FROM BILLIE EILISH TO BILLIANNE
Billie Eilish – “What Was I Made For?”
Released as part of the Barbie soundtrack, “What Was I Made For?” is a heartfully reflective piece about self-worth, identity and purpose. With a soft-spoken piano ballad beneath breathily-sung passages, Eilish paints a beautiful but tragic image of existentialism and having doubts in your authenticity that many experience in both their lives and their relationships.
Eilish ties the song well with the theme of the movie, given the social narratives often attributed to the Barbie line of toys. The passage “it’s not what he’s [their boyfriend] made for” stands out as a mature passage about toxic relationships.
Overall, this is a well-made song on its own and as a feature of the Barbie original soundtrack. Though I was more of a Polly Pocket kid, I look forward to seeing the considerable depth this song will add to the film.
Troye Sivan – “Rush”
Fun. Upbeat. Very gay. “Rush” is about the pure euphoria of partying. Two years off his viral hit single “Angel Baby”, the Australian queer icon returns in full force, taking inspiration from his experience in gay clubs on Melbourne’s Smith Street. The song brings a fun house beat that rings through the music, with the catchy male chant of “I feel the rush/Addicted to your touch” and sensual but unsubtle sexual innuendos sung in Sivan’s recognizable falsetto.
The music video is as racy as its lyrics and a big step forward in Sivan’s musical ambitions. Working with the creative director behind his, Gordon von Steiner, the duo took to Berlin to hire a cast of local dancers to capture the joie de vivre that can only be found in gay clubs. A big challenge for Sivan was the use of intricate choreography interwoven with the music, but overall, everything in this song was done well.
This song is a fun summer anthem that is easy to dance to. Sivan has gone on record to say how appreciative he is of the close-knit following that has supported him over the years. With its rising popularity, I hope TikTok doesn’t ruin it.
Snõõper – Super Snõõper
Post-punk is thriving. Snõõper is thriving. Their debut album is high-octane and as sporadic as it is catchy. Off the wall, the album features a rapid fire of non-sequiturs, spontaneous guitar riffs and sharp rhythms all tightly glued together by drummer Cam Sarrett. Super Snõõper is hyperactive, with most songs averaging a minute and a half or less. The speed may not be for everyone, but if you like it, you will likely love it.
“Running” is a great song off the album, returning with “Microbe”, “Defect” and “Music for Spies” from their 2020 EP of the same name. A whopping five and a half minutes long, (punk music is measured in dog years) “Running” showcases the skillful weirdness that makes this band so amazing. A “grooveful” respite from the chaos of the album, Blair Tramel’s distinct vocals carry the song through a campy montage of collaged 80s workout tapes, nature documentaries and monster movies (most of which are self-made parodies) à la early 90s MTV before reaching a dramatic peak of cacophonic guitar riffs and blaring crash cymbals.
This is a fun and exciting album from an emerging group. For all their strangeness, Snõõper is constantly experimenting with their sound, and I think this album is a good first step with an awesome creative pace. They are not afraid to turn their music on its head, and enthusiasts should keep an ear out for what they have in store.
Billianne – The Things We Talk About
Releasing this as her first EP, The Things We Talk About is a homely album about leaving home, comings and goings, and no longer looking back. The music has a down-to-earth feel like a folk rendition of Adele’s early work, but the lyricism combined with calm vocals is what really carries the EP. The Milton resident pours her soul into each track, and the mellow, distant tone in each song really speaks of the genuine intimacy that affords careful listening.
No Wonder is the most popular track off the EP, already garnering over a million listens on Spotify. It is about being ready to go and having the courage to say so. Underscored by a dreamy piano ballad, the song grows into soaring vocals that is more of an declaration than just a beautifully sung ballad. Billianne wrote this song about her parents being worried about her travelling alone, letting them know that she will be okay. With a tour now lined up in November, I would say she is doing pretty well for herself.
This is a great EP that deserves more recognition than it has already received.
A. Savage – “Thanksgiving Prayer”
The Parquet Courts lead-singer returns for his second solo release, Thanksgiving Prayer. If listeners are willing to look further than the smooth baritone vocals and eerie yet folky accompaniment, they will find an intricately woven song with beautifully sung prose and criminally understated lyrics. The track features low-played but foreboding chord progressions, a calm groove (carried by Annie Hart and Kelsa Kuchera) and the hypnotic saxophone playing of Jeff Tobias.
The meaning of the song is a bit ambiguous, but if it is taken at face value, it is about giving love and thanks. The longer, more serious answer is that it is a narrative commentary, combining the duplicitous intentions behind early American Thanksgiving with dark themes and imagery of 17th Century New England folklore to convey an ominous image of love as harvest.
It is important to note the subtle (but perhaps mild) Indigenous advocacy that repeatedly permeates Savage’s lyrics. (see “Buffalo Calf Woman” off the album Thawing Dawn). For instance, the opening to the chorus “Civilize me from the wilderness of constant mercy guarding a nursey of light,” parallels New England colonial tactics with the singer asking his partner to change who he is into the person he “needs” to be by finally being honest (the idea that lying is a mercy), regardless of how brutal the “truth” is. Morally difficult, but satirically impressive.
The music video ties in well with the prevaricate themes of the song: the tongue-in-cheek use of pseudo-Venetian ceruse associated with European aristocracy and silhouetted stick puppets reminiscent of American folklore leaves many with much to parse.
Overall, this is a great song that demonstrates Savage’s skill as a songwriter. Coming off his previous solo album Thawing Dawn, it is evident Savage’s solo music is getting better with each release.
This month has seen the returns and debuts of several amazing artists. The quality of music has never diminished. Quality music has only become harder to look for. It is important to explore music on your own for if everyone knew about the same songs, what would there be to share?
