty”, “Steppa Pig”, “SCARING THE HOES”, “Garbage Pale Kids”, “Fentanyl Tester”, “Burfict!”, “Orange Juice Jones”, “Kingdom Hearts Key (feat. redveil)”, “God Loves You”, “Jack Harlow Combo Meal”, “HOE (Heaven on Earth)”

SCORE: 9/10

Album Review: UGLY - slowthai

UGLY is the newest LP from UK rapper, singer, and songwriter Tyron Frampton, known more commonly by his stage name ‘slowthai’. His third full-length album to date, UGLY demonstrates clear artistic evolution since the releases of his debut Nothing Great About Britain and sophomore TYRON. While both compelling and impressive releases in their own rights, these projects tended to lack the tangible and unfiltered authenticity that UGLY brings to the table so well. slowthai portrays his emotions and thoughts in a raw and rugged manner, inviting his listeners along the dark path he finds himself on throughout this project’s narrative, which is unsettling from the start.

At just over 38 minutes in length, this project has no time to waste, and immediately sets the tone for what’s to come with the opening track “Yum”. A deep dive into his psyche, slowthai depicts his descent into an addiction-fueled mania on this track, while also crying out for help with lines like “I’ve been lacking motivation / I need an intervention.” The song also features more live instrumentation that his previous works, which was a welcomed addition sonically for me. “Selfish” is another distortion-heavy track that backs slowthai’s complicated relationship with selfishness — something that he uses to better himself, but also something he doesn’t want others to associate with his character. “Sooner” is a milder track compared to the two that precede it, with punky group vocals that differ from the intimately intense aesthetic that had been established up until this point in the tracklisting.

“Feel Good” is another example of the cognitive dissonance that slowthai’s experiencing on this project, with lines like “I feel so happy that it hurts deep in my sides / Yeah, it feels so good when you feel alive,” which is direct contrast to the sentiments of tracks like “Yum” before it. This track serves as an oasis of positivity from those surrounding it, but knowing that it was written as more of a mantra to exit a negative headspace adds a dark irony to the lyrics on this song. “Never Again” is a highlight for me — an impressive narrative that tells the story of returning home to rediscover an unrequited love that couldn’t be saved before tragedy struck. The bass and drum-backed instrumentation supports his rapping perfectly here. “Fuck It Puppet” is more of an interlude that features more of slowthai’s older sonics, and the title term to describe intrusive thoughts is just wonderful.

“HAPPY” is probably the most important song on the album, featuring the important message that nothing matters except for your happiness in life. “I would give anything for a smile” is an immediately-memorable line that stuck with me. The title track “UGLY” has various impressive meanings, primarily serving as an acronym for “You’ve got to love yourself,” especially when the world is actually ugly. slowthai has stated that this song was written at the beginning of the Russian invasion of Ukraine, and is meant to be a reminder that darkness will always exist in the world, but what we do despite that darkness is what matters. “Falling” is the understanding that this effort is sometimes done in vain, because sometimes nihilism and dissociation is inevitable in one’s life, but that that’s okay too, within reason.

“Wotz Funny” discusses class conflict, exploring the difference in perspectives between the haves and the have-nots in society. This is a unique track that I’d love to hear slowthai describe more in-depth, as not all of the narrative elements connect with me on a personal level. But maybe that’s the point of the track in the first place. “Tourniquet” is probably my favorite track sonically on the album, with an ambient, droning, and ethereal quality that I tend to gravitate toward in music. The metaphor of this track is that sometimes you need to burn bridges or amputate parts of your life to escape vicious loops and cycles and to escape the version of you that you’ve outgrown. slowthai’s unfiltered and visceral delivery throughout the track is nothing short of mesmerizing. “25% Club” is an excellent closer that puts a bow on this revealing and self-exploratory project, where slowthai challenges the idea that externality will lead to us feeling complete. Feelings of being fulfilled, if possible at all, will come from within, not from the outside world — and your happiness is your responsibility. These conclusions are profound, thought-provoking, and discovered through the emotionally tormenting work that slowthai did to create this project.

Creative evolution is one of the most exciting and compelling characters that I look for in upcoming musicians. Since his debut record, it was apparent that slowthai has what it takes to create and release quality albums. But UGLY has proven that he’s willing to take off the mask and grant his audience a look into his unfiltered, genuine, and endlessly self-improving psyche, no matter how uncomfortable that may be at times. That perspective and vulnerability is what I enjoyed most about this fantastic project from slowthai, who is young enough that there’s no telling where he goes from here artistically.

Favorite tracks: “Yum”, “Selfish”, “Never Again”, “HAPPY”, “UGLY”, “Falling”, “Tourniquet”, “25% Club”

SCORE: 7/10