Best Albums from p 40 out interruption,” it sort of feels like an album in the purest sense of the word. Which is to say, it’s this huge, deeply com- plicated soundscape, one that spins in ev- erything from found footage and boom-bap beats to a deluge of soul and funk and even psychedelic music. But, as 8OhEight promises, “everything is on pur- pose and thought through,” and thus you get a real sense of the producer’s skills, in- sights, and expert use of sonics to convey ideas and emotions with lethal efficiency. The fact that the “song” titles reference old-school WWE and The Meteor Man are only a sweet, sweet bonus. ROAR Diamond Destroyer of Death In discussing the standout song “Opposite of Flowers,” we mentioned the sheer com- plexity of ROAR’s Diamond Destroyer of Death. But the group, led by mastermind Owen Evans, proved that song is more than an abstract storyline or another “song hid- den in songs,” and the LP proper does much of the same. These 10 tracks feel like a ride on some wonderfully twisted carni- val ride titled “The History of Pop Music.” Whether it’s the big, shimmery vibes of “Paralyzed,” the heartbreaking ballad “Take Me,” or the otherworldly jangle-pop of “Reaction Video Dream,” Evans and company take everything familiar about ’60s-leaning pop, mess with its structure, and create something both familiar and groundbreaking. Still, ROAR doesn’t so much break ground as they obliterate the earth around us, and we’re more than happy to float through the trippy void right alongside. Secret Attraction True Love Releasing a love-themed EP on Valentine’s Day is, admittedly, a potentially hokey, defi- nitely cheesy career move. Unless, of course, you’re singer-songwriter Derek Wise (a.k.a. Secret Attraction), who filled the three songs of the True Love EP with his trademark sentimentality and razor- sharp musical chops. Whether it’s the su- per sleek title track, the similarly dreamy “Grey,” or the extra lush “Devotion,” these three pieces feel like a deliberate ode to synth-pop of the mid-’80s. But Wise simply isn’t satisfied with indulging mere nostal- gia, and he manages to apply both a mod- ern sheen and newer production techniques to make the EP feel fresh and new. Will you fall in love with this EP? Maybe, but you’ll for sure catch some big- time feelings. 42 Sydney Sprague maybe i will see you at the end of the world Regarding her debut album, Phoenix-born Sydney Sprague told New Times that she was hopeful just to have “a world for me to put these songs into,” and thus the record was a way to “hope for the best and expect the worst.” As it turns out, though, it’s the rest of the world that should feel lucky to have Sprague’s songs floating about. Michael Carter Sydney Sprague. Bounding between earnest folk, anthemic alt rock, and sentimental pop, Sprague’s 10-track collection is a musical achieve- ment far belying her 29 years of life. Whether she’s talking about rugged opti- mism (“i refuse to die”), deep heartache (“what u want”), or the ins and outs of ag- ing (“end of the world”), Sprague’s voice is an unflinching light in the dark. Here’s to whatever comes next. Multiple Artists Keep It Safe, Keep It Accessible In the grand tradition of truly great compi- lation albums, Keep It Safe, Keep It Accessi- ble accomplished its two essential goals. The first was that this 17-track album, or- ganized by MT Threat Productions, raised money for a good cause, the Abortion Fund Of Arizona. And all of that was on the back of truly great music from a slew of local art- ists. There’s Playboy Manbaby’s totally rol- licking “Car on Fire,” the utterly cutting “Never Owed You” from singer-songwriter Sarah Familiar, Jack Dillinger and the Ban- dits’ garage-pop jam “Yellow Scarf,” and even some weird experimental tunes from Mouse Dog Bird (“Wolf Tree”). Whatever your tastes, this comp provided fans with the best possible excuse to buy new music. Jack Arthur Light Leaks And speaking of compilations, we first spoke of Jack Arthur in February as the or- ganizer for I’m Working on Myself Vol. 1 (benefiting the Arizona Coalition to End Sexual & Domestic Violence). But Arthur is an earnest singer-songwriter in his own right, and in January released Light Leaks. The 14-track album sees Arthur bounding from different sounds and sentiments, be it the slightly twangy “Mars,” the blown-out orchestral weirdness of “Icarus and the Melting Point of Wax,” or the lo-fi version of The Killers that is “I Just Want to Feel Something.” Is this ongoing sonic identity crisis always the most compelling? No, but it’s still fun to listen as Arthur pours his heart into every new track. In that very specific sense, Arthur is clearly a talent to watch. JULY 1ST – JULY 7TH, 2021 PHOENIX NEW TIMES | MUSIC | CAFE | FILM | CULTURE | NIGHT+DAY | FEATURE | NEWS | OPINION | FEEDBACK | CONTENTS | phoenixnewtimes.com
