Staff Pix 11/17: New Releases

The Milk Crate staff’s favorite releases from the month of November, presented with blurbs worthy of a promotional sticker on a jewel case. Tune in Fridays from 3-4PM EST to the Staff Pix radio show.

Julia Norkus

“Puppet” By dora jar

Elves rejoice! Dora Jar returns with her first single in a year and what better way to make a comeback than with “Puppet”? With twinkling chimes and the sounds of a scissor cutting a string, Jar stays true to her ridiculous and wacky nature, and I couldn’t be happier. “I’m the puppet / Can you help me cut my thread?” Let me go! Let me run wild! Something about the way her voice lifts on “thread,” it feels like sprinting into the sunset, in a triumphant fit of liberation. She always knows just what to say to me, and right now, Dora Jar understands my Senioritis better than I do. I’m ready to run into the sun, to disappear and fly beyond this place—somewhere softer, warmer, brighter.  Much like Jar, I do truly feel that I’m “Always hanging by a thread.”

Stephanie Weber

“could you help me” by lucy rose

“Could You Help Me” is a hidden gem. It’s like if “Take Five” by Dave Brubeck made a love child with a synthesizer. Rose’s song is experimental jazz at its core, with a deep bass and fast piano under the echoey lyrics. The song is under three minutes, filled more with electronic surround sound instrumentals. That being said, the lyrics are written with a difficult relationship in mind. The song opens with the name of the song, with the last line in the stanza being, “Could you fit me in your busy day?” Rose’s singing isn’t filled particularly with anger, but the lyrics most definitely are. She moves into the chorus with lyrics like “Got a feeling like I never even ever knew you / Underneath it, could I ever really feel it for you?” Maybe this song will be the soundtrack of some girl in her 20s, dealing with the aftermath of a sleazy boyfriend breakup. 

Bennett Himmel

“capable of love” by pinkpantheress

PinkPantheress has had a huge year. “Boy’s a Liar pt. 2” with Ice Spice proved itself to be one of the biggest, zeitgeisty, Gen-Z bangers of the year with it’s chiptune, endlessly quotable charm. However, her new track “Capable of Love” off her excellent new record is instantly a shocking change of pace. Her lyricism is at once provocative and heart wrenching, and the introduction of fuzzy guitars and strings is very welcome. “Capable of Love” is a stark meditation on affection and how painful it can be to care about somebody, and it finally allows PinkPantheress to transcend the internet.

Serenity Holland

“Remember when” by wasia project

Wasia Project’s EP was my summer love, but I’ve been living on just that for too long. Finally, I can explore my autumn-coated melancholy in a new way with this song. It’s got this dreamy sensation that I drown in with my eyes closed, and strings that keep me afloat during the full three minutes and twelve seconds. If I’m being honest, the song has only been out for a couple days so I haven’t fully digested the lyrics. But I everytime hear, “when I called on the angels, I could’ve sworn that I heard you cry,” I, personally, die. I can’t wait to listen to this for the rest of time.

Malia Welham

“scapa flow” by Drop Nineteens

Another ‘90s shoegaze band has decided to plug their guitar pedals back in and create an album filled with ethereal distortion and floating vocals. First, Slowdive released “Everything is Alive” in September, and now Drop Nineteens, most known for their 1992 album, Delaware, has delivered their most recent project, “Hard Light.” The band decided to keep their classic 90s shoegaze sound by capturing the airy melodies of Dream Pop and fuzzy instrumentation of Noise Rock. This album is not going to blow the listeners mind. Instead, it will cover you in a blanket of nostalgia and surround you in noisy comfort.

Lia Klug

“cut my hair” by SUn Room

Sun Room is a surf rock band that has an incredible quality to transport you with their music. When I press play on their vintage style surf rock I am immediately transported to a hot summer day being on the way to the beach with friends. I heard Sun Room for the first time last February when they opened for Inhaler and even in the cold winter air I felt the summer breeze in my hair. Then when summer came I can attest that the summer moment I envisioned came true whenever I hit play. “Cut My Hair” continues the feeling and will no doubt be my new summer anthem. Join me in using Sun Room’s music as defense against the winter blues.

Lily Suckow Ziemer

“Tarantula queen” by monét ngo

Monét Ngo is most known for his single “Ruby Sparks,” released earlier this year, but released a new song, “Tarantula Queen,” Nov. 8. The song is a great addition to his already enjoyable discography. There are varying vocal techniques used throughout that create a satisfying indie rock song. Ngo is singing to the aforementioned tarantula queen, asking, “Why are you hiding in your bed / Tarantula queen / Will you love me until death?” The best is clearly yet to come with Ngo, who will surely continue to put out great songs like this one.

Everly Orfanedes

“Down In The Willow Garden” by Norah Jones and Rufus Wainwright

Singer-songwriters Norah Jones and Rufus Wainwright joined forces and released a cover of the traditional, folk song “Down In The Willow Garden” which has been covered by a multitude of artists throughout the years, such as theThe Everly Brothers in the ‘60s, a duo famous for their harmonies. In Jones and Wainwright’s rendition of the song, their harmonies are prominent and seemingly effortless. Their vocals guide the song, with a simple arrangement, only accompanied by the mellow strums and finger plucks of an acoustic guitar to compliment the lyrics. This cover does the song justice, performed in the folk style that compliments perfectly. 

Izzy Desmarais

“The Parting Glass” by boygenius, Ye vagabonds

Before “Auld Lang Syne,” there was “The Parting Glass.” A traditional Irish and Scottish ballad that was often sung before a gathering of friends parted for the evening, indie rock’s sweethearts boygenius released their rendition of the song in honor of the late Sinéad O’Connor. In collaboration with the Irish folk duo Ye Vagabonds, the single serves as Phoebe Bridgers’ annual holiday cover. Like years past, all proceeds will be donated. This time, per the request of O’Connor’s estate, Dublin-based after school program the Aisling Project will receive these donations. Soft and slow, with boygenius’ signature harmonies, “The Parting Glass” could easily be interpreted as a sad song. If you take a look at the lyrics, you’ll find that wistful kind of hope the supergroup is known for: “Of all the money that e’er I spent / I spent it in good company / And of all the harm that e’er I’ve done / Alas, it was to none but me.” A moving tribute and pleasant surprise, I’m thrilled with this year’s sad girl holiday tune. 

Salem Ross

“Not My Fault” by Frost Children

Hearth Room, Frost Children's second album of 2022 came out about eight hours ago. That was the same amount of time that an average day at my high school was, oddly enough on my first listen I could see dimly lit halls and uniform sweatshirts being hung up inside lockers. Frost Children tend to do that, act as a time traveling vessel through your headphones. Starting out reminiscing the startup noise of playstations, the song slowly turns into a point of proof, of standing up and wanting to deserve something unknown.

Amalia Sandine

“Alma Mater” by Bleachers

I know I know, listening to Bleachers in 2023 when you are over the age of 16 should probably be a crime, but what can I say—I fell for it. Jack Antonoff’s iron grip over pop production right now is exhausting, but I'll always have a place in my heart for his silly little band. 

Ellie Abbey

“I Can and I Will” by Searows

I had the absolute pleasure of seeing Searows open for Leith Ross last spring and I feel like I can really speak to his vibe. His music has a habit of appealing to the corners of our souls that sometimes we don’t even know exist. In his newest album, End Of The World, he pushes his style to new heights, namely in the 6-minute closing track, “I Can and I Will.” This song does not drag on as you may expect, but instead, delves into all sorts of emotions. Searows has a knack for taking simple lyrics and instrumentals, and making something awe striking, which is especially highlighted here.