Around these parts, the dog days of summer are such that it doesn’t take much time outdoors for humidity to clog the brain. The moisture blankets the synapses as if a thick mist, soaking up the charge of neurotransmitters across the synaptic clefts. Yet, though we move, think and speak slower, somehow our memories of childhood remain as vivid as ever.
In other words, to appropriate a monologue from The Wonder Years, I remember a place, a town, a house like a lot of houses, a yard like a lot of other yards, and the Realistic-branded compact stereo that played my vinyl treasures. Air conditioning was verboten in my household, but—aside from sticky nights—I never much minded. I made due with a window fan, splaying across the floor in front of the stereo while playing a heady mix of 45s and LPs—or, as often, the radio. That 15-year-old kid couldn’t imagine having all the world’s music at his fingertips.
No radio station then or now would have dared played the 90-minute mix that Apple Music delivered to me this morning, however. It ranges from the expected to the weird, rock to folk to country, with plenty of artists I’ve never heard of—all good things—with the only negative being the lack of retro-flavored R&B/soul.
As I’ve explained before, Apple Music’s algorithm-driven New Music Mix, which updates every Friday, looks to past plays to predict potential new likes. I listen to it most weeks, though rarely in full; I have finicky tastes, as this blog shows, and make frequent use of “next.” Some weeks, that translates to four (out of 25) songs that I kinda-sorta enjoy; others have introduced me to a slew of new sounds that I’ve obsessed over for weeks on end.
Today’s picks opens with Jade Bird’s “Nobody,” about the end of a relationship, from her recent Who Wants to Talk About Love? album; I gave the platter a cursory listen last week and enjoyed it, but got distracted. Maybe this coming week I’ll give it another play. A new Doobie Brothers song, “Here to Stay” follows. Huh?! Back in the day, they were everyone’s fifth favorite band and, while it’s cool that they’re still takin’ it to the streets…why my New Music Mix?! The last time I played them was at least a decade ago, if not longer.
Molly Tuttle’s “The Highway Knows,” on the other hand, fits with my recent and not-so-recent listens, given that her 2019 When You’re Ready album remains a favorite. (I haven’t spotlighted her since, I don’t think, but that doesn’t mean I haven’t enjoyed the albums and EPs that have followed). Jamie Lidell’s piano-driven “How Do I Land” reminds me of a soft rain on a summer’s day, though I enjoyed it more before he began to sing, while Min Taka’s “Boston,” about the lingering aftereffects of an ill-timed kiss, is a breezy delight; I doubt I’ll go back to either, but that’s okay. They’re enjoyable, both. Madeline Edwards’ “Can’t Go Back,” however, led me to add its album home, Fruit, to my library; it’s soulful country at its best. The same’s true to an extent of Sophia Zamani’s “Start Again.” I skipped the next two songs within seconds: “Bury Me Not” by Poor Creatures and “It Moves” by Parade. The former is folk, but a tad too sleepy, while the latter is frenzied punk—and not for me.
The Wandering Hearts’ rendition of “Helpless,” on the other hand, is magic set to song. How its album home, a reimagining of Crosby, Stills, Nash & Young’s classic Deja Vu, escaped me until now, I do not know. (That’s next up on my docket to play and, tomorrow, write about.) “Journey Home,” a jazzy entree from Alina Bzhezhinska & Tulshi, works wonders paired with it; I’ve also added its album home, Whispers of Rain, to my library.
The rhythmic “Kelegusta” from Africa Express simultaneously upends and continues the laidback sound; it’s fun, but unessential. The same’s true for Lissie’s plaintive rendition of Simon & Garfunkel’s “America,” from her forthcoming covers EP, Promises. “High Time” from Swedish country singer Maja Francis, on the other hand, is a rollicking good time. For some reason, “Die for Me” from Cheer-Accident reminds me of one of my wife’s favorite artists, Laura Nyro, while Laura Stevenson—who I saw open for Juliana Hatfield in 2017—handles herself with the indie rock-flavored “I Want to Remember It All.” Enjoyable both, but I doubt I’ll delve into either again.
Stone Foundation’s “Starting from Zero,” from the surprise (to me, at least) Revival of Survival bonus EP they released this morning, is the lone dose of heady R&B in the mix; I expect to play the EP a ton in the days ahead. The same goes for Sheryl Crow’s new single, “The New Normal,” which is a pointed protest song that sports an infectious groove.
Country singer-songwriter Brandon Malone’s “Man from Tennessee” is akin to a smooth whiskey; it’s traditional country, the kind of tune that leads me to click “replay” as soon as it ends. It hails from his recent self-titled EP which, now that I’m aware it exists, I’ll be checking out. Chloe Hoecker’s “Treat Me Like Dirt,” in which she yearns for more attention from her man, is another country delight.
I skipped both Tyler Ballgame’s “Got a New Car” and Gus Baldwin’s “Credit Card” within seconds—it’s less about them and more about me, I’m sure. The Jeanines’ “To Fall” seems designed to fit into as many themed playlists as possible; its inoffensive and, at two minutes, short. Alai’s “Fearful Reflection,” on the other hand, is a moody outing that lingers with you after it fades to silence.
Bflannagan’s “Grief’s Echo” ends the New Music Mix on a touching note, though its EP home seems a tad too Teen Mania for my tastes.
All in all, this week’s 25-song, 90-minute mix introduced me to a handful of artists, albums and EPs that I will definitely revisit in the days ahead—especially The Wandering Hearts, Madeline Edwards, Alina Bzhezhinska &Tulshi, Stone Foundation and Brandon Malone. (Molly Tuttle, too, though her new album isn’t out yet.)
The Old Grey Cat 
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