![]() The clinking of a few piano keys and the gentle drawl of her voice reels you in before the song kicks into overdrive, bringing in the pop/rock/ska elements that invoke the spirit of No Doubt’s version. Instead of that iconic quirky guitar riff that opens No Doubt’s anthem of teen girl angst, Florence’s rendition begins slowly and eerily. As both Welch and the show have largely Sapphic fanbases, the collaboration feels like a match made in gay heaven. Despite the song’s tragic storytelling, its triumphant climax makes it feel hopeful, too.Ĭongratulations to the folks who fall smack dab in the middle of the Venn diagram of Yellowjackets and Florence + The Machine fans! Songstress (and the closest thing we’ll get to a real-life forest fairy) Florence Welch released a cover of No Doubt’s 1995 hit “Just a Girl,” which was used in the Yellowjackets Season 2 trailer. The song sounds just as emotional as it did six years ago, and the lyric “In five years I hope the songs feel like covers/ Dedicated to new lovers” still hits you like a Mack truck. It’s not at all what I expected a “Night Shift” music video to look like after picturing imaginary scenery in my head all these years, but the result is so much better. In the video, Dacus stars as a hotel employee who drifts through a convention full of witches, ghosts, a game of mini golf, a drag queen performing on stage and dreamy mood lighting to eventually get to the grand finale: Dacus and Brown finding each other in the crowd and sharing a kiss. So when it was announced that a music video directed by non-binary filmmaker Jane Schoenbrun and starring Y ellowjackets and Scream star Jasmin Savoy Brown (as well as a cast of other queer actors and musicians) would be coming out in honour of Historian’s fifth-anniversary vinyl release, I knew I couldn’t resist including the song on the list. It also happens to be one of my personal favourite breakup songs. It’s six years old and was the lead single and the biggest hit on Dacus’s 2018 sophomore album, Historian. I know what you’re thinking-“Night Shift” by Lucy Dacus is not new. ![]() The carefree, not-giving-a-fuck spirit of the track complements the youthful energy the group embodies. The band’s sound and Victoria’s singing style have already drawn comparisons to Paramore, but this specific song’s isolated pounding drums at the beginning and its plucky, determined progression also have a Simple Plan or The All-American Rejects vibe as well. Their debut album Past // Present // Future (signed to Fueled by Ramen, a label famous for housing several notable pop punk acts of the early to mid aughts) was released this month, and the song “Thx 4 Nothin’” is a highlight. So it’s refreshing and vindicating to see a trio of queer women of colour-Edith Victoria, Téa Campbell and Ada Juarez-shining as they bring this musical style to a younger generation. Traditionally, emo was mostly fronted by white artists. I mentioned in last month’s Tune-Up that the resurgence of the type of emo and pop punk that boomed in the early 2000s has given us several new bands to watch out for, and Meet Me The Altar is undoubtedly one of them. ![]() It’s a thrilling song that, much like the rest of Tumor’s discography, makes you feel like you’re listening to something modern and classic at the same time. A vortex of guitars that twist over each other and a chorus of Tumor’s vocals layered to create ethereal harmonies atop a gritty soundscape make the object of Tumor’s desire on this song sound like a deity that they are worshiping. The song “Ebony Eye” closes out the album and leaves you on an ecstasy-inducing high note. Their fifth album, Praise a Lord Who Chews but Which Does Not Consume (Or Simply, Hot Between Worlds), follows a similar path that their previous acclaimed LP Heaven to a Tortured Mind took: experimental rock with other kaleidoscopic influences, from synth pop to goth rock to dream pop. Not only do they nail the energy of 1970s psychedelic/glam rock, but Tumor’s commitment to cultivating an enigmatic persona of a genre-bending queer rockstar adds an aura of mystique that makes their take on ’70s genres truly unique. No one can do a throwback quite like Yves Tumor, the moniker of musician and producer Sean Bowie.
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