Release Radar: September 2021
At the end of each month, Afterglow presents a staff-picked list of new albums and singles that left an impression on our ears.
Written by Afterglow Staffers
Photos courtesy of Meaningful Stone, Peter Clarke, and Ellius Grace
Here are our favorite albums and singles released during September 2021. For more reviews of recent releases, check out our album review page.
Shiny Singles We Loved This Month:
“Silk Chiffon” by MUNA feat. Phoebe Bridgers
The first single from Los Angeles pop band MUNA since signing with Saddest Factory, Phoebe Bridgers’s new label, is anything but sad. Instead, “Silk Chiffon” is a lighthearted, lustful ode to a lover, featuring an acoustic guitar sound as soft as the song’s titular fabric.
“Rainy Day” by Ice Nine Kills
Although Boston metalcore band Ice Nine Kills has been influenced by everything from classic horror novels like “Carrie” to modern slashers such as the “Scream” franchise, “Rainy Day” — based on the first “Resident Evil” film — marks the Warped Tour alumni’s first time turning a video game adaptation into a song. The end result is a unique blend between cinematic choruses from vocalist Spencer Charnas and playful references to early entries in the “Resident Evil” gaming franchise.
“Incendio” by Arca
Shortly before announcing her highly anticipated Kick ii, everyone’s favorite glitch-pop weirdo released a transcendent new single, “Incendio.” With references to meneando and trans identity, catchy wordplay, and mindf-ck production, the song showcases all the elements of a perfect Arca track.
"butterflies" by Clunis
Released on the heels of "uneasy," Clunis' "butterflies" flutters between slow, hazy grooves and rapid bursts of cheery energy. Complete with an intricate bass line and dreamy keys, the jazz-infused, lovesick confessional is sure to set the tone for budding autumnal romances.
These Dreams by Anna B Savage
Image courtesy of City Slang
Claiming that music is “bolder … when it’s a question mark,” Anna B Savage makes exactly that — “question-mark-music.” Her sound ranges from the stylings of Puberty 2-era Mitski to the honey-sweet acoustic soul of Lianne La Havas, creating evocative soundscapes that leave listeners deep in thought. She showcases her artistic range in her latest EP, These Dreams, which contains cuts that didn’t quite make her debut album, A Common Turn. According to Savage, these songs are “the edges,” tracks on the extremes of the musical spectrum beyond that which her full-length album explored. The exquisite genre-bender “Since We Broke Up” weaves in and out of sonic ideas, beginning as a guitar-led R&B track that erupts into a wall of ‘80s synths before fading into the reverb-heavy outro. On the flip side, the record’s titular track carries a darker tone with a noise rock instrumental of grungy guitars. The captivating singer flexes her vocal chops throughout, wailing “Wake up!” with rich operatic timbre. Halfway through its runtime, the EP takes an unexpected turn by abandoning organic sounds altogether. Though it follows the unsettling tone of the title track, “A Girl Like You” is composed primarily of electronic instruments, with ominous synth arpeggios and 808s. The track makes for a perfect addition to any Halloween playlist, as Savage sings in a bare whisper, “Now my hands are bleeding and my knees are raw / ‘Cause now you got me crawling, crawling on the floor.” Album closer “Hairier Now” has a similar minimalistic sound, with barely-there experimental electronic instrumentation. Beginning the track with the humorous “You are hairier now,” Savage laments the end of a relationship. The track takes on a darker tone as she descends into a rabbit hole of despair, until she comes to a realization about the breakup: “Maybe that was best.” With this EP, Savage expands the range of her creative vision without the constraints of a longer record. And at only four tracks long, These Dreams boasts more sonic depth, profound narrative development, and poses more question marks — in a good way — than most full-length albums. — C.S. Harper
A Pretty Place to Fall Apart by Jesse Jo Stark
Image courtesy of Jesse Jo Stark
Alluring and unforgiving, Jesse Jo Stark’s latest release A Pretty Place to Fall Apart is the perfect soundtrack to your femme fatale fantasy. A modern twist on '70s classic rock and set apart with a twang, Stark’s sound is otherworldly and brought to life with dark fictitious lyrics. Opening with a proclamation of independence, the EP kicks off with the experimental “Not Your Little Baby Anymore.” Sparkling instrumentals compliment the track’s protruding trap-influence as Stark’s light vocals twirl around the resonantly centric bassline. The EP’s title track “A Pretty Place to Fall Apart” is deceptive in the best way, luring in listeners with Stark’s lush vocals until she’s ready to strike. Accompanied by atmospheric instrumentals and mellow strings, the track opens with the singer questioning her tumultuous relationship. Her questions quickly dissipate at the chorus, where a wave of electro-pop relentlessly floods the track and Stark’s velvety vocals sharpen to a point. Unassuming guitar strings return at the next verse, making the symphony of synths feel like a distant fever dream. Savior complexes unite for the sultry cover of The Cardigan’s “My Favorite Game,” with the game in question being the singer’s attempt to “fix” her lover. Apart from a poignant electric guitar, minimal instrumentals comfort Stark’s wavering voice as she admits defeat. “I tried but you're still the same (I tried) / I’m losing my baby/ You’re losing a savior and a saint,” she wails with melancholia carrying her voice until the very last note. Living up to its name, the EP’s final track “Fire of Love” is nothing short of incendiary. Stark’s vocals unforgivingly taunt the electric shreds that build through the track. Explosive cymbals unleash an abrasive arrangement of heavy instrumentals, bringing the EP to a grand conclusion. Genre-bending and defiant, A Pretty Place to Fall Apart will be a definitive milestone in Stark’s discography. This collection of siren songs, paired with her hypnotic vocals will be enough to keep listeners entranced for days. — Miranda Garza
Support Jesse Jo Stark on Spotify.
Conversation Peace by Damu the Fudgemunk
Image courtesy of Def Pressé
Damu the Fudgemunk (born Earl Davis) is a criminally underrated hip-hop master. As a collaborator of icons like MF DOOM and saxophonist Archie Shepp, the producer-MC creates noteworthy songs in his own right. His boom-bap sound and buttery-smooth flow make for tracks that are equally perfect for feeling bougie on lazy days as they are for inducing an existential crisis while lost in thought. His latest record, Conversation Peace, is the first release in a series called “KPM Crate Diggers,” a collection of projects made solely of samples from the legendary KPM music library. The album feels like the 21st century’s answer to the ‘90s rap classic Mecca and the Soul Brother, as it weaves funk and jazz samples with hip-hop percussion to create heavenly jazz-rap instrumentals. Album opener “Power of the Mind” features an alternating kick-and-snare beat with production reminiscent of ‘70s jazz — complete with violins and vibraphones — to complement the rapper’s triplet bars. Davis’ flow mirrors the chill vibes of the lo-fi instrumental, as he morosely raps, “Hallelujah / Nothing to ya / Let the music / Do it to you.” Throughout Conversation Peace, the rapper merges samples and original compositions seamlessly to create the perfect lounge music that is simultaneously soothing and sonically rich. “Reporting” begins with hazy vibraphones, which fizzle out into a tight ‘90s throwback beat with boom-bap percussion, saxophone, and bells. Despite the serene instrumentals, Davis raps about the pandemic: “A lot goin' on, man / Too much / A lot of madness, a lot of confusion, a lot of craziness, illusions, delusions.” The aptly titled “Upload Optimism” brings more positive vibes by throwing funk stylings into the mix, with a Jaco Pastorius-esque bass and upbeat bongos and synths. By flipping vintage samples, Damu the Fudgemunk revives the sounds of times past, creating his own modern music library in the process. — C.S. Harper
COBALT by 김뜻돌 (Meaningful Stone)
Image courtesy of POCLANOS
Korean shoegaze. Now that’s not a term you hear often, at least not anymore. In a Korean indie landscape that often seems oversaturated by electronic power-pop or R&B-style hip-hop, Meaningful Stone’s COBALT feels like a blast from the past. The record is a throwback to the Hongdae scene of the late ‘90s and early 2000s, dominated by scarcely believable bands that formed and dissolved in the span of what felt like five minutes. From the cathartic title track that obviously takes inspiration from the likes of the Cocteau Twins in its ethereal sound, to the more traditional guitar sounds of “Dancing in the rain,” COBALT doesn’t let up, until it reaches an intermission in the form of the instrumental “Mangwon Street.” The simple ambience of the song feels like an apt description of walking down the quiet Mangwon Street in a somewhat lonely ending to a night at the nearby vibrant Hongdae area of Seoul. The album culminates in a cathartic buildup in its satisfying last track, “Fly,” and fades away. All in all, COBALT feels like a complete realization of the simple concept of melancholic shoegaze. The record is a perfect reminder of the fact that sometimes, even the most bustling cities can be extremely lonely places. — Wonjune Lee
Support Meaningful Stone on Spotify.