The Many Faces of Onika Tanya Maraj
Nicki Minaj isn’t just a pop star, nor is she exclusively a hardcore rap MC. She’s both—a fact that took some writers and fans nearly a decade to comprehend.
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Nicki Minaj isn’t just a pop star, nor is she exclusively a hardcore rap MC. She’s both—a fact that took some writers and fans nearly a decade to comprehend.
Daddy’s home. And so is St. Vincent, or so one would believe. On her sixth studio album to date, Annie Clark pays homage to her father and the music he raised her on. Inspired by the music scene of downtown New York in the early '70s, the album sees Clark pick apart her relationship with those around her: her father, her lover, and even herself. Just as she did on her last record, Clark plays with your perception of reality by creating an entirely new persona for this time period; an alter–ego that functions both as a means of self-defense and artistic flourish. This time, she dons a blonde wig—her natural black curls poking out—and a bright green pant–suit as she plays the role of a dame down on her luck yet aware of her self–worth, who takes her troubles in stride.
At only twenty–three years old, British R&B artist Jorja Smith has already achieved the dreams of many independent artists fighting to break into the mainstream. Since her humble SoundCloud beginnings, Smith has become a Brit Award–winning and Grammy–nominated artist following the release of her critically and commercially successful debut album Lost & Found.
When J. Cole finished his first mixtape over a decade ago, he camped outside Jay–Z’s studio for hours to get a chance to see one of his inspirations. When Jay–Z finally saw him, decorated CD in hand, Cole says: “He just looked at me like, almost disgusted.” That moment of rejection would have deterred many aspiring artists from forging on—but not Cole. Nights sneaking into New York recording studios and Cole’s pure perseverance finally paid off when his mixtapes eventually caught the attention of Roc Nation, Jay–Z’s very own label, which signed him in 2009.
How will we remember SOPHIE’s musical legacy? For most music critics, myself included, the innovative producer’s magnum opus was 2018’s full–length OIL OF EVERY PEARL’S UN–INSIDES. That record deconstructed notions of gender, kink, selfhood, and what pop music could be while reshaping SOPHIE’s established sonic terrain. But we shouldn’t dwell exclusively on the transcendent vulnerability of songs like “It’s Okay to Cry” or “Is It Cold in the Water?” That denies the communal euphoria of hyperactive, hard–hitting pop and dance music that always existed at the center of SOPHIE’s ethos. Enter Miami bass duo Basside and their new FUCK IT UP EP, posthumously produced by SOPHIE and a reminder of how much fun the producer could have in the studio.
The fourth studio album from Philly psych–rockers Spirit of the Beehive spells out its concerns in caps–lock, boldface, neon lettering: ENTERTAINMENT, DEATH. It has the inescapable feeling of a good trip that goes very bad, and the comma in the title contains every moment along that journey. There are glimpses of lush orchestration and placid ambience, disembodied advertisements and hellish soundscapes, but they’re all absorbed into the band’s warped totality.
Almost two years after her fallout with Big Machine Records became public, Taylor Swift released Fearless (Taylor’s Version), the re–recorded version of her 12–year–old sophomore album Fearless. It’s the first of six albums that Swift will eventually re–record; she was allowed to begin the process in November, and she can start re–recording her sixth album reputation next year. It’s also the album that propelled Swift to worldwide success, solidifying her legacy as a country star.
As a first year, I’ve heard of the hectic and wild stories of Penn’s Spring Fling, but I didn't expect the shouting and hustle of my first one to be centered on desperately searching for the Zoom link to Chloe x Halle’s performance from a stiff, red armchair in Lauder College House. Penn's annual Spring Fling was a hybrid between virtual performances and in–person giveaways. The concert spanned two weekends and featured strong performances from well–known artists such as Gryffin, Cherub, Rina Sawayama, and Louis the Child the first weekend, and Chloe x Halle, Wale, and Wizkid this past weekend.
The pandemic took many things from 2020. Chief among them are formative experiences, including music and the context in which it's heard. "WAP" just doesn't hit the same coming from shoddy laptop speakers when you're missing the thrills of a night out at the club. In lieu of collective body heat and close brushes against others, now alien in the time of perpetual social distancing, you're met with the echo of your room. With that in mind, Street reminisces about the time when we could let it all out on the floor. Here are the top songs we would want to hear once doors open up again.
Benny blanco’s discography boasts some of the most renowned hits of the decade with a chart– topping history of big–name collaborations. Blanco has risen to the top as an artist, producer, and songwriter, culminating in the release of his latest album Friends Keep Secrets 2. Encompassing an extensive range of genres and artist features, blanco adds onto his 2018 album Friends Keep Secrets with a new disc containing seven original songs. From Justin Bieber to Juice WRLD, blanco balances themes of love, loss, and celebration across this limited runtime of nearly 43 minutes—proving he has mastered the art of both versatile and high quality music.
Renée Reed’s self–titled debut album hovers like a will–o’–the–wisp over the Louisiana bayou. She comes off as a naturally gifted musician across these 12 songs, culled from only the first fifteen she ever recorded on four—track. At least part of this talent can be attributed to her relatives: an accordionist grandfather and a great uncle who catalogued traditional regional songs. Reed is well aware of her music’s inextricable ties to the culture in her hometown of Lafayette, La.; she described the project as “dream—fi folk from Cajun prairies.” In that sense, Renée Reed is unified with its surroundings, but deftly walks the tightrope between honoring and transcending its legacy.
No one knows who Parannoul is. Born and raised in Korea, the musician composes and produces all of his work in his bedroom before uploading the finished products to Bandcamp—no record labels needed. Although he humbly describes himself as “just a student writing music,” his sophomore LP To See the Next Part of the Dream is recognized as one of the best shoegaze albums in aggregate review websites such as Rate Your Music and Album of the Year. Considering the album is sonically similar to the discographies of classic bands such as My Bloody Valentine and Slowdive, it’s no surprise to see it receive such a positive reception. However, To See the Next Part of the Dream is still uniquely Parannoul’s, focusing on the moments in his life that led to the creation of his deceivingly dark album.
YouTube rocketed a young, fresh–faced Justin Bieber to the forefront of pop culture and music in 2009. Vine produced Shawn Mendes, who went from seven–second song cover videos to four full–length albums. Now, TikTok is offering … Addison Rae?
“Injustice anywhere is a threat to justice everywhere.”
It often feels as though Lana Del Rey lives in two different worlds. In her music, she’s “the poet laureate of a world on fire.” But in the harsh light of real life she can be, as Street’s Kyle Whiting puts it, “a bumbling fool.” Take an excerpt from her interview with Annie Mac earlier this year: “It’s like, we don’t know how to find the ways to be wild in our world … and at the same time, the world is so wild.” In reference to the seditionists who stormed the Capitol, this remark dangerously minimized the fact that the riots were foremost a hateful and violent demonstration of white supremacy.
Back when Selena Gomez was still known as the Disney star on Wizards of Waverly Place and a member of Selena Gomez & the Scene, she teased a new project on her Twitter account. The tweet, which said, “Can’t wait for y’all to hear the Spanish record ;) it’s sounding so cool,” thrilled fans who were patiently waiting for her first solo full–length album. When Gomez announced she was taking a break from music the following year, and her subsequent return was accompanied with dance pop and EDM, many became worried that Gomez had forgotten about the promise she had made.
Fiona Apple is an entertainment industry's nightmare, a stubborn embodiment of unyielding originality—even when she raises eyebrows. Decades after she first rose to fame for her debut album Tidal, Apple's critically acclaimed fifth studio album, Fetch the Bolt Cutters, garnered three nominations at the 2021 Grammys. Besting the likes of indie darling Phoebe Bridgers to win Best Alternative Music Album, Apple emerged from an eight–year music hiatus with a bang—and yet decided to skip the ceremony altogether.
Slint’s music has always felt like a soundtrack to their own disappearance. Even the cover of 1991’s Spiderland, their final and most acclaimed album, looks like the “last sighting” photograph on the side of a milk carton. This month, Spiderland turns 30 amongst a crop of recent releases from black midi, IDLES, and Black Country, New Road. All of these groups pull the most direct reference from Slint’s musical stylings seen since the '90s heyday of their influence. Perhaps Slint’s preemptive breakup has stopped the contents of Spiderland from aging. But it’s the band’s influence on the face of indie that remains their greatest legacy today.
Since the release of their hit single “Bloom” in 2010, The Paper Kites have developed a distinctive sound that provides a serene escape from the typical feel of pop music today. The indie–folk band, originating from Australia, boasts a discography of five studio albums and four EPs. Lead singer and guitarist Sam Bentley describes their sound as “whatever we released on the last record.” Roses, The Paper Kites' fifth studio album, does not drastically diverge from their classic “last record” indie–folk sound. Instead, the ten–track album synthesizes this characteristic frame and expounds on it, featuring an international female vocalist on every song.
This month, we reached the anniversary of COVID–19 officially being declared a pandemic by the World Health Organization. In the intervening year, music helped us cope with physical confinement and limited social interaction. Some turned to club bangers, while others embraced the softer sounds of ambient tunes. For me, there was no genre that provided greater escape from the quarantine doldrums than Americana. Left–of–center country music proved to be the perfect soundtrack for my 2020, especially with much of my early quarantine spent learning how to drive. The sentiments expressed by these artists—a yearning for escape and a desire for companionship—have felt more resonant than ever this year. Here are six songs that have felt like mirrors to my own emotions during the pandemic, and that may do the same for you.
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