It's the last Monday in November—the holidays are coming!—but for now, let's get into some righteous jams.
What Editor-at-Large Doreen St.Félix is listening to:
I've seen the release of Erykah Badu's new mixtape, U Cain't Use My Phone , framed as a "comeback" offering. Dedicated fans like myself understand Badu a bit differently: afro-futurists like her don't work so linearly. Rather, after Baduizm established her warble as one of soul's most eccentric, Badu has been an ambient presence in the R&B genre. I thought I'd take us back to 2000. "Bag Lady" plays out as a classic rumination, pensive and slow, on the inevitable drop the spirit experiences when a love fizzles out. The video, a panorama of statuesque women draped in bright, monochrome garb, provides a gorgeous visual, a calming portrait to begin the work week.
What Associate Editor Laia Garcia is listening to:
A Thousand Leaves was the first Sonic Youth record I ever purchased. It was 1998 and I had just discovered the magic that was 120 Minutes, Sunday nights on MTV when they played the video for the first single off that record, "Sunday." I loved that song just fine, but it was the song that follows it on the record "Female Mechanic Now on Duty" that opened up a whole world of possibility for me and began my long-lasting Kim Gordon obsession. Between slow, lazy, jarring guitars that almost come to a standstill before starting again, Kim's raspy slightly dissonant voice talk/sings "modern women cry/modern women don't cry." I had never heard such words in a song, I had never felt such feelings, but I knew they would last forever. This morning I played this song and it felt as groundbreaking now as it did then. This live version is even better than the recorded version.