About three minutes into awakebutstillinbed’s debut album, lead vocalist Shannon Taylor sounds like she’s about to breakdown. Her voice cracks as she screams, and it’s not pretty. She doesn’t have the sort of aesthetic screams that blend in with a song cleanly. She sounds like she’s ugly crying screaming along to the radio. Awakebutstillinbed channel Taylor’s songs into the type of palatable indie emo that’s probably too intense for the Sorority Noise crowd, and that’s probably for the better. She doesn’t dress her sadness in longwinded metaphors or interesting instrumentals. It’s bare. Continue reading →
Earlier this year, I made an effort to keep track of every album (regardless of release date) I listened to in 2017. I gave up around May, but maybe I’ll try again for 2018. By the time I called it quits, I’d listened to 122 albums, and upon reviewing the list, I did see a bunch of albums I did really enjoy but forgot about. My best-of list will feature my top picks of albums that stuck with me from the time they came out until now, but these honorable mentions were also pretty great albums that I feel deserve some recognition. In no particular order, some of the other great albums from 2017 are:
Lil Peep-Come Over When You’re Sober (Part One)
The morning I found out about Lil Peep’s death was strange. I’d liked some of his songs, but his music hadn’t really grabbed and held me like it had for others. I still felt sad, mainly just seeing someone younger than me die of an overdose. I went back and listened to this album again that day, and I was surprised by how much it resonated with me. Lil Peep is the sort of artist I wish I had when I was fourteen, because it’s relatable and catchy. It really makes me upset that I wish I could’ve seen what else he could’ve done, not just for music, but for young sad kids that I do see a lot of myself in.
Black Kids’ first album in nine years was a lovely return to form. It’s an easily danceable indie-rock record with a bunch of quotable lines. “Iffy” and “Obligatory Drugs” are perfect examples of how Black Kids maintain the same energy that could’ve left them an indie one-hit-wonder. Continue reading →
When discussing Sorority Noise, there are two important things to remember: the first is Sorority Noise’s worst quality. Sorority Noise’s worst quality is easily their difficulty in writing soft and slow songs. The final two songs on Forgettable are the weakest on that album. “Fluorescent Black” and “Your Soft Blood” are terribly boring until they pick up, and even then, they’re not great. The two releases that Sorority Noise has made since the release of Joy, Departed are exclusively slow, soft songs, and neither is even worth listening to. It’s really a testament to how good Sorority Noise has gotten to show that their latest album You’re Not As _______ As You Think has six slow songs, and it’s their best yet. Continue reading →