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It’s about time you knew more about this London-based fourpiece, so let me tell you about them. Soccer Mommy, “Yellow Is the Color of Her Eyes”īased off singles alone, The Big Moon’s forthcoming second album Walking Like We Do is currently my frontrunner for 2020. In this case, “Hallelujah” processes death with a level of vulnerability (and Stevie Nicks energy) I don’t think we’ve yet heard from the sisters HAIM. (Their streak continues, but at least now the music and visuals enhance each other.) It’s so cruel and kind how tragedy and pain will bust open the creative juices. For awhile there, I thought HAIM might’ve run out of steam once they started to coast on PTA-directed music videos. No, but on a serious note, HAIM have been candid about all the shit they’ve worked through on their forthcoming album ( here’s Alana sharing the awful story of the loss of her best friend that inspired her verse on “Hallelujah”). Well, I don’t know who hurt HAIM, but it is inspiring some of their best work since the initial buzz that made them a household name (and worthy of Taylor Swift’s inner squad). Even a track like “Link Up,” a made-for-Instagram pussy-stunting anthem, shoots above algorithm basics to experiment with a beat and even cockier attitude change halfway through. But truthfully, she’s always had the mind of an independent, DIY by-any-means-necessary creator Songs for You is an extension of this ethos. The distinction here is that, now, Tinashe answers to herself. Now here she stands a year later, one label down and one project up - this time, under “Tinashe Music Inc.” This week’s Songs For You is her first independent release, 15 songs reminiscent of her early mixtapes released between bickering with her former label home, RCA, over her albums. In April 2018, I told you Tinashe wasn’t a music-industry prisoner. But this Porridge Radio refuse to give up the fight as they screech through a final crescendo toward the light. “I don’t want to get bitter, I want us to get better” is a very relatable plea for the things we face as we strive to be better to each other and often find it’s much harder than we’d like to admit.

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“I’m stuck, I’m stuck, I’m stuck, I’m stuck,” she frets, trying to work out how to be a well-intentioned person. It begins with emergency guitars, strings, and a rhythmic patter that’s then interrupted by vocalist Dana Margolin’s assertions of hitting a brick wall.

“Lilac” is the band’s first release after having just announced a deal with Secretly Canadian. seaside town of Brighton some years ago, actually sound like their name: Their musical landscape has a viscous, gummy heaviness that is incredibly satisfying to prod around in.

There is no way I would ever have predicted the existence of a band called Porridge Radio but now that one exists I cannot understand a world without one. Parker’s greatest trick, though, is you’ll get exactly as much as you put into this song: At a minimum, it’s gorgeous sonic wallpaper, but spend a bit of time with it and it’s a fascinating artistic leap from an artist in the process of cementing a brilliant legacy.

“Posthumous Forgiveness” is ultimately the most lyrically direct Tame Impala song that exists, which also makes it the most heartbreaking. Here, he burrows further and further into his own life and memories, exploring his complicated relationship with his father, and how he wishes he could tell him about what his life is like now (hence the song’s title). Parker excels at creating music that exists out of time, using sonic signifiers of the moment (you’d be forgiven if you thought the Weeknd in some way contributed to the vocals here), but as he moves further and further away from the relatively straightforward psych rock of 2010’s Innerspeaker, he continues to find a home in zonked out, hypnotic self-reflection.

“Posthumous Forgiveness” is easily the highlight of the latest crop of singles from Tame Impala’s upcoming The Slow Rush, because it doubles down on what front man Kevin Parker does so well.

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