album i / u by underscores
Today, as a supplement to my work, a new tradition has begun between my friend, K, and I. It started the other night, in that sweet spot between dinner and a movie.
She and I were sat in the skate park, I wearing sunglasses away from the sun to block the tornado of dust from my eyes, she facing me with her hair blowing in her face. Skaters rolled by behind our picnic bench island, the evening crowd lounged on blankets on the hill in front of us. The bench had bright white carvings peeking out from beneath the dark green paint job that must've been applied by dumping the bucket over, perfect for tracing my nails in.
We traded music back and forth, stalling until we had to make our way back to the train. First, it was Cry for Me by Magdalena Bay, from an album that she had sent me a day prior. I, being the flake that I am, put off listening until a particularly slow day at the desk rolled around. Since that moment, I had been playing Cry for Me on repeat, repeat, repeat, absolute earworm that it is. We hopped over to some Jockstrap, which I have written about so much already that I may singlehandedly will on their next album.
I've been having something of a music taste renaissance lately, which I am marking as my long-awaited return to the realm of electronic everything. The first kick in the forward direction was last spring, when I was introduced to the house method of studio grinding. The philosophy was that the more hypnotic the beat you were listening to was, the more your mind could focus on the task at hand. The method proved very successful, and house and techno-beats infiltrated all of my summer playlists. Next was the groupie culture of the 2nd year architecture students for Los3r, a hyperpop band featuring one of our masters degree friends, and the snowball has been kept rolling since.
All this to say, K's recommendations sit perfectly in my trajectory line. While sharing earbuds against the concrete wall outside of the theatre, we waited for our other friend to show up. Over Cocteau Twins, my pick of course, we came up with a project idea. An album a day each, to be listened to and reviewed with utmost care. Without further ado, this morning, K sent me this album:
It's hyper to the nth degree while hiding a tinge of sadness lyrically within the vibrant instrumentation. While this album is suited for drowning out thoughts at work, I find that it drifted me into much-missed clubbing memories. It has that brazen energy that just begs you to wander the streets with your friends in high heels and higher egos.
What I really adore about underscore's vocals is how well she uses her voice not only as a vessel for the lyrics but also as an instrument of its own. Everything has it's purpose. In Innuendo (I Get U), her stuttering breath takes on almost a percussive quality when she uses it as well-timed interjections between bars. This vocal flick of hers brings a raw aspect to the song that makes it just that much more of an immersive album. She's a living, breathing presence in the music.
My favourite: Music
- No, it's not because this is the first song K showed me off of the album. I previously wrote about what I look for in my media, and this song checks so many boxes. It's simply unexpected. The first half is heavy, with a stuttering low beat and drawl in the simple "music" line of the chorus. The slowness that goes on just long enough to get you accustomed to it is interjected with no warning in bridge, introducing a far lighter synth that builds, builds, builds into the chorus, although this time it's amplified, everything at once, highs and lows. This song was so good that I'm almost compelled to introduce a new parameter to what I like in media: juxtaposition.
Very strong start to the album recs. Well played, K. Now listen to Heaven or Las Vegas or I'll have your head!