By: Benjamin Deboer, Chantel Ouellet, Charlie Westrick, Jordan Balls

November can kind of suck. The leaves that have fallen start to rot, the air gets colder and we don’t even have Thanksgiving in the middle to look forward to. However, November is also a time for taking a moment. There is this sweet spot right in the middle of it before the impending stress of exams and the excitement for the holidays really sets in. Take that time to sit back, relax and indulge in some great tunes. Rumor has it these are the songs the music team will be listening to.

“Water Me” – FKA Twigs

EP2 (2013)

My favorite FKA Twigs joke will forever be that “all fka twigs really does is whisper about sucking dick over throwaway bjork beats.” It’s true, but this isn’t a bad thing. “Water Me,” her most deconstructed and avant-garde piece of music yet, is overtly sexual. The lyrics, eight lines in total, are plain-spoken and earnest. Both Twigs and co-producer Arca create an immersive stage for her to express her desires, but the song is never too large that it becomes overbearing.However, the power of this song lies in the way she successfully coalesces the concepts of simplicity and excess. – Charlie Westwick

“Do You?” – Troyboi

Troyboi is a UK producer who is gaining increasing notoriety. For good reason too, as he elevates electronic music by not following traditional trap methodology. “Do You?” acts as a good introduction to his thematic style. Spanish guitars melodically riff, providing a base layer that rides to a crescendo. “Do you love me?” an ominous voice asks as the song drops, breaking into its bass-heavy trap beats. The allegorical nature of the song continues with the unusual inclusion of an almost comedic sample sprinkled throughout that cuts away from the bass and 808’s. The end result is an atmospheric journey. – Chantel Ouellet

“I Can’t Wait to Get Off Work (And See My Baby On Montgomery Avenue)” – Tom Waits

Small Change (1976)

Temples throbbing. Queasy rapture nothing short of a Bukowski verse, the culminating existential frustration that comes with separating work and love into mutual exclusivity. We refuse exploitation only to the point that our jouissance isn’t rendered derisory: ritual becoming routine.

“I don’t mind working” belches God’s whiskey-pickled gullet.

Pure pharmakon: “‘cause I used to be jerking off most my time in bars”

Can I ever be house-proud? The busywork of tidying my room, my desktop folders, my ideas—is this a nexus for my becoming or a joyous expression of my impending absorption into snow-death by some machinic eros? Sleepwalking now, reunited with the ovoid rhythms of meadow and cosmos. – Benjamin deBoer

“Flick of the Finger” – Beady Eye

BE (2013)

“Flick of the Finger” is proof that Liam Gallagher still means business post-Oasis. The first track on Beady Eye’s second and final album feels truly epic from the get go thanks to the inclusion of orchestral elements that catapult it beyond being a simple rock tune. Liam’s presence is all about the voice—it is after all, the magical ingredient that pushed Oasis to the heights of their peak in the mid-’90s. Liam’s gravelly, ever-confident voice shines here. “Flick of the Finger” is arguably more experimental and intriguing than anything his brother Noel has released with his High Flying Birds. If he is able to repeat such feats on his debut solo album, set for release next year, then we are truly in for a treat. – Jordan Balls

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