Your friendly reminder that you’ve got a month to prepare for Father’s Day now. Just make sure that the gift you get him isn’t too much better than the $5 picture of yourself you were guilted into getting by those moms near the Bookstore. We’re sure she loved that, though, it was very sweet and from the heart.
YE OLDE MAIDS — “Love Theme From a Car Commercial” — as described by marie vachovsky
“Love Theme from a Car Commercial” has that sort of ongoing catchy beat that seems innocuous, a kind of beachy, gritty, but smooth vibe. But, actually, it is so relentless, that, combined with those odd low grunts in the background, it adds a weird haunt over the song. A sound that is almost right, almost that quintessential spring chilling on the fake grass sound, but then isn’t. And that’s what makes it really interesting, that it so fantastically captures what it’s not by being what it’s not. I guess when Wes Eisold, who seems to spend more time than not draped in black, writes a song, it’s never going to be a spring chilling song.
P.J. HARVEY — “Man-Size Sextet” — as described tina vachovsky
The dissonant string instruments and the growling female voice framing “Man-Size Sextet” hardly reflect typical gender stereotypes when it comes to manliness. Yet paired with Harvey’s lyrics, through which she impersonates a man adopting the stereotypical persona, they convey the anxiety associated with those expectations. And, ultimately, the cost of that anxiety. Not necessarily a pleasant listen, but definitely an interesting one.
QUADRON — “Average Fruit (10.4 Rog Gradeschool Crush Remix)” — as described by witt fetter
Yes, the title to this remix is very soundcloudy. Regardless, this remix is great along with the original song by Quadron. Let us rejoice in the fact that we’ve reached a point in the quarter where saying “well, it’s week ___” is a sufficient start/end to a conversation.
LORINE CHIA feat. CHANCE THE RAPPER — “Livin’ in Vain” — as described by linnea rivano barros
I really wrestled over which of the many crispy Lorine Chia songs to promote for this week’s playlist. Her simultaneously nasally and echo-y voice was enough to compel me to a few listens of her self-titled introductory album (Listen to the whole thing here!). Some songs were more lyrically interesting than others and not all the melodies caught but I thoroughly enjoyed each of the tracks, mostly due to the entrancing quality of her vocals. Her choice in song topics is unexpected and refreshing (check out the single Eve’s Perspective from her latest album Naked Truths). She accomplishes a natural ebb and flow with her music, the beats rising and falling appropriately to the rhythm and intensity of her words.
I finally decided upon “Livin’ in Vain” just cause it was the first I’d heard of her and also, Chance the Rapper! who, by the way, very much shares Lorine’s ability to introduce contemplative and engaging topics with his lyrics. His snappy rap flows well with the crackle and pop of her voice, which I really can’t get over. Her sound is chilling. As one SoundCloud comment states: “shit’s gorgeous.” So here is what I find to be a wonderful combination of two very distinctive and gorgeous voices. Enjoy!
RARE MONK — “Ain’t No Sunshine (Bill Withers Cover)” — as described by rachel grau
Bill Withers was a simple, humble guy—he was working in a factory making toilet seats for 747s when he wrote his 1971 classic “Ain’t No Sunshine.” The original song is simple too, opening with just his voice and some simple guitar plucking. Then we have Rare Monk, a self-described “indie-experimental” band from Portland, who completely rids this song of its simplicity—but it works. There’s little resemblance between Withers’ soft, vulnerable voice and the angrier, echoey cries of Rare Monk’s lead singer. Heavy on the synths, and accompanied by full on drums, bass, and guitar, this cover is, as the band’s soundcloud page points out, “like everything and nothing you’ve ever heard.”
BEN KHAN — “Youth” — as described by alejandra salazar
According to Pitchfork, I’m a bit late to the budding underground Internet frenzy surrounding Ben Khan. But in my defense, he’s only posted seven tracks on his Soundcloud page, including the four comprising his debut 1992 EP, and it appears that his marketing strategy is something along the lines of letting his music speak for itself rather than shameless self-promotion. As an underground artist, it’s a bold move not to try to sell or propagate yourself on the Internet, to wait for people to approach, profile and hype you up rather than do it on your own, but this otherwise risqué strategy has been successfully driven by sheer talent. This guy knows good music. He knows how to make it. He knows what to sing, where to reverb, when to drop and who to sample (J Dilla/Jai Paul, anyone?) to produce his brand of addictive, moody, synth tinged music with an 80s vibe. After listening on repeat, I have nothing but praise for the Khan’s work. I know that in writing this I’ll be feeding the budding underground Internet frenzy—but in my defense, I’ll be damned if it’s not well-deserved.
THE MOWGLI’S — “San Francisco” — as described by nishant karandikar
This is the song you play when you were too late to buy Cabo tickets so you decided to go camping in NorCal for spring break instead and you’re driving up Pacific Coast Highway on a sunny day not regretting your tardiness one bit. Low-key strums quickly open throttle to a driving rhythm that will open your windows, cleave the clouds, and smatter a cubic lightyear of sundrops all over. A chorus swollen with optimism has you joining the eight-part vocal harmony as a horn ensemble cheers in the back. This song reverberates like ear-to-ear grins and tastes like your first kiss, if your first kiss was with a tattooed, beanied hipster who chewed mint leaves in lieu of tic-tacs. This song will carry you out of a breakup or a bad midterm on a palanquin and hand-feed you grapes until you’re bloated with comfort. No matter how cloudy things seem, this song will make you feel the love.
REAL MAGIC - “Dancing on My Own” - as described by margaret wenzlau
I was almost tired of Robyn’s version, so Real Magic’s “Dancing on My Own” was a welcome reminder of an old favorite. Slightly slower and lower, the song is just familiar enough but still offers something new.
MOVEMENT — “Us” — as described by tulio ospina
“Sexy sexy sex sex. Sex sex. Sexy sexy sex. Sex, sexy sex,” is all I hear when listening to this deep house/R&B song. If this isn’t love-making-music, then I don’t know what is. If you’re going to listen to this song, turn up the bass, turn down the lights, and enjoy the vibrations.
This is what would happen if Nicolas Jaar and Disclosure had a baby. Listen if you like heavy bass, the voice of an angel, and sexy sex.
RITSUKO OKAZAKI — “Fruits Basket Opening” — as described by culture editor brittany newell
I DON’T CARE. I DON’T CARE. THIS IS THE THEME SONG TO AN ANIME YES ANIME AND IT IS BEAUTIFUL AND I AM FREE SO JUDGE ME IF YOU DARE.
HOZIER — “Like Real People Do” — as described by editor at large katharine schwab
I find myself saying “when I enter the real world” more than I probably should. Stanford exists in country-club limbo, and I am in limbo with it - independent enough to realize that the real world is a thing that exists, but still too young to know what that means. Hozier’s soulful voice is a soundtrack to my limbo.
“Honey just put your sweet lips on my lips, we should just kiss like real people do.”
(‘17) approaches life through a 90’s glam-cowboy aesthetic. She likes painting hands and androgynous people. Some of her favorite pastimes include dogs and burritos.
(‘17) identifies with the planet Pluto and never knows what her art means. She is still coming to terms with the fact that she shares her name with the llama from Napoleon Dynamite.
(‘17, Art History/Art Practice) paints, composites in Photoshop and studies Art History when he's not making art history. Look out for him at MoMA. He will be the one weeping before Picasso's Les Demoiselles d'Avignon. Check out his work at www.wittfetter.com.
(‘16) is a Bay Area native…kinda. Once from Sweden and then Chile, proudly Oaklandish for the past 13 years. Down with the hip-hopo and anything else that inspires shoulder swaying, booty shaking, and sometimes painful but always fruitful contemplation.
(‘16, Computer Science/Spanish minor) has cracked her phone screen more times than you. Talents include folding burritos and typing really fast, and she’s never not drinking coffee.
(‘17, Communication, Music Editor) is a contributor from San Antonio, TX. She believes in making playlists for every occasion and chronically overthinks everything.
(‘16, MCS) is from Portland, Oregon and struggles with oversleeping. He enjoys napping on Burmese temples and highlighters.
(‘16, Culture and Commentary Editor) (also known as Ratty St. John) is in your walls. Her chewing sounds lull you to sleep. Keep abreast of the bastard at rattysaintjohn.tumblr.com.
(‘15, English, Outgoing Editor-in-Chief) likes to write songs about gravity and days that don't end. Katharine is from Pasadena, CA and she's only been to one Rose Bowl game. Ever.