An artist embracing their sound and being unapologetically themselves is always exciting. While Black Cherry is finding their sound, Rise Against has returned to their roots. These releases look towards a promising future in their musical development. Indulge yourself in this week’s most notable releases.
“White Dress” by Lana Del Rey
Isabella Armus, Contributing Writer
After a summer steeped in controversy, pop crooner Lana Del Rey is back with frequent producer and collaborator Jack Antonoff for her seventh studio album “Chemtrails over the Country Club.” Working as the moody opener, “White Dress” paints a wistful image of the singer. The five-minute track reflects simpler times before mainstream success. A near-whispered vocal performance and subtle piano refrains create a shadowy lullaby over Lana’s abstract memories as she describes working as a waitress, earning money by singing on the street and, of course, wearing titular “white dresses.” However, the tune starts to drag as the singer gets trapped in her own classic Del Rey-isms such as name-dropping nostalgia-infused artists (White Stripes, Kings of Leon and Sun-Ra, to name a few) as well as expressing some overly earnest romanticism for the West Coast. “White Dress” is a much-expected dose of Lana’s curated sound that might satisfy her fans, but don’t expect this single to win over new listeners.
“I Love Her” by Paloma Mami
Ana Cubas, Music Editor
Paloma Mami is ready to take over the urbano world, and “I Love Her” is a powerful sign. The punchy R&B-reggaeton track is a jolt of energy to the brain and the body. It has the kind of beat that rattles your bones and overwhelms your ears, that both soothes and invigorates in the best way. Her suave vocals fall in and out of Spanish with ease, singing of her adoration and fascination with a woman. The warmth of her voice is met with the crackle and fuzz of a vinyl or cassette player, adding an almost vintage sound on top of such a modern beat. “I Love Her” is a pleasing twist on traditional urbano tracks, and is one of many exceptional songs off of “Sueños de Dalí,” Mami’s debut album.
“Nowhere Generation” by Rise Against
Holly Seefeldt, Contributing Writer
With the first single from their upcoming album, “Nowhere Generation,” Rise Against are back on the frontlines of social commentary. The record is charged with heavy riffs and melodic vocals, staying true to their Chicago hardcore foundation. Fans of their earlier work will not be disappointed.
In a six-minute video essay accompanying the single’s release, singer Tim McIlrath addresses the unique challenges facing today’s youth. Unlike The Who’s “My Generation,” or The Voidoids’ “Blank Generation,” Rise Against offers sympathy and understanding for a generation that is not their own. McIlrath’s lyrics are selfless, giving voice to young people who feel like they’re swimming upstream, but getting nowhere due to economic instability and societal pressures.
The video combines shots of the band performing in a studio, interspersed with images of conformity and mass media. McIlrath’s opening verse offers a light at the end of the tunnel, “One day all the walls will come down/All the doors will open/All the roads will lead home.” “Nowhere Generation” is a unifying anthem for millennials and Gen Z alike.
“Her Body” by Nasty Cherry
Ana Cubas, Music Editor
“Her Body” is the cool-girl track everyone should listen to. Co-written by Charli XCX, Nasty Cherry’s mentor, the track is a stronger taste of the all-girl alt-pop band’s sound, with only sprinkles of Charli XCX throughout. The lo-fi, electro-funk influenced single is dreamy and dramatic. In singing of a woman with multiple lovers, Nasty Cherry’s lead vocalist Gabi Bechtel breathily sings, “Won’t be me that’s hurtin’/’Cause you’re headfirst in the dirt.” “Her Body” is the perfect mix of ruthless, confident and authentic emotions. To visualize the song is to see an opulent, hazy, technicolor dream. “Her Body” alludes to a sound and attitude that seems fitting, exciting and promising for their future endeavors.
“John L” by black midi
Nicolas Pedrero-Setzer, Arts Editor
Repeatedly exclaiming “In all the world there’s no escape from this infernal din,” black midi lays out their musical philosophy in their latest single, “John L.” The song follows a kingdom descending into chaos and playfully juggles the language of musical frenzy — abrasive drumming, angry chanting and distorted strumming — to make its point clear. There’s an inherent sense of unease that challenges the listener to wrestle with everything thrown their way, eventually creating a sense of suffocation that’s just too overwhelming to fight against. As such, “John L” becomes an exercise in perseverance that rewards the restrained listener. By the time “John L” reaches its final sonic outburst, the listener is greeted with a sense of relief as they’re whiplashed back into reality and back into action after being possessed by the mania of music.
“Dance Till We Die” by Lana Del Rey
Sophia Carr, Staff Writer
“Dance Till We Die” is a triumphant and peaceful track, where we see Lana Del Rey accepting and defying the media’s criticism that has plagued her career. Over serene strings and piano chords, Del Rey acknowledges her struggle with fame has only shown her that she’s in good company, with fellow songwriters Joan Baez, Joni Mitchell, Stevie Nicks and Courtney Love. Like these women, Del Rey sings of her perseverance. She lightly sings, “We’ll keep walkin’ on the sunny side/And we won’t stop dancin’ ‘til we die” in her unique, ‘60s-style breathy vocals. We see her defiance of critics and her assertion that she no longer just looks up to these great women, but is now one of them. The most captivating part of the track is the bridge, where we hear Del Rey give vocals we’ve never heard before. She sounds full of fury, yet cool. Is she rapping or yelling? Either way, this song exemplifies that Lana is at peace with her critics, and she is not going to change.
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