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Album Review: Jessie Ware, ‘What’s Your Pleasure?’

The best pop music of the past few years can arguably be divided into two camps: forward-thinking experimental pop and nostalgic, 80s-infused dance music. One looks to the future, one seems to be shamelessly strapped to a bygone era. At least, that’s the narrative – in reality, both subgenres draw on sounds of the past, but repurpose them in different ways. So far this year, Charli XCX and Dua Lipa have been the biggest representatives of these seemingly disparate approaches, each successful in their own right. It’d be easy to lump Jessie Ware’s new album into the later category, praise it for its near-perfect execution of musical styles mastered by better-known singers decades ago, and call it a day.

But that wouldn’t do justice to what the UK singer-songwriter has achieved here. What’s Your Pleasure? doesn’t just recreate the sounds of disco as much as it does everything in its power to relive them; it’s hard to call it a throwback when it feels so unmistakably present. If you’re looking for nostalgia, go back to Ware’s breakout 2012 single, ‘Wildest Moments’; her latest is pure dance floor euphoria, and you don’t need to have lived through disco’s golden era to enjoy it. There’s a sense of reverence in its deftly textured arrangements, but the album is first and foremost a transportive, sensual experience, and a strikingly immersive one at that. It radiates physicality and self-confidence like none of her previous efforts; the album’s title calls attention to that very fact. And though many pop singers try to adopt that aesthetic for obvious reasons, Ware embodies it like few others here. When she sings “now’s the time to step into my life”, she might as well be confronting a music industry that’s been hard-wired to shake off any female pop artist daring to flaunt her sexuality past the age of 30.

Fitting, then, that the album opens with a track called ‘Spotlight’, immediately demanding your attention with its luxurious instrumental and breathy vocals. But rather than putting the spotlight merely on herself, Ware invites the listener to be a part of it: “This is our time in the spotlight,” she proclaims. Part of what makes What’s Your Pleasure? such a blissful listen is that while it’s centered around familiar themes of lust and love, Ware and her team of collaborators nail the communal feeling that makes these dance songs so infectiously fun. Nowhere is this more evident than on the anthemic ‘Mirage (Don’t Stop)’, co-produced by Ford and Kindness, in which she urges us to keep on dancing together, as if the ritual itself plays a crucial role in the survival of our species. “Last night we danced and I thought you were saving my life,” Ware sings. She doesn’t just deliver these tracks as if her life depends on it; she sings as if our lives depend on it, too.

Saying that they do might be taking it a step too far, but they do sure make you feel alive. ‘Spotlight’ is followed by three of the album’s catchiest songs: from the sultry ‘What’s Your Pleasure?’ to the lavish synth-funk of ‘Ohh La La’ and the exuberant ‘Soul Control’, the delightful swagger on display here is simply undeniable. But elsewhere, Ware dims the lights to deliver a series of soulful, romantic tunes that not only showcase her versatility but also make for a more wholistic listening experience. ‘Save a Kiss’ infuses disco strings into a more modern electropop sound that’s reminiscent of Robyn, while ‘Adore You’ is surprisingly minimal yet effective in its evocation of a wholly different kind of love – Ware wrote it with her unborn child in mind, and its pure display of whole-hearted affection is a rare moment of tenderness and vulnerability on the album. “I wanna give you more that’s/ All that I want to show everybody,” she sings, and suddenly love is no longer a game or a short-lived sensation, but a selfless, all-consuming feeling unbound by time.

Sonically, the album may draw comparisons to Dua Lipa’s Future Nostalgia, but it functions more like Lady Gaga’s Chromatica or Carly Rae Jepsen’s Dedicated Side B; records that were released during lockdown and served as a necessary form of escape by bringing the club closer to our homes. But there’s a fearlessness to be found on the more frivolous sides of What’s Your Pleasure?, coupled with a kind of full-hearted devotion that makes it feel like Ware isn’t trying to escape anything. Instead, she takes whatever pleasures life throws at her and uses the power of disco to pull them a little bit closer. “It feels like we’ve been dancing to this song all of our lives,” she realizes on ‘In Your Eyes’, one of the album’s neon-lit slow jams. “And when you’re here, I leave the world behind/ But I’m not tryna fight it, I’ll just keep on dancing in your eyes.” There’s darkness there, maybe even a hint of despair, but with its grand cinematic strings and seductive allure – Ware compared it to a Bond film in an interview – it’s impossible not to succumb to its spell.

Liturgy and LEYA Join Forces on New Song ‘Antigone’

New York black metal artist Liturgy and avant-pop duo LEYA have shared a new collaborative track titled ‘Antigone’. Liturgy’s first release since Hunter Hunt-Hendrix came out as transgender, the track is an ambitious crossover blending together experimental black metal with LEYA’s ethereal vocals and evocative harp passages. Listen to it below.

The two artists discussed the song in an interview with Paper magazine, where the track was originally unveiled. “Originally its purpose was as a single to promote a tour we were going to do together last April that ended up getting cancelled,” Hunter Hunt-Hendrix told explained. “The track had a different name originally, and we would have put it out in early April, but held off, because we were hoping to postpone the tour and just use it for the later dates. When it became clear in April/ May we simply had to cancel it outright, we decided to just put up the track — and we’d gotten as far as uploading it to be released before I came out as trans.”

LEYA explained that the title of track was named to ‘Antigone’ to correspond with Hunt-Hendrix’s transition. “We are overjoyed to see her moving forward in her existence and re-naming of the track obviously celebrates this in part,” they said.

Speaking about coming out as trans, Hunt-Hendrix added: “The actual decision to decisively come out was really sudden, and involved a week of basically sobbing every day during the lockdown — though I’d been building towards it for a long time. I was feeling unsteady about releasing the song at all after that, but we decided to go through with it though it became important to me to change its name, which was sort of a surrogate for me changing my own name (my name was and is still Hunter).”

Hunt-Hendrix has been quite busy as of late. She released her latest LP as Liturgy in 2019 called H.A.Q.Q, composed and performed her own multidisciplinary opera, Origin of the Alimonies, and put out a collaborative project with M. Lamar titled Funeral Doom Spiritual in 2017.

Pussy Riot Release BLM-Inspired New Song ‘Riot’

Pussy Riot have shared a new track called ‘Riot’, inspired by the ongoing Black Lives Matter protests as well as the recent arrest of band member Peter Verzilov, who was taken into custody for being “a potential suspect of inciting mass riots”. Listen to the new song below.

“We stand with the protesters for racial equality and justice,” the band in a statement accompanying the new track. “We demand to defund the police and punish killer cops.”

Produced by Berlin-based outfit IXXF, ‘Riot’ is two minutes of chaotically fast-paced experimental pop in which frontwoman Nadya Tolokonnikova calls for justice. “Yeah sex is great,” she sings, “but have you ever f*cked the system?”

In a press release, the band seemed to suggest that ‘Riot’ is part of an upcoming album – a surprise for Pussy Riot, who have never released a conventional album before – to be announced later in the year. Back in June, they shared another blistering track called ‘1312’ featuring Parcas, Dillom, and Muerejoven.

Yeule Covers Frank Ocean’s ‘Self-Control’: Listen

Yeule, aka London-based songwriter and producer Nat Ćmiel, has shared a cover of Frank Ocean’s ‘Self-Control’, taken from 2016’s Blonde. Listen to it below.

Released yesterday on Bandcamp to coincide with the site’s monthly waiver of its revenue share, all proceeds will be donated to the LGBTQ fund, which helps provide bail to LGBTQ people and works “to build a critical mass against the mass detention of LGBTQ individuals.”

Produced by Ćmiel herself with contributions from Marcus Djunaedi on guitar, the track takes Ocean’s intimate track and adds some more ethereal, glitchy tones to it, giving it an overall haunting edge.

Yeule’s last album was 2019’s Serotonin II. Read our review of the album here.

The Front Bottoms Announce New Album ‘In Sickness & In Flames’, Share New Single ‘Montgomery Forever’

The Front Bottoms have announced a new album called In Sickness & In Flames, set for release on August 21 via Atlantic Records. The New Jersey duo also unveiled a new single from the album titled ‘Montgomery Forever’, accompanied by a video directed by longtime collaborator Mark Jaworski. Check it out below, along with the album art and tracklist.

Speaking of the album, the band said: “Earlier this year, we made a new album and decided to name it In Sickness & In Flames. When we were writing the album and settling on the title, it meant something completely different to us. We could have never imagined where the world would be just six months later. In true TFB style this album has developed into something of its own that we no longer control the narrative of.”

In Sickness & In Flames follows 2017’s Going Grey and marks the band’s seventh album. The band also previously released shared the singles ‘Camouflage’ and ‘Everyone Blooms’, which also appeared on last month’s Ukelele Versions EP to benefit Black Lives Matter.

In Sickness and In Flames Cover Art: 

In Sickness and In Flames Tracklist:
1. Everyone Blooms
2. Camouflage
3. Jerk
4. The Truth
5. Montgomery Forever
6. The Hard Way
7. Leaf Pile
8. New Song D
9. Fairbanks, Alaska
10. Love At First Sight
11. Bus Beat
12. Make Way

11 Incredible Stills From Moonlight (2016)

Moonlight, an Oscar-winning film is a coming-of-age story told in three parts, beginning with Chiron’s lonely childhood, transitioning into his teenage years, and concluding with his adulthood. The film is crafted with incredible attention to the characters’ nuances; the story affords a unique opportunity for viewers to get to know its main character intimately across multiple stages of his life and growth.

Chiron’s arc is defined by the three identities bestowed upon him by his peers and himself: ‘Little’, portrayed by Alex R. Hibbert; ‘Chiron’ played by Ashton Sanders; Trevante Rhodes’ ‘Black’. As a child, he finds guidance in Juan, a drug dealer whose customers include Chiron’s mother. Chiron’s story also centres around his relationship with childhood friend Kevin. As the boys grow older, their friendship evolves into a romantic relationship.

The use of bold colours and striking contrast makes the story at once personal and epic. Here are eleven incredible stills from Moonlight.

Artist Spotlight: Baby Taylah

Combining dark electro pop with a classic Celtic sound, Baby Taylah’s music is fuelled by a sense of empowerment. Born Amy Louise Ross, the 27-year-old singer-songwriter had been active in the Glasgow music scene since the late aughts before she decided to take a three-year break from songwriting. More confident than ever, she returned late last year having signed to Swedish label Icons Creating Evil Art with a bold new single called ‘Reclaim’, a track whose power lies in its minimal yet effective production, presenting Taylah as a force to be reckoned with. Closing her new EP Good Enough with lyrics like “Just look a little, little higher/ Be all they all thought you’d never be”, ‘Reclaim’ marks a noticeable narrative progression from the EP’s eponymous opener, a bright synth pop jam in which she finds herself wondering whether there’s an afterlife, and if so, would she be good enough to make it through? Across the EP, Taylah showcases her versatility as an artist, exposing a more vulnerable side on ‘Home’ and an edgier, more experimental side on the infectious  follow-up ‘Imposter Syndrome’. There’s a lot to be excited about in Baby Taylah’s future, and we can’t wait to hear more.

We caught up with Baby Taylah for this edition of our Artist Spotlight series, where we showcase up-and-coming artists and give them a chance to talk a bit about their music.

What inspired you to start making music?

I make fun of my Dad for being an ‘Ex-Rock Star’, when in all honesty it was him who initially inspired me to make music myself. I would go to see him play from a really young age, and his passion for music is unmatched to anyone I know.

I began to play guitar when I was around 13, and I picked up the Celtic harp at 17. I was always influenced by Scottish traditional music, and film scores. The first CD I owned was the ‘Titanic’ soundtrack, and James Horner’s work still influences me to this day. I am a huge film fan, which, in a roundabout way, is another reason why I got into music. I love cinematic sounds, and how music contributes to how you feel while watching a film; it is such an emotional experience.

What are some artists you look up to?

I am influenced by Canadian band Stars – I discovered them when I was beginning to write music. Their album ‘Set Yourself on Fire’ is a batch of short stories wrapped up in music. I lived on their music when I wrote my first album.

Bruce Springsteen is also a massive influence on me. Similar to Stars, he makes music so immersive you can get lost in his work for hours.

I also look up to some really big pop-queens like Lady Gaga and Madonna. Madonna because of how revolutionary she was, and her work has paved the way for everyone following behind her. I remember going to see Lady Gaga perform in concert when I was 18, and I’d never seen anything like it before. Her energy on stage, the power in her voice left me in awe. She is a true talent, an all-round queen.

What were some of the ideas you wished to explore on your new EP?

I wrote the EP after I’d taken a few years off, and in all honesty I didn’t know if I wanted to continue pursuing music anymore.

I figured I had two options when it came to how I saw my music: I could play the victim, and use what has happened in the past as an excuse for never pursuing what I really want. Or, I could take back control and do things differently this time.

I wanted the EP to be uplifting and empowering, filled with the things I told myself in order to keep going. Tracks like ‘Reclaim’ and ‘Imposter Syndrome’ are written about being self-sufficient, and taking back the wheel after you’ve lost yourself. It was a really great way for me to remind myself I wasn’t doing what I do for anything else other than the fact I loved writing music.

How was the writing and recording process like?

I wrote this EP differently to how I had done in the past: I focused on writing the hook lines first, then added music to them afterwards. It meant I could write down what I wanted to say and let the meaning of the song lead the track rather than try and cram lyrics into a piece of music I’d written.

I recorded the EP with Lewis Gardiner, and we worked in a way where I’d bring in the hook lines and a structure to how I wanted it to sound and we would take it apart to build it back up again. It took around a year to finalise the project.

When I signed with Icons Creating Evil Art, we did so on the basis that I would re-produce the title track ‘Good Enough’. I worked with on the track with Theo Bard down in London, and we sat for a few days trying different ideas to try and make it bigger.

I had been playing gigs with ‘Good Enough’ using the demo, and I had a lot of people coming up to me asking to have a copy, which was weird for me to have a song people were excited about before it was released. It made it more important for me to be 100% sure on the final version – it took us a good few months to get it right. Both Theo and Lewis were so supportive; I feel really lucky to have had time with them in the studio.

What’s your favourite track from the EP, and why?

 My favourite track from the EP is definitely ‘Reclaim’. It’s not the track everyone points out, but it meant so much to me, probably because it was the first track I wrote when coming back from giving up music. I feel like it is such a dramatic track, and I love the message behind it.

What are your plans for the rest of the year?

For the next few months I’m going to start writing my next EP, which I’ll be mixing and engineering by myself this time. I’ve always co-produced, and I’ve recorded the vocals on my tracks, but I’m hoping to make a move over to doing it by myself now.

Sufjan Stevens Shares Sprawling New Song ‘America’

Earlier this week, Sufjan Stevens announced a new album called The Ascension, set for release on September 25 via Asthmatic Kitty Records. Now, the singer-songwriter has shared the first single off the record, a 12-and-a-half-minute track that serves as the album’s sprawling closer. Check it out below.

In a press release, Stevens revealed that the song was originally written during the sessions for his previous album, 2015’s acclaimed Carrie & Lowell. “I was dumbfounded by the song when I first wrote it,” he said. “Because it felt vaguely mean-spirited and miles away from everything else on Carrie & Lowell. So I shelved it. But when I dug up the demo a few years later I was shocked by its prescience. I could no longer dismiss it as angry and glib. The song was clearly articulating something prophetic and true, even if I hadn’t been able to identify it at the time. That’s when I saw a clear path toward what I had to do next.”

Though The Ascension marks his first full solo album in five years, the singer-songwriter released a collaborative record with his stepfather, Lowell Brams, back in March called Aporia.

Indie Folk Trio In Earnest Premiere Haunting New Single ‘Come Upstairs’

Southend-on-Sea indie-folk trio in earnest, fronted by couple Thomas Eatherton and Sarah Holburn, have released a new single titled ‘Come Upstairs’, taken from their upcoming 6-track EP. Reminiscent of the emotive, intensely personal songwriting of Julien Baker, the hauntingly affecting ballad explores mental illness as experienced from a sufferer’s partner, with Thomas urging Sarah not to give up hope.

“In the wake of my partner’s mental health struggles, it feels like I spend every waking moment trying to keep a brave or positive face on and there are times when I find it difficult to maintain my own identity,” Thomas explained in a statement. “We’re gradually learning how to combat negative thinking, but I’m usually the one who takes the weight and pulls her out of waves of depression.”

‘Come Upstairs’ is the follow-up to ‘Put Me Under’, the first single from the band’s EP, which was penned from Sarah’s perspective. While there are many acts adopting a similarly confessional style of songwriting, what sets in earnest apart is that emotional exchange between Thomas and Sarah, which makes us excited for what the trio has to offer in the future.

Christine and the Queens Unveils Heartfelt New Song ‘Eyes of a child’

Christine and the Queens has shared a new song titled ‘Eyes of a child’, written as part of the second season of the Amazon Prime Video series HANNA. Listen to it below.

Accompanied by a bare-bones instrumental featuring spare keys and haunting backing vocals, frontperson Héloïse Letissier sings: “She will come whenever I call her/ But she’ll leave as soon as I sigh/ She’s got the eyes of a child/ And she’ll love without any sorrow/ For she just aims for the heart.”

This is the first taste of new music from Letissier since ‘I Disappear In Your Arms’ back in April, released as a bonus cut from February’s La vita nuova EP. Since then, Christine and the Queens has shared a handful of quarantine live performances, including an appearance at Global Citizen’s  Global Goal: Unite for Our Future and a performance of ‘I Disappear in Your Arms’ at The Tonight Show Starring Jimmy Fallon.