General Manager – Dylan Gutierrez : “Yer Killin’ Me” by Remo Drive 

Content Director – Vinay Ranganathan : “Fistful of Roses” by Rumjacks

Events Director – David Levy : “Bohemian Rhapsody” by Queen

Events DJ –  Negan Fu : “99 Problems” by JAY-Z 

Music Coordinator – Hailey Feller : “Crazy” by Makeout

Program Director –  Ell Pikor : “Let Me Drown” by Orville Peck

Production Director – Megan Atwell : “Welcome To Hell” by black midi 

Branding Director – Taylor Eby : “Flagpole Sitta” by Harvey Danger 

Social Media Director – Kshirja Raje : “Good 4 u” by Olivia Rodrigo 

Events DJ (ATL) – Caroline Moody : “Misery Business” by Paramore 

Assistant Content Director – Clove Morgan : “Rock Me” by One Direction

Assistant Events DJ – Christopher Chin : “Arrow” by Surf Curse

Assistant Branding Director – Logan Fitch : “DONTTRUSTME” by 3OH!3

Assistant Music Coordinator – Zach Nguyen : “Buttercup” by Hippo Campus 

Assistant Program Director – Tatiana Zavala : “Dangerous Animals” Arctic Monkeys 

Assistant Social Media Director – Avery Naylor-Johnson : “Brooklyn Bridge To Chorus” by The Strokes

Assistant Production Director – Riley Samz : “Kingslayer (feat. BABYMETAL)” by Bring Me The Horizon 

Assistant Production Director – Mairyn McGilvray : “No Children” by The Mountain Goats

Listen now on Spotify Staff Picks 

Check out who’s who on “Meet the Staff” 

The post Staff Picks Week 5 appeared first on SCAD Radio.

General Manager – Dylan Guiterrez : “Just Hold On, We’re Going Home” by Christina Grimme

Content Director – Vinay Ranganathan : “Just Breathe” by Willie Nelson, Lukas Nelson

Events Director – David Levy : “I Did It My Way” by Robbie Williams

Events DJ –  Negan Fu : “Valerie” by Mark Ronson & Amy Winehouse

Music Coordinator – Hailey Feller : “How Will I Know” by Sam Smith

Program Director –  Ell Pikor : “blister in the sun” by mxmtoon

Production Director – Megan Atwell : “Silver Dagger” by Fleet Foxes 

Branding Director – Taylor Eby : “Happier Than Ever” by ASTN

Social Media Director – Kshirja Raje : “All Too Well” by Taylor Swift 

Events DJ (ATL) – Caroline Moody : “Back to Black” by Rachel Crow

Assistant Content Director – Clove Morgan : “The Gold” by Phoebe Bridgers 

Assistant Events DJ – Christopher Chin : “Ivy” by Chalk Talk

Assistant Branding Director – Logan Fitch : “Cheek to Cheek” by Tony Bennett, Lady Gaga 

Assistant Music Coordinator – Zach Nguyen : “I’m On Fire” by Gus Dapperton 

Assistant Program Director – Tatiana Zavala : “Dreams” by Japanese Breakfast

Assistant Social Media Director – Avery Naylor-Johnson : “Across the Universe” by Fiona Apple

Assistant Production Director – Riley/Teysa Samz : “No Rain” by Sleeping With Sirens 

Assistant Production Director – Mairyn McGilvray : “Lola” by The Raincoats

Listen now on Spotify Staff Picks 

Check out who’s who on “Meet the Staff” 

The post Staff Picks Week 4 appeared first on SCAD Radio.

Celebrated in its day (it was even chosen by Pitchfork as the best album of 2001) and today, The Glow, Pt. 2 has lasted the test of time. It’s innovative yet unschooled recording techniques are still distinctive and fresh. The lyrics are in a sweet spot of general and specific, utilizing nature metaphors to describe intense human feelings. The structure of the album also contributes to its impact. It deftly runs through the trajectory of a life-shattering breakup amplified by the throes of youth, composed of painful lyrical tracks interjected by denser, noisier tracks. Even the carefully placed instrumentals play a valuable role in the emotional landscape of the record. 

The initial stretch of three songs that begins the album has an almost legendary status. Perhaps surprising to those who have only heard the virtues of the album extolled by inaccessible indie music bros, the first track, “I Want Wind to Blow” has a very catchy and foot-tappable tune to it. The guitar jaunts onward despite lyrics that tell of post-breakup pain. The end of the song is an instrumental build towards an explosive, energetic climax. Huge, banged out piano chords echo through, beginning to quiet down until the hard hitting notes of the second track, the titular “The Glow, Pt. 2”, jumps in. Quickly, “The Glow” moves from distorted electric guitar chords to frantic acoustic strumming complemented by Elverum’s pained singing. Following this track is “The Moon”, with its initial circularly picked, layered guitar that expands into a field of organ and saxophone and words taken straight from a stream of conciousness journal entry. 

This trifecta defines the tone for the rest of the album, which expands upon central themes of loss, growth, and identity and how those things are all intertwined. “Headless Horseman”, “My Roots Are Strong and Deep”, and “I Am Bored” particularly explore these themes. All of them seem to come from different points in the process of grieving his relationship. “Horseman” is fairly raw, the central image coming from being lost without a head–a motif that recurs a couple of other times on the album. “My Roots”  is more confident and determined–he is proclaiming that his identity is solidly defined. “I Am Bored” describes being at the bittersweet point in a breakup where it’s no longer painfully thrilling to be around the person you once felt so strongly about.

A lot of the album explores the often confusing tumult of emotion that happens during transitional periods of life. There is a lot of yearning for warmth–”The Mansion” describes finding a source of the desired glow with no possible way in. But there are also moments in which Elverum basks in the isolation that came with his station in life, illustrated by “I Want to Be Cold”. Buried beneath the wall of sound that is “Samurai Sword”, the lyrics describe a scene in which Elverum’s ex is represented by a polar bear, and he is a lonesome traveller, sword in hand, stalked by this bloodthirsty bear. The imagery is somewhat silly but stark and affecting combined with this tornado drums and guitars. 

Throughout the entire album, a “foghorn” (it’s actually a heavily tweaked sample of a note played on a bass guitar) ambiently plays between songs for various stretches of time. It creates an atmosphere of a distinct place–laden with Twin Peaks-like mystique and a mournful quality. The final track, “My Warm Blood”, begins with a short piano and guitar melody along with lyrics about Phil almost peacefully bleeding out and dying after the events of “Samurai Sword”. A heart beat fades in, then out, as well as memories represented by clips of previous songs on the album, and the foghorn continues on in the background. Life has moved on despite the fact that we’re listening to our narrator’s end. The next (and final) project by the Microphones, Mount Eerie, begins in a parallel way, signifying rebirth on an album that strives to dig deeper and transcend beyond representation of human motions. 

The impact of The Glow Pt. 2 is incredibly far reaching in the music world and beyond. The song “The Glow” by Sylvan Esso is inspired by singer Amelia Meath’s discovery of the album while she was in highschool. The concept of the glow in Bryan Lee O’Malley’s graphic novel series Scott Pilgrim plays a critical role in the narrative–it represents the villain’s tactics of emotional manipulation towards Ramona Flowers. Even rapper Lil Peep sampled a couple of tracks from the album (“Headless Horseman” and “(Something)”). And these are just a few examples of the influence the album has had. 

On a personal note, it’s pretty difficult to write an eloquent summation of my feelings on this album. It’s basically become a part of who I am. So much of my work and personal philosophy has been tied to this album and Phil Elverum’s work that it’s difficult to be critical of it and extricate it from myself. Even though it makes my job as a writer challenging, it speaks volumes about the punch that this album packs. My first listen was on a drive home in my highschool friend’s car, and I haven’t stopped coming back to The Glow, Pt. 2 since that day.

Check out our article reviewing The Microphones In 2020, which also serves as an insightful retrospective of The Glow, Pt. 2.

The post Legendary The Glow Pt. 2 Celebrates 20th Anniversary appeared first on SCAD Radio.

Continuing to listen to the album, I found “Wrong Places” starts much calmer. I personally like it better. It has a good beat and becomes upbeat, which keeps me entertained. Fort’s voice is much quieter in this song, and he does not increase his volume until the chorus. The song as a whole seems to be more formulaic, starting calm, raising for the chorus, then lowers in volume again in the end. I think it’s superior to the first song. It sounds similar to the music I choose to listen to for myself. With that being said, maybe that makes me biased. Perhaps they wanted to escape the routine and do something more experimental. And maybe it’s people like me that keep these artists in a box. I do not intend to. I want artists to find their unique voice and sound. However, the formulaic songs may initially grab people’s attention until the band becomes skilled in the experimental avenue. 

Moving forward, “Dancing On An Empty Floor” seems to have a similar formula to “Wrong Places.” Going to what I said above, maybe this is their standard format, and the first song was experimental. This song is also pretty calm, there’s hurt in their voice, but it’s not overwhelming. This song was good; I’d listen to it again. It could be my favorite of the album. 

So, I thought the others were calm and pretty quiet; their song “Terrified” disproves my theory. This song starts very quietly, but it gives the feeling that it’ll pick up later. It’s a slower song compared to the rest. I like the addition of violins in the background; I feel it adds to the emotion. Even as the background beat picks up, their voice stays relatively quiet. As it plays into the title, I believe this was an intelligent choice, encapsulating the listener with the feeling of being terrified. 

By the time it got to the fourth song, I wish there would be more in the album. I felt as if the album reached its climax, and it could use four more songs to come back down and conclude. I wanted to continue listening. I hope they continue create a more extensive collection of songs in the future. I feel they are doing well for a new band and are on the pathway to success in the music industry. I hope they continue to experiment, but as they do, I hope they reflect on their experimental songs and ask what do these sounds add to the song? I wish Mothé the best of luck as they continue on their music career. 

Check out Mothé here.

Take a look at Hailey’s previous article here.

The post Mothé, Up and Coming Artist Has Fun Indie Feel with Emotional Touch appeared first on SCAD Radio.

After years of being a staple act of the DIY scene in Akron, Cleveland, and in between, the Dollyhoppers have delivered their first full-length release–The Warm Earth. There’s no defining genre in the area, with a number of unique acts, but the Dollyhoppers definitely come from a place of distinction. Their influences are broad–they have a baseline fuzz folk quality, with additional elements stemming from power pop to ska, midwest emo to baroque rock. They’re a band of ebs, flows, and huge swells–emphasizing the conflicting nature of all that’s around us, simultaneously recognizing the pain of loss and appreciating the beauty of what remains.  

The Warm Earth has been in the works for over three years, finally coming to fruition in the midst of the pandemic. The long gestation period has not dampened the spirit of the release or the band, though. It’s been a battle to get just the right sound and mix–giving the songs the justice that they deserve. With dedicated work and perseverance, the Dollyhoppers have certainly achieved this goal and created a consummate record of these locally beloved songs. 

The album begins with the title track, starting off tenderly with hints of the grandeur to come, building up to an instrumental climax that fades out and flows into the band’s biggest single: “Dirt”–a song so beloved that it’s been performed multiple times at one show. “Dirt” lives up to its name. The fuzzed guitar chords that carry the track add a rough texture, and the lyrics speak of the humble yet vital substance that connects us to the often wondrous natural world around us. “We Glowed” further expands on the lyrical content of the previous song, describing an emotional connection to the moon and earth. Hicks’ vocal harmonies perfectly compliment the wistful tones and instrumental build. The Warm Earth version of “We Glowed” amalgamates previous releases of the track, bringing together the homespun, intimate feel of the demo and the grandiosity of the single mix. 

Unlike “We Glowed”, many of the songs on the album are previously unreleased. Despite this, they should be familiar to fans of the band. They’ve been part of the live set for quite a while, leaving memories of swaying and moshing and singing along. It’s a special thing to hear these songs come together as a cohesive artistic vision outside of the live context. Fan favorites like the energetic yet lyrically bittersweet “Green” are finally available at a whim.  Many of the songs have come a long way from their initial versions, as well–”Towers” feels especially rich with the addition of piano chords. “Yard” has also gained a lot of detail since it first debuted at the house venue Bless This Mess back in 2018. It really goes to show how far the Dollyhoppers have come–adding members to their lineup, honing which details bring each song to its fullest potential.

The contrast between the bombastic “I’ve Walked With the Giants” and the slower burn of “Battle” highlights the duality of the Dollyhoppers. Each song is meant to be a journey–there’s no specific structure that songwriter Dyson Hicks is beholden to. Each song communicates the ideas behind it with every aspect of itself. Even the structure of the album gives way to the underlying ethos of the band. “Dirt” part one and two bookend the album as the second and penultimate tracks, respectively conveying elation at connection with nature, and mourning at the constantly decaying state of the world around us. But, to round it all off, the shanty-like and punchy closer, “A Life Is Waiting” passionately asserts that, yes, bad things happen but “we mustn’t wait, a life is waiting” to be lived.

Despite the delays and the challenges of being a small artist, the Dollyhoppers persevered and released a truly wonderful work of art. Personally, it will always have a dear place in my heart as a marker of the times of house shows and true DIY spirit. The Warm Earth seems to have been well worth the wait, not only for the audience, but for the band itself.

The post The Dollyhoppers Mix Genres to Create Unique Sound on Debut Album appeared first on SCAD Radio.

Artist’s note: “Watch Me Unravel” tells of the story of a young man, Hugo, going on a journey of self discovery through realizing that Weezer isn’t really all that amazing. Originally I was going to try and publish the whole thing today, but alas, I was only able to complete this part of it. Currently I’d say our hero is at a low point. We’ll see where the future takes him. New installments will hopefully be published in the coming weeks.

Disclaimer: Weezer is a perfectly fine band to enjoy! This is all tongue-in-cheek, all in good fun.

Check out our previous Weezer Week article here!

The post Watch Me Unravel: A Weezer Coming of Age Comic Pt. 1 appeared first on SCAD Radio.

Zerwee Part 1, or the White Album Deluxe Deluxe, was released in May 2019, because, as Cobb states, “got tired of waiting for Weezer to release another album so I made one myself.” The entire Zerwee project slips between an honest homage to the “glory days” of Weezer, with playful satire songs throughout. One of Part 1’s strongest songs, “1955”, is probably the most ridiculous on the EP. Lyrics like “We can sip our milkshakes and theorize about the moon” poke, no push, fun at the absurd lyricism Weezer has leaned into these days. (I’m looking at you “Thank God For Girls”). That being said, it’s not a bad listening experience, which at this point is doing better than many of Weezer’s actual releases.

Perhaps I’m biased as a shameful Pinkerton stan, but Zerwee Part 2 is where the project shines. Zerwee Part 1 is self-referential and a bit one note, but Part 2 really feels like an alternate timeline version of Pinkerton. I found myself relistening to the album frequently. There’s a lot of novelty in this project, sure, but Part 2 felt like a perfect Pinkerton substitute, without bringing me back to my pathetic high school memories.

When you’re 17 and feeling unlovable, Rivers Cuomo’s voice exclaiming “Why bother? It’s gonna hurt me / It’s gonna kill when you desert me” really resonates. But as the years go on, it starts to be a bit sad. Not in a depressed way, but in a Mr.-Cuomo-You-Were-26-When-This-Album-Came-Out kinda way. What may feel like an appropriate response to these feelings at the time fall a bit flat with some hindsight. The album takes itself way too seriously and feels incredibly bad for itself, too. “Pink Triangle” felt like a joke-y scenario until you realize that it’s serious. Zerwee Part 2, however, knows exactly what it’s about and makes the singer the butt of the joke, not the victim. It captures the joke-y vibe of an initial listen to Pinkerton, but without the guilt you feel once you inspect “Across The Sea”’s lyrics.

On “I Wish That I Was Younger”, the song breaks down into a KK slider rendition of the chorus. Obviously this is a departure from the inspiration, but it makes me wonder; If Rivers Cuomo was born in 1995 and released Pinkerton today would he include something like this? The loner, why-don’t-I-have-a-girlfriend archetype that Cuomo detailed back in 1996 still exists today, with some slight changes. The archetype today has a love of video games and memes and not taking themselves so seriously. So, if those were the conditions that raised him instead, why wouldn’t he have a KK Slider feature?

I don’t think I’ve ever had more fun with a Weezer album than I had with Zerwee. Both 1 and 2 bring out the best parts of Weezer, without all the baggage. It’s fun, silly music that I don’t have to think too much about. While this remains a parody album, the comment section for the Youtube video is surprisingly positive. I think it speaks to fact that fans of Weezer just want music that doesn’t try too hard to be so serious or so antagonistic. This album makes me yearn for a reality where Weezer made music for Weezer fans, not against Weezer fans. I think it solidifies the fact that Weezer’s legacy is important to music history but it still brings up the question: Does Weezer still make good music? I don’t know. But do they inspire better music? Absolutely.

Check out our previous Weezer Week article here!

The post Zerwee Captures the Sound of Pinkerton Without the Immature Lyrics appeared first on SCAD Radio.

On January 29th of this year Weezer released an anticipated album called OK Human, the name of which is a play on Radiohead’s OK Computer. Months ago Weezer announced they had planned to release an all acoustic, orchestral album and they delivered. This album was recorded with a 38-piece orchestra and entirely analog equipment. This ties into the album’s theme about human connection, which is kind of apt considering this was released while the COVID-19 pandemic was still ongoing–an event that has affected many people’s lives. 

Now, making an album that deals with technology addiction so to speak, as its theme, can come off as very pessimistic and maybe old-fashioned, but in my opinion only one track falls into this trap, but I will go over that later.

The album starts with the lead and only released single off of the album, which is “All My Favorite Songs”. I enjoyed it very much, I think it is one of Weezer’s stronger tracks and it has a great hook. The string melodies and accompaniment make the track all the more stronger. One great thing about the album is that the songwriting structurally works well, even in the songs I don’t feel strongly about. The next song describes Rivers and his wife’s favorite dish to get at their nearby theater, the keyboard is interesting, although the song is very short there’s nothing particularly special about it.

“Grapes Of Wrath” is an entertaining song, although it is a bit goofy name dropping Audible, a popular audiobook service, Cuomo also talks about the joys of reading and alludes to other novels. As mentioned previously the string accompaniment paired with the verses and chorus is phenomenal. This leads into “Playing My Piano” which at least sonically feels like two Beatles songs mixed together with “Weezer’s Style”. It’s almost reminiscent of “Hey Jude” and “Day in The Life” and this creates an interesting dynamic. The strings work very well with the piano. I like the piano being highlighted, I think it works well with Rivers’ voice and has a great melody.

There is one track that hinders this album and that is “Screens”. Although it fits well with the concept, lyrically it feels overly preachy about the fact that everyones “attached” to their screens especially in the chorus where it almost sounds like Rivers is in misery the way he emphasizes “Everyone stares at their screens”. Instrumentally, although I can’t pinpoint where the string accompaniments feel derivative, they’re definitely not as complex as on the other tracks.

The album is short but sweet: a good 30 minutes of enjoyable orchestral rock music. Besides “Screens” and some awkward lyrical bumps throughout the album, Rivers’ songwriting really shines through and Weezer proves that they can experiment with a new style and stick the landing. If you’ve been hesitant to check out Weezer before, or even if you’re a hesitant Weezer superfan then this is the album to check out, it is by far one of their best so far.

Favorite Tracks: Grapes Of Wrath, Playing My Piano, All My Favorite Songs, Bird With a Broken Wing

Least Favorite Track(s): Screens

Check out our previous Weezer Week article here, and see what Weezer related shenanigans we’re up to on TikTok here!

The post OK Human Takes Weezer in a Surprisingly Pleasant Direction appeared first on SCAD Radio.

Harrison’s music has been rooted in the theme of encouraging the different, the crazy, the alternative, and the angsty. Weird! follows suit— it’s filled with a variety of sounds that still ring true to Dominic’s style of music.

The first single, “weird!” was released on April 22, 2020, at the height of the pandemic where the word “weird” rang a little too true for the entire globe. “Come hold my hand / Hold it tight / We’re in a weird time of life”–what would 2020 be if it was not a “weird time of life.” All around the world we have been stuck in our houses with little-to-no contact with people outside short interactions between grocery-store employees and constant Zoom calls. YUNGBLUD likely wrote this song before the pandemic, but similar to listening to a song about heartbreak when you are eight vs. when you are 22 and your partner just broke up with you, the lyrics have a different meaning because of the new context. A pandemic? Definitely weird. Mental health is disintegrating all over the globe; introverts are realizing they have been ambiverts the whole time. 2020 was the year of “weird” and having to remind ourselves that we need to hold on even if the entire globe is experiencing despair. I listened to this single so much when it first came out, it ended up in the top 15 of my top 100 playlist put together by Apple Music. That being said, that does not necessarily mean that “weird!” was the best single Dominic released to introduce his sophomore album.

“Strawberry lipstick” and “cotton candy” both felt like true YUNGBLUD songs. My absolute favorite part about these singles is how both are made to blast from your speakers and the lyrics are made to scream from the top of your lungs. It’s a lot of sex, drugs and rock & roll with lyrics like, “She’s such a tease… She’s gonna suck on my strawberry lipstick” and “So we just have sex, to solve all our problems, let’s do it again/And I wanna get stuck between your teeth like cotton candy.” The themes are reminiscent of the groupie-culture common in the early rock-n-roll and Woodstock eras. Free love, lots of drugs, no commitment.

Other songs like “mars,” “superdeadfriends,” “charity,” and “ice cream man” are full of angst, all honing in on the societal pressure to fit in, supporting those that go against the grain like YUNGBLUD himself. Many of Harrison’s songs tell variations of the same story: feeling like you are alone in the world, dreaming of a better life without judgment, and the overall theme of “f**k ‘em, who cares if you’re different.” While I think this is a powerful theme, I do hope that YUNGBLUD begins making some more politically-charged and controversial songs like his tracks “King Charles” and “Tin Pan Boy” from his first self-titled EP released in 2018. Internal acceptance is important. However, he could really flourish with more of the original-punk anti-establishment theme, it might even expand his demographic of listeners to more millennial and even older generations of punks.

What I found different about this album in comparison to Harrison’s previous endeavors was including more introspection rather than only outwards projections to his fanbase. “I’m lost in the supermarket/Shopping for my sense of self/I wander down the aisles/Trying to figure out/Where I disappeared to.” It felt like the perfect year to turn to introspection, especially since many of us have had to do more self-reflection than probably any of us ever wanted to during quarantine. Walking through the supermarket during the pandemic has felt aimless–there’s little interaction, and for some of us, it has given us the fortunate (or unfortunate) space to analyze our thoughts, considering who we were, are, and who we want to be–wondering where the “old-me” went. The face-value analysis is just looking inwards, but the context of the lyrics reminded me of my spacey-walkthroughs of the grocery store, forgetting what I even needed because I am too deep in my thoughts.

The lowkey songs on the album are peaceful, like a lullaby, but still harmonize with the rest of the tracks. I was actually surprised that “it’s quiet in beverly hills” was the penultimate song— it was so quiet and calm, it seemed like it would be hard to follow up it’s angelic tone. However, YUNGBLUD impressed again by somehow transitioning to the best song of the album, “the freak show”. The concluding song is reminiscent of Melanie Martinez’s “Carousel” on Cry Baby. Coming from someone who used to listen to that album on repeat in 2015, I can honestly say that YUNGBLUD’s alternative punk “version” won. The song is a mic-drop, and there couldn’t have been a better finale.

The post YUNGBLUD Releases More Anthems for the Strange appeared first on SCAD Radio.

The LP is anchored by the marvelous title track, a bewitching tune with a murky meaning. Maybe it’s an ode to a simpler period of Olsen’s life, one before the indie spotlight shined. “Losin’ beauty, at least at times it knew me” she wails. Perhaps she’s entered the club of grown-ups begging to be young again. She’s now in her 30s, these days seen as a death sentence for youthhood. The writing is a treasure map that’s only further perplexed by the mind-boggling video, which sees Olsen make a breakthrough of some sort during the song’s blazing midpoint. Sharp crescendos clashing with Olsen’s booming voice like this provide many songs a worthy climax.

The instrumentation plays a crucial role on the album. Opposed to her previous works, the production of All Mirrors is fit for a grand opera house, not a coffee shop open mic night. Given the enchanting string work on the bridge of “New Love Cassette” and sonical storytelling of “Lark”, we can’t help but think we’re doing Olsen dirty by experiencing it through a pair of headphones. The latter is one of those songs resembling a feature film. There’s a clear beginning, middle, and end here: a somber start segues to a series of dizzying strings mimicking the scene of a blowout argument. She questions her once lover, “What about my dreams?”. It’s a nod to things to come, Olsen hinting the legitimacy of her reality echoes in the tracks that follow. This is, after all, a work that dips into surreal, bustling production constantly peering over her shoulder as she enters the dark.

The philharmonic paints a detailed portrait, but that’s not to say the journey doesn’t come without some candid insights. “Knowing that you love someone/Doesn’t mean you ever were in love” she admits on “What It Is”. Even “Spring”, which according to Olsen is one of the “happiest” on here, has its tonal negativity. She gets caught up singing of a hopeful future, holding a child she doesn’t currently have, then tearing down the facade and blaming her career for personal struggles. “How time has revealed how little we know us/I’ve been too busy/I should’ve noticed”, preceding another verse where she thinks this is all just a dream.

Olsen often switches up her delivery from droopy laments to glass-cracking roars. Sure, we’ve heard her ambush the mic before (see My Woman hit “Shut Up Kiss Me”), though nothing near the magnitude of slamming choruses in the album’s opening act. But when she’s not defiant in her delivery, the vulnerability takes over. “Tonight” is written like it’s meant to be an empowering ballad for someone who just gained an ex, but it’s sung in a weepy voice as though her heart is trying to send us a message her brain is too afraid to own up to.

Emotions get just as much exercise as the orchestra in All Mirrors, so far the deepest dig into the North Carolinian’s mind. When it lacks the listenability of opus My Woman, the tight poetry that made Olsen an indie folk star is still around, this time with an orchestra that has its presence felt.

8.4

The post Angel Olsen Summons an Orchestra for Sharp ‘All Mirrors’ appeared first on SCAD Radio.