At the beginning of January, I resolved to listen to more music this year with real intention. Although I always have something playing in my headphones, I wanted to be more deliberate about seeking out music I’ve never fully explored before, old and new, across all genres. There is so much music out there and so many sonic worlds I haven’t been immersed in yet, and the possibilities for musical discovery feel endless.
Whether it’s revisiting records that escaped my radar, stumbling across music I’ve never heard of before or delving into new releases, I want to really expand my musical palate this year. As part of the first month of this journey, these are the musical discoveries I made in January:
“Pet Grief” by The Radio Dept.
Although I’d heard of The Radio Dept. and already had a couple of their songs in my library, I was still relatively unfamiliar with the Swedish dreampop band before January. I went down a rabbit hole when I heard their song “Pulling Our Weight” in Sophia Coppola’s “Marie Antoinette,” and was surprised to discover the song was released in 2003 despite its modern sound.
The song is on a compilation album The Radio Dept. released in 2019, hence my confusion about its release date. I was reminded how much I love that song, and through searching for more of that sound I discovered the band’s 2006 album “Pet Grief,” which has become one of my January favorites. The album’s atmospheric, shoegaze-esque production is perfect for the dreary weather we’ve been having in Bloomington lately.
Two of my favorite songs from the album are “Always a Relief” and “The Worst Taste in Music.” To me, these tracks have such a modern sound I would have thought they were released in the mid-2010s, and I think that really goes to show how trends in music are so cyclical, and how certain sounds and production styles reappear over the years. That quality is what made The Radio Dept. such an interesting entry into my listening rotation this month.
Since falling in love with Searows’ 2022 album “Guard Dog,” I’ve enjoyed tuning in to his releases. Searows, whose real name is Alec Duckart, has such a keen ear for siren-like melodies and abstract arrangements. Released on Jan. 23, his second full-length record “Death in the Business of Whaling” has been the perfect score for this cold winter week.
“Guard Dog” was unique for its minimal instrumentation, but this new record is Searows’ first release created with a full band. Although this doesn’t change the tenderness signature to his music, it does enhance Searows’ emotional, resonant lyrics with a richer production style. I loved the tracks “Dearly Missed” and “In Violet,” which both benefited from the added angst of full, sprawling instrumentation.
This record is louder than anything Searows has released before, not just in instrumentals but in unrestrained vocal expression; there are times throughout the record where his singing is more impassioned than I’ve ever heard from him before. While this album didn’t surprise me in any remarkable way, I think it shows considerable artistic growth from Searows and is an admirable addition to his catalog.
In preparation for awards season, I made an effort this month to listen to the Grammys Album of the Year nominees I wasn’t previously familiar with. Through that endeavor I discovered “Let God Sort Em Out” by Clipse, the rap duo consisting of brothers Pusha T and Malice. This record has been on repeat all month for me.
This album is a great encapsulation of the kind of storytelling that makes hip-hop such a compelling genre to me. The production on this album isn’t particularly lush or flashy, but the vocal delivery makes every song gripping from start to finish. I especially love the flow on “E.B.I.T.D.A.” and “P.O.V.,” two tracks that are gritty but precise in their lyricism.
Featuring verses from Kendrick Lamar, Tyler, the Creator and other prominent rap artists, this record feels like a team effort that hands the microphone to a variety of different voices and identities. To me, that collaborative feel is a significant part of this album’s appeal and effect.
