Lake Street has deservedly skyrocketed in worldwide fame ever since their live, stripped-down cover of the Jackson Five’s “I Want You Back” filmed on a Boston street corner went viral. Mixing old-school pop with jazz, blues, and soul influences, the group caters to the indie pop-rock loving fan who loves a taste of nostalgia in their ears.
(Image Credit: BrooklynVegan)
Within a minute of Lost Time’s opener “Dana Katherine Scully,” it’s clear that Seattle-based candy-coated punk/pop/surf feminists Tacocat are doubling down on the most infectious elements of their sound. On their last full-length, 2014’s NVM, Tacocat developed their compelling craft of tackling often-unaddressed and/or feminist topics with sugary pop melodies and distorted surf guitars on cuts like the phenomenally period-positive surf rock party of “Crimson Wave.”
When Sufjan Stevens sings with raw vulnerability about “Death with Dignity,” or Alex G warbles about “Thorns,” or Frankie Cosmos draws you in with “Sad 2,” or King Krule weeps with deep-voiced, buttery droning through “Bleak Bake,” you are being sold an emotion just as much as a song. Naturally, a degree of sadness can be a fuel for inspiration, pushing artists into more creative realms, donating their hurting to public consumption—offering a source of relatability for the general populace, giving us solace in melancholy solidarity. Sad songs, then, are incredibly important: sobbing in the depths of the saddest song you can find on your Spotify playlist is often an unmatched catharsis. Sadness sells, and often is mutually beneficial for consumer and producer alike.
Last year in December, Ratking member Wiki blessed us with Lil Me, a free album that ran 17 tracks deep and featured some glorious rapping over excellent production from the likes of Sporting Life, Black Mack, KAYTRANADA, and more. [Read more…]