HANNAH LUTEREK AND MATT TURNER
Specials to The Leader
Hannah’s Choice: “Being No One, Going Nowhere” by STRFKR
Matt’s Take: Prior to “Being No One, Going Nowhere,” I haven’t really had exposure to STRFKR outside of the name of the band. I cannot really say that this album was a waste of time, but it also did not compel me to further my education of this group.
Starting off with the pros that this album presents, I will have to say that the electronic and alt-rock style is quite unique and pulled me in enough to continue on.
Present from the opening track, “Tape Machine,” the unreal synth sounds mixed with the type of vocals that modern alt-rock fans are more than accustomed to through artists like MGMT, Robert Delong, Joywave and others that present their songs with a weightless and floaty quality serve as an interesting but ineffective combination.
Along with this cool synth work, the guitar work on this album is a good enough reason to check out the album for any that are unfamiliar with STRFKR. Specifically on “Satellite,” STRFKR delivers truly ingenious riffs that are sure to please any traditional rock fans, as well as alt-rock junkies.
As for the negatives in regards to “Being No One, Going Nowhere,” I need to start with the vocal work. As I previously mentioned, the vocal style is “floaty” on this album and that completely took me out of my listening experience. With electronic sounds as interesting and heightened as the ones found on the album, I personally believed the vocals should be as memorable and effective.
However, while listening to the delivery of the vocals, I just kept wanting more. As well as the tame vocals, “Being No One, Going Nowhere” was not nearly memorable enough for me to be able to recommend the album to others without a hitch. The album kind of just happened for me, and I didn’t end up feeling much about it as a result.
Three Standout Tracks: “Something Ain’t Right,” “Maps” and “Open Your Eyes.”
Score: 6/10
Hannah’s Take: STRFKR has never really been “my band,” so to speak.
I know they’re one of the more popular bands in the alternative genre, but until the title track found its way to my Weekly Discover playlist, I’ve never given them a thorough listen.
Initially listening to “Being No One, Going Nowhere” made my Aquarian heart soar (there’s no way I could get through this review without at least one astrology reference). For real, the album made me feel like I was about to take off into space.
Like Matt wrote, the synth has a demanding presence consistently throughout the album. “Tape Measure,” the opening track of the record, immediately satisfies every electronic-loving bone you might have in your body, and the electronic flow only gets better from there.
Tracks like “Something Ain’t Right” add a layer of energy to the album that sort of makes you feel like you’re starring in an episode of “Stranger Things.”
My primary gripe about this album is that the quality of the lyrics simply doesn’t match the far-out nature of the attention-grabbing synth and guitar. It was hard for me to take away deeper meaning from the album, which is important to me as a storyteller.
While there might not have been a true story (or at least, not one that was overtly stated), the synth is what pushes this album out of mediocre territory, right into being enjoyable.
When I need to escape reality and imagine a world that is mysterious, electronic and a bit trippy, I might revisit this seemingly unnoticed STRFKR record.
Three Standout Tracks: “Something Ain’t Right,” “Open Your Eyes” and “Being No One, Going Nowhere.”
Score: 7/10
Matt’s Choice: “Crushing” by Julia Jacklin
Matt’s Take: Julia Jacklin’s “Crushing” is an album that has held my attention since its release in early 2019, so this first-time listen of the album for this review had a lot of hype to build up to.
From the simple yet elegant album cover to the acclaim that surrounded the album, it was easy to say that this was one of my most anticipated album listens of the year.
Due to my lack of knowledge regarding Jacklin’s style and prior work, I will say that this album definitely caught me off guard upon my first listen through. I knew a revisit was necessary and luckily, I was able to experience the album again before writing this review.
Upon listening to the album a second time, Jacklin’s passionate voice grabbed ahold of me immediately with the slower album opener “Body,” but I felt more of a sense of respect than love for the song.
Luckily, the album picked up immediately after, and I knew I was in for an aural treat. With the faster and instrumentally heavier tracks “Head Alone” and “Pressure To Party,” “Crushing” proves to be something different than many modern rock albums: diverse.
Most modern rock albums only have one sound that each song needs to, unfortunately, follow from the opener to the closer. Jacklin subverts this expectation magnificently, offering an album that feels personal from beginning to end, while also keeping the listener instead of losing them in monotony.
“Crushing” is an emotionally powerful album that has something for everyone and earns my seal of approval.
Three Standout Tracks: “Head Alone,” “Pressure to Party” and “Good Guy.”
Score: 8.3/10
Hannah’s Take: I had never even heard of Julia Jacklin until Matt chose this album, so I was stoked to give her an in-depth listen.
Immediately, Jacklin’s vocal quality had a tight grip on my mind. Her voice is so soulful and full of emotion, it is impossible not to be at least slightly entranced in her music.
I was a little worried that the whole album would be as slow as its first track, “Body,” but was definitely excited to hear it jump almost immediately into quicker, more youthful songs.
Instrumentally, this album is a bit lacking, which is no surprise considering how deeply Jacklin’s vocals (and lyricism in general) demand to be heard. You can tell not only that Jacklin invests her vocals wholeheartedly into each song, but also that she wants her words to be understood. She wants her listeners to enjoy her music, but to hear what she is saying as well.
Wherever this album is coming from, whether it be her own pains and triumphs or memories from the long-winded past, the passion in each track demands to be heard. In my opinion, the album reaches its emotional peak at “When The Family Flies In.”
I can’t even lie, I got a bit teary-eyed at this particular song as it did such a great job of making me feel. It called memories to my mind that I tend to save only for moments of true sadness. It is very seldom that music can force me to remember certain moments so vividly, and for that, I think this album knocks it out of the park.
Wow.
You will definitely catch me exploring more of Julia Jacklin’s discography in the future and adding this particular album to my playlist reserved for long car rides and deep conversation.
Three Standout Tracks: “Head Alone,” “When The Family Flies In” and “Convention.”
Score: 9/10