Meanwhile, Talbot’s dynamic vocal performance opens a window into the band’s rapid rise to fame: “Soon as the rush went away / I did not look for a way / Damage, damage, damage,” he cries. Talbot blends his usual harsh barks with plaintive crooning (blending both on lines like “Made me sway, made me sway, made me sway!) over an understated backbeat, organ hum and electric guitars that spend most of the song tightly coiled, only occasionally exploding outward. “The Beachland Ballroom” is a statement-making first preview of IDLES’ new material, introducing a heavy dose of soul into their pummeling, sneering sound-an unlikely swerve the band pulls off, in both surprising and satisfying fashion. The 14-track, Kenny Beats-co-produced (!!) album’s details are out now alongside the video for lead single “The Beachland Ballroom,” a tribute to Cleveland, Ohio’s historic music venue of the same name, as well as “an allegory of feeling lost and getting through it,” as frontman Joe Talbot explains. album chart-topping 2020 effort Ultra Mono. 12 on Partisan Records, is their fourth studio LP, following their acclaimed, U.K. For all its apocalyptic drama, the song ends on the smallest of images, from which Fohr still manages to wring outsized beauty: “Goodbye to the puddle in the ground / We didn’t know each other well, but you were my mirrored sky.” -Scott RussellĪfter wiping their socials and teasing the phrase “In spite of it all, life is beautiful” on billboards, English outfit IDLES made it official and announced a new album. Fohr describes “Vanishing,” appearing now alongside a self-directed video, as “an account of climate change and loss through the final stage of grief.” It’s no surprise, then, that “Vanishing” is an existential gut-punch, in which Fohr strives to accept that human civilization has reached “the goodbye point.” Over an epic arrangement of strings, brass and woodwinds, as well as rock guitars and drums, Fohr sings, “Goodbye hands touching where it hurts / Goodbye laugh tracks of ancient works / Goodbye thought, goodbye dog,” like the most devastating possible riff on Goodnight Moon-like Goodnight Earth. Jade GomezĬhicago-based composer and singer/songwriter Circuit des Yeux (Haley Fohr) shared a third single from her forthcoming Matador Records debut, -io, ahead of its Oct. It’s as heartbreaking as it is optimistic, giving truth to the instinctual need for normalcy in the wake of tragedy. Written after vocalist Travis Johnson’s mother passed of pancreatic cancer, the song tells of the universal feeling of wanting to communicate with the other side in the throes of grief. Expansive airy melodies and dissonant reverberations underscore the footstep-like drums to create an unshakable sense of dread, improbably laced with hope. Activity: “Text the Dead”Īctivity’s eerie post-punk is refreshing, and their newest single “Text the Dead” arrives just in time for Halloween.
Listen to our Best Songs of September 2021 playlist on Spotify here. But fans of shoegaze, hip-hop, dance-pop and more are sure to find a new favorite tune down below. Picks that clicked with us include (but are nowhere near limited to) Lindsey Jordan’s Snail Mail comeback track “Valentine,” Bartees Strange’s deluxe Live Forever edition cut “Weights,” and “The Beachland Ballroom,” our first preview of IDLES’ Kenny Beats-co-produced new album.
As we continue moving forward into 2021’s fourth quarter, the Paste Music team still has one ear in the past, taking stock of not only September’s best albums, but also its best individual songs.
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