Stella Donnelly - Flood

Stella Donnelly’s “Flood” is magic captured and preserved in a 3 minute and 43 second time capsule. What constitutes “magic,” might you ask? It’s all about that threshold. Let’s provide an example via Exhibit #1: Sylvan Esso’s “Your Reality.” Beautiful tune, and one that teases magic, but doesn’t quite cross that all-too elusive threshold. A threshold that continues to rise in tandem with our growing tolerance. So, when a tune like Stella Donnelly’s “Flood” comes along, you’ve got to take a moment to thank your lucky stars that your brief existence on this Earth just so happened to correspond with its release. This dreamy masterwork incites similar feelings to some of Belle and Sebastian or Jens Lekman’s spoken word classics - all before transitioning into a dreampop refrain that’s uniquely Donnelly’s. She’s coming off the release of her brand new Flood LP - and you can use the title track as a solid indicator of where it’s faring on our top records of the year list. Check out the music video for “Flood” - another one of our personal favorites on the year - below.

Florist - River’s Bed

Human beings are predictable creatures. They’re also instinctive. And with this in mind, it’s important to emphasize that you can’t push music on anyone. One step beyond that finnicky threshold - of where the line between suggestion and command blurs - and they’re less inclined to listen than if you were to have never suggested the song at all. It might be easy to get that sort of impression if you’re reading the reviews for Florist’s new S/T LP from last week. But instead of pushing an entire record on you, we’re going to focus on a single song - our favorite song - off what we would confirm is quite an excellent album. Like a few others we’ve reviewed this year, “River’s Bed” was born in the contemporary, but it doesn’t belong here. It’s old soul predates modern technology - but it doesn’t predate modern problems. Outside of the social media conundrum, the human plight by-and-large transcends mere chronological considerations. Which is why this song would resonate both now and then (whenever then is). And while we don’t fully understand its meaning, the underlying themes of death, loss, and existential longing hit hard. Which brings us back full circle - breaking our own rule - and shamelessly calling on you to stop whatever important thing it is you’re doing and check out this excellent new Florist tune.

The Big Moon - Wide Eyes

Let’s cut straight to the chase: The Big Moon’s “Wide Eyes” is one of our favorite songs of the year. It’s mesmerizing. It’s debilitatingly transfixing. It’s magic. And it’s fair to presume that this London-based four piece knows it. We began this review with the intention of taking a dive into what makes this splendid tune so captivating, but interpreting the array of emotions that this song conjures up is no easy task. There’s certainly a nostalgic component fused into its warm core - with 90s alternative rock influences leading the way. And there’s the swirling vocal harmonies that add flavor and texture into each nook and cranny of the mix. But the most important component of this song isn’t one that’s especially articulable. Because the human vocabulary isn’t fully equipped to convey the depth of some feelings. And instead of trying, it’s perhaps that which gets left unsaid that can wind up speaking volumes. Check out the excellent music video for “Wide Eyes” below - featuring a gathering of friends and some charming choreography.

Young Fathers - Geronimo

Young Fathers fall into a different category than most of our favorite artists. Because they make music differently. We’re not sure if unconventional is the most appropriate adjective to use, but today we’ll be running with it. They’re finally back after a long and arduous four or so years - and while correlation doesn’t equal causation, it’s fair to speculate that the complete unraveling of the world in that timespan can be directly pinned on Young Fathers’ hiatus. Because the world needs more Young Fathers to simply get along and get by. After a few dozen spins through “Geronimo,” we feel better already. It starts off rather gloomy, but the bright light at the end of the sonic tunnel they’ve created expands as the melody simultaneously unfolds. And what transpires is a feel-good anthem that’s designed to help propel you over whatever hump as eluded you in life thus far. Suffice to say, we’re quite glad this Scotland-based three-piece is back and better than ever. We’ll be eagerly awaiting more new singles in the leadup to their sixth LP.

Rae Morris - In the Wild

Concept albums these days are few and far between. But Rae Morris isn’t your standard musician. She’s unique. That fact was evident after she dazzled her way into our hearts with one of our favorite songs of the year in “Running Shoes.” Her long awaited LP Rachel@Fairyland is finally out and, despite the high standards set with a few excellent pre-release singles, the record manages to live up to both our grand expectations and its name. From cinematic start to colossal finish, Morris propels the listener into her meticulously crafted world - a world that’s based on a uniquely personal vision. And, in doing so, the experience of the listener changes from passive to emphatically interactive. Morris couldn’t have closed the show out with a more fitting song than today’s featured “In the Wild.” It’s a dark, whimsical journey within a journey - and one that leaves you feeling as though you’ve somehow come full circle from the 42 or so minutes prior. So, if you’ve got the time to spare - make the best use of it and take yourself on the grand adventure Morris has dreamt up and translated into sound.

Empress Of x Jim-E Stack - Turn The Table

Let’s make something clear: Great production is not always indicative of a great song. In fact, our neurotic tastes would argue that songs that achieve both are few and far between. That’s why Empress Of x Jim-E Stack’s “Turn The Table” stands out. Let’s get the catchy part out of the way, first. It’s, on the most surface of levels, toe-tappingly charming. But then it becomes, as you peel back each layer of analog grittiness, completely entrancing. It’s one tune that requires you to adjust your headphones so your ears nestle comfortably within the cans in order to appreciate every character-building detail and idiosynchronicity. And Jim-E Stack’s contribution to this brilliant tune is anything but subtle. He takes the concept of ear candy to a whole nother level by utilizing some sophisticated filtering techniques and one of our favorite uses of the cowbell since Ian Kirkpatrick’s masterful work on Dua Lipa’s “Pretty Please.” Together, Empress and Stack create quite the formidable duo - with the end result being one of the best songs of 2022.

Why Bonnie - Hot Car

Once or twice a year, we come across a new song that always leads us back to another, old song. But not just any random song from the past - it’s always the same song. There’s something about Beck’s “Broken Drum,” which itself is a somber tribute to Elliott Smith, that clearly has some universal qualities to it that we can’t help but identify in other music. Now, we’re not savvy enough with our music theory to explain to you exactly why that is, but what we do know is that Why Bonnie’s “Hot Car” hits all the right melodic and emotional notes to meet our criteria in becoming the first “Broken Drum” doppelganger of 2022. Interestingly and not entirely coincidentally, you can also find some neat traces of Elliott Smith in “Hot Car” if you listen intently enough. The lyrics don’t seem to necessarily indicate whether the subject matter is inherently positive or negative - but it’s certainly nostalgic. And for us, it’s an inherently sad song in the best kind of way. A sad song that we’ll be leaning on in the coming months and years when those intrusive nostalgic thoughts of regret and contrition kick in. But instead of pushing the demons away, they’ll be welcomed with open arms as they provide us with the perfect reason to play again one of our favorite tracks of 2022.

Angel Olsen - Go Home

Any perpetual follower of the indie folk scene knows you can’t take more than a step or two in any direction without an inevitable Angel Olsen reference. And sure, there’s never anything good that can come out of having an artist crammed down your throat for quota-related purposes (I’m looking at you, Sirius XMU), but that’s not the reason that her music has historically not resonated with us. If we said we simply don’t jive with most of it - would we be wrong? Ultimately, it comes down to a matter of DNA makeup - and most of the chord progressions and melodies you’ll find in Olson’s work you won’t find in our DNA. And that’s OK. But now and again, worlds will collide and we’ll be able to find some common ground with an artist’s work that has, up to this point, eluded us. That’s where we find ourselves with Olsen’s exceptional “Go Home.” It’s a tune that grows in scale - with a sense of anticipation evident in every fabric of the song’s being. From the building drumline percussion to Olsen’s vibrato-infused vocals - you aren’t going to find a 2022 release of grander proportions than “Go Home.” And most importantly, it’s a tune that puts us in check and forces us to consider what other master works of Olsen’s we might have missed due to potential bias clouding our judgement.

Saya Gray - EMPATHY 4 BETHANY

We’ve been waiting for the right time to feature Saya Gray. But honestly, I wish we didn’t have to. Because this blog is typically reserved for artists that could in some way, shape, or form, benefit from the limited exposure we have to offer. And when it comes to this Toronto-based singer/songwriter/producer, she has the skill, and more importantly the creative vision, to be the best to seemingly ever do it. Her catalogue is still in its infancy stages, but she came on with an absolute bang last year with the release of one of our favorites of 2021, “SHALLOW (PPL SWIM IN SHALLOW WATER)”. And what she’s put out in her newest single “EMAPTHY 4 BETHANY” is a tune that’s hard to fully grasp. Almost as if you’ve got to be Saya herself to completely relate and understand the themes resonating below the surface. With most music you love, the instinctive response is to try to find ways to make it your own, but there’s something about Saya’s work that contradicts that. Almost as if you can appreciate it more by knowing you’ve got this finite moment of time inside Saya’s world before your inevitable transport back to reality. And if you’re anything like us - where music nowadays simply isn’t getting you the fix you need anymore - Saya Gray arrives in the most eloquent of fashions to save the day. Check out the video for “EMPATHY 4 BETHANY” below.

Nataly Dawn - Have You Heard

When the end of the world happens - that’s going to be a bummer of a day. But there’s going to be a silver lining, because we’ll be provided the perfect opportunity to play Nataly Dawn’s “Have You Heard.” Kind of like the stoic violinists playing as the Titanic submerged into dark water, “Have You Heard” will provide just enough solace to leave you at peace with the dreary outcome fate has in store for you. We might use the term “ballad” loosely here, but this is one country folk tune that’s fully earned the label. And it’s one of the first songs we’ve showcased that’s not meant to be played on the radio, or on your headphones - it’s meant to be enjoyed around a campfire - preferably as your bones ache from hours of crop harvesting or sheep herding - about 150 or so years ago. And just like the saying that you may or may not have heard about the second best time to plant a tree being right now, the same goes for the profound and special “Have You Heard” - play it in any fashion you want - so long as it’s played.

Benny Bellson - Glass of Time

Benny Bellson’s “Glass of Time” is unbelievably refreshing. It manages to spin a mainstream, regurgitated sound into something authentic and clean. I can’t emphasize how challenging that task is when caricatures masquerading as musicians, like BoyWithUke and Milky Chance, have seemingly killed the spirit of this respective genre. Bellson’s “Glass of Time” starts out in almost identical fashion to Weezer’s “Say It Ain’t So,” almost as if it’s paying homage to the timeless classic. From there, Bellson forges his own path as he layers his distinct vocal presence on top of itself to create one of the more unique harmonic soundscapes we’ve heard in a while. And if we had to use one term to describe this song, it’s just that: unique. But setting yourself apart from the rest is only half the battle in this day-and-age. You’ve got to sound good while you’re at it - and “Glass of Time” exceeds every expectation on that front, as well. So much so, that if you could invest in artists the same way you could stocks, we’d be cleaning out our bank account to have a stake in this captivating musical prospect.

Wallice - Funeral

Wallice is still pretty new to the scene, but she’s already got a signature sound. Not necessarily from an instrumental standpoint, but the way she sings. And we’re talking little tendencies: the cadence of her voice or the words/phrases she chooses to emphasize – it’s kind of a neat, defining trait of hers. Since 2021, she’s had a recurring presence in the new music release bin as she continues to develop her brand. She’s having plenty of success with it, too, as her songs “Little League” and “90s American Superstar” have been recently featured on Sirius XM Alt Nation – where they will be played to the point of exhaustion before being cast aside for the next wave of 20 or so songs played in cyclical fashion. We could certainly go on about how placement on Alt Nation or XMU is as much of a curse as it is a blessing, but this day is dedicated to emerging LA alt-pop queen Wallice. Her newest single “Funeral” is her best work to date as far as we’re concerned. It feels like it’s rooted in a time period past that we can’t quite put our finger on. But when that refrain kicks in, you can’t help but get lost in whatever feelings it induces in you. And it’s the subtle things that really elevate this song from good to great: like the extra vocal harmonies incorporated in the chorus on the second go around. Sometimes, it’s small juxtapositional differences like that that make all the difference. As you jam out to this brilliant tune, keep a look out for her upcoming 90s American Superstar EP – due out May 6th.

JOY. - Out of Love

JOY.’s “Out of Love” is actually a 2021 release, but it’s something special to behold. Not because it’s an inherently delightful tune, but because of what it induces in us. Feelings that only a select few songs generate: SLO’s “Atone,” Kllo’s “Virtue,” and Blue Hawaii’s “No One Like You,” to name a few. And outside of perhaps SLO’s “Atone,” these songs have the same sensual deep house groove in common. And it’s hard to emphasize just how important that groove is to the nature of the song. Because removing that four-on-the-floor rhythm with another variation will snatch the lifeblood right out of it. And for every few thousand attempts at creating a vibey, seductive, and purely carnal tune, only one or two wind up achieving the desired end result. That’s why it’s important to cherish and embrace songs like “Out of Love” when they grace our streaming platform with their presence. And when this song inevitably resonates the same way it does for us, you’ll want to shift your focus to five more excellent tunes found on this Australia-based producer/singer/songwriter’s new Portal EP.

Sticky Fingers - Where I’m From

Australia churns out good music at almost the same clip as they do poisonous, freakishly large insects. And perhaps atop that list of celebrated artists is Sydney-based quintet Sticky Fingers. Beginning with one of the best albums of the 2010’s, Caress Your Soul, they have surpassed a solid ten-year run of producing consistently quality music. And for reference, that’s a rarity in our book. Even our most beloved artists have a misstep now and again, but these guys keep churning out records without the dip in substance that we’re so conditioned to expect in the digital age of music. They’re out today with their sixth LP titled Lekkerboy. It features an array of catchy tunes, from one of our personal favorites of 2021 “Saves The Day” to the soul-funk vibes featured in “Queen.” But, as has historically been the case with Sticky Fingers, it’s been their ability to tug at our heartstrings that, among all else, has kept us coming back for more. “Where I’m From” channels that heartfelt sincerity previously featured in “Rum Rage,” and fits in perfectly alongside a track list of tunes that seem to share the same universal themes and values. And during a week of releases where we struggled to find anything that resonates, Lekkerboy came out in clutch fashion to provide us some excellent listening material as we wait for the upcoming New Music Friday to start the discovery process all over again.

Warpaint - Stevie

Warpaint’s “Stevie” has too much soul to be classified as your typical dreampop tune. It’s so much more than that. With hints of alternative R&B and even a little funk sprinkled in, the first thing that’s clear about the most recent single off their upcoming Radiate Like This LP is the craftsmanship that went into it. The sense of intention within the arrangement is almost palpable, as if just as much time was put into developing the blueprint of “Stevie” as was the actual recording process. And during a time when moral abstention leaves us with a Rhye-sized hole that needs filling, Warpaint’s brilliant ballad about love and dancing comes along at just the right time. So far, they are 2 for 2 with pre-album single releases as the hype continues to build for what’s turning out to be an album of the year contender.

Rae Morris - Running Shoes

We’re just through Q1 of 2022, but the most unique track of the year has already been signed, sealed, and delivered as Rae Morris’ “Running Shoes.” You’ve really got to listen for yourself to see what we mean. Paying homage to seemingly every timeless Judy Garland performance at once, Rae Morris takes you back - and we’re talking way back - to when the sound of crackling vinyl wasn’t simply an effect to add a vintage feel to your track - it was cutting edge technology. As the intro develops, Rae takes you on a deep dive into the cinematic, whimsical, and ever-so enchanting world she’s conceived for her upcoming record Rachel@Fairyland. And as “Running Shoes” transitions from a time past to the here and now, you’re greeted with a modern, soul-pop ballad featuring detuned synths and Morris’ insane vocal harmonies - and we can’t help but take a step back and acknowledge the sheer brilliance of it all. Because, tracks like this don’t come along often. And, in the case of “Running Shoes,” you’re hearing the best of two worlds - tethered only by deep-rooted feelings of nostalgia and one artist’s uniquely creative vision.

Barrie - Dig

Following a brilliant one, it’s been an equally tough week in music this time around. We’re fully satisfied with Destroyer’s Labrynthitis. And Barrie’s Barbara has kept us more than content, but after hours of tirelessly “nexting” through streams, we feel like we’re back at square one with nothing to show for it besides a handful of “maybes.” So, instead of forcing material on the blog that doesn’t quite meet our standards, we’re going to post another favorite from Barrie’s exceptional sophomore LP. It feels like we’re still getting to know Barrie, the artist - including all her quirky mannerisms and idiosyncrasies. This stage of fanhood doesn’t last long, though - so it’s important to cherish it. “Dig” is a wholesome, playful, and unsuspectingly touching song that’s made a perfect home at track number 5 of what' we’re already hailing as one of the best records of 2022.

Widowspeak - The Drive

Widowspeak doesn’t miss. It would be obnoxious if it didn’t sound so damn good. Plum was, hands down, our favorite record of 2020. And their new LP The Jacket is turning out to be another contender for record of the year. This NYC four-piece seems to be thriving in a day and age where other groups are floundering due to streaming relevancy demands, loss of bandmates, or perhaps, an innate lack of drive. While I’m not sure if “The Drive” is as macro-focused on the subject as we are, the underlying themes powering the song and our own personal sentiments remain in tune with one another. And if you’ve hear this spectacular track, you’ll agree that a drive for perpetual greatness is not a trait that Widowspeak is currently lacking.

Lauren Auder - Hauntology

We at Lower Frequencies are pretty picky. So, when you see three “Best New Music” features in a row, it’s fair to assume that our week is going pretty well. Lauren Auder’s “Hauntology” is one we missed the first time around and, quite frankly, it’s been criminally underplayed on Spotify for the month or so it’s been out. I can’t confidently classify it in any one genre, and I also can’t seemingly put my finger on what time period it might be influenced from. I could throw out a few names: the swirling flutes have a bit of a Jethro Tull, Ian Anderson-ey vibe, and the epic brass presence that coats this anthem like the last layer of frosting on a triple-tiered cake has us reminiscing on Miike Snow’s “The Pretender.” But really, at the end of the day, I’m willing to say whatever gets your foot in the door to listen to this mesmerizing tune. Let’s give this a shot: Lauren Auder’s “Hauntology” sounds exactly like (insert your favorite song from your favorite band). As we eagerly await a debut LP expected out this year, we’ll be exploring every nook and cranny of Auder’s catalog for more gems like “Hauntology.”

Fearn - Lake Annecy (feat. Lorphe)

The creation process of a song is often just as cathartic as the listening experience. But, it’s different. You’ll spend a matter of minutes digesting what was an endeavor of months, or years, by the creator of said art. When it comes to Fearn’s debut single “Lake Annecy (feat. Lorphe),” I’d be willing to guess the process of creating this dynamic, nuanced, and quite sophisticated tune was as emotionally exhausting as it was rewarding. I’m not going to try and undertake the academic exercise of interpreting and transposing “Lake Annecy” to better understand what was occurring in Fearn’s, AKA Sussex-based producer-songwriter Will Taylor’s head at the time of conception. Instead, by letting whatever feelings resonate as they otherwise would, you end up keeping a piece of the song all to yourself. What’s most fascinating about “Lake Annecy” is something beyond the array of orchestral soundscapes, whimsical melodies, and Lorphe’s lush vocals - it’s something within the arrangement itself. From elegant beginning to bittersweet end, “Lake Annecy” continues to build upon itself - as if it were an ever-evolving lifeform taking on a shape that it could have never anticipated. And when this astounding tune comes to a head, it’s the introduction of those wailing violins that signal to the listener that everything is, in fact, going to be OK.