Graphic by Antonio Mochmann As we embrace the new year, we’ve been feeling wistful. With the trees bare and the temperatures near freezing, it’s hard not to reflect on our warm summers. Some of The Press’ staff are cleaning up…
Trick-or-treaters will march through the fallen leaves today, and summer feels like it was ages ago. As we deepen into the heart of fall, we thought it was a good time to revisit those sunny days. Continuing our annual tradition, here are The Press’ staff favorites for this year’s Songs of the Summer.
Al Menne’s songwriting process involves a lot of time journaling, but he admits that even what seems to be true might not be completely accurate. “I think that even just the way that people remember their own memories is kind of an embellishment in a way,” Menne said.
Though Titanic Rising and And In The Darkness, Hearts Aglow both have the signature Weyes Blood nostalgic sound, the latter seems to lean more into haunting melodies, frequently leaving me in awe. Mering’s vocals are hypnotic, and they often sound ethereal.
The crowd pushed towards the stage. Fingers were pointed. Lyrics were yelled, and as a heavy metal drummer played us out, I was struck with the impression that the night was a special one.
Radio pop’s downward spiral began with an attitude towards the general mainstream that festered on social media and grew over time. Being “basic” — enjoying cultural trends like pop music — was frowned upon.
Today, before the Christmas section of Target swallows the Halloween section overnight, we thought it was about time to look back on another summer long gone. In line with our annual tradition, here are The Press’ staff picks for this year’s Songs of the Summer.
Laurel Hell focuses its gaze on indie music celebrity and constant public scrutiny, as well as loneliness, grief, anticapitalism and self-reflection. From unrequited love to fierce anger to all-consuming loneliness, the songs on this album tackle the full range of human feelings — even allegedly shameful ones.
I became mesmerized by the album cover — a masterpiece right out of Microsoft Paint. The art style made me feel like Sidney Gish got me without even having listened to any other song. From that point on, No Dogs Allowed was in my ears at all times.