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Transportive. That’s the best way to describe the experience of listening to the new self–titled album by Florist—less a band than an entity of folk music, conjured by songwriter Emily Sprague in solitude and in communion with a trio of friends. To make this record, the group lived and improvised together in a Hudson River Valley house as an exercise in resynthesis.
From driving down dark, endless suburban California highways to exploring star–lit desert forests, songwriting duo Lila Dubois (C’ 25) and Miles Tobel are creating music that can’t be missed. In their premier album, Maybe This is a Bad Idea, the pair amplifies acoustic emotions into cinematic experiences. Through musical landscapes and gritty lyrics, their artistic relationship is one of sophisticated harmony.
In these times of turmoil, upheaval, and rights reversals, there are only a few things more horrifying than seeing your favorite indie artist blow up on TikTok. The songs you used to secretly bump in the car seem to have gained 200,000 more listens on Spotify overnight. Some part of your heart hurts every time you scroll through your For You page and hear the remixed version of “Softcore” by The Neighbourhood. “I was here first,” you think. “This new generation can’t appreciate music like I can,” you think.
For those who have been to Repo Records—an unskippable stop while walking down South Street—one of its trademark qualities is its attic–like crowdedness. The smell of incense wafts in from one corner and shelves of music memorabilia are squished in another. Band T–shirt racks fill the center of the store, and of course, the uncountable vinyl across its walls. It’s a space definitely known for its record signings, but one you wouldn’t expect to fit a concert inside.
Sophia the Robot, Robert Zemeckis’ The Polar Express, and Aldous Harding can all make you feel discomfort. But—barring any technofuturists or early–aughts CGI fanatics—only one has the power to make you feel something beautiful.
Over the footsteps of heels, you hear cackling as Florence Welch sings a monotone, a cappella harmony that stratifies into an indistinguishable sound of spoken and sung voice: “I met the devil / You know, he gave me a choice / A golden heart or a golden voice.” Florence + the Machine’s new album, Dance Fever, is threatening—a presence you can feel but can’t see. For the first time after her premier poetry book Useless Magic: Lyrics and Poetry was published, Welch’s new album comes with three “poem versions” of songs, literally challenging the lines between lyricism, vocals, and verse.
United Kingdom–bred One Direction heartthrob–turned–solo–rockstar Harry Styles has entered a new phase of his dynamic music career. On May 20, Styles released his third album Harry’s House. Prior to this release, Styles debuted his self–titled album in 2017 and Fine Line in 2019—Styles’ introduction to rock and '80s–style hits respectively. Inspired by Haruomi Hosono’s '70s record Hosono House, Harry’s House takes another step away from Styles’ rock solo origins to mainstream pop.
On May 6 at 6:25 p.m., a chatty line of people wait outside in the rain for Washington D.C.’s hip music venue, The Anthem, to open its doors. In just over two hours, singer–songwriter Laura Pergolizzi, professionally known as LP, will take the stage. The line lurches forward and the first concertgoers enter the hall. As we complete a brief security check, attendees stumble past the merch stand and take their positions at the front of the pit.
Lizzy McAlpine has been bubbling in the indie–pop scene for the last few years. Named as an “up–and–coming vocalist” by the BBC, McAlpine found increasing success following her previous album, Give Me A Minute, which has nearly 100 million streams. The Philly native made her late–night television debut on Jimmy Kimmel Live! last year and is also a rising TikTok star, with her biggest video—featuring an unreleased song—reaching nearly 2 million likes. But on her third studio album, five seconds flat, McAlpine brings folk–pop and storytelling to the forefront, allowing her to show off her potential to top 40–radio crossover.
Solar Power may not have met your expectations after the stunning response of Ella Marija Lani Yelich–O'Connor’s first two albums—Pure Heroine and Melodrama—but her intimate world tour truly transcends the audience into a new space where she closely engages with the vivid detailed lyrics and visually engaging sets.
“Faye! We have a gift for you!” A small gaggle of friends hoists a miniature vase brimming with fresh flowers in the air, excitedly gesturing for the singer on stage to accept it. This was no ordinary concert. It was an unassuming Tuesday on the outskirts of Penn’s campus when Faye Webster, Atlanta–born alternative/indie singer, enraptured an audience of students from her perch on the World Cafe Live stage.
Camila Cabello has always hovered between the A–list and B–list of pop singers. She debuted with the girl group Fifth Harmony via X Factor in 2012, creating hits like “Worth It” and “Work from Home,” but never really having household recognition unlike the similarly formed One Direction. Cabello left the group at its peak, and her first few solo singles didn’t quite latch on to the public, but “Havana” took over the world by storm, becoming her first number–one song as a solo artist. Her second album Romance was riddled with media gossip thanks to her relationship with Shawn Mendes, and it spawned the summer hits “Señorita” and “My Oh My.”
2022 is shaping up to be a big year for indie and mainstream music fans alike, with releases from Harry Styles, Angel Olsen, Perfume Genius, and Pusha T in the works. As the anticipation builds for these exciting albums, Street's taking a look at the songs that are making the wait a little bit easier. From covers that are getting us through the hardest midterms to singles that are complementing the start of spring and the return of warm weather, these tracks have undoubtedly redefined our perspective on life.
The award show that everyone loves to hate tried a new tactic this year: not sucking.
At around 7:20 p.m. on Monday, March 28, an expansive line stretched around the block on South Street, with hundreds of teenage girls and their reluctant boyfriends and parents. Everyone was shaking, and not just with anticipation for the show, as the weather was a crisp 27 degrees Fahrenheit. With red noses and cheeks, the queue slowly inched forward towards the entrance to the Theatre of Living Arts. Above the front doors was a sign that read “Tate McRae Sold Out.”
Remember that feeling of hearing your favorite song on the radio for the first time? That one song that everyone knows? Pop music has been around for quite some time, and it's been shapeshifting ever since its beginning.
“Put your hands up if you’ve never rocked out to a cello before,” The Happy Fits lead vocalist Calvin Langman asked at last week’s XOXO Tour concert while opening for The Maine at Union Transfer. With my hands in the air, I decided I’d become a cello convert. After their 2016 EP intended only for friends and family blew up on Spotify, Langman, along with guitarist Ross Monteith and drummer Luke Davis, decided to “try and make it work.” They dedicated themselves to producing songs dominated by cello, a secret weapon that is “all power chords,” making it ideal for rock music, Langman says.
There's no question that Black female rappers receive more criticism than male rappers of any race. Since the explosion of hip–hop and R&B in the 1980s, male artists and white male executives have dominated this sector of the music industry, leaving Black women as the underdogs of the rap scene. The student response to Alabama–based rapper Flo Milli as a headliner for Penn’s 2022 Spring Fling is a harsh reminder that there is much progress to be made in tackling colorism and misogyny in the rap industry.
College students can’t live without music. We require our daily fix of euphoria–filled pop or somber, nostalgic folk for densely packed parties or late–night study sessions, and most of our music consumption is dominated by huge platforms like Spotify and Apple Music.
Inspired by primal scream theory, Tears for Fears has always stood for engaging with negative emotions rather than repressing them. Their ‘80s hit songs like “Everybody Wants To Rule The World,” “Shout,” and “Mad World” are characterized with by the upbeat synths and percussion of the decade, juxtaposed with heavy lyrics discussing childhood trauma, war, and social movements of the time. Now, after an acrimonious breakup, various personal hardships, and almost two decades, the English duo has re–emerged with a new perspective and an album to accompany it, The Tipping Point.
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