Featuring The Gaslight Anthem, Creeper, and Corona
In last week’s installment of Holyfield Weekly Playlist, our writers picked some great songs from an assortment of acts, ranging from Barry White to AFI. Here is what they have for this week’s installment.
Brandon Allin: Creeper – Misery
“Misery” is Creeper at their most broken, their most vulnerable, and unsurprisingly, their most poetic. It’s a haunting number that cuts like a knife, transporting listeners to a time where they too felt the cold chill of desolation. Despite its dreariness, Creeper makes “Misery” feel hopeful, almost a battle cry. Frontman Will Gould’s pain-riddled croon has a way of acting as a light within the darkness, a somber foothold for listeners to find their balance. It’s a testament to exactly what the quintet is capable of, and why one of the UK’s biggest rising stars are ones to keep an eye on.
Premal Bhatt: Demi Lovato – Sorry Not Sorry
I personally hate the phrase the song title is named after because why say sorry if you don’t mean it? However, this is a real jam. Lovato sings about being unapologetically sexual. Male artists do it all the time – so power to the women. Call it a guilty pleasure or whatever, but sometimes you just need some fun pop music in your life.
Matt Bram: The Gaslight Anthem – Great Expectations
Do you remember the song that vastly changed how you viewed music? For me, it’s “Great Expectations.” I was 14 when they released the music video for the song, which kicked off an immense dive into music I otherwise would’ve never been exposed to. Up until that point, I would essentially just take what was given to me. My arsenal included Linkin Park, Good Charlotte, Papa Roach, and Story of the Year. That’s pretty much it. I didn’t seek out music at that age. I don’t remember what possessed me to click on this Youtube video but I’m glad I did. I hadn’t heard anything like that song or anything off their sophomore album, The ’59 Sound. To be fair, I still haven’t heard anything like it, even from the Gaslight Anthem or Brian Fallon’s solo work. There is a timelessness about that record, a sound that is truly unique, and Fallon’s storytelling and romantics fit perfectly with the throwback punk rock sound. Their Springsteen comparisons eventually would skyrocket them to the forefront of the rock world and they’ll prove themselves worthy of consideration as the greatest rock band out there, but before all that, they helped me, many others I’m sure, find their way.
Cody Conley: Blanck Mass – Rhesus Negative
Blanck Mass, the solo project of Benjamin John Power, makes dance music for the end of the world. Power takes the alien mothership sound of his other musical project, Fuck Buttons, and contorts it into something resembling pop music, complete with (albeit nonverbal) hooks and refrains. Like the music you’d hear at that weird cave rave in The Matrix Reloaded. “Rhesus Negative” works equally as dance music as the soundtrack to a chase sequence in a slasher flick.
Akshat Singhal: Dua Lipa – New Rules
Dua Lipa is a relatively new entry to the world of pop music but you wouldn’t know that by listening to her music. “New Rules,” her latest single off of her self-titled debut album, quickly grew to become the jam of the summer. She carves out her own path by creating a mega-hit about moving on past a relationship. “New Rules,” as well as the rest of her debut album, is an excellent start to the British pop star’s career.
Drew Steele: Corona – Rhythm of the Night
For those older millennials growing up in the Tri-state area, remember 103.5 KTU? I mean, yes, the radio station still exists but its current state is not what it was during the early to mid-2000s. KTU used to have the same 30 songs on repeat all day that belongs on A Night at the Roxbury’s soundtrack. These cheesy, 90s dance tracks were a staple of the area’s airwaves. Everyone knows these songs, lyrics and all, but couldn’t tell you the name or the artist. “Rhythm of the Night” represents everything about KTU I remember. I couldn’t stand these type of songs when I was a kid, but I’d be damned if I don’t get nostalgic about my childhood when I hear one of these stereotypical 90s dance tracks.