There weren’t many new releases this week that we came across that we thoroughly enjoyed, so here’s some new music we either discovered or re-discovered this past week, along with one new release! If you’d like for us to continue to show love to older albums we recently discovered too, let us know!
‘DYING TO LIVE’
Now, it wouldn’t be a New Music Monday post here on Mandalay if we didn’t talk about our very own Kodak Black’s latest album Dying to Live. DTLmay be one of Kodak’s most refined albums where we find him experimenting with different studio sounds and styles, most notably his more comfortable use of auto-tune. The opening track Testimonymight be one of Kodak’s best songs in his lengthy discography and sets the tone for Kodak’s future both sonically and lyrically, as he strays from the usual glorification of the streets in favor of showing that prison time isn’t something to show off like a badge. While about a quarter of the record was already teased through the release of singles, we do get like 12 new Kodak tracks with this album and who can be mad about that?
‘THE PROMISE OF LOVE’
Delegation’s soulful funk record; The Promise of Love is one of those records you can put on if you’re having a shitty or stressful day, and it works just as well as a blunt does at turning your day around. My buddy Jimmy decided to bless me with a link to this album last week, and to be honest I owe him a lot for that. From the moment the opening song, aptly titled The Promise of Love,comes on I challenge any of you reading this to try to keep yourself strapped into your seat and not throw your hands in the air like an elderly black woman in church. Shout out Delegation and shout out my boy Jimmy for putting me onto them.
Jimmy Eat World
Jimmy Eat World’s second album Clarity touches on all the traits and qualities that made Jimmy Eat World such a well-rounded powerhouse in rock music. Clarity finds Jimmy Eat World taking these wide-range of sounds that they’ve perfected in their following records Bleed American and Futures, to complete experimental extremes. To me, listening to Clarity is like the equivalent to watching an early film by a Hollywood big shot like Scorsese or Tarantino. There’s a certain rawness that’s only present in the early moments of artist’s careers, and much like Scorsese with Who’s that Knocking at my Dooror Mean Streets, you can feel the true sense of artistry strongest in early works like this when all the refinements of studios and producers are left out of the picture. Same goes for their first record Static Prevails which I actually just started bumping for the first time after re-discovering Clarity, arguably the definitive Jimmy Eat World record.