Every Tuesday at WSUM, our Music Director, Arthur, chooses his favorite new releases to add to our music library. Here are this week's favorites, presented to you by WSUM's Music Journalism Club.
Hikaru Utada, BADモード (Bad Mode)
HIGHLIGHT TRACKS: “Not In The Mood”, “キレイな人” (“Find Love”), “Beautiful World”
GENRE: J-pop, indie-pop
RIYL: Crystal Kay, ayaka
Japanese music icon Hikaru Utada's latest album BADモード (Bad Mode) falls under an umbrella category of indie-pop but individual tracks each have their own flavors and elements that together unite into one album. In the title track, bouncy beats make up the song, while “Beautiful World” is soft and gentle. R&B infuses some of the tracks, while others have the instrumental synths reminiscent of Kasbo. Particularly interesting are the duplicates of some tracks – Japanese and English versions of songs like “Find Love” or the multiple remixes of “Face My Fears.” In each song, Utada's vocals are strong and dynamic, and the album as a whole is cohesive and very catchy.
—Martha Kowalski
Beach House, Chapter 1-3: Once Twice Melody [EP]
HIGHLIGHT TRACKS: “Once Twice Melody”, “Superstar”, “Through Me”, “Another Go Around”
GENRE: Synth-pop, indie-pop, alternative, indie
RIYL: Animal Collective, TV Girl, Ariel Pink
Beach House's new four-part album, Once Twice Melody has not yet fully released, but the three parts that are currently out are extraordinary works of music. Beach House has crafted 3 EP's worth of beautiful synth-pop. I expected the sonic profile of the album to stagnate as I listened to the full set of EP's. I was wrong about that. As their work progresses, the sound evolves and transforms into something new. Once Twice Melody begins on EP 1 with the sound that you come to expect from Beach House, but by the time you arrive at EP 3, a new sound that has been unheard by Beach House to this point emerges. Once Twice Melody is an excellent collection of synth-pop that deserves to be listened to.
—Quentin Holle
The Sherlocks, World I Understand
HIGHLIGHT TRACKS: “Falling,” “Wake Up,” “City Lights,” “Sorry,” “Slip Road”
GENRE: Indie rock, alternative rock
RIYL: Catfish and the Bottlemen, Arctic Monkeys, The Killers, Nothing But Thieves, The Wombats
The product of pandemic pressure and a sudden lineup change, World I Understand sees brothers Kiaran and Brandon Cook join forces with guitarist Alex Procter and bassist Trent Jackson to produce a work of art that maintains the band's signature sound while encouraging the nuance that long-time listeners crave. The album roars to a start with “Porto,” a reverbed instrumental track, before seamlessly transitioning into “Falling,” featuring sleek vocals from Kiaran Cook alongside a nostalgic combination of glittering synth and electric guitar. As the album progresses, the wistful lyrics and upbeat melody of “Wake Up” and the anthemic bassline of “City Lights” call indie rock legends Catfish and the Bottlemen to mind. “Sorry” emulates The Killers with deep, layered vocals, an explosive bridge and an enunciated, high-energy chorus. “Slip Road” offers a youthful, bittersweet conclusion by reiterating themes of attachment, doubt and the beauty to be found in overwhelming emotion.
— Claire Borgelt
Jake Xerxes Fussell, Good and Green Again
HIGHLIGHT TRACKS: “Rolling Mills Are Burning Down,” “What Did the Hen Duck Say to the Drake?” “The Golden Willow Tree,” “Washington”
GENRE: Folk, Singer/songwriter
RIYL: Nick Drake, Jeff Tweedy, Jackson C. Frank, John Prine, Nico
There is no one like Jake Xeres Fussell in music right now. A folksong interpreter, guitarist and singer, Fussell creates traditional folk music that liken iconic folk albums such as Pink Moon by Nick Drake. The Good and Green is the newest and fourth release from Fussell. On this album, Fussell creates his first original arrangements, working with producer James Elkington (who has worked with Wilco's Jeff Tweedy). The Good and Green is a nostalgic folk album for those who enjoy folk in its most traditional and authentic form. With a voice as distinct as Jake Xerxes Fussell accompanied by horns and string arrangements, an album like this is even harder to come by.
— Amany Khreis
