Back to Top

"Shoot and Run" by Josef Salvat

I’ve always gone back and forth with Josef Salvat’s singles. Some songs I adored immediately and others never caught on with me. But this latest single, “Shoot and Run,” is a lushly-produced epic of yearning and frustration. It is hard not to love.

(Cloud)

"Exo Exo" by Saigon

A nice little slice of noisey, electronic, shoegazey goodness from Sweden. The build-up is more than a minute long, but it’s worth it. Parts of the song actually remind me of a lighter, more accessible Crash Course in Science, a band that was so weird and formative for me a couple of years ago post college. There’s something in the way a flush of noise can accurately capture one’s state of mind. I’m not feeling settled. I’m feeling antsy. 

"A Monument to Everything" by Kindness featuring Busiswa (Robyn & Royksopp cover)

The minimalism of the instrumentation in this Kindness rework of Robyn and Royksopp’s “Monument” highlights how commanding and compelling the original truly is, from those first few melodic notes to the surreal lyrics. As well, I love Kindness’ ability to find and elevate most perfect grooves to their highest levels of perfection. 

The Age of No Fucks Given

It will amaze you how much everything before does not matter. You will find a potent strength in yourself and your ideas and you will wonder how you ever got on without that singular surety of yourself. You will take a big deep breath and you will feel it completely and instantly. The air will fill your lungs as it should and you will keep going as you should, as you know you can, as you must.

There will be many stumbles along the way because that is how life works. But now is a moment of clear definition: the before and the after. Before you wondered who you were. After, you are sure of who you are becoming. It is not perfect and you are not there, but that clearer, refined something is better than that murky, insecure nothing. 

"Feel of Love" by Tensnake and Jacques Lu Cont featuring Jamie Liddell (Kaytranada edition)

I love the original (because I can hear that Jacques Lu Cont touch instantly), but this Kaytranada edit is quite captivating as well. The structure of the song stays relatively in tact and Kaytranada instead adds a perfect and simple drum. Of course I love it. I’m easily won over like that. 

"With You" by Moko

I don’t know what’s changed from old Moko to new Moko, but I am so thrilled by it. All of her latest singles have been giving me old school Whitney vibes, and I am here for it. I’m here for all of it. 

Earlier: "Your Love"

I am uniquely skilled in recognizing shitty, abusive, manipulative behavior in others, especially significant others. Read more on the advice chain I participated on for ADULT magazine, Twitter: Unfollow All Dicks

New Jessie Ware!

"Say You Love Me" by Jessie Ware

Something magical and poetic, so a sound Jessie has perfected. This is one of those songs that you’ll memorize quickly and you’ll recite as if it is a wounded battle cry of the brokenhearted. Yes, oh yes. 

LET ME TRY THIS AGAIN WITH MORE CAFFEINE IN MY SYSTEM AND A LACK OF BRAIN FARTS. I’M AN IDIOT. I APOLOGIZE.

I was so honored to be given the chance to write this major feature story for Complex on the rising Chicago rapper, Dreezy. It’s the first major story written about her and it was so great getting a chance to learn about her childhood in the city. We met on an unseasonably cold May day and the interview spanned a good three hours and prompted this photo, one of my favorites from the year.

Compared to other rising Chicago rappers, Dreezy is outspoken in her frustrations with the violence in the city and adamant about her need to leave. Others might find it as an means of giving up on the city, but I see it as an important moment in the trajectory of a 20-year-old woman with a lot to say.

My then-editor stressed the importance of discussing the competition between local female rappers (Dreezy vs. Sasha Go Hard vs. Katie Got Bandz), but I didn’t think that trope spoke to her as a performer and neither did Dreezy. Here’s a passage from our discussion:

“Female rapper” is a weak and lazy term, a type of visual trope to reduce the output of women in a male-dominated genre of music. But it is not entirely wrong. It is because of that same male dominance that a distinction still occurs. The number of women who are able to achieve the same level of success, notoriety, and acclaim as their male peers is lower than it should be by now.

“I do get it to an extent because some females just suck as rappers,” she begins. However, she adds, “I’ll say it’s not a lot of female rappers that can represent that there are good female rappers.”

Numbers are not in women’s favor. And the severe lack of women means that each prominent woman is often given the burden of uplifting and representing for every nameless, aspiring woman trying to get heard.

Just don’t reduce Dreezy to her sex.

“Basically, if you’re saying you’re just a female rapper and a boy can outrap you, you’re basically saying he’s smarter than you,” she says. “That’s how I be thinking of it. And it’s like, just ’cause you can rap…I can rap good too. I know just as much knowledge as you do. We went to the same school. I can come up with something just as good.”

You can read the whole thing here.

"Studio" by Schoolboy Q (Grandtheft Edit)

This is in my eyes a perfect little remix. It’s nothing too showy or distracting. Just a smart mix to hear in the club, but makes you want to hear it (as well of the original) or repeat.

St. Vincent in her recent profile in the Guardian.

I feel exactly the same way, which is why I’ve always been fascinated with the idea of personal and stylistic uniforms and how they allow the everyday person the ability to explore and express themselves without having to complicate or explain who they are. In some ways, they are used as defense mechanisms, as methods of fitting in. In others, they are a method, a system. First comes the order, then comes the madness.