November 5, 2018 / 6:34 pm

WIUX Picks – Week of November 5, 2018

Every Monday, the WIUX Music Committee will pick some fresh tunes to liven up your playlists! This week’s feature includes Boy Pablo and Laura Jane Anderson. 

Aphex Twin – Collapse EP

“The final track “pthex” is aphex twin mashing up ambient progressions and over a pretty rapid snare hits mixed with arcade game – like synths bouncing off of each other. However, the break down pads at 2:30 are really nice and although it doesn’t last very long is a great loop. A lot of these tracks are SO complex that just listening once or twice really doesn’t do the production credit since there really is so much work beyond the initial mix occurring.” – KJ  Stewart

Cloud Nothings – Last Burning Building

This album is pretty good, maybe a little too much screaming, but still good nonetheless. I would recommend putting the songs “Leave Him Now,” “Offer an End,” “The Echo of the World,” and “Another Way of Life” – Ally Melnik

Elvis Costello – Look Now

Given the cultural significance of the Arctic Monkey’s it is almost impossible not to compare Turner to Costello especially given the similarities present in their 2018 releases. While they both started writing fast lyrically commentaries, both the AM’s “Tranquility Based Hotel and Casino” as well as Costello’s “Look Now” show jaded, genera blending, and reflective music from their unique perspective of people who gave up everything for the industry as they look back and question both their careers and lives. – Patrick Spanier

Various Artists – Bohemian Rhapsody (Original Soundtrack)

The album provides refreshing new versions of iconic songs while also fielding five previously unreleased tracks from Queen’s Live Aid concert.  The highlight of the album is “We Will Rock You” which combines a studio and live version to create an exciting new sound. – Maxwell Glenn

Boy Pablo – Soy Pablo

The guitar riff is the most hard hitting on the album. The distortion caught me a little off guard, but the alternation between distorted and non distorted Pablo really works. The verses feel like they fall just a tiny bit short of the highs I wanted them to hit but then thats kind of Pablo. The ending crescendo might feel drawn out to some people but I kind of wish I’d seen just a tad more of that from the rest of the album to be honest. I do wish it didn’t end on a goddamn fade out though. Kind of an anti-climactic end to an otherwise outstanding album finish. – Joey Conway

Laura Jane Anderson – Lonesome No More

Laura Jane Anderson has an incredible voice, and she seems to be very happy to use it and experiment with musical sounds around it. This album ranges from blues-y ukulele numbers to electro-rock to some R&B-tinged synthpop. All of the songs on the album work well, but I don’t think they all exactly work well together. Some of the songs in the middle of the (very short) album feel pretty similar and blend together, and some (like the uke blues opener) just feel very out of place with the rest of the tracks. It’s not a perfect debut album, but it’s still one that’s got insane amounts of promise. I’m very excited to see where she goes with her sound in the future. – Mitchell Owens

Collen Green – Casey’s Tape/Harmontown Loops

This album mixes garage punk guitar and lyrics with a softer vocalist, who’s vibe fits far more into an indie pop groove. This mixture mirrors the stylings of bands like Diet Cig, though Colleen Green’s voice never reaches a gritty point, instead choosing to remain soft and pleasing to listen to throughout the album. This contrasted greatly with the distorted guitar, wonderful drums, and altogether weighted and heavy sound in songs like ‘Lighter’ where there a no vocals, and it feels very much like a jam session in your neighbor’s garage. However, this sound does not limit Colleen from also introducing some pop elements that cater to the recent nostalgia for 80’s stylings. The electric stylings and echoey vocals in ‘I wanna be Ignored’ call back to that era and would be a great song to pump into a club after midnight. – Marisa Bryans