#tamaryn

Tinashe- Songs For You: This album is the triumph of the year. Usually when an artist gets dropped from a label and puts out an album with a hodgepodge of sounds, it doesn’t bode well. But once again, Tinashe flips the script. We got a danceable left field single with a British rapper, a morose midtempo with a big ticket feature, some songs that do a 180 in the middle (out of necessity), more raps from Tinashe, some synth pop moments of glory, and even an acoustic song, but it all sounds great. Even a G Eazy feature couldn’t keep her down! In a time where ‘cohesive’ means doing the same song over and over and music videos mean filmed photoshoots, Tinashe shows she is resourceful as she is talented. While the title was almost as generic as a self titled one, it became a great pop showcase for her.

Sharon Van Etten- Remind Me Tomorrow: I tried listening to her once before but nothing stuck. Compared to the 90’s alt rock scene, 2000’s singer songwriters had it so much harder to make an impact. How could you compete with Alanis’ sales, Gwen’s style, Fiona’s chic, PJ’s camp, and Courtney’s personality in the iTunes world? Fortunately, this album gave me a new look at her and I’m glad. A throwback 80’s and 90’s sound with a theme of growing up felt really appropriate for the end of the decade. Seventeen and Comeback Kid feel like they were genetically engineered for any coming of age playlist but Sharon understands the parts of growing up where you’re leaving behind your youth but you don’t really know who you would be as a mature and independent adult compared to all the “wow isn’t it so weird that we’re growing up but global warming is going on? haha that’s dope” style songs. No One’s Easy to Love reminds me of New by No Doubt and Jupiter also has a different electronic vibe. I love the haunting vibe of Memorial Day. I’m starting to like Sharon’s older stuff too, like Serpents. Fortunately, she plays around with this synth heartland vibe in her 2020's projects.

Orville Peck- Pony:  At the time, this album was such a gamechanger. Who was this mysterious masked singer (no pun intended) with the voice of Roy Orbison? Normally, when we get “throwback” vocalists, they just sound like karaoke jukebox musical tributes of the original era but Orville Peck added a unique alternative sound. Sure, on later albums he goes for a more straight forward country and at times, pop sound, but this first album was amazing. I would recommend it if you like Kitchens of Distinction, Yo La Tengo, REM, or Chris Isaak. My favorites are Buffalo Run, Dead of Night, Turn to Hate, and Hope to Die. 

Cowgirl Clue- Icebreaker: The duchess of drum and bass. When I first listened to Dragons by Princess Nokia, I felt like I was transported into a video game. Unfortunately, besides Little Star by Madonna, nobody came anywhere close to that feeling and drum and bass was usually limited to instrumental remixes that aren’t on streaming, let alone short pop songs. Cowgirl Clue stampeded over the rest of the drum and bass scene but mixed it with the futuristic sensibilities of the PC music scene. Unexpected rookie of the year. This album is almost endearingly sweet and innocent compared to how wild her next 2 albums get. My favorite songs are Figure 8, All Up 2 U, and Hella Faerie.

Tamaryn- Dreaming the Dark: This New Zealand singer songwriter does dream pop/shoegaze with a Wall of Sound twist. With the 80’s atmospheric production and over emotional (read: not overly produced) singing, I think this album has room as a cult favorite for the forum. My personal favorites are Fits of Rage, Angels of Sweat, and Path to Love. 

Jenny Lewis- On the Line: I don’t think I can ever fully open up to any new country act because Jenny is my go to for country pop. Although the sound is different, this reminds me of Honey by Robyn thematically. There’s great storytelling on Heads Will Roll, which lets you know right away that this album will be a cathartic rollercoaster. Wasted Youth is more similar to The Voyager era upbeat Jenny, while Red Bull and Hennessy is another strong example of Jenny’s gifted pop hooks and detailed lyrics.

Chastity Belt- This decade, rock went indie. There isn’t anything loud like numetal, grunge, stadium rock, or progressive rock. It’s more sensitive, Bandcamp is the primary method of distribution, it can resemble an ASMR video more than a classic rock station, and the band names are all ironic things involving sports, the words “mommy” or “daddy”, or something shocking or a lame pun. Chastity Belt is a lot of these things but despite being the poster child for post modern irony, they somehow persevered. I’ve gradually liked them more with each album to the point where this one was an immediate hit for me. It has sparse lyrics that can be applied to anything in your life. It Takes Time is my favorite song on the album. Other highlights include Rav4, Drown, Ann’s Jam, and Effort, which reminds me a lot of Pale Saint’s A Thousand Stars Burst Open. Elena is also another favorite, which is a tribute to the series My Brilliant Friend and a reflection on friendship. Julia Shapiro’s solo debut is also worth listening to if you like dream pop or 90’s 4AD and singer songwriters. 

Sleater Kinney- The Center Won't Hold: My experience with Sleater Kinney has been a wild one. I first knew Carrie from Portlandia, and thought she was hilarious there. Then I got their reunion single from the last era for free from Starbucks and tried to force myself to like Sleater Kinney, even if it wasn’t clicking for me. I feel like they had annoying vocal tics like try hard British accents (I don’t know how to describe it, but it was just too much). Then, I got into The Hot Rock as well as some previous side projects like Excuse 17 and Heavens to Betsy and I really enjoyed those. I went into this album with a fresh mindset and was happy to hear about St. Vincent working with them. All of you know the story better than I do but the making of this album had some drama. This album was more synth pop and snubbed band member Janet who controversially left before their tour started and soon was in a car accident. But you know what? I still liked this album. I guess I wasn’t a longtime fan so it was easier for me to accept it. My favorites include The Dog/The Body and Can I Go On.

Jamila Woods- Legacy! Legacy!: Neo soul with different sounds like dance and rap and electronic. Having a history concept album can seem impersonal on paper, but I like learning about different Black figures and seeing what Jamila has learned from them. In the internet era where digital blackface can turn someone like Eartha Kitt into just a ~sassy Tumblr reaction, Jamila at least gives a starting point to learn more. My favorite tracks on the album are Betty (both versions), Octavia, Eartha, and Basquiat.

Angel Olsen- All Mirrors: After her crossover-ish 2016 album My Woman, Angel Olsen put out the polar opposite album. Dark, theatrical vocals and dramatic. Very Lynchian. The title track and New Love Cassette are my favorites. This album soundtracked my fall anxiety of desperately trying to beat the holiday freeze for finding a new job and dealing with a sinking feeling as the days grew shorter and colder.

Lion Babe- Cosmic Wind: I’m confused at the lack of attention they’ve received. I’ve seen people describe them as Erykah Badu making dance music and that’s the best way to describe it. West End World and Honey are the stand outs from the album.

Tennis System- Lovesick: Shoegaze peaked early in its existence and technology didn’t help it, largely because everything became too clear to get the same muffled and unclear sound.This decade had some contenders but Tennis System is probably one of my favorites. I found out about them through Allmusic, which I didn’t think would give me such a good recommendation for something like this. The cover favors My Bloody Valentine, if you needed some more convincing. My favorite song on the album is Turn, which balances its distortion with a catchy chorus. The title track is also good.

The Drums- Brutalism: I think there's a bias against early 2010's indie music because the key reviewers are embarrassed at things they liked in college and this stigma follows around bands like Best Coast or The Drums. I heard about The Drums from Shazaming a song once in a Macy’s clearance section and I thought they were pleasant 80’s revival stuff but nothing extraordinary. Now, they have more personality. Jonathan Pierce is the only member left and he is more comfortable with who he is by giving more interviews about his coming out and experiences. This album follows the tried and true sad/tired vocals over happy music. It feels like music made for longing and daydreaming. My favorites include 626 Bedford Avenue and Body Chemistry. I would recommend if you like power pop band Orange Peels.

Yola- Walk Through Fire: Yola is a wonderfully talented musician but in the Internet era of music she can get lost under the “good singer curse” where someone with talent and great songs will get lost in a Curtains for Zoosha universe. On her debut, she had a great nostalgic country soul sound produced by Dan Auerbach. My favorite songs are Faraway Look, I Don't Wanna Lie, and Love All Night. I would recommend her if you like Brittany Howard, Nicole Atkins, or Adele.

Carly Rae Jepsen- Dedicated: As a “mindie” artist, Carly is in a league of her own for commercial and critical acclaim. Does she compete with smaller artists or people who actually chart? After Emotion, Carly had an especially rough uphill battle. This time, she came back with an album as sleek as its cover. It reminds me of the Alternatino sketch about the woobie robot who just makes its owner feel guilty for having it for the “cracks are visible in the emotional foundation” vibe. No Drug Like Me feels like an announcement to tell us that she left the world of “Favorite Color” and “Store” behind. Everything He Needs is a song about obsession that waters down vaporwave for people outside of the blogosphere.

Best of the rest: What, you thought I was gonna leave it here? Here are reviews that were not fully done, were EPs, or would otherwise make the collage a weird number that would look uneven:

Baby Tate- A great pop rap album that doesn't wear out its gimmick.

Roy Blair- I thought Roy Blair’s 2017 album was good but that he’d only be good at bedroom pop music, but this EP has Fantazia, one of the best dance/UK Garage songs of the decade. I never thought he could make a left field dance song that’s cool. I hope he continues this sound.

Poppy- Hidden identities. Toxic male music producers. Accusations of stalking, breaking and entering, and psychological abuse. Doxxing journalists’ phone numbers. Starting a fan network called The Church. These all sound like plots from Melrose Place, but they’re incidents from Youtube’s Poppy, who has been replaced, changed her stage name, and updated her sound. Originally singing Mac DeMarco covers and Gwen Stefani soundalikes, Poppy channeled her IRL jumpscare persona into her newest career phase: Numetal pop fusion artist. This doesn’t include the ambient album she released. While others are tepid with trying a bold sonic change, Poppy goes all out. (I know I said I don't listen to her anymore but I thought the review was funny enough).

Beabadoobee- I first heard her on Music Choice and thought that her name was weird and that I’d never remember it, but using my surface level knowledge of Pavement, I was able to look up her Stephen Malkimus song and find her other stuff. When I listened to the rest of her EPs, I thought Wowee Zowee at this great 90’s sounding pop rock from a teen. I later heard her at Urban Outfitters so I can only hope she becomes way bigger. I like Apple Cider and Are You Sure the most by her.

Kilo Kish- While others will clamor on about how the new project they’re working on will feature a new sound and is state of the art, ahead of its time, and a complete new sound, Kilo just goes ahead and does it. Kilo follows up 2018’s Mothe with another electro industrial pop EP.