DJs Mia Zuckerberg and Carol Holan have been busy curating playlists for their show, WORM Radio, every Tuesday at 8:00. Their first playlist focuses on songs for when you have a gay crush, but don’t want to ruin the friendship. Listen to hear some great songs by Mothers, Fiona Apple, and Mazzy Star.
If you’re not feeling that, check out the playlist from their second show about driving alone for the first time. This playlist features an amazing range of artists that include Nina Simone, Perfume Genius, and Franz Ferdinand!
Make sure to tune in to WORM Radio every Tuesday from 8-9 for more good tunes!
I couldn’t decide on just one song to capture how I’m feeling on this second-to-last weekend of the year, so here are three to help you get through the end of 8th block:
“Friday Night, Saturday Morning” by The Specials
“Out of bed at eight AM / Out my head by half past ten / Out with mates and dates and friends / That’s what I do at weekends” and then the catchy refrain: “I go out on Friday night and I come home on Saturday morning.” This song is just like all of your eighth block weekends, except if your eighth block was taking place in England forty years and was narrated by a ska revival band.
“On Some Faraway Beach” by Brian Eno
Maybe the most nostalgia-inducing song ever. When you drive or fly home in a few weeks, play this song as you stare out the window and you will probably cry. Very tender, very epic.
SO good! This song will mess you up emotionally and take you to another place. It’s basically a spoken word poem by David Berman of the band Silver Jews in collaboration with The Avalanches. Around 00:45, you start hearing an amazing beat and the song becomes so beautiful. I have a hard time describing what I feel when listening to this song, but I think it’s intended to be a reflection on youth and growing up – which is what we all deal with every day in college. Especially for you seniors graduating, this song is for you. (Also if you haven’t heard The Avalanches’ album Wildflower, it’s so incredible and this song feels so much more special as the last track on the album.)
Born and raised in St. Louis but heavily influenced by (and eventually instrumental in) the Chicago rap scene, rapper Smino has been writing music since high school, finding his greatest successes in 2017’s blkswn and most recently 2018’s NOIR. Coming from a childhood full of gospel and jazz, Smino’s catchy neo-soul choruses combined with gripping rhymes and lyrical skill make him an artist to continue to watch; in an interview with Rolling Stone, he says he already hates NOIR and is ready for his next release. Coming to Denver as a part of his HOOPTI tour, he will be performing at Summit on Monday, April 1st after a string of sold out shows.
LA-based musician Jessica Pratt’s music is often characterized as freak folk and beckons associations with folksy psychedelia of the 60s, namely The Byrd’s Fifth Dimension and the work of Vashti Bunyan. It is miraculous to me that “Moon Dude” achieves such an expansive, out-of-this-world sound given Pratt limiting herself to mostly just acoustic guitar and vocals. Her alien-like, gorgeous voice, her psychedelic inflection, carries this song so far beyond the sounds someone expects from a singer-songwriter playing an acoustic guitar. Take a listen:
Ty Segall’s music is typically pretty grunge-rock-y, but this song leans much more to pop and jazz than most of his other tunes. “My Lady’s on Fire” has been one of my favorite songs for the past few months, and despite the obscene amount of times I’ve listened to it, I still get excited every time it comes on. I first heard this song when I saw Ty play a live acoustic set which was really fitting because this song showcases how much more confident he’s become with his voice over his career. This song is a must-listen for anyone and everyone!
In need of 2 minutes and 16 seconds of cathartic dancing-around-the-room-by-yourself bliss? Maybe you’ve been fiending for this feeling since the weekend ended. Maybe you’ve got some pent-up frustration because, hey, the block can suck. Maybe you just want to listen to a nostalgic bop. Fear not, The Hollies’ “We’re Through” will provide what you’re looking for. Though not one of The Hollies’ most popular hits, the number of listens to this song on Spotify has been climbing and climbing since its feature in an episode of Netflix’s most recent series, The Umbrella Academy (based on comics written by Gerard Way, lead singer and co-founder of My Chemical Romance). Its exposure in The Umbrella Academy was what brought me back to The Hollies and here I am now, listening to “We’re Through” on repeat this week.
The song, thanks to its deliberate bass, fingerpicking, and haunting, echo-y, but upbeat three-part harmonies, is perfect for momentarily letting go (of anything and anyone). Acknowledgement that “I should be better off without you…” is liberating! Get rid of toxic people and toxic relationships! Dance it out! (After a couple listens I begin to think this song is more likely to get me to make more changes to what ‘sparks joy’ in my life than Marie Kondo ever could.) The repetition of the mantra “We’re through, we’re through, we’re through” near the end of the song becomes therapeutic. The swell of the music and the shake of the cymbals at the end brings the sentiments of the song to a nice, final conclusion. Ultimately, we, as beings who want to be wanted and loved, sometimes have a hard time recognizing when others “never treat us tenderly.” Hopefully this song helps with a part of that realization process. If not, it’s still one hell of a bop—I hope you all enjoy. Cheers to t-minus 3 days until the weekend!
This song has haunted me all week. From the deep, deliberate drum beat at the song’s beginning to the singer crooning, “You know it’s gonna burn you alive…burn you up, burn you up” at the bridge, listening to this track transforms me into a more melancholic version of myself. “Burn You Up” reminds me of a failed relationship and lost love I’ve never even felt nor experienced before. However, the song isn’t overwhelmingly sad. It’s tinged with sweetness, present in the way the guitar chords are somewhat reminiscent of bells ringing, the way the lead singer draws out certain words while keeping others short, and also for the way the lyrics “you called me darling when you broke my heart” are sung- simply, tenderly, and truthfully.
The simplest way I could explain this song to my friends in hopes they would add it to their Spotify queues went along the lines of, “Oh my god, it’s SO good. It goes through, like, three vibes during the song.” For lack of better phrasing, “Burn You Up” does go through multiple vibes. The song’s cyclical nature takes the listener through different technical and emotional sections of the song, only to return you exactly where you started. Listening to it feels somewhat like recounting a dream when you wake, sometimes the details are fuzzy, it might have been strange (but seemed totally normal), and you always end up back at the beginning.
Of all the tracks on the one album Mike Clark & the Sugar Sounds have on Spotify, “Burn You Up” stands out, for me, as one of their most dynamic, and more emotional, songs. This song, though not too good at hyping anyone up for Winter Break, still serves as a good, chill listen as we near the end of fourth Block. Happy studying, procrastinating, and listening. Hopefully you enjoy the bittersweet “Burn You Up” as much I do!
You can listen to “Burn You Up” on Spotify with the link below:
As the lights dimmed in Atlanta’s Buckhead Theater, James Brown’s “Get Up Offa That Thing” played overhead and members of Kamasi Washington’s band walked on stage and received a warm welcome from the audience.
Once Kamasi stepped on stage, we were all transfixed by his presence – immense, towering, powerful. The audience yelled and hollered and even I, being relatively new to his music, felt I was in the presence of a real demigod. In fact, Washington has been referred to as the “savior of jazz,” but he’s always been too humble to accept the accolade.
FlyLo and Thundercat have made a name for themselves as more electronic musicians, but Washington doesn’t feel the need to stray too far from traditional jazz. He’s emulated and expanded upon the music of his jazz heroes and proved that he can do it bigger and better than perhaps any other jazz musician at the moment.
I was blown away by the power and energy that Washington packed into his performance. I was expecting a relatively mellow night, but Washington and his band delivered super funky bass jams, an epic drum-off between his two drummers, and soaring vocals from his vocalist Patrice Quinn that got the entire theater dancing.
After a few songs, he introduced Quinn by saying “Patrice is one of the best singers I know. You can tell some people are good by the way they talk, but Patrice, she sounds amazing even when she’s cursing at you.”
After Washington introduced Quinn, she launched into the most powerful song of the set: “Malcolm’s Theme,” from Washington’s debut album, The Epic. The songs lyrics come directly from Ossie Davis’ eulogy for civil rights icon Malcolm X. The moving lyrics, paired with Quinn’s emotional, powerful, and beautiful delivery gave everyone goosebumps.
My favorite part of the set was when Washington’s stand-up bass player, Miles Mosley, played his incredible funk epic “Abraham.” I was blown away by Mosley’s ability to create such otherworldly and groovy sounds. Here is a link to a performance of Mosley’s playing “Abraham” that I suggest you all watch: https://www.youtube.com/watch?v=c73NCDr5ACo (skip to 3:30 if you’re limited for time).
After being mesmerized by Washington for almost two hours of free-jazz digressions and thoughtful, intricate pieces, I felt like I’d been to a different universe and back. Just like the legendary Pharaoh Sanders who I had the chance to see earlier this year, Washington’s music transcended all of us to another realm of experiencing. Washington confirmed that jazz can be as lively, engaging, and fascinating as any other genre, if not more so.
Khalid’s rise to fame has been slow and steady. His smooth sound and relatable lyrics make for versatile, chill music for a variety of settings. But apart from being solid background music, his most recent album, Suncity, shares some words of wisdom about his journey to stardom as well as the unpredictability of life that we can all relate to.
Unlike his first album, American Teen, which centered on Khalid’s relationships and teenage experiences with catchy but simple songs like “Saved” and “Young, Dumb and Broke,” Suncity’s abstract feel is more of a focus on instrumentals. Apart from “Saturday Nights,” with the chorus “all the things that I know, that your parents don’t” which echoes the angsty teen of Khalid’s previous album, Suncity tackles life’s obstacles in a way that all age groups can relate to.
Suncity begins with “9.13,” a short instrumental which concludes in Khalid being given the key to his hometown of El Paso, Texas, or as he calls it in American Teen, the city of the 915. In “Vertigo,” Khalid reflects on his rise to prominence in the music industry among other accomplishments in a whimsical, dubious way. After going back to his roots with the somber, moody teen passion in “Saturday Nights,” he returns to a more reflective vibe with “Salem’s Interlude.” “Salem’s Interlude” revolves around life’s obstacles that we all face as well as the struggle of which path to take. Through the interlude, Khalid invites listeners to step back and contemplate their direction and goals in the craziness that is life. “Motion,” my personal favorite song on the album, is the most unique and has a dreamlike quality. The album ends with a note of pop in both “Better” and “Suncity,” definitely the most radio friendly of the album. “Better” is catchy, romantic and overall average. “Suncity,” featuring Empress Of, expresses Khalid’s tie to El Paso and the community he grew up in, ending back where he began in an upbeat, refreshing tone.
All in all, “Suncity” is both a continuation of Khalid’s style and an example of his progression into a variety of lyrical and instrumental genres. After being featured in songs with artists from Halsey to H.E.R., I was pleasantly surprised to see Khalid’s old style and growth reflected in Suncity.