▼ Music Summer Setlist The best local and national songs of 2022 (so far). Phoenix-born pop/R&B artist and songwriter Taylor Upsahl. this list. Does the EP have other standouts? Sure, “Ashes” is a surprisingly uplifting ballad, and “Pillowcase” will likely stick you right in the old gut. But it’s “White Noise” that shimmers with the brightest of glitters, as the song marries the band’s core strengths of earnest song- writing, giant-sized hooks, and a syringe of pure fun. ’Cause time means nothing with licks like these, folks. UPSAHL’s Twitter BY CHRIS COPLAN I t’s hard to believe that 2022 is already halfway over. If we’re ranking it compared to the hell of the last few years, there’s evidence that some things have improved, and yet the world’s just as horrible as ever. Luckily, there’s something to help face our continued, slightly lackadaisical slog toward hell: great music. This year has seen the release of great music both locally and nationally, from punk barn-burners and shimmery pop to stoic indie rock and frills-free grunge. Maybe these songs can’t make us forget about what’s happening, but playing them over and over just might make the journey a little more fun. UPSAHL, ‘Monica Lewinsky’ Taylor Upsahl isn’t just a talented singer; she’s also got an endlessly sharp wit and an eye for artistic choices that push buttons without ever feeling forced. You can see it in album/EP titles like Young Life Crisis and Lady Jesus, or invoking Fight Club with the video for “MoneyOnMyMind.” But a true career highlight of this tendency is the single “Monica Lewinsky,” which debuted in late spring. It wouldn’t be enough to call this a gritty female empow- erment anthem for our age. No, Upsahl confronts our societal biases and attitudes toward women with venom and passion that manages to both shame and entice any listener. Dadadoh + The POC, ‘Pockets’ With their latest album, HOOLIGANS, Phoenix’s own Dadadoh + The POC tells the story of Phoenix. And just how do they perceive our little slice of the Copper State? Well, wrap your ears around that LP’s undisputed standout, “Pockets.” It’s practically the sonic version of the city itself, with weirdly layered beats of twisted surf rock and frenetic hip-hop that feel both profoundly celebratory and also somewhat markedly depressive. In a word, a picture-perfect glimpse into our bizarre and wonderful cityscape. The Darts, ‘Shit Show’ And speaking of a bona fide “Shit Show,” The Darts’ standout single, from April’s Love Tsunami EP, feels like it could also be about the Valley. Or, maybe a terrible ex-boyfriend, or just a weird moment in one’s life. Either way, this desert-rock- with-a-side-of glam anthem is a powerful expression of disdain and the need to burn it all down. Maybe it lacks subtlety in lines like, “This is a shit show / A shitty shit show,” but The Darts have the prowess and charisma to make that into something resembling true rock ’n’ roll poetry. Joyce Manor, ‘Gotta Let It Go’ Joyce Manor mostly won the year when they called their new album 40 Oz. To Fresno. (How do you like that, Sublime fans?) But if that weren’t enough, the album itself, which landed in mid-June, feels like a beaming continuation of the manic punk that’s made the band a long- time favorite. That’s certainly clear with the nine-track record’s lead single, “Gotta Let It Go.” It’s everything you could want in a punk anthem: a sturdy two-minute run time, lots of big hooks and a huge chorus, and a simple message about moving on with your life. If you cut the fat of life and get to the point, something magical seems to happen. The Black Moods, ‘Saturday Night’ Around these parts, The Black Moods have always been treated like royalty. And they’ve clearly recognized this abundance of love across the years, continually upping their game to become a bigger, more badass rock band. That growth continued with this year’s Into the Night, a collection of sweat-soaked odes to hedonism and life’s simple pleasures (read: friends, booze, and crazy parties). And “Saturday Night” is perhaps the best encapsulation of that, an homage to the best night of the week that also happens to be among the band’s most catchy and perfectly constructed tunes. Rock on. Diva Bleach, ‘White Noise’ Technically speaking, Diva Beach released “White Noise” way back in summer 2021. However, it’s also the stur- diest track on this spring’s No Fun EP, and thus it totally deserves a prime spot on Rex Orange County, ‘Keep It Up’ We’ve been hyped for the new Rex Orange County since the announcement of WHO CARES? earlier this year. But even before the album properly sank its teeth into hapless listeners, the single “Keep It Up” wormed its way into our hearts and minds. And how could it not, as Mr. O.C. continued to refine his ironic, pseudo- millennial Brian Wilson shtick with a romance ballad for a generation that’s both hugely cynical and voraciously seeking pop songs to soothe and sway. The album itself delivers on that same promise and then some, but it’s really “Keep It Up” that defined this exciting new era for the English crooner. Hank Topless, ‘Cut My Head Off’ There are quite a few reasons to love Arizona’s own Hank Topless. The singer’s very name, for instance, is the best kind of satirical celebration of country and Americana music. Or, there’s some of his song titles, including “The Ghost of Bad Love” and “Country Western Crackhead Hippy,” from this year’s Thank Your Dirty Stars. But it’s the music, namely that album’s “Cut My Head Off,” that makes this Tucson boy a genuine star. It’s a track that is both a poignant slice of country and something altogether more bizarre — and in that tight space, Mr. Topless shines like a postmodern Conway Twitty. Weston Smith, ‘Dry Dry Desert’ Back in January, Weston Smith released the 10-track DUNGEON. With descrip- tions of Weston as a “wistful wizard,” one could easily chalk these up to a bunch of silly little gimmicks and needless world- building. Until you hear the album standout “Dry Dry Desert,” and all those kooky gimmicks and nerdy tendencies fall away pretty quickly. Because whether it’s his blown-out, slightly-detached vocals, the barrage of ’80s synth magic, or the pulsing rhythms, the song is a tran- scendent experience beyond all marketing ploys or other needless context. And that’s true even with a truly epic album cover. >> p 38 37 phoenixnewtimes.com | CONTENTS | FEEDBACK | OPINION | NEWS | FEATURE | NIGHT+DAY | CULTURE | FILM | CAFE | MUSIC | PHOENIX NEW TIMES JUNE 23RD– JUNE 29TH, 2022
