Chelsea Wolfe is an artist who has done a bit of everything, from collaborating with metalcore band Converge and dark folk act King Dude to co-writing the soundtrack for the 2022 horror movie “X” starring Mia Goth. Now, Wolfe has released her seventh album, “She Reaches Out to She Reaches Out to She,” which came out on Feb. 9. The album combines the stylings of early Grimes’ electronica with those of Mitski’s emotional depth.
Pop-punk is back.
In the past two years, Paramore, Simple Plan and Taking Back Sunday have all released full-length albums. Say Anything, Green Day, Busted and Hawthorne Heights are coming out with new songs. Amidst the revival of a genre they helped pioneer, it only makes sense that Blink-182 would come back as well — though, to be fair, they’ve been consistently releasing since 1994.
Mitksi’s music manages to encapsulate universal emotions in two or three minutes. She uses simple metaphors and beautiful music to represent things that can’t quite be captured in words, which is likely what inspires the undying devotion of her fans. Arguably, there’s not a person alive who can listen to a Mitski song and not relate in some way. Beyond simply inspiring empathy in her listeners, Mitski makes pain feel precious, longing feel divine, and happiness feel infinite.
The Backseat Lovers, an indie-rock band from Utah, has done the seemingly impossible and solidified themselves as a timeless band in an age where much music, specifically indie, can sound like the echoes of its predecessors, lacking the creation of anything groundbreaking. Formed in 2018, the band appeals to a younger generation thrust into the uncertainty of a world turned upside down, experiencing the bittersweet and precarious nature of growing up. The Backseat Lovers — Joshua Harmon, lead singer and guitar; Jonas Swanson, guitar; KJ Ward, bass; and Juice Welch, drummer — embody exactly what it means to be a kid-turned-adult in a world that isn’t quite prepared for them.
When Mount Holyoke News asked to hear from longtime Taylor Swift fans regarding the recent release of “Red (Taylor’s Version),” Addie Ray ’22 came dressed the part, sporting a black t-shirt featuring seven or eight images of the American singer-songwriter collaged together in bright pink wash. The many Swifts peeking out from beneath Ray’s open denim jacket hailed from all the distinct musical eras that have defined Swift’s career. Swift has re-invented herself and her music countless times, but the Nov. 12 release of “Red (Taylor’s Version)” signaled the re-invention of an old fan favorite.
“Let me set the scene / Two lovers ripped right at the seams,” country music star Kacey Musgraves sings in the first lines of her recently released fourth studio album, “star-crossed.” In this opening track, Musgraves outlines her marriage falling apart — from the painful split from American singer-songwriter Ruston Kelly, to the divorce itself, to finally breaking free from the hurt.
BY EMMA MARTIN ’20
Singer-songwriter Jenny Lewis has certainly been busy since her 2014 exit from indie band Rilo Kiley. Her 2014 solo album, “The Voyager,” was the product of five years’ work and reflection and preceded by the hit single and feminist anthem, “Just One of the Guys.” In 2016, she debuted with female rock trio “Nice as F*ck” alongside Erika Forster and Tennessee Thomas at a Bernie Sanders rally. The group released a self-titled LP of garage rock tunes that are a tougher backdrop for Lewis’ folksy twang. Lewis’ latest solo project, her album, “On the Line,” was released in late March and demonstrates that she is just as much a vanguard now as she was in 1998 as a standout lead singer and guitarist in a male-dominated genre
BY JAHIYA CLARK ’20
Singer-songwriter Solange Knowles released her fourth studio album, “When I Get Home,” and accompanying 33-minute video, “A Texas Film,” on March 1. From black cowboys to afrofuturistic visions of her hometown of Houston, Solange constructs her album in praise of black Southern life. She uses sounds from today’s mainstream music that are easy to sing and dance along to, while her style and lyricism create something completely new.
BY EMILY ROLES FOTSO ’21
Tate Farris, better known by her stage name Yung Baby Tate, released her debut studio album “GIRLS” this February, a 39-minute homage to womanhood and self-love. Since her beginnings as a producer in 2009, the Atlanta singer and rapper has combined pop, hip-hop and R&B elements to create a fun, unique and catchy sound. Long-awaited after the release of her first EP “ROYGBIV” in 2015, “GIRLS” does not disappoint, combining her youthful sound and rap and production skills to create a promising first work full of potential.
