A reader nominates the fourth track off the latest album from Grace Potter. NPR’s Ann Powers reviewedMidnight recently:
Potter has risen in the rock world leading the Nocturnals, a super-solid band that's proven versatile enough to integrate plenty of soul, but which always goes back to the basic rock riff. .. Working with L.A. producer Eric Valentine on Midnight, she remains her aggressive, earthy self while getting playful in new ways. With its songs about sex and dancing, self-confidence and risk, Midnight is a mid-career turn for Potter that proves genuinely freeing.
Want to recommend a great track that was released within the past two weeks? Email [email protected]. The whole TOTD archive is here.
Even relatively unhip New York Times columnists agree that the new Carly Rae Jepsen album is “the best thing ever.” Right now, my favorite track is “Boy Problems,” above, but honestly next week (or tomorrow) I may feel completely differently.
A list of thoughts, non-exclusive, about this track—a sugar-laced, late-summer masterpiece:
1. That glitch drum fill from 0:06 to 0:08! It’s barely two seconds long and there are at least seven distinct sounds in there. The Twitter user @kerryrm helpfully slowed it down for us.
2. This song is dense with storytelling. By the 12th second, we know its plot, conflict, and three major characters. We’ve even heard from two of those characters in their own voices. And then the name of the song hits at just 0:15!
3. The plot continues to develop between the pre-chorus (“Boy problems / Who’s got em / I got em too”) and the chorus (“I think I broke up with my boyfriend / and I don’t really care / I’ve got worse problems”). And the chorus reveals too that this is a song titled “Boy Problems” that is not really about boy problems at all.
4. Over at Jezebel, Jia Tolentino surveys Jepsen’s problems and decides that this track is in fact “a beautiful gay song of discovery.” Possibly so—queerness, as ever, stays to the margins and evades full detection. But I think it’s very hard to hear this song’s three or four call-and-response moments (“na-nana-nana”) and conclude it wasn’t written as some kind of anthem.
From the first reader to send an email to hello@ after the Notes launch:
Very happy to have the distinction of being first emailer; hope you received a lot of good feedback today. Looking forward to Matt’s email for beta feedback. Really quickly, I wanted to pass along how well the site looks and runs, especially on mobile. Super fast and responsive. So glad to see this kind of content + commentary mix again. (Though “Monster in My Pants” was ... an unexpected way to end the day.)
Couple of recent tracks I love, if you’re interested:
One of the cool things about our new Notes section is that it allows us to revive a lot of Atlantic features that fell by the wayside from the growing pull of the social web. One of the features we want to start with is “Track of the Day” (archived here). In a recent Slack chat among staffers reminiscing about their favorite Nickelodeon shows from the '80s, Jennie wrote:
My fondest memory of my Nickelodeon watching is the time they played the video for “Monster” by Fred Schneider from the B52s. Nick Rocks was supposed to show cute, child-friendly videos (like the Cars video in this commercial). I guess they thought “Monster” was child-friendly because ... it featured a dancing, animated penis and women wearing giant plastic naked butts and the refrain, “There's a monster in my pants and he does a nasty dance”?
Heh. Have a track or music video to recommend, especially one that’s been released very recently? Email [email protected]. (Update: I had forgotten the TOTD wasn’t specifically part of the Wire so I amended the note accordingly.)