The Wondering Sound Staff is Listening to Flying Lotus, joyride!, Jeremih and More

Lindsay Hood

By Lindsay Hood

on 09.19.14 in News

Every Friday, we’ll bring you a round-up of what the staff here at Wondering Sound has been digging throughout the week. We hope that it will help you craft your weekend playlists and start your Friday off on the right note.

Managing Editor Laura Leebove has been listening to Girlpool’s “Jane.”

Laura says:

[T]he L.A.-based duo of teenagers Cleo Tucker and Harmony Tividad advocate for shutting down the super-alpha dudes who dominate conversations and don’t let anyone else get a word in. It tells the story of Tommy, who “usually did the talkin’” and the title character, who usually kept quiet until she “shoved her fist in Tommy’s mouth.” (Ouch! But it sounds like he deserved it.) With a simple bass line, wonky guitar and chanted vocals, with a few freeing shrieks between verses, the song’s minimalism is effective in making sure their words are clear.

Editor-in-Chief J. Edward Keyes has been listening to Omar Kohrshid’s “Sidi Mansour.”

J. Edward says:

Khorshid’s guitar style was manic and dizzying, incorporating elements of American surf — particularly, its razor-on-barbed-wire guitar tone — and putting it in the service of endlessly-knotting traditional melodies. All of that energy pulses through “Sidi Mansour,” taken from the forthcoming Live in Australia 1981, which documents Khorshid’s final tour. This essential document captures Khorshid fully in his element: wild, reckless and full of joy.

Senior Editor Jayson Greene has been listening to Native America’s “Digital Lobotomy.”

Jayson says:

[T]he recording on “Digital Lobotomy” has a real “I slept in these clothes on the street last night” vibe. The sound is buzzing and ugly; the guitar sound like two parts of a busted amplifier rubbing together. But the song beneath the grime is bright, bouncy and wry, a power pop tune traveling around in a pigpen cloud. It has some of the melodic generosity of Ted Leo, or the twinking ruefulness of Love Language.

Contributor Andrew Parks has been listening to “Coronus, The Terminator.”

Andrew says:

Considering how You’re Dead! (Warp, October 7) appears to chart someone’s journey into the afterlife, “Coronus, The Terminator” could be seen as the score to a transient state between this astral plane and the unknown. And as such, it’s caught in the clouds a bit, setting a sluggish beat against a high note-hitting, dream-weaving duet between singer Niki Randa and FlyLo himself. You read that right — the guy isn’t just a producer or Adult Swim-endorsed rapper. He sings now too.

Production Editor Tess Duncan has been listening to joyride!’s “Don’t Forget the First One.”

Tess says:

The Bay Area band’s lyrics hit a raw nerve, especially on “Don’t Forget the First One,” with crunchy chord progressions and a kick-drum beat that pounds itself into your heart. The track feels like the lovechild of bedroom-pop geniuses Bad Banana and Seattle rock ‘n’ rollers Big Eyes. The former comparison is earned via lead singer Jenna’s delivery of soul-crushing lines like, “I can hear it long distance/ through the phone, through your callous statements/ An imprint in wet cement, ‘I’m unlovable I am discontent.’” No frills riffs and simple drum fills work together with memorable hooks until lyrics devolve into pure, sparse cooing.

Lead News Writer Marc Hogan has been listening to The Pains of Being Pure at Heart’s “Poison Touch.”

Marc says:

With a sterling lead vocal from A Sunny Day in Glasgow‘s Jen Goma, “Poison Touch” is a gleaming, shivery burst of conflicted romance that, as it happens, befits the year that gives [Taylor] Swift’s new album its title, 1989. If the “Shake It Off” singer is looking for a twee-pop Midas, she could do a whole lot worse than give Berman a call.

Features Editor Claire Lobenfeld has been listening to Jeremih’s “Don’t Tell ‘Em (Remix)” featuring Ty Dolla $ign and French Montana.

Claire says:

[T]o see these two link up on a remix of the first single from Jeremih’s upcoming Late Nights: The Album makes my heart flutter. And they’re a perfect pair: They both know how to make straight forward pop R&B (see: “Loyal,” “Paranoid” for Ty; this track and “Birthday Sex” for Jeremih), as well as fluid experiments that push the boundaries of the genre without trickling into “alt-R&B” territory (Ty’s recent $ign Language mixtape; Jerehmih’s cult classic Late Nights with Jeremih mixtape and this year’s collaborative EP with Shlohmo).French Montana’s guest spot makes this a multi-region affair and he’s a welcome replacement for YG, whose verse on the original has a few bum lines — although, somehow has the only acceptable usage of “YOLO” in 2014.

And I’ve been listening to Sea Oleena’s “Paths.” Check out my description below:

“Paths” builds its layers gently, invoking the same feeling you might have upon waking up from a good night’s rest. (I can’t help but compare to the imaginative, childhood musings of Julianna Barwick’s The Magic Place, and that’s a compliment.) And yet, there’s darker undertones at play in “Paths.” The persistent guitar line starts to take on a cutting edge as Oleena begins to sing and repeat, “This is the path I need to cross.” She is found wanting, she is searching. But she’s determined.

Happy weekend.