From revisiting childhood trauma to attending a high energy party, this week’s featured singles cover a whole range of scenes that necessitate a soundtrack. Read on for more.

“I Want It All” by The Drums

Holden Lay, Staff Writer

Jonny Pierce, better known as the frontman of The Drums, makes his return with “I Want It All,” yet another excellent and punchy dream-pop song. Pierce’s expansive vocal performance on this track shines, contrasting with a tight, new wave-reminiscent baseline as he sings confessionally of having experienced childhood neglect: “I sensed a hesitation / The first time that you held me / So I closed the eyes of my heart / So I didn’t have to see.” His usual penchant for combining deeply personal, wrenching lyrics with a shimmering pop edge is on full display. The effect is especially powerful as he repeats the chorus of “I want it all / I want it all / I want it,” which merges over a growing wave of winding, looping guitars that layer on top of each other. The best moments on this track find Pierce sounding very New Order-esque, while proving that a simpler approach can really highlight lyricism and delicate compositions.

“MY BABY” by DACEY

Sandy Battulga, Music Editor

Dacey Andrada, one half of the Filipino Canadian duo that is DACEY, begins “MY BABY” with the line “I wanna die right beside you.” The slightly macabre taste of that line is offset by the wholly sweet ones that follow, though: “My love, I’ve got to grow / I wanna climb a mountain with you.” This volley between slightly alarming and cutesy lines continues throughout the song, all while Justin Tecson, the other half of the duo, supplies jaunty instrumentals consisting of electric and acoustic guitars, an electronic drum beat, and endearing record scratches. 

Andrada serenades the world, declaring her devotion to her “baby” and unwillingness to lose him: “I can’t be without my baby / He brings me a rose and daisies / I’ve never had someone save me / Please don’t keep me from my baby.” Her approach to love may not be entirely healthy, but no one can say that she isn’t putting the work in. 

“Out Of Your Mind” by MisterWives

Katherine Manatos, Contributing Writer

MisterWives channels a newfound angst in their latest single, “Out Of Your Mind,” possibly revealing a genre transformation for the band. With muddy guitars, upbeat drums and vexed lyrics, the single blatantly unleashes a powerful rage. In coherence with the title, the song’s main pull lies in the chorus, with the repetition of “You’re outta, outta, outta / You’re outta your goddamn / Outta your goddamn mind.” Seemingly about a specific person, listeners will take pleasure in harnessing this song as an anthem against all those who may have wronged them: “You made your bed and now lie in it, that was your choice / So why’s my name still in your mouth? Is it from guilt or paranoia?” 

Completely juxtaposed to Misterwives’ latest album “SUPERBLOOM” — which is composed of much lighter tracks — “Out of Your Mind” has fans curious of what may have inspired this pop-punk aggression. The new release seems to be a step in the wrong direction, as it strips the band of their musical individuality, pigeonholing itself into an already oversaturated genre. While the song has its downfalls, it’s still worthwhile to give “Out Of Your Mind” a fair listen in order to follow along with the band’s genre shift. With a first track this strong, Misterwives seems to be able to hold their own within this new era. 

“One Touch” by BAMBII

Sandy Battulga, Music Editor

BAMBII, the in-demand DJ from Toronto, has released “One Touch,” and it’s a masterclass on making unpretentious electronic music.

“One Touch” is one of the more explicitly dance music tracks that BAMBII has produced to date, with its crash cymbal- and clap-heavy beat. The song begins and ends with euphoric electronic cries, tastefully bookending an otherwise busy track. It is not overwhelming, though. Pitched up-and-down vocals, chopped-up words that land on different vowels, snippets of augmented conversations, and even an air horn sounds move swiftly in and out of “One Touch” in a perfectly ungraspable way. BAMBII lets the track breathe when it needs to, such as right in the middle, where there are a few moments of just a simple, throaty, bass-like beat. 

In a scene that is still dominated and gatekept by white men, BAMBII delivers unpretentious original music and DJ sets that bring electronic and dancehall music back to its Black, diasporic and working-class roots, while still traversing new ground for the genre.

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