Intro

In recent years I’ve fallen back on listening to music artists I’m already familiar with. Revisiting the same albums, but also looking forward to their new ones. Nothing necessarily wrong with that, but there’s so much out there to uncover, so many ideas to explore, new sounds to hear. I’ve made an effort to pay more attention to music journalists, seeing what they’re listening to and what I’m missing out on. I often find myself having no idea who or what they’re talking about, but I want to know so bad, which is a great motivator.

I’ve found a lot of inspiration in the work being done over at The Singles Jukebox, as well as Tone Glow. Taking some cues from that, I’ve decided to try doing a monthly segment discussing the five albums I listened to the most each month, old or new. So without further ado, here’s my top 5 listens of February 2024.

Space 1.8 - Nala Sinephro

I don’t know shit about Jazz. It’s a massive blind spot for me, and one I’d really like to rectify. This album was recommended to me by a friend, and it’s one that I keep coming back to.

As the name implies, it’s atmospheric and ambient, and evokes vivid imagery. It’s gentle, soothing, and I could easily see it being the soundtrack to an optimistic sci-fi movie.

Bubbly synths, serene keys, and expressive melodies all serve to paint this tranquil scenery. There’s a clear unified vision here, and Nala explores various textures in this limited yet expansive soundscape. I find it impressive that this is Nala’s debut album, and also a little disappointing, because that means there isn’t more for me to explore. But I will definitely be keeping an eye on her, and be listening to Space 1.8 in the meantime.

here, this is happening - archie

With a mixture of bedroom pop and shoegaze sensibilities, this project is a real joy. There’s contrast within the track-list — “after gazing sun” evokes the soft textures of Loveless by My Bloody Valentine, but is then followed by “lovers' hands”, featuring a mostly dry sounding acoustic guitar with synth embellishments, a more intimate feel. “the place we hid” on the other hand, is more uptempo, with driving drums and laid-back vocals.

Within these 10 tracks, archie is able to explore various soundscapes while retaining a consistent mood, perfect for a rainy afternoon.

Still - Erika de Casier

“Welcome to my party” Erika says to start off this sensual Y2K-inspired project. Everything about Still feels fresh yet familiar.

Erika’s candid lyricism lays her heart bare as she croons over silky electronic production. The production alone is enough to keep me interested in this record, but the lyricism really pushes it to the next level.

At least let me try

Just bе on my side

I’m falling apart just by the thought

Of having to choose

Lyrics from “The Princess”

This is the first project I’ve heard from her, except not really, she’s got songwriting credits on four out of the six tracks on NewJeans' 2023 release, GetUp. It goes without saying that that project was a huge success, but this album is solely about Erika. Her songwriting is descriptive and intimate, as she exposes her emotions for all to see.

back then I didn’t but now I do - Jonny From Space

This release begins with a smattering of synths layering over booming, lackadaisical drums. It’s hazy, and dark, almost groggy, like you just woke up from a nap and feel rested but haven’t fully woken up yet.

The energy picks up from there on “Luna Dance”, as the drums become a lot more lively while various synth loops punching in and out of the track.

Overall this atmosphere of this record is very sci-fi inspired, almost cyberpunk. Maybe it’s the album cover influencing me, but there’s still a certain organic nature about it despite being mostly electronic. It reminds me of the manga “Fool Night”, a sci-fi manga in which humans near the end of their life undergo a process that slowly turns them into plants, necessary due to the severe lack of oxygen on the planet. It’s dystopian, off-putting, and often contains eerie imagery, much like “back then I didn’t but now I do.”

Ground Groove - Maral

“Feedback Jam” sounds exactly as it implies — a thumping kick drum heartbeat, and distorted guitar riffs form a skeleton over which various samples, vocal and instrumental, are layered over. The rest of the drums, snares and hi hats mostly, are much cleaner sounding than the kick, a contrast that provides clarity to the track.

Much of Ground Groove continues in a similar manner. Samples are chopped and drenched in effects, practically indiscernible from their original source, often sourced from Iranian folk music cassettes and the like. The drums are placed forward in the mix, gluing everything together, resulting in a final blend of influences demanding your attention.

Ground Groove exudes a certain level of confidence. Maral has placed everything where it needs to be, her vision taking shape exactly as intended. There’s not a single moment wasted here, and I’m excited to dive into the rest of her discography.