Tag: SOPHIE

That Brunette Celebrates New Single “Capricorn Moon” with a Song for Every Star Sign

Photo Credit: Fred Attenborough

Like your personal life coach, Audiofemme favorite Madeline Mondrala has returned with a new That Brunette jam called “Capricorn Moon,” and it’s all about rebirth, reframing negative thought patterns, and tapping into creative energy. “The sign of Capricorn is known for its practicality, self discipline, ability to build strong foundations, and impeccable work ethic,” she explains. “New moons mark the beginning of new cycles so I think the combination of those energies in tandem with the state of my personal growth at the time allowed me to see my negative thoughts for what they were; thoughts. It felt like a veil was lifted and I was able to interpret my life and myself from a perspective of love rather than judgement.”

Written during a new moon in Capricorn, and recorded with her friend and producer Ariel Loh (Yoke Lore, Drinker, Cape Francis, Gold Child) at his home studio in Queens, “Capricorn Moon” bursts with positive, motivational vibes. “All I needed was a little time,” repeats That Brunette’s breathy vocals before detailing the steps of her emotional growth: “Excavation/It’s the death of old perception/Took the long way/Wasn’t easy/Trusted in my intuition.”

That Brunette says the song is about shifting your perspective from negative to positive in the wake of a personal failure. “It tells the story of my path to forgiving my past self in order to love my present self. I learned when life pulls you apart, it’s an opportunity to put the pieces back together in a new, beautiful way,” she says.

“It describes a mental shift that took place for me when I decided to move away from self loathing and into self love and acceptance. Something about the Capricorn energy at the time gave me so much clarity and motivation to turn the page and enter the next phase of my life with confidence and joy,” she adds. “When I hear the song it reminds me of how far I’ve come. I hope it can do the same for others.”

Xylophone chimes, throbbing synth, and handclaps give “Capricorn Moon” a non-traditional, organic beat; its meditative moods are driving, rather than calming. “The percussive upbeat energy of the drums propelled the song forward and informed the playful nature of the melody,” says Mondrala. “The song excited us so much that we finished it in only a day or two.” “Capricorn Moon” is the first single from That Brunette’s upcoming EP Dark / Cute, also produced by Loh.

That Brunette is something of an astrology buff – this isn’t the first time she’s looked to the stars for songwriting fodder. As a triple Gemini, she says she engages with the world and with creativity from a heady, intellectual place. “I’m always looking for mental stimulation in the form of wit, humor, originality, or outrageousness. Those preferences make my taste very eclectic and camp, with an undertone of contemplative introspection,” she explains. “I feel that my music totally embodies that vibe. I love to speak truth with a wink. That’s what makes my songs both lyrically interesting and danceable.”

In honor of the release of “Capricorn Moon,” That Brunette put together a playlist for Audiofemme composed of twelve tracks – each one chosen to correlate to a certain sign. For her part, she says, “I think the ultimate Gemini anthem has to be the 1997 hit ‘Bitch‘ by Meredith Brooks. The lyrics ‘I’m a bitch, I’m a lover, I’m a child, I’m a mother, I’m a sinner, I’m a saint, I do not feel ashamed’ embody the duality of being a Gemini.”

Luckily, Mondrala adds, “The people who are closest to me and who I cherish the most are able to handle all the facets of my personality that somehow manage to starkly contrast one another and exist all at once. It can be a bit exhausting sometimes but it’s never dull!”

Charlotte Sands – “Dress”

Inspired by Harry Styles’ Vogue cover, Charlotte Sands went viral on TikTok with “Dress” in December 2020. “The overall vibe of this song along with the person the lyrics describe give me major Aries vibes,” says That Brunette. “It’s super punchy, flirty, upbeat and badass!”

That Brunette – “Platonic”

“I wrote this song about a Taurus in my life who moved to another city,” explains Mondrala. “Their energy had grounded me so much that when they left I felt like a balloon floating out into the ether.” When Audiofemme premiered this song at the end of last year, she pointed out that “platonic love… can be just as profound and transformative as romantic love” – a message Taureans can certainly appreciate, since they’re ruled by Venus and known as one of the most loyal signs.

girl in red – “Serotonin”

Norwegian singer-songwriter Marie Ulven is brutally honest as she rattles off her darkest urges on her alternative-tinged tune “Serotonin,” co-produced by Billie Eilish collaborator/sibling FINNEAS. That Brunette can relate to girl in red’s almost frightening rawness. “I struggle with intrusive and negative thoughts and when I heard this song I felt seen,” she says. “Since Geminis are so word-oriented, a lot of time our anxiety can manifest itself in words too. It feels like your brain is using its own nature against you. This song embodies that dissonance perfectly.” girl in red’s anticipated debut album if i could make it go quiet drops April 30th via AWAL.

SOPHIE – “It’s Okay To Cry”

SOPHIE was nothing short of a musical visionary, and her fatal fall from a tower in Greece in January 2021 was especially shocking. But the lead single from her first (and sadly, only) proper studio album, 2018’s Oil of Every Pearl’s Un-Insides, provided a powerful, almost prescient message to embrace our most uncomfortable moods. “RIP Sophie and thank you for this beautiful song. It always makes me think of the sensitive Cancers in my life,” says Mondrala. “I’m drawn to their watery emotional energy because I have none in my chart!”

Young Baby Tate (feat. Flo Milli) – “I Am”

“This is the ultimate self-empowerment song,” says That Brunette. “Leos are amazing at asserting themselves confidently. This song helps me get into that manifestation mindset that comes so easily to them.” In fact, the Atlanta-based Tate Sequoya Farris told Rolling Stone that her latest EP, After the Rain (on which “I Am” appears), was written as a way of talking herself through a difficult breakup – so feel free to put it on when you need some affirmation, no matter your sign.

Qveen Herby – “Sade In The 90s”

“I’m allergic to the bullshit,” claims Qveen Herby in her 2018 ode to iconic smooth jazz singer Sade, going on to prescribe orange soda and Deepak Chopra as essentials for her self-care routine. “Virgos are so good at living in the flow,” Mondrala says. “This song is all about filling your own cup and taking good care of yourself inside and out so your light can shine as bright as possible.” Qveen Herby’s “I keep it moving/Put that shit behind me” mantra definitely reflects that practical Virgo nature.

Taylor Swift – “gold rush”

“Libras are my kryptonite – effortlessly cool, beautiful, charismatic, just out of reach,” admits Mondrala. “The person Taylor describes in this song has such Libra energy to me.” Swift characterizes that person as someone that everybody wants on the evermore fan favorite, so much so that she has to remind herself not to be charmed by their magnetism – a trait Libras are definitely known for.

That Brunette – “Coolest Girl”

Scorpios can be very beguiling – independent, emotional, ambitious, and intense, they’re one of the most misunderstood signs, and they actually prefer to remain mysterious. “I wrote this song for a Scorpio in my life,” says Mondrala. “They really are the coolest aren’t they?” That Brunette’s slinky synths meet a surprising twang on the track, almost like the seemingly contradictory characteristics of those Scorpios who always keep us guessing.

King Princess – “Cheap Queen”

The surreal video for “Cheap Queen” tells you everything you need to know about a Sagittarius – their curiosity and quirky sense of humor make them irresistible and fun to be around. Mondrala says, “Listen, Sags can hang! They know how to take care of themselves and those around them. This song song gives off that chill, self assured, yet slightly lonely Sagittarius vibe.” As it turns out, King Princess is actually a Sagittarius – but told Vulture that the song was more an homage to the queer community than an autobiography: “We are all cheap queens. It’s a drag term for someone who is resourceful, who makes something out of nothing, who is a creator on a budget. That’s how I feel.”

That Brunette – “Capricorn Moon”

“This song is all about learning from your past and taking failure as an opportunity to rebuild a better more fully realized version of yourself,” Mondrala reiterates. “Capricorns are masters of practicality. They look at everything logically which can be very helpful when you’re in the process of evolution.” On this song, That Brunette acts as a conduit for that redirection, whispering “Do you feel it too?” like your reliable Capricorn friend might.

Vagabon – “Water Me Down”

Brooklyn singer-songwriter Laetitia Tamko, aka Vagabon, is a bit of a kindred spirit when it comes to pulling inspiration from the zodiac; she opened her 2019 self-titled debut with a track called “Full Moon in Gemini.” Also from that record, “Water Me Down” hinges on the indignation of being misunderstood – a definite Aquarius trait. “Aquarians do not compromise who they are for anyone,” says That Brunette. “This song has a subtle strength to it that definitely reminds me of Aquarius people in my life.” 

Olivia Rodrigo – deja vu

The latest track from “the Pisces queen herself” packs all of the emotional punch Rodrigo’s sign is typically known for. Pisces often fall fast and hard when it comes to relationships, and can have a hard time letting go. Telling the story of an old flame who has moved on to a new relationship only to go through the same motions with someone oddly similar, “deja vu” seethes with heartbreak and bitterness. But belting “So when you gonna tell her that we did that too?” – maybe while driving through your exes’ suburb – is perfect for indulging in a little Pisces-style catharsis.

AF 2018 IN REVIEW: How A Wave of Queer Hitmakers Helped Me Assert My Identity

illustration and words by Ysabella Monton

Drunk on $2 strawberry margaritas during my very first visit to Cubbyhole, my 19-year-old self and a friend struck up a conversation with two women who led with, “Aww, how cute, two straight girls at the gay bar!” We looked at each other, confused. She was quick to correct them about her sexuality, while I, on the other hand, kept quiet, thinking they were right. Who was I trying to fool by being here? I’ve been “mistaken” for straight just about every time I’ve been there, for that matter. And what right did I have to be upset? To those who saw me everyday, I was straight, and was too scared to convince them otherwise.

Fast forward to sometime in early September of this year. After getting “mistaken” for straight in a casual conversation by a gay friend, I couldn’t let it go. At 2am, in an act of subconscious (and delusionally tired) defiance, I chopped my hair below my shoulders – as if a drastic change in my appearance would make people finally believe me when I say I’m queer. I thought back to an interview I’d read in which Héloïse Letissier, who fronts Christine and the Queens, described the epiphany she had upon cutting her hair: “I felt like, ‘This is how I want to exist.’” My drunk ass almost cried when someone in the bathroom at a Rina Sawayama show complimented my new ‘do for the first time; knowing that a large part of Sawayama’s fan base is queer, I found comfort in being seen.

Rarely did I consciously think about openly queer women in entertainment in the past. When I recall queer artists that I listened to growing up, I admit that David Bowie or Freddie Mercury – not women – come to mind first. Whether it’s the media at fault or my own ignorance, I was somehow never consciously aware of women’s queerness. From Fergie and Lady Gaga in my youth, and then, as I got older, The xx, Tegan and Sara, and Sleater-Kinney, I often didn’t know some of my most beloved female artists were queer until after the fact. I later clocked many hours over the years Googling “[insert artist] queer,” intrigued by female androgyny by way of Annie Lennox, and for selfish reasons, hoping to find that Debbie Harry might be into women. This was all prior to the realization that my “girl crushes” were born of genuine attraction. Maybe it took so long because I had few truly visible artists to help me understand that loving another woman was real and valid.

I remember when I first started telling my best friends that there was a slight chance that I could maybe be bisexual, and being met with the classic “it’s probably just a phase.” It made me curl in on myself, backtrack, and call myself “fluid” instead. “Fluid” was my safety net to go back to living as a straight cis female, since I wasn’t committed to a label.

But “fluid” was never the whole truth.

I’ve known for a long time that I’m bisexual, but 2018 marks my first year of unapologetic out-ness. Sexuality is a journey, and labeling oneself isn’t pertinent to having a queer identity. Fluidity perfectly encapsulates how many other people define their own sexuality. For me, though, calling myself “bisexual” out loud lifts a weight off my shoulders. I owe this newfound confidence to queer female artists, from SOPHIE to Janelle Monáe, who are unapologetically themselves.

2017 and 2018 saw a jump for queer females in the mainstream beyond “I Kissed a Girl” or “Cool for the Summer,” where being queer is synonymous with experimental sexual deviance (not to discredit Demi Lovato’s own bisexuality). Kissing girls was once taboo, “just something that we wanna try.” Songs like Sawayama’s “Cherry” operate in the same realm of queerness being new and different. However, rather than eroticizing it, Sawayama crafts a sweet, sparkling anthem that illustrates an awakening; it’s less about the missed connection and more about what it taught her about herself. “Now I wanna love myself/It’s not that us is guaranteed/’Cause inside I’m still the same me with no ID” reminds me of being 19 and becoming infatuated with a stranger at a party as we talked and smoked cigarettes and got dollar slice pizza, though I never got her name. Still, I can’t will myself to forget the moment she told me she likes girls and with ease, I told her I do too. It had nothing to do with my attraction to her. It was the first time I had ever come out, and she has no idea how significant that moment was for me. She was the first person with whom I was living my truth.

Today, there’s Kehlani in the mainstream crooning, “I like my girls just like I like my honey/Sweet/A little selfish.” These lyrics effectively normalize women loving women in a way I’d never understood before. By way of Kehlani, I also discovered Disney-girl-turned-“Lesbian Jesus” Hayley Kiyoko this year when Kehlani appeared on “What I Need.” Kiyoko candidly sings, “I only want a girl who ain’t afraid to love me.” I could never imagine hearing that on the radio growing up. Kiyoko was recently awarded the Rising Star Award at Billboard Women in Music, presented to her by bisexual pop singer Lauren Jauregui. “Nobody wants to be brave,” Kiyoko confesses in her acceptance speech, through tears. “We’re all terrified. I’m very grateful for my fans…I found my purpose in life, and the ability to embrace my truth.”

Women have shown me what it’s like to go from grappling with your truth to embracing it. Asserting herself beyond myriad production credits, SOPHIE’s debut album Oil of Every Pearl’s Un-Insides is a disarming nine tracks of simultaneous chaos and vulnerability. There’s a challenge from SOPHIE to listen to this record without the preconceived notion of what pop music – and furthermore, people – should be. “Without my genes or my blood/With no name and with no type of story/Where do I live?” she asks on “Immaterial,” giving herself the answer: “I could be anything I want.”

The album is powerful enough to have turned the heads of traditionally closed-minded Grammy committee. She and singer-songwriter Teddy Geiger (who co-wrote the Shawn Mendes single “In My Blood”) have become the first Grammy-nominated transgender women for Best Dance/Electronic Album and Song of the Year, respectively.

They, and artists like the genderqueer and pansexual Letissier, haven’t been blurring the lines of gender in music so much as beginning the process of erasing them. The first time I saw Christine and the Queens live in 2016, I had given little to no thought to the nuance and fluidity of gender expression. When she returned this past year, it appeared that she had invented a masculine persona along with her new record, Chris. The more I indulged in the record, it became apparent that rather than stripping herself of femininity, she had adapted traditionally masculine themes – eroticism, power, dominance – to dispel the pre-existing notion of softness that womanhood was supposed to be.

As Ariana Grande and King Princess have affirmed this year, “Pussy Is God,” after all.

I came across King Princess through Mark Ronson, when she became the first official signed artist on his label, Zelig Records, releasing her first single “1950” earlier this year. In addition to paying tribute to a decade when women could exclusively be queer in private, she plays with religion and divinity in a way that calls out to the once-ardent Catholic still living inside me. “Tell me why my gods look like you,” she whines, “and tell me why it’s wrong.” The idea is not lost on songs like “Holy” and “Pussy Is God,” which not only put women, but queer women, at the center of worship. In an interview with Harper’s Bazaar, King Princess calls it “extremely fucked up and fun…being the antithesis of a belief system.”

“Fun” never would’ve been the word I’d use to describe the intersection of being a self-proclaimed Jesus lover while attempting to repress this sinful secret the way I repress Catholicism now. While I’ve never been homophobic and I’ve tried to be an ally to others, I was adamant that homosexuality wasn’t a possibility for me. But now I find the layers of irony so absurd it’s funny. For me, queerness was directly associated with eroticism, in turn lacing this part of my identity with sin. Coupled with my warped notions of feminism (in my teenage years, I called myself anti-feminist), it’s all rooted in self-hatred.

Then I heard this verse:

“Searching for someone to fix my drive
Text message, God up in the sky
Oh, if you love me, won’t you please reply?
Oh, can’t you see that it’s only me, your dirty computer?”

It made me wonder if Janelle Monáe had somehow gotten inside my head and heard these conversations I was having with God to fix whatever the hell was going on inside me. Her music has been lush with futuristic and science fiction imagery via Cindi Mayweather, her android alter ego. The juxtaposition of real life with a surreal world allows raw emotion to take the forefront. It’s the same question I’ve been asking myself this whole time that I’ve been fighting the truth: what is wrong with my programming as a human that I’m so inherently broken and flawed?

Janelle Monáe intended “to really celebrate those that I felt needed to be celebrated most, those in marginalized communities” with Dirty Computer. Those communities include not only the LGBTQIA community, but women and people of color as well – and these are all intersections I identify with. It’s the things about myself that I’ve been conditioned to believe are defects, dirty. Deconstructing the android on Dirty Computer gives insight to our very coding as people, the root of this “other” that terrifies people in 2018 as much as ever.

What a weird time, in 2018, to have finally found relief through leaning into that exact fear. This whole time, I’ve been internalizing it, using it against myself, so much that even when I first began exploring the possibility of being queer, I accepted without argument that I wasn’t queer enough to be valid. Compared to the first time I called myself “bisexual” out loud circa 2014, when I say it today, it no longer leaves a bad taste in my mouth. There’s still an adrenaline rush, but it comes from excitement. Because for the first 23 years of my life, I was never being my honest self.

But now, I finally believe that I deserve to live my truth. And so do you.

Check out Ysabella’s ever-growing CHEERS QUEERS playlist on Spotify, as well as the rest of our year-end coverage.

AF 2018 IN REVIEW: Our Favorite Albums and Singles of the Year

Here we are again! As the new year approaches, it’s time to look back and take stock of the albums and singles that defined this moment in music history. 2018 was an eclectic year, to say the least, and there are a lot of new names on the list: Tirzah, Snail Mail, Soccer Mommy, Noname, King Princess, and Kali Uchis all had phenomenal debuts this year, not to mention the inimitable Cardi B, who made good on the promise of last year’s smash hit “Bodak Yellow” with Invasion of Privacy in April. There were established artists who still managed to surprise us, whether in the form of unearthed Prince demos, The Arctic Monkeys’ loungey sci-fi concept album, Tim Hecker introducing us to ancient Japanese court music, Dev Hynes making his most personal Blood Orange record yet, or Lil Wayne finally dropping Tha Carter V. And then there are those artists who fall somewhere in between, their ascendant careers a thrill to watch as 2018 saw them finally hit their stride. US Girls. Yves Tumor. serpentwithfeet. And perhaps most spectacularly, Mitski and Janelle Monáe.

As each of our writers (and editors, too) created their own mini-lists, those were two names that kept cropping up, and there’s no doubt you’ve seen them on just about every year-end list on the interwebs. If there’s any chance you haven’t heard Be The Cowboy or Dirty Computer, by all means, fire up that Spotify Premium post haste. But the recommendations here are as diverse as our writers themselves, so we hope you’ll take time to explore some of the lesser-known, hardly hyped artists we’ve highlighted, too – and keep your eyes peeled for more year-end coverage as we cruise in to 2019.

EDITOR LISTS

  • Marianne White (Executive Director)

    Top 10 Albums:
    1) boygenuis – boygenius
    2) Soccer Mommy – Clean
    3) Nenah Cherry – Broken Politics
    4) Mitski – Be the Cowboy
    5) serpentwithfeet – soil
    6) CupcakKE – Ephorize
    7) Blood Orange – Negro Swan
    8) Autechre – NTS Sessions 1-4
    9) Snail Mail – Lush
    10) Cardi B – Invasion of Privacy
    Top 5 Singles:
    1) Let’s Eat Grandma – “Hot Pink”
    2) Jon Hopkins – “Emerald Rush”
    3) The Internet – “Look What You Started”
    4) Cardi B, Bad Bunny, J Balvin – “I Like It”
    5) boygenius – “Bite The Hand”

  • Lindsey Rhoades (Editor-in-Chief)

    Top 10 Albums:
    1) Low – Double Negative
    2) US Girls – In A Poem Unlimited
    3) Madeline Kenney – Perfect Shapes 
    4) Yves Tumor – Safe In The Hands of Love
    5) DJ Koze – Knock Knock
    6) Caroline Rose – Loner
    7) Tim Hecker – Konoyo
    8) Virginia Wing – Ecstatic Arrow
    9) Frigs – Basic Behaviour
    10) bedbug – i’ll count to heaven in years without seasons
    Top 10 Singles:
    1) Janelle Monáe – “Make Me Feel”
    2) Loma – “Black Willow”
    3) The Breeders – “All Nerve”
    4) SOPHIE – “Is It Cold In The Water?”
    5) Jonathan Wilson – “Loving You”
    6) Empath – “The Eye”
    7) Sibile Attar – “Paloma”
    8) Jono Ma & Dreems – “Can’t Stop My Dreaming (Of You)”
    9) Shopping – “Discover”
    10) Ed Schrader’s Music Beat – “Dunce”

  • Mandy Brownholtz (Social Media)

    Top 5 Albums:
    1) Miserable – Lover Boy/Dog Days
    2) Snail Mail – Lush
    3) Mitski – Be The Cowboy
    4) Teyana Taylor – K.T.S.E.
    5) Janelle Monáe – Dirty Computer
    Top 3 Singles:
    1) Nothing – “Blue Line Baby”
    2) Hinds – “The Club”
    3) Mitski – “Nobody”

  • Lauren Zambri (Events)

    Top 5 Albums:
    1) Amen Dunes – Freedom
    2) US Girls – In A Poem Unlimited
    3) Beach House – 7
    4) Iceage – Beyondless
    5) Tirzah – Devotion
    Top 5 Singles:
    1) Jenny Hval – “Spells”
    2) US Girls – “Velvet 4 Sale”
    3) Yves Tumor – “Licking An Orchid”
    4) Amen Dunes – “Believe”
    5) Low – “Always Trying to Work it Out”

STAFF LISTS

  • Ashley Prillaman (Premieres, AudioMama)

    Top 5 Albums:
    1) Alice Ivy – I’m Dreaming
    2) Sudan Archives – Sink
    3) Marlon Williams – Make Way For Love
    4) Earth Girl Helen Brown – Venus
    5) Rüfüs Du Sol – Solace
    Top 3 Singles:
    1) Rhye – “Taste”
    2) Alice Ivy – “Chasing Stars”
    3) Sudan Archives – “Nont For Sale”

  • Tarra Thiessen (Check the Spreadsheet)

    Top 5 Albums:
    1) DRINKS – Hippo Lite
    2) Shannon & the Clams – Onion
    3) Lost Boy ? – Paranoid Fiction
    4) Prince – Piano & a Microphone 1983 
    5) Sloppy Jane – Willow
    Top 3 Singles:
    1) Public Practice – “Fate/Glory”
    2) The Nude Party – “Chevrolet Van”
    3) Big Bliss – “Surface”

  • Natalie Kirch (Pet Politics)

    Top 10 Releases Out of the Brooklyn DIY Scene (in Chronological Order):
    1) THICK — Would You Rather? (Self-Released)
    2) BODEGA — Endless Scroll (What’s Your Rupture?)
    3) Baked — II (Exploding In Sound)
    4) Pecas — After Dark (Broken Circles)
    5) Big Bliss – At Middle Distance (Exit Stencil Recordings)
    6) Kevin Hairs — Freak In The Streets (GP Stripes)
    7) PILL – Soft Hell (Mexican Summer)
    8) Stove – ‘s Favorite Friend (Exploding In Sound)
    9) Lost Boy ? – Paranoid Fiction (Little Dickman Records/ Rich Moms)
    10) Janet LaBelle – I Only See You (Loantaka Records)

  • Sara Barron (Playing Detroit)

    Top 5 Albums:
    1) Kali Uchis – Isolation
    2) Blood Orange – Negro Swan
    3) Cardi B – Invasion of Privacy
    4) Mitski – Be the Cowboy
    5) Noname – Room 25
    Top 3 Singles:
    1) Ama Lou – “Tried Up”
    2) Britney Stoney – “OD”
    3) Janelle Monáe – “PYNK”

  • Luci Turner (Playing Atlanta)

    Top 5 Albums:
    1) The Arctic Monkeys – Tranquility Base Hotel & Casino
    2) The 1975 – A Brief Inquiry Into Online Relationships
    3) Charles Bradley – Black Velvet
    4) Brandi Carlile – By The Way, I Forgive You
    5) Jack White – Boarding House Reach
    Top 3 Singles:
    1) The Raconteurs – “Now That You’re Gone”
    2) Mac Miller – “2009”
    3) Dead Naked Hippies – “Rare”

  • Victoria Moorwood (Playing Cincy)

    Top 5 Albums:
    1) Cardi B – Invasion of Privacy
    2) Lil Wayne – Tha Carter V
    3) J. Cole – KOD
    4) Preme – Light of Day
    5) Jazz Cartier – Fleurever
    Top 3 Singles:
    1) Lil Wayne feat. Reginae Carter – “Famous”
    2) Cardi B – “Thru Your Phone”
    3) J. Cole – “Brackets”

  • Desdemona Dallas

    Top 5 Albums:
    1) Noname – Room 25
    2) Flatbush Zombies – Vacation In Hell
    3) Mountain Man – Magic Ship
    4) Lucy Dacus – Historian
    5) Nao – Saturn
    Top 3 Singles:
    1)  Janelle Monáe – “Make Me Feel”
    2) Twin Shadow – “Saturdays”
    3) Sudan Archives – “Nont For Sale”

  • Erin Rose O’Brien

    Top 5 Albums:
    1) Mitski — Be The Cowboy
    2) Antarctigo Vespucci — Love in the Time of E-mail
    3) Car Seat Headrest — Twin Fantasy
    4) Soccer Mommy — Clean
    5) Janelle Monáe — Dirty Computer
    Top 3 Singles:
    1) Bad Moves — “Cool Generator”
    2) The Beths — “Future Me Hates Me”
    3) Miya Folick — “Stop Talking”

  • Ysabella Monton

    Top 5 Albums:
    1) Mitski – Be The Cowboy
    2) Janelle Monáe – Dirty Computer
    3) Brockhampton – Iridescence
    4) Soccer Mommy – Clean
    5) Cardi B – Invasion of Privacy
    Top 3 Singles:
    1) King Princess – “1950”
    2) Childish Gambino – “This is America”
    3) Pusha T – “If You Know You Know”

ONLY NOISE: A Woman Like Your Kind

Today is International Women’s Day, and people are celebrating in many ways. This American Life devoted their entire show on Tuesday night to listening to the stories of five women who were sexually harassed by media executive Don Hazen, giving individual voice to members of the #MeToo movement. Mattel came out with 17 new Barbie dolls celebrating diverse and historic women like artist Frida Kahlo, Australian conservationist Bindi Irwin, and NASA mathematician Katherine Johnson. Our favorite female and non-binary music festival, The Hum, has announced a new run of shows slated for May, and various Women’s Day events have sprung up across the world. In my own way of celebrating women, here are five groundbreaking female musicians pushing their formats forward.

U.S. Girls

U.S. Girls mastermind Meg Remy has always looked to the past for inspiration – her decade-deep catalog often reverberating with sounds of ‘70s disco and Phil Spector’s girl groups. Those influences haven’t dissipated entirely on Remy’s latest LP In a Poem Unlimited, but Remy has forged something completely new from them. Remy has garnered more widespread attention with this album than any prior release, and while that could easily be attributed to its near perfect track list, it may have occurred as a result of topic and timing.

In a Poem Unlimited chronicles female rage in an era when it’s finally being recognized. From James Bond-tinged revenge epic “Velvet 4 Sale,” to the satirical “Pearly Gates,” Remy and her U.S. Girls collective have crafted something fresh and relevant, wrapping rocky subject matter in swaths of multicolored silk. Standout track “M.A.H.” (“Mad As Hell”) combines these two assets seamlessly, succinctly verbalizing what women have been feeling for too long over an ABBA-esque dance cut. “As if you couldn’t tell, I’m mad as hell,” she sings. “I won’t forget, so why should I forgive?/Supply me with one reason why, boy?” Pertinent questions these days.

CupcakKe

Chicago rapper CupcakKe, aka Elizabeth Harris, has been in the game for longer than you might think. Harris began releasing music on the web in 2012, and her 2016 mixtape Cum Cake caught the attention of critics for its unabashed lewdness. None of that raunchiness is lost on CupcakKe’s most recent LP Ephorize. Harris is the lightning-tongued, pornographic poet we’ve all been waiting for. Her brand of female sexuality is raw and unapologetic, debunking the myth that women are less sexual creatures than men with streams of dirty verses. She celebrates LGBTQ love on “Crayons” and her love for dick on “Duck Duck Goose.” Cupcakke is easily one of the most progressive MCs on these matters, and when it comes to the societal damning of women’s sexuality, she’s furious. “Females have sex on the first night they get called a ho for that one night stand,” she raps on “Self Interview,” “Men have sex on the first night, congratulations!” “Most wouldn’t comprehend/Double standards need to end.” Preach, High Priestess Cupcakke.

 SOPHIE

Scotland born, Los Angeles based producer SOPHIE is making pop music dangerous again. The transgender artist is seemingly allergic to binaries, and therefore makes music that is difficult to categorize. There are elements of techno, disco, and deep house, but her work also boasts more the “difficult” sounds of industrial and noise music. “A lot of the stuff I’ve done takes the attitude of disco but tries to bring the sound world forward,” she told Teen Vogue last year. “We’re in a different world now. I’m trying to imagine what music that’s positive, liberating, weird, dark, and real could be in the current day.” SOPHIE has achieved all of those descriptors in her music, and she’s one of the few contemporary artists that can truly be called cutting edge. Her live shows are a mixture of theater, rave, and performance art, and her skill as a producer is unrivaled. She can turn the fizz of soda into a symphony and the screech of latex into a solo. SOPHIE will undoubtedly have a hand in how the future of pop music is shaped.

Moor Mother

Moor Mother is the project of Philly poet, musician, and activist Camae Ayewa, whose music blurs the lines between hip-hop, gothic industrial, and spoken word. Moor Mother is angry, and she has every right to be. She raps about domestic violence, race riots, and police brutality through layers of distortion, and her live sets are a blatant display of her rage. Ayewa’s music is compelling through headphones, but contagious in person; her body thrashes with each verse, making the air around her taut with fury. Her last record, 2016’s Fetish Bones is a stirring amalgam of disturbing poems laid over horror movie noise-scapes. Moor Mother’s sound is a much-needed slap in the face to oppression.

Jlin

Jerilynn Patton is one badass woman. A top-notch producer and steel mill worker from Gary, Indiana, Patton, aka Jlin, has taken the independent music community by storm with her last two records, 2015’s Dark Energy and last year’s Black Origami. Jlin’s music is instantly recognizable, and while it incorporates electronic genres like footwork and house, her stamp of authenticity lies in the clanging metallic rhythms, West African percussion, and dizzying synths she weaves through her beats. Her live sets are robust and disorienting, causing more convulsions than dancing. In an industry, and a genre (electronic music) that is overwhelmed by men, Jlin makes harder beats than just about anyone.