Waxahatchee – Saint Cloud [Merge 2020]
It’s not easy to place a finger on what makes this album so great, like it’s never been easy for Katie Crutchfield to hide her emotions in her music – not that she ever wanted to, but the move from jet engine guitars to creaky earth folk is too prevalent not to comment on. As it is it’s grace and simplicity which she and her session band handle with aplomb. The change was the result of a new commitment to sobriety, now seeing the world with clear eyes – as if she wasn’t already so specific her syntax has improved at least two tiers. She remains a pillar of strength to those that need it and an admirable young woman who never ceases to give all there is to the simple complexity of living. 4.6/5
Soccer Mommy – Color Theory [Loma Vista 2020]
Gone is any mention of nature and most of the inertia of her debut, Sophie Allison’s self-esteem issues are full grown depression now. Very pretty but very easy music, whereas before her guitar tickled, currently it brushes and washes distantly, puts the focus on her words which for the sad kids everywhere will be a relief to share – think “but I’m not so pretty when I am naked” and all of “Circle the Drain”. She’s scared to let herself down now that she has some credibility which deserves to be seen from her point of view before casting personal aspersions. She still has plenty to say but the pressure Allison puts on herself gives her a bit of tunnel vision, the hope is that her goodness can work its way back in eventually. I think she would find a kindred spirit in Shelley. 3.9/5
Fiona Apple – Fetch the Bolt Cutters [Epic 2020]
All those erroneously labeling this one her quarantine album just because of its release during a pandemic (and on my birthday no less, Hi Ma!) are missing the point entirely. What Pitchfork’s first 10.0 in a decade (remember, grains of salt people) is is a tour de force – she sums herself up on track 2 no less as “pissed off, funny, and warm” over the rumble that may slow or quiet but never ceases for the full length. True it’s not as big as P4k’s last 10 and def won’t have any Top 40 songs but listen even for a second and there is not just strength and some mixture of rage/resignation but unity, on “Shameika” yes but also “Newspaper” and the rape line in “For Her”. There’ll be plenty who criticize her without a thought, whether indie proles or closeted sexists who say she’s man bashing by clearly ignoring her relationship advice on “Ladies” about comparisons and all of “Cosmonauts”’s take on long term relationships. Note in fact she says it: “my dog and my man and my music are my Holy Trinity,” man goes in the middle because they’re listed in order of unconditional love. If Pazz & Jop were still around (RIP) this would probably top it. 4.9/5
Chance the Rapper – Acid Rap [Self released 2013]
As chemically dependent as the title suggests, which is to say as much as any 20 year old in America is, this is Chancelor Bennett’s signifying herald that brought fellow lovers of rhyme, wit, and weed together under a subversively wholesome umbrella. That don’t mean there isn’t any violence to document, actually most of the fierce positivity is an explicit reaction to the trauma suffered by those on the South Side, just like the drugs. And while the go-to’s for this mixtape’s fervent cult are usually “Favorite Song” (it’s Betty Wright, stupid) and especially “Cocoa Butter Kisses” I find myself taken with the self-assured “Smoke Again” because of its brass, Ab-Soul’s potty line –dude wtf lol—and the lo-fi ooo’s over the chorus that drawn a clear line of influence from 90’s bedroom indie rock. If only he knew what was coming. 4.3/5
Grimes – Miss Anthropocene [4AD 2020]
c. Boucher plays the heel in the persona of some high concept dying Gaia, feel free to ignore the concept however, this is dark techno for when the world ends with less focus than previously. Playing the heel works well for her considering what once felt like a one off proved prescient, then timelier as the covid reality around us set in and no one does anything to stop global warming. 3.5/5
Lil Uzi Vert – Eternal Atake [Atlantic 2020]
How much is Symere Woods Lil Uzi Vert? One would hope it’s the parts of him that are navel gazey and obsessed with fashion despite his bland approach to both. Otherwise what’s left is the guy who doesn’t trust women and who says plain as day that he’s slimy and not to trust him. The heroes of this project are the producers, particularly Brandon Finessin who creates Hi-Fi high NRG beats for Woods to croak and ache over, the best are when the tempo is up. Despite how catchy and charismatic it may be (and it’s very much of both) – and might I add I am in the camp of art being allowed to express ugly things – what’s worrisome are the problematic lines that suggest not just emotional manipulation & the ensuing toxicity but the ones in “Bigger Than Life” and “Venetia” that seem to allude to assault and grooming from someone who, outside of his moniker, doesn’t seem to be pro anything but money and not enough of a jokester to be bullshitting. 2.4/5
Lucy Dacus – Historian [Matador 2017]
Although I’m sure she’s sick of hearing her voice described as “warm”, honeyed syllabic mezzo is how I’d describe it, there is a power in her midrange’s empathy that conveys resolve from her corner of the room. As such she’s been part of the wave of girl rockers – and she IS a rocker – who have been making waves by picking up themes worn to all hell by men and making them fresh again. Where her lyrics don’t touch her guitar does in its deft slinkiness. Where she can improve is detail, so situations are still universal but not bland, and consideration – no proper human likes when their home country causes race riots by treating minorities like this but writing it (the country) off entirely negates any attempt to improve the situation by the people who are from there. 3.4/5
Cosmic Hero 