Sign of the Times: 10 Singles Helping Me Through the Insanity
By Sami Ridge
Given 2020’s seeming penchant for upheaval, it should come as no surprise that music would eventually have its say; and, despite some hesitation, not even a global pandemic or social revolution could delay a steady stream of releases. In fact, the results have been all the more courageous, enlivening, and dare I say, hopeful for our time. From the Pacific Northwest to the United Kingdom’s talented titans of rock, the music industry has shown an adequate response to the world, a world wondering when it would ever be able to enjoy the glow of a live set again.
As we wait for concert-going to come back into bloom, there are definitely a few albums worth watching out for this fall, as some recently released singles give way to. That said, I’ve put together 5 of the year’s most rejuvenating jams thus far (with a slight touch of bias, of course.)
5) L.A. WITCH – I WANNA LOSE
Though fraught with leather, crimson snarls, and Ray Ban-adorned female outfits, on occasion, Los Angeles does give way to a particularly distinctive group or two every few years. During 2019’s Ohana Fest, I found this to be so true with L.A. WITCH, southern CA’s stylish trio straight from femme-rock heaven.
Their newest single, “I WANNA LOSE,” touches on our current social climate, opening with the lines, “I wanna be the one/ to end the fight/ I wanna be the one to make things right/ I’m ready to lose.” It suggests a surrender to larger concerns; an ego-sacrifice made all the more assertive by Sade Sanchez’s fervent surf-rock riffs and trademark mournful echo. Make no mistake, this is a club song to move to once the world is good and ready, but let it also be said that the track carries a profound message not to be overlooked.
Album: PLAY WITH FIRE - August 21
4) Fontaines D.C. – I Don’t Belong
It seems that, in the past decade, a movement akin to ‘70s punk rock (but modernized to suit the current agenda) was born. This is a lengthy argument to trace, but to enjoy nonetheless. We can find ourselves doing just that, in true revolutionary spirit, with Dublin’s Fontaines D.C. Like most of their tracks, their recent single, “I Don’t Belong,” conjures images of an overcast afternoon along the British coast, and the song's music video confirms this, tracing singer Grian Chatten’s reflective jaunt throughout. The song’s lyrics, fitted with wise-guy dialect and poetic storytelling, explain the complication that comes with differing beliefs; and how “not belonging” can often simplify troubling times. The band’s second most recent track, “A Hero’s Death,” slightly contrasts, dealing again with living in the moment, rather than getting caught up in opposing views. Right now, this rings especially true.
Album: A Hero’s Death – July 31st
3) Black Ends – Monday Mourning
Days past, I discovered an entire network of Seattle’s finest artists of color—a rich range found in the likes of Dark Smith, The Black Tones, Guayaba, Beverly Crusher, and so on. For the purpose of this list’s upward climb, though, I eventually came back to the Emerald City’s own Nicolle Swims, lead singer/guitarist for self-described ‘gunk pop’ group Black Ends, and their June single “Monday Mourning.”
The band has garnered much public appraisal in recent years, not only for their original sound (squiggled guitar and deep vocal drawl a la Swims), but for their firm position in an ever-evolving scene based on racial unity. The music is dark, and beautiful, helping “Monday Mourning” take center stage in the Seattle scene. The greatness of this single and Black Ends’ affinity for performing—whether via livestream or public protest—promise them one hell of a career.
Album: Stay Evil – July 15th
2) Death Valley Girls – Breakthrough
Coming in second is a defiant call for liberation, courtesy of L.A.’s cosmic outfit, Death Valley Girls (and, more directly from frontwoman Bonnie Bloomgarden and guitarist Larry Schemel). The band’s relentless hunger for touring has not been countered by quarantine; as this single prove’s now, more than ever, they’ve been able to ‘break through.’
The single chugs forward almost instantly, reminiscent of the anthems of early ‘70s rock’n’roll, but kept in flight by its siren call for escape. Behind closed doors and an ear close to one’s phones, one can find that it’s a good ditty for the soul. “Rock ‘N’ Roll/EGA”—the second track on the release on which you can find “Breakthrough”—alternates between dreamy reflection and dirty chord strikes. It’s a reminder that while rock, in all its diversity, is, and will always be, a rampant art form.
1) IDLES – Grounds
Okay. How best to sell you on the almighty energy of IDLES…. Let’s see. For one thing, “Grounds” is a synth-supported staccato stomp that only slightly departs from their more traditional punk anthems. Nevertheless, frontman Joe Talbot’s throaty Bristol howl delivers the reassurance a fan would need to know that this single is worthy of the band’s ongoing legacy.
Their music never fails to rally the inner militant, bearing down with question after question of what can be done with what we have. “Do you hear that thunder?” he asks us. “That’s the sound of strength in numbers. I am; I unify.”
What separates IDLES on the post-punk spectrum is not their anarchist sentiment (as you could find that at any suburban house show), but their incisive talent for songwriting, and its seamless marriage to a larger than life sound. Basically, their volume. The band does not shy away from taking up our air. They challenge, but also amuse with their tracks, often via pop culture name dropping. This is the case for Grounds’ successor, “Mr. Motivator.” True to its name—not to mention its music video—you could find yourself in a fit of jazzercising inside its blissful twister. We ride high, taking in the words “Like Vasyl Lomachenko after four pints of Gatorade/ Like Kathleen Hanna with bear claws grabbing Donald Trump by the”…well, y’know.
IDLES is commentary, vitality, and purpose. That said, this single is the best time.
Album: Ultra Mono – September 25th