Release Radar: September 2024
At the end of each month, Afterglow presents a staff-picked list of new albums and singles that left a lasting impression on our ears.
Written by Afterglow Staffers
Photos courtesy of Lee Wei Swee, Alessandra Leimer, Melanie Lehmann, and Hendrick Schneider
Here are our favorite albums and singles released during September 2024. For more reviews of recent releases, check out our album review page!
“Eusexua” by FKA twigs
Tahliah Barnett ushers in a new era for the FKA twigs moniker with the title track of her upcoming project, EUSEUXUA, her first full-length album since 2019. “Eusexua” is an audiogasmic experience from start to finish: it begins with dizzying arpeggios and a hushed falsetto before exploding into feverish synths that quickly fade out to let twigs’ vocals shine. The single evokes the euphoric feeling of its namesake, leaving listeners tingling with anticipation for the January release of the singer’s self-described “opus.” — C.S. Harper
“Teething” by Ain’t
Gritty guitar and crashing percussion frame up-and-coming rock band Ain’t’s latest single, “Teething.” The London five-piece’s lead singer Hanna Baker Darch mixes angelic with husky vocals in a standout track that begs for the attention she craves in the chorus: “Sulking into frame / You don’t even notice me from the window.” — Janie Bickerton
“Foxglove” by Haley Heynderickx
Six years after her last album, “Foxglove” comes as Heynderickx’s second folk-inspired single from her upcoming album, Seed of a Seed. Heynderickx reimagines the idyllic calm of the countryside as a “daydream dies slow” when reflecting on city life. Through wavering, reminiscing lyrics and finger-picked guitar, Heynderickx blends folk and indie as she yearns for country life. — Julianna Riccioli
“Vienna” by Bôa
Hailing from London, cult-classic ’90s band Bôa released a new single, “Vienna,” as a prelude to Whiplash, their first album in over a decade. The smooth, low vocals of Jasmine Rodgers, paired with Lee Sullivan’s steady percussion, carry the delicate track, which spells out a story of devotion and sacrifice with the command, “Take the pieces off the board ’cause I’ll let you win.” — Kaileen Rooks
“Chama” by Arca and Tokischa
Arca and Tokischa, both arresting figures in experimental pop and reggaetón, join forces to deliver a surprisingly “demure and mindful” track. “Chama” feels like a sonic rollercoaster, beginning with a soft dembow rhythm and Tokischa’s dulcet croons before erupting into a pulsating beat and rapid-fire ad-libs from Arca. With adventurous production and ethereal vocals, the track is the perfect love child from two of the most exciting artists in Latin music. — C.S. Harper
“Kiss Me Again” by Pale Waves
Sticking to their tried and true synthy, ’80s throwback sound, Pale Waves’ new single —- though lacking in experimentation — is just as fun, flirty, and flamboyant as the rest of their discography. Lead singer and lyricist Heather Baron-Gracie relishes in her “temporary love exchange” and brightens up the track with her lilting, euphoric vocals. — Kaileen Rooks
Glowing Albums & EPs We Loved This Month:
Odyssey by Nubya Garcia
Image courtesy of Nubya Garcia
In her aptly-titled third album Odyssey, jazz multi-hyphenate Nubya Garcia embarks on a liberating journey exploring joy, hope, and self-empowerment. The opening track, “Dawn,” sets the tone with soaring violins that complement collaborator Esperanza Spalding’s lilting vocals. Next comes the seven-minute title track, which appropriately takes listeners on a labyrinthine voyage, complete with reverberating violins, bright piano keys, and a meditative saxophone melody. Each song on Odyssey feels nothing short of epic — even both of the album’s so-called “outerludes” pack a punch by riffing on sonic themes from other cuts on the tracklist. Much of the record is instrumental, but the occasional feature amplifies the swirling instrumentals. Accompanied by minimal vibraphones and syncopated bass in “Set It Free,” KOKOROKO alum and fellow Londoner Richie muses about freedom with mellifluous purrs. A few songs later in “We Walk in Gold,” industry veteran Georgia Anne Muldrow triumphantly belts that she “[walks] in gold,” a color that Garcia describes as “a light that releases darkness.” Although many tracks bask in the glow of maximalism, the record doesn’t shy away from quieter moments. In “Water’s Path,” gentle violin plucks underscore a brooding cello melody to create an otherworldly feel. Album closer “Triumphance” continues exploring a mellower ambiance with a mid-tempo pace and a contemplative spoken word piece from Garcia. The bandleader ultimately breaks into song during the track’s final moments, joy bubbling up in her voice as she repeats, “Raise up your hands, uplift your soul / And in triumphance together / All as one.” After the final cymbal crashes and fades out, Garcia’s modern jazz masterwork is bound to linger in listeners’ minds and pulsate through their veins, beckoning them to return. — C.S. Harper
Support Nubya Garcia on Spotify and Apple Music.
Transparent Things by Gia Ford
Image courtesy of Gia Ford
In her debut album, Sheffield, UK singer Gia Ford paints a moving tapestry of murder, obsession, yearning, and melancholy. Produced by Tony Berg (known for his work with the likes of Phoebe Bridgers, Boygenius, and Taylor Swift), the album is a brooding alt-pop triumph. Opener “Poolside” is a twisted track that chronicles the grisly story of a pool boy that embarks on a rampage against his wealthy employers. A standout on the album, this song touches themes of class struggle and jealousy with a delicate and masterful hand. Despite the album’s sinister themes, there’s an undercurrent of romance cutting through the darkness, weaving a complex tale of devotion intertwined with deviance. “Buzzing On You,” for instance, is a track about an obsessed stalker. “You’re my holy grail, my only sin,” sings Ford in a low, sultry voice, adding a menacing undertone to her vocals that hints at the eerie context behind her sweet words. Among the spellbinding, yet ominous themes of the album, “Don’t Drown Me Out” is a melancholy, yet refreshing shift. Framed by the gossamer curtains of a silky piano solo, Ford entreats a lover to reciprocate her intensity: “Why can’t we meet somewhere in the summer rain?” The album’s closer, “Our Mutual Friend,” takes listeners back to the ghostly, unearthly motif that defines this release. Ford ends off the record on an ominous, dramatic note, warning the audience, “Until we meet again.” — Kaileen Rooks
Support Gia Ford on Spotify and Apple Music.
DOGMA by LSDXOXO
Image courtesy of F.A.G./Because Music
Over 10 years after his debut EP Softcore, RJ Glasgow (aka LSDXOXO) has released his highly anticipated debut album. Best known for his collaborations with Lady Gaga, Kelela, and PinkPantheress, the legendary producer explores solo work in DOGMA. Ever the non-conformist, LSD starts off the album with an interlude titled “REPEAT.” “Spinning like a record on repeat,” he sings with spiraling echoes, each repetition of the line pitched higher than the last. As he continues repeating these words, a mellow house beat kicks in and effortlessly melds into the next track, “4LUVN.” With acoustic strums and melodramatic vocals, the song feels like the producer’s clubby reimagination of Y2K emo. But DOGMA’s genre experimentation doesn’t stop there — “GIRLS GIRLS GIRLS” evokes bling-era hip-hop and “WITCHING HOUR” carries the kinetic energy of hyperpop. Even in instances where the production stays true to his house-inflected philosophy, the Berlin-based artist keeps listeners on their toes with his lyrics. In “BRAND NEW,” he raps about a dangerous affair with a buttery flow, spitting catchy rhymes like “If looks do kill / I've got a death wish / Lover, leave me headless.” While the record feels highly personal because of its focus on LSD’s love life and sonic trademarks, it also sees him reunite with some of his previous collaborators. In “GHOST” and “BLINDED,” Kelela and Rochelle Jordan’s sirenic vocals respectively buoy the producer’s huskier tones. By flexing LSDXOXO’s artistic versatility and placing his unique artistry front and center, DOGMA establishes him as a musician in his own right. — C.S. Harper