Deadshirt is Listening…Bringing you a rundown of our staff and guest contributors’ favorite new tracks released in the past week after they’ve had the weekend to blast them in their cars, in a club, alone in their rooms, etc.
Mike Duquette is pained by…
“This Summer’s Gonna Hurt Like A Motherfucker”
We’ve all been there: you get into a band, you celebrate their highs and defend their lows—but suddenly, that awful moment of clarity comes when you realize that don’t dig them like you once did. Most of us have had this struggle with “authentic” bands; I’m fighting the same battle with Maroon 5. They’re one of the last pop bands standing, able to surge up the Billboard Hot 100 while earning points from your mom, your bratty sister, your dental hygenist, etc. Since 2003, I’ve bought every Maroon 5 album, tried to pick out future hit singles from them all—I even paid money to see them in concert three times.
And that’s why I’m so upset over their turgid new single, “This Summer’s Gonna Hurt Like A Motherfucker.” The apotheosis of their plasticine chart run that started with “Moves Like Jagger” in 2011, “This Summer’s Gonna Hurt” is a faceless wash of synths and withered come-hithers from lead vocalist/are-there-any-other-members Adam Levine and co-writer/producer Shellback. Separately, each man has managed pop perfection, like when Levine collaborated with his increasingly anonymous band members (did you know there are six members of Maroon 5, and one of them is a black guy?) or when Shellback collaborated on great hooks for P!nk and Taylor Swift. Together, they offer barely coherent thoughts like “So expensive when she eats / ’cause she’s so fancy” and “I check my phone when I am weak / she never posts anything deep” (boy, online is amazing, huh?).
What truly hurts like a motherfucker is that a band who should not have any problems topping the charts is doing so with the least amount of effort possible. Save our summer, Carly Rae Jepsen!
Steph Salo is feeling morose to…
“Just Like Blood”
Sharon Van Etten
Just Like Blood
Fans of NPR’s “All Songs Considered” will be no stranger to Sharon Van Etten. She’s mentioned, hm, about every two weeks on that program. Rightfully so, as ASC is responsible for talking about great new music, and Van Etten has been putting out some great #content these past few years.
This new single is no exception. It’s that same dark indie piano folk that first got her noticed (especially during her time opening for the National). It starts off pretty dry, and then swells into gorgeous strings and pulsing piano chords. This is the sort of song I imagine your pseudo goth ex-boyfriend from high school is probably super into nowadays. In a good way! I don’t know if it’s the fact that she is from New Jersey (my home state) or if it’s because she comes so highly recommended by Bob Boylen or if it’s because I’m a big dumb sad baby, but all I want to do is listen to “Just Like Blood” and eat Dipsy Doodles in the dark.
Sharon Van Etten is probably most well known for the complexity of her sound. She has a little bit of everything going on, which should come as no surprise from this choir student/violinist/pianist/guitarist. She knows her stuff, and this is most obvious in the harmonies she has created in this hauntingly beautiful ballad.
Fans of Perfume Genius, Antony and the Johnsons, Sun Kil Moon, and Azure Ray have probably already heard of Sharon Van Etten; but if you haven’t, definitely give her a listen.
Dylan Roth is dancing in his car to…
Like a lot of people, I was introduced to Canadian pop group Metric via Scott Pilgrim vs. the World, in which Envy Adams (Brie Larson) performs their song “Black Sheep.” From that point on, I’ve been hooked on their unique mash-up of indie rock and electro pop. Singer/songwriter Emily Haines has a unique voice, simultaneously embodying wisdom, innocence, emotion, and stoicism. She is the realest.
There hasn’t been a new Metric album since 2012’s excellent Synthetica, but with the release of this new single, “The Shade,” Haines has promised we’ll have a new album before year’s end. This new track would feel right at home on that album, which is both exciting and disappointing. Sure, getting another record that could stand up with the likes of Synthetica or its equally kickass predecessor Fantasies would be swell, but I’d personally much rather see some more obvious growth from Haines and her crew. What we have here is another terrific Metric single from what I’m sure will be another terrific Metric album, and I’m in no position to complain, but I’m hoping the album has some surprises in store when it finally drops later this year.