Have You Heard?
- Chantel Ouellet
“Dope on a Rope”
City Club (2016)
The dynamic collaboration between The Growlers and Cult Records (owned by Julian Casablancas) was a highly anticipated one.
“Dope on a Rope” is a song off The Growlers’ newest album, City Club. This track stands out amongst the rest because it still encompasses the classic psychedelic surf-rock of the group, but has the electronic twist and rhythm that Julian Casablancas is known for. I constantly have it on repeat—it is the tune I blast to motivate me on my walks between classes.
Experience the ‘beach goth’ style The Growlers have created and check out the song “Dope on a Rope.”
“It’s All Gonna Break”
Broken Social Scene
Broken Social Scene (2005)
Broken Social Scene’s “It's All Gonna Break” is their self-appointed “anthem,” and for good reason. It has everything—the horns, the chaos, Kevin Drew’s dramatic vocals, Feist’s harmonies, and the ridiculous but beautiful lyrics. The song constantly shifts from pessimistic to confident to melancholic and back up to triumphant.
One of the theses of the band is right there in the song’s title, “It’s All Gonna Break.” The band is epitomized by a sense of fragility. The song also carries with it another thesis: “You all want the lovely music to save your lives,” which explores seeking redemption through music.
- Angelo Gio Matteo
“Crying in Public”
“Crying in Public” is off Chairlift’s third record, Moth, which was released earlier this year. Frankly, I’m surprised a song of this nature didn’t already exist. Chairlift details one of the most human experiences since the innovation of public transit: crying uncontrollably on the subway. It happens so rarely that every time it happens it leaves you transformed. What really makes this song perfect is lead singer Caroline Polachek. Her intense, radiant voice is so captivating it could make anyone have to apologize for “causing a scene on the train.”
- Charlie Westrick
brtrnd and Tibe
Listening, longing for months that throb like fevers—that reverberate with humid, sticky-eyed sunshine and haze of illicit smoke.
Strategy: using the computer as an apparatus of composition feels akin to the art of flower arrangement.
Quark pulses (dis)appearing, wincing through bruises. Quivering poppies. Weaving of stems and plundered digital signal seeds. Synth petal pluck, he loves me. Zoom in. I’ve seen that face around campus, maybe you have too? Zoom out. Twins? Dead ringers. Mirror Stage bump and grind, both just wailing. A duality so devastating! Sensitive weed’s barbed tendrils groove outward. Overabundance of orchids, deficit of dandelions.
- Benjamin de Boer
Blackstar (2016) at first sounds like the beginning of a late-career revival. At this time I hoped that Bowie would soon go on tour, his first in over a decade, allowing me to see my longtime hero live in concert. Instead, two days later, Bowie died.
It is impossible not to read his death into any interpretation of the album. While often melancholic, the songs on Blackstar are far from hopeless. Bowie managed to construct a parting gift to his fans that serves as comfort and reassurance in light of his passing.
I’ll never see Bowie in concert, but I’ll always have Blackstar.
“Sticks 'N' Stones”
Kings & Queens (2009)
Jamie T has just released a stunning fourth record, Trick (2016), but I chose to feature arguably his strongest song, which comes from sophomore effort Kings and Queens (2009). “Sticks 'N' Stones” epitomises what Jamie T is about, as the Wimbledon native paints a vivid picture of life growing up on the gritty streets of London. As he tears through tales of wild youth, he invokes a powerful sense of nostalgia—whatever happens, we'll always have the memories, he seems to say. It’s the perfect combination of Jamie's imperfect drawl, a rip-roaring chorus and tearing pace. Jamie T remains at the top of his game—'Sticks 'N' Stones” though, will always stand out as a true classic.
- Jordan Balls
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