Staff Picks 11/13/23
Sparky Staff Picks is a series where our writing and editing team comes together to talk about what’s been stuck in our heads and on repeat in our playlists. it doesn’t matter if it’s new or old, popular or underground, it just needs to have us in a chokehold. Follow Sparky on Twitter and Instagram @sparkywtf for more.
AZA , “take the pressure off”
This is for the relentless hard-worker, the one with tunnel vision, the goal-achiever. You are allowed to relax, take in all you’ve accomplished, don’t forget to enjoy life as it happens before your eyes. AZA lets us know it’s okay to “take the pressure off.” You deserve to feel love yourself and let those who make you happy come to you when it’s time. This is for anyone who is tripping over themselves, being forced to make choices so that others will like them. You are enough. - Kimberly Moon-Chong
Maths Time Joy, “Down”
From British artist, producer, singer/songwriter and DJ, Maths Time Joy presents “Down”. Released in March of this year, this track showed up in my algorithm to hold me down in the best way. Production on this song is just phenomenal, there’s really nothing like it. With vocals from Flores and synths absolutely creating that galactic and supersonic environment, this song transports you to a dimension super far from wherever you tune in from. Diving into his discography as we speak. -Kimberly Moon-Chong
DJ Seinfeld & Confidence Man, "Now U Do"
Peggy Gou-mania ruled the summer, with her 90s-inspired single "It Goes Like" taking over social media, changing rooms, and clubs galore. If you spent your summer listening to that song but are relatively new to dance music, "Now U Do" is the perfect second step into four-to-the-floor paradise. With similarly sweet vocals and retro synths that stay in your head, it straddles the line between morning routine soundtrack and club staple; and it comes from an unlikely source. DJ Seinfeld, who found a cult following through his gloomy, industrial outsider house music, has slowly moved towards a brighter, poppier sound in past years. His first real attempt at a crossover hit, “Now U Do” is a success that just needs the streams to prove it. -Michael Di Gennaro
SZA, "Snooze"
For all the fanfare that’s come with SZA following her classic debut CTRL and the A-list success that came with it, it’s almost downplayed how far ahead she is from her mainstream R&B contemporaries. There are other star R&B singers that have the vocal chops to make a song like “Snooze”. There are other star R&B singers that have the creative skills to make a song like “Snooze”. But only SZA possesses both the ability to write a strong pop song out of such a stripped-back instrumental, and sing like her life depends on it. The best case on her uneven SOS as to why she’s been R&B’s darling despite such small output in the last half-decade of her career. - Michael Di Gennaro
Michael Kiwanuka, “Bones”
Released in 2012 on Michael’s first major label release Home Again, this track feels as though it should’ve been a deep cut on a Percy Sledge or Otis Redding record in the 60s. The timeless deep soul roots alongside Michael’s undeniably warm vocal presence creates an experience that can only be described as “wedding song” material. Every note hit is meticulously selected to build a loving, caring environment with the listener--and does so successfully. “I guess I would leave / This world alone / ‘Cause without you I’m just bones”, sums up the affectionate charm Michael Kiwanuka has on this track, detailing his unwavering love towards his partner, comparing her departure to his own demise. Michael has only continued to improve throughout the rest of his career thus far, and it’s almost unfair how much natural soul this man has in his “Bones”. -Hunter Petch
BETWEEN FRIENDS, “Haircut”
Indie duo BETWEEN FRIENDS produce hits at such an alarming rate that it seems easier than breathing for them at times--as the entirety of their newest record I Love My Girl, She’s My Boy is a collection of infectious, refreshing takes on bedroom pop/rock. A personal favorite of mine is “Haircut”, which was initially due to the minuscule vocal contribution from UK indie artist Bakar--who is a personal favorite of mine. He isn’t listed as a feature for good reason, as his additions to the track are sparse enough to keep him out of the spotlight--but I was still undoubtedly pleasantly surprised by his presence. The main reasons I kept returning to this track were for its wildly addictive hook and guitar performances. The instruments nearly feel serene--undisturbed from the rest of the song while enjoying a dance party all on their own. Nonetheless, Savannah’s vocals boost the overall enlightening spirit of the experience--making “Haircut” one of the best cuts off their record. - Hunter Petch
Kim Petras, “Hillside Boys”
The gurgling bong that opens Kim Petras’ “Hillside Boys” is enough to immediately thrust the song into the pop music hall of fame. Beneath its shiny exterior, “Hillside Boys” is a meditation on lost love. Petras sings, “Just once or twice is too many times when you know the end/So hard to deny, so hard to forget,” in homage to her titular Hillside Boys–a.k.a the champagne sipping lads living it up in Beverly Hills. It’s easy to hear the pain hidden under her bubblegum vocals as she admits, “You look so pretty when you're breaking me, yeah”
The 2017 single is an unmistakable joyride, but it's the bridge that propels “Hillside Boys” to pop perfection. “Paco Rabanne, One Million/Eau de parfum on your sweater/I'll carry on/Summer is done, done, and so are we,” she sings in a triumphant, yet undoubtedly devastated, belt. A surprising choir of electric guitars sneaks in before Petras bursts back into a final, fiery chorus. “Hillside Boys” is pop music excellence–a timeless, instant classic. -Liz Foster
Travis Scott, “TOPIA TWINS (ft. Rob49 & 21 Savage)”
It’s not Travis Scott himself who boasts the best line on all of his UTOPIA track “TOPIA TWINS,” but rather Rob49, who bursts out onto the track like a racehorse, rapping“Way I shoot my shot at all these hoes, I f*ck my shoulder up.” He continues down a raucous path, detailing a potential hook up with the song’s titular twins. The NOLA native shouts out his hometown–and Weezy–as he finishes up his verse with a punchy “I be stuntin’ like my daddy I’m from New Orleans project.”
Travis’ performance is solid–good even–but Rob49 and 21 Savage ultimately carry “TOPIA TWINS” to its peak. He has a few clever lines, such as “She an angel in the streets, a demon undercover,” and “It's not electric, this sh*t gassed up, can you catch it?,” but Travis shines most behind the track, helming the production. The beat rides like a smooth night drive mixed with the boom of a club speaker. It’s a quintessential UTOPIA listen.
“Oh, he think he tough? He just actin', he The Rock (Yeah)/Amazon Prime, give me two days, I bet he drop,” posits 21 Savage later on the track. His punny verse is equal parts horny and prickly, with Savage also saying, “She give me wet mouth, I need a mop.” It’s impossible to hide the raunchy, arguably gross, heart of “TOPIA TWINS,” but damn does it make for a fun ride. -Liz Foster
DAYYTONA FOX, "Ms. Sailor Moon"
Coming in at just one minute and nineteen seconds, DAYYTONA FOX definitely leaves me wanting more with the first track on The Lazer Gun Safety Program, one of the five album he has released in 2023. The track starts with only echoey vocals before a heavy 808 drops in. DAYYTONA FOX’s slurring, fast-paced delivery is reminiscent of melodic trap predecessors like Thouxanbanfauni, Gunna, and TyFontaine, but “Ms. Sailor Moon” differentiates DAYYTONA FOX in his flow and vocal chain, which veers more towards hyper-trap. My message to DAYYTONA FOX: please, please drop an extended version of “Ms. Sailor Moon.” - Leina Gabra
Brent Faiyaz ft. Tommy Richman & FELIX!, "Upset"
As a DMV-native, I can’t help but feel a sense of pride as I’ve watched Brent Faiyaz’s star rise since he dropped collaborations with Tyler, The Creator and Drake in 2021. Admittedly, Larger Than Life is not the project that I would start with if I were introducing Brent Faiyaz to a new listener, but “Upset” is a catchy standout on the album. The stripped-back keyboard melody is punctuated by the use of a vocal sample as part of the beat, something I don’t hear too often. Faiyaz’s vocals are as buttery smooth as ever, but the featured artists carry this tune. Tommy Richman’s production is masterful, and his verse is my favorite on the song. FELIX!’s contribution also keeps the song interesting, and I’m excited to follow FELIX! as he continues to evolve his experimental style. -Leina Gabra
Babe Rainbow, Jono Ma, “Loading Quicksilver With Pitchfork” (Jono Ma Remix)
Jono Ma mixes some extra magic into the already multi-dimensional brownie batter that is Babe Rainbow’s music. This trippy tune is a plethora of instrumentals that feel a lot like jumping on jelly. On a forever paradisiacal pilgrimage back in time, Babe Rainbow exists for those today who think they were born into the wrong music generation. Characterized by their 1960s psychedelic rock and surf culture imagery, “Loading Quicksilver With Pitchfork,” in addition to their older songs “Zeitgeist” and “Johny Says Stay Cool,” will teleport you back to the halcyon days of “turn on, tune in, drop out.” Full of fun, bouncy beats, and buoyancies, the boys of Byron Bay, New South Wales, Australia, know how to get the vibe across the great blue sea and into the global music scene. As an orchestra of psychedelic hops, bops, and phonics, this song is one big melting pot of sounds that keeps on stirring and stirring! -Rosa O’Reilly
Muroki, “Middle Ground”
Step into this smooth and soulful new release from Muroki. The Kenyan-New Zealand singer-songwriter and multi-instrumentalist unearths his truths with the accompaniment of producers Dave Hammer and Alex Wildwood. As he slows down his usual surf reggae tempo that we heard prominently during his initial music endeavors with small-town, Raglan-born band, “Cloak Bay,” the now solo singer gets truly intimate with himself, his instruments, and his introspections. Muroki describes “Middle Ground” as a reflective song about searching for connectivity in a long-distance relationship. The middle ground was a “metaphorical place I searched for to keep the romance alive with my partner when geography was keeping us apart.” As he sings: “How is it gonna feel without your touch?” there is a subtle interlude where the listener ponders the heart-breaking question. This track trickles down your spine and leaves an aftertaste of longing—that feeling anyone who has engaged in a long-distance relationship knows deeply. Resembling flavors from musicians like D’Angelo, Frank Ocean, and GoldLink, Muroki’s buttery vocals are the best thing since sliced bread. -Rosa O’Reilly
Tonyony, “Higha"
“Higha” is a track I am extremely happy to have stumbled upon. This song is simply euphoric, and for a debut single this is one that is unbelievably produced. The chorus strikes you with a fulfilling light melody somehow which will left me feeling “Higha than I’ve ever been”. After having this on repeat for the past week, I am very much looking forward to new releases from Tonyony; this is 100% worth a listen - or multiple back to back listens. -Kari Shetty
WILLOW, “Alone"
Honing in on her talented touch to make a hit, WILLOW does it again with her new single “Alone”. This song is just waiting to become the next “Wait a minute” or “Meet me at our spot” with an addicting melody and powerful vocals. New music by WILLOW is something I always look forward to and “Alone’ maintains that bouncy, intricate production that has kept her fans hooked. The crisp instrumentation strikes you, and her powerful yet nonchalant vocals creates a perfect dissonance that really captures the iconic WILLOW sound we all know and love. -Kari Shelly
Glass Animals, “Agnes”
The closing track off Glass Animals’ sophomore album How To Be A Human Being, “Agnes” tells the story of a struggling individual who cannot escape their self-destructive tendencies. A vibraphone melody sits atop purring synthesizers as Dave Bayley’s sultry vocals narrate the track, begging Agnes to “calm down now stop and breathe a second” and “go back to the very beginning.” Bayley’s grief can be heard as tension builds within the track; rising synths simulate feelings of hopelessness and claustrophobia. In the chorus of the song, synths swirl around Bayley’s vocals as he repeats, “you’re gone but you’re on my mind / I’m lost but I don’t know why.” A beautifully raw track about the complexities of life, death, and grief, “Agnes” by Glass Animals deserves to be played at full blast with no distractions. -Sky Hume
Daisy the Great, “Glitter 2”
“Glitter 2” by Daisy the Great is a reimagined, stripped-back version of their 2021 track “Glitter.” The original track is lively and buoyant, perfect for getting ready for a night out. This version takes a more melancholy approach, diluting the instrumentation and highlighting the unique two-part harmonies that have come to define Daisy the Great’s music. “I’m just rotten to the core, such a bore, such a wannabe / dressing for the thrill, like a pill, it’s an armor,” they sing on the second verse, speaking to anyone who’s ever dressed to impress. While Glitter by Daisy the Great is a track meant for dancing, Glitter 2 by Daisy the Great is a track meant for contemplation. -Sky Hume
