Recommendations #1

Before this website was even a thought in my head, I asked family and friends for album recommendations for three reasons. I wanted to improve my writing, get out of my musical bubble, and reconnect with people I hadn't talked with in a while. I finished a few of these recs, but they eventually got lost beneath other projects, namely this website. I wanted somewhere to put my writing before continuing, and now I've got that, so it's back! (but for more than just albums this time).

If you have ANYTHING you'd like to recommend, whether it be songs or albums, short films or films or YouTube videos, send it in! I've put the current list of recommendations into a wheel that selects them at random. Each installment in the series, I'll spin that wheel five times, and tackle the recommendations in batches of five. Therefore, I'll run out quickly, so please leave recs at the bottom of the About page! It takes a second to fill out and I'll make sure to credit you when your rec is picked. I'd love to find out what you guys love, or hate, or can't make up your mind about.

This first installment will feature more than five reviews, because I'm rewriting and publishing all the recs from before this website existed. Going forward, I'll keep it around five for your enjoyment and my sanity.

Sleigh Bells - Treats, recommended by Chase

This album is my introduction to Sleigh Bells, and it left a big impression! These songs are visceral, with the pep of the cover's cheerleaders, and the force of a sledgehammer. What first caught my ear was the contrast between frontwoman Alexis Krauss's sugary, ethereal vocals, and the harsh, glitchy instrumentals. On first listen, I thought I might prefer a rawer, more aggressive vocalist over these chaotic backdrops. With further listens, however, the strange contrast grew on me. It adds a pop sensibility that evens out their more extreme tendencies. For every blown out guitar riff, there's a catchy pop-song chorus. This sort of audible cognitive dissonance quickly reminded me of modern hyperpop artists like Charli XCX or Dorian Electra. To think this came out in 2010 is a testament to how ahead of the curve Sleigh Bells were. They're basically 10 gecs.

Treats has a great central sound, but the commitment to this singular sound occasionally yields what feel like lesser versions of the album's best tracks. Songs like Rachel, Crown on the Ground, and the closing title-track just fit the aesthetic instead of offering up something new. This album's highlights, though, are absolute magic. The intro Tell ‘Em thrusts listeners straight into the chaos, with crunchy riffs and awesome programmed drums. Rill Rill is an odd standout - easily my favorite song on the album, but out of place in the project as a whole. Where Treats is harsh, Rill RIll is sweet. Where Treats is electronic, Rill Rill is organic. It's little surprise it became the band's biggest song, with an INCREDIBLE chorus. I return to it very often, and it'll definitely make my spotify wrapped this year.

Treats is a solid debut by a cutting edge band, and I'm excited to give the rest of their discography a try. I return to the album as a whole occasionally, but a few specific tracks stuck with my heavily. I'd recommend giving it at least one full listen to find the tracks that scratch your brain the most. Also, if you're a hyperpop fiend, this will totally be your jam.

Lady Gaga - Artpop, recommended by Elizabeth

Artpop was a fun dive back to the early 2010s pop era I grew up listening to. I can distinctly remember hearing some of these songs on the radio in my basement while playing Black Ops 2 with my brother. Good times! However, those huge singles I heard while failing to hit trickshots for hours were all I knew about Lady Gaga. I'd never tried a full project from her, so I was excited to see what she's all about.

Well on Artpop, she's all about fun, sex, and space. This album has a futuristic, interstellar veneer, one that, after a few tracks, gives way to typical 2010s EDM-pop. I wish it pushed further into the aesthetic it suggests, because as the project progresses, many songs fade into the background. They remind me of her radio hits, but lacking a catchy hook or iconic beat. The lyrics aren't a saving grace either, even if I respect their candid sexuality and occasional absurdity.

Artpop isn't without highlights though. The title-track's inventive beat sounds like being sucked up into a UFO of fashion-forward aliens. G.U.Y. has awesome androgenous lyrics, a great chorus, and a deceptively simple beat with plenty of tiny flourishes. This experimentation within the confines of mainstream pop is exactly what the album should've been, but as is, it's a lot more pop than art. (Just as a note, I've got absolutely no ill-will toward pop music, I think the pop-timism of the last few years has been a great change). I don't need Lady Gaga to start dropping soundcloud mixtapes or craft a banger with Hungarian throat-singing. I just want a bit more than the generic EDM composing a lot of this album, especially when that sound is severely outdated just a decade onward.

In 2023, only the best songs of that era are remembered fondly. That being said, this album does contain one of the best EDM-pop songs ever made, the closer Applause. I'll be the first to admit that I've got nostalgia for this song, but I think I'd love it even if I heard it first today. In the end, that's what Gaga does best. She's a top-tier hit-maker, even if I'm not fully convinced about her albums.

Sleigh Bells - Reign of Terror, recommended by Chase

Right off the bat, Reign of Terror is a markedly different project than Sleigh Bells's debut album Treats. Gone is the playful ear candy of Infinity Guitars or Kids. In its place is a dark aesthetic, emotional sincerity, and an inconsistent tracklist. An aspect I admired most about their debut was the way it played with dynamics, often suddenly dropping into silence, or bursting into loud percussive sections. Reign of Terror, by contrast, lives mostly in the mid-range, only venturing away in short pockets.

With less contrast and less consistency, what does this album have to offer? Well, It pushes Sleigh Bells in a promising, haunting direction. When this project fully commits to terror, its results are moody and memorable. "You Lost Me" is absolutely enthralling from start to finish, with regretful, melancholic vocals. However, too often, this album reins itself in, playing like underwhelming retreads instead of breaking new ground. Reign of Terror captures the band mid-turn toward a new sound, lacking the confidence or mastery to fully pursue it.

Many songs also feel overstuffed, struggling to balance their many elements and running the risk of blending into a mushy sludge. This is especially true for when Krauss elects to match the loud beats with aggressive vocals, rather than contrasting them with delicate, sweet vocals. I had wondered if a more impassioned singer would enhance the beats' energy, but instead, they reduce the dynamic range of the track in an unflattering way. Reign of Terror isn't my thing, but I respect Sleigh Bells for inching toward a darker sound, and the moments where they full-send are some of their best songs.

Will Wood - The Normal Album, recommended by Elise

This album is going to very quickly reveal my biases. Every reviewer has that one specific genre or style they absolutely can't stand, no matter how well it's done. If Dunkey has JRPGs, if Anthony Fantano has rage rap, I've got theater-core. Will Wood is theater-core. This will be less a review, and more a dissection of why I think theater kids should be quarantined in government labs and kept from the outside world at large, let alone a guitar, piano, or microphone.

The instrumentals on The Normal Album are far from instrumental. There's little dynamic range, a lot of uninteresting piano sections, and far too much wacky percussion. This would be fine if the lyrics or vocals were interesting, that's where most singer-songwriter types shine, after all. This raises two slight problems: Will Wood's lyrics kill me, and I can't stand how he sings. Let's start with the lyrics.

They say brevity is the soul of wit. I don't know what they say when someone uses 50 lines to say what could be said in one. They probably say it's bad. Wood's writing sounds like a freshman in college who took psychology 101 and REALLY wants you to know. He makes sure to slap at least five key terms in every song. Do they contribute to an overall idea? Nope. Well, is it at least delivered in a cool way? That brings us to the vocals.

If there's one thing undeniable about Wood, it's his zany factor. His vocals are wacky! They go aaaaaaall ooooooooooover the place! On hooks, he loves to imitate 1950s doo-wop songs, which for a modern folk/jazz/pop singer, is like putting record scratches in a Trippie Redd song, it just doesn't fit. Will Wood was so preoccupied with whether or not Will Could, he didn't stop to think if Will Should. These songs are corny, outdated, overlong, aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaand I've been hating on this album way too much.

I was sent The Normal Album in good faith, and I tore it to shreds. Will Wood doesn't deserve this. He seems like a nice guy. He's donated to a variety of mental health charities. He's a multi-instrumentalist. His shows incorporate far more than just his music. He's got stand-up comedy, pre-planned conflicts with audience plants, and much, much more. He seems like a hoot. Maybe even a holler. The simple fact is, I don't like the genre of music he's working in. From my friends who love what I'd consider theater-core, he's often named as a favorite. If you like Miracle Musical, Tally Hall,Bryan Scary, or other similar bands, you'll probably enjoy this album. If that sounds like your vibe, do yourself a favor and check it out!

Gin Wigmore - Gravel & Wine, recommended by Emma

This isn’t the type of music I typically listen to in album form, but I was extremely impressed by Gravel & Wine. Gin Wigmore walks a tightrope, maintaining a consistent aesthetic while keeping each individual song unique. She's a mix between Amy Winehouse and an angry Adele, which is to say her voice is incredible. On Sweet Hell, the "sweeeeeeeeeet heeeeeeeeeeell " chorus provides a fun climax. On Kill of the Night, a trelemlo'd "bleeeeeeeeeeeed" is the crowning jewel of a great hook. Basically, whenever you hear an e, it's a great time. Wigmore's playfully rebellious spirit alone carries me through any song without a standout chorus or beat.

That isn't to say that Gravel & Wine lacks quality instrumentals (it has them in spades).

There's a lot of care put into these songs. Added details and instrumental flourishes are commonplace, allowing tracks to naturally morph and expand as they progress. On Man Like That, a final-third switchup includes trash can percussion and an unexpected but essential sax solo. Poison, one of the best tracks on the album, has an electrifying crescendo, building to sweeping strings in sync with the swaying vocals. It's Wigmore's choice to consistently go the extra mile that elevated this album and kept me engaged for 40 minutes.

The album does lose a bit of momentum in its last third, with songs like Saturday Smile and the closer Don’t Stop sounding like weaker re-do’s of earlier tracks. Even on these tracks, most of the same rules apply: the instrumental is good, the vocals are great. Wigmore has a winning formula: exciting performances and good taste. Also, my Mom really liked it when I played it for her, so that's an official Phelan family endorsement.

Coconut Records - Nighttiming, recommended by Luke

I had never heard of Coconut Records before this recommendation, so I gave its wikipedia page a cursory glance before checking it out. That's when I noticed who made this album: Jason Schwartzman? The Wes Anderson guy? I love that guy! I just saw him in Asteroid City! Unfortunately, I didn't love this album nearly as much. It begins with a string of songs that boast solid production and little else, but as the album progressed, I found little to enjoy in the production either. Schwartzman's vocals grate on me, so most songs vacillated between slightly annoying and dull.

That's until I got to the title-track, Nighttiming. This song has a great, propulsive groove, matching vocals, and crisp production, far from the lofi aesthetics of the other songs. The chorus "I hear you're nighttiming baby" gets stuck in my head every time I listen to it. It's such a mile ahead of everything else on the project that I think Schwartzman created this song and then felt obliged to craft an entire album around it.

The most interesting part of this album to me is the surrounding fun facts. Did you know the song Summer Day was on the Spider-Man 3 Official Soundtrack? Did you know Kirsten Dunst is featured on it? (I found this out about 30 minutes after reading up on her role in Melancholia, so it was pretty surreal to find her here). Did you know it's produced by Incubus guitarist Mike Einziger? Did you know this is made by Jason Schwartzman?! The actual songs are pretty low-risk, low-reward. It's a nice album to put on in the background, but that's the extent of it for me. In summation, Schwartzman stirred up a sheepish set of sonics, supplanted by a single sumptuous song.

Lil Boom - The End Of The World, recommended by Tommy

I’ve always heard Lil Boom's name thrown around in conversations about soundcloud rappers, but I'd never given him a shot until this album, and he surprised me. I thought he was a hyper-ironic meme-rapper with ridiculous punchlines and an anime obsession. Only that last part is true (every song on this album is named after a different anime series). Boom's lyrics are actually a lot more genuine than expected, mostly focusing on heartbreak and trying to make it big. Is it stunning poetry? No, but it's sincere, and I appreciate that. What few punchlines appear are consistently funny and memorable. Some favorites include: "I cheated on my state test, stealing shit in recess," and "I stay with a tool like Phineas and Ferb." They're dumb, but endearing, and manage not to take away from his more sincere lyrics.

Lil Boom's voice occasionally reminds me of Kid Cudi, and he's at his best when he taps into that same moody, relaxing space as Cudi. At his worst, Boom's songs are just forgettable, something that becomes sadly frequent as we move through an overlong tracklist. About halfway through the 16 tracks, most begin to run so mild I barely remember them once the song's over. I'm not sure if the album is actually top-heavy, or if I just got tired of the schtick by the second half. Even at just 37 minutes, The End of the World struggles to stay engaging, with multiple tracks that could've, and probably should've, been cut.

There are standouts with unique ideas, but Lil Boom does little to develop them into full songs. The beat on Nonstandard brings an amazing energy, but ends in under two minutes, without so much as a hook. A lot of the songs here run so short that by the time they reach a cool musical idea, they're done. Also, Lil Boom primarily sticks to two flows, a quick one where each successive line cuts off the last, and a slower one with a drawn out last syllable on each sentence. They stagnate quickly.

I want more variety if I'm going to listen to full future projects from Lil Boom, but honestly, you aren't meant to listen to him in album form. He's an artist to pick your favorites from, and throw on the aux when you want to relax. He's just too likeable to dismiss entirely, even if that likeability doesn't translate to longevity.

Conclusion

That's the first Recommendations completed! I'm excited to continue this series, and I hope it brings some more engagement with readers on the site. If you checked out any of today's recommendations, let us know what you thought in the comments below! I hope you found a project or two that interested you.

At the end of each installment, I'll spin that wheel and tell you the five recs I'll be covering next. Installment #2's recs are listed below, have a great day!

1. Black Sabbath - Heaven and Hell, recommended by my Uncle Michael

2. The Way of Kings, recommended by Waseef

3. Frankie Valli & The Four Seasons - Sherry and 11 Other Hits, recommended by my Dad

4. Silver - Silver, recommended by Luke

5. Tusk, recommended by Dom