WSUM’s Records Of The Week

Chukwu, Process

HIGHLIGHT TRACKS: “Sun Tzu” “Quiche”
RIYL: Earl Sweatshirt, MF DOOM

As far as production is concerned, Brooklyn-based rapper Chukwu’s debut mixtape is an eclectic and intriguing mix of both lofi and traditional West African sounds. He is able to seamlessly weave together beats one would expect to relax/study to with sounds reminiscent of Nigerian highlife and Afro-Caribbean music. On top of that, he delivers jaded and slightly offset verses that call Earl Sweatshirt to mind. I’d say tracks like “Sun Tzu” and “Quiche” best show Chukwu’s ability to marry these incongruous esthetics, where “Free” might best be left to the likes of ChilledCow. — Shelby Len


Hermitude, Pollyanarchy

HIGHLIGHT TRACKS: “Northern Lights”, “Balafono”, “OneFourThree”
RIYL: Flume, Unkle Ho, Urthboy

On their new album Pollyanarchy, Australian electronic hip-hop duo Hermitude present of an array of tracks brimming with analog synths and future bass inspired beats. Rapping over these nightclub instrumentals are a wide range of featured artists, such as Vic Mensa, Vory, and Bibi Bourelly. Fans of artists like Flume will be attracted to these danceable pop tunes with a glitchy, electronic flair. — Ayden Schultz


Cry Club, Sad, But Make It Fashion

HIGHLIGHT TRACKS: “Two Hearts”, “DFTM”, “Walk Away”
RIYL: PVRIS, The Veronicas, Best Coast

In their own words, Australian duo Cry Club make “queer bubblegum punk music.” Can’t disagree there—they layer harsh guitars on top of bright synths and fast, dance-esque drum beats. They sail alongside other pop rock bands of the 2010s like PVRIS and Best Coast. So far the band has only released four songs, but each one continues to build up their bratty, queer image. Whether fast paced and angry like debut single “Walk Away” or softer and more heartfelt on “Two Hearts”, Cry Club want to draw you into their glittery, colorful world. — Jane Lazzara


Men I Trust, Oncle Jazz

HIGHLIGHT TRACKS: “Tailwhip Revisited”, “Dorian”, “Pierre”
RIYL: Yumi Zouma, Vansire, Soft Hair

Oncle Jazz, the newest album from Men I Trust, holds the perfect fusion of contemporary jazz and dream pop. This is achieved by the use of smooth synths that underlie soft melodies sung with an almost whispered tone. In this double LP, Men I Trust manage to create a calming atmosphere with a dreamlike quality that you explore with the artist. I found myself being engrossed in the soothing melody of “Dorian,” and subconsciously nodding along to the uptempo groove of the revisited version of “Tailwhip.” If you’re looking for jazz without the harshness or high fidelity of contemporary jazz, then this album is for you.

— Luke Sill

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DIIV, Deceiver

HIGHLIGHT TRACKS: “Skin Game” “Lorelei” “Acheron”
RIYL: Wild Nothing, Craft Spells, and Lower Dens

Deceiver is band DIIV’s third studio album. This newest release delves deep into the pain and struggle of the lead singer’s addiction, and this can be felt with the grunge influence throughout the album. If you listen to the lyrics, they approach a heavy metal-esque doom and gloom, but never fully succumb to full self hatred. This delicate balance of lyrics, layered on top of a grunge sound similar to bands big in the 90’s, allow for a 44-minute, 10-song album to feel like so much more. In order to get a good taste, listeners should start with “Skin Game” to get a feel for the underlying tones of the album; then shift to “Acheron,” the seven-minute closer that harbors all of the guilt and hatred felt with addiction. — Jessica Hall

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A Mountain Of Rimowa, A.M.O.R.

HIGHLIGHT TRACKS: “A.M.O.R.”, “A.M.O.R. (A Motorick Oscillation Retread)”, “A.M.O.R. (A Measure Of Radioactivity)”
RIYL: Jeff Mills, Carl Craig, Aphex Twin,

A.M.O.R., A Mountain Of Rimowa’s debut EP, is not only a self-titled release but one with all self-titled tracks, which can only be differentiated by their respective parenthetical explanation of the acronym. Typically channeling the familiar sounds of techno, this group occasionally lets their influence from IDM show with more psychedelic and chill elements that would make artists like Tycho proud. This aspect is especially brought out near the end of “A.M.O.R.,” while tracks like “A.M.O.R. (A Motorick Oscillation Retread)” keep the upbeat punch that defined techno for so long. — Daniel Palmeter 


Superheart, Opening Credits

HIGHLIGHT TRACKS: “2001,” “After Midnight,” “Count on Me”

The songs on Superheart’s debut EP, “Opening Credits,” are an embodiment of the most pastel sunrise you stayed up all night with your friends too see, that dreamy haze creeping around the edges of your eyes, and a taste like candy hearts on your tongue: soft, romantic, and dreamy. Self described as, “dreamy underwater anti-gravity flying music,” I can’t help but close my eyes while swaying along to songs like, “Count on Me,” feeling immersed and, quite honestly, like my body is floating around some vast expanse of blue nostalgia. The romance and nostalgia are palpable in these songs without growing dry or lackluster; a great set of songs to study, chill, or fall into a trance. — Aidan Aragon

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Yung Bae, Up All Night

HIGHLIGHT TRACKS: “What You Need,” “We Came to Boogie,” “Fell in Love”
RIYL: HOME, Macross 82-99, Desired

If you don’t want to stop grooving for 32 minutes straight, this is the album for you. Yung Bae beautifully fuses the synth of vaporwave with string lines, horns, and electric piano, paying homage to the 70’s Disco that influenced Bae 5. The album features popular guests such as Bbno$ in “Bad Boy,” Paper Idol in “Up All Night,” and Party Pupils in “Fell in Love.” I’m no psychologist, but these smooth, rhythmic tunes may be the perfect cure to that pesky Seasonal Affective Disorder. Happy Listening! — Jake Rome

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Blue Hawaii, Open Reduction, Internal Fixation

Blue Hawaii is a duo that creates mostly electronic music, but you can definitely pick up hints of other genres in this album too. In general, a fast one-two beat with similar or same rhythm patterns throughout the album, but there are distinguishing features amongst the songs. “All That Blue” has jazzy moments with the addition of some saxophone notes, while “Sparkle” opens with a magical flourish of chimes that sounds like the gateway into a pixie dust forest – quite fitting to the title of the song. Also, for an album that focuses more on the music and beat, it is actually the vocals that really shine in some songs – fantastic crescendos in “Still I Miss U” and great harmonies throughout. Definitely upbeat, disco-like dance music to get you moving to the beat. — Martha Kowalski