Artists

L.A.-based artist Actually Huizenga is a natural-born provocateur, down to the name she’s given her band, Patriarchy. On their debut album, Asking for It, Huizenga howls over a jarring yet poppy mix of industrial and goth. Her perspective is fully rooted outside any box or system, as she plays with social constructs of faith and morality while successfully messing with our heads—all in good fun, and good music, of course. To complement her own provocative tales, she’s put together a mix just for us, one that’s as sinister as it is stimulating.

Says Actually of the playlist: “Some sweet songs that are also sexy for when you bring someone special home.”

Prince was nothing if not prolific, but turning out material at a breakneck pace didn’t necessarily gel with the marketing agenda of a major label. Prioritizing creativity over commerciality, he began warring with said label over its refusal to release as much material as he wanted. That’s when he began rebelling by adopting his famously unpronounceable symbol, with the world consequently calling him The Artist Formerly Known As Prince. But beginning with 1996’s aptly titled Emancipation, Prince (who eventually reverted to his given name) was freed from his contract. Releasing records through his own NPG imprint—sometimes distributed through other labels—he opened the floodgates and a startling torrent of music flowed through.

Even in his earlier days, Prince had always put out records at a pretty constant pace, but it was only after he entered his indie phase that it really became apparent just how much material he was producing. It wasn’t merely the amount of music that was overwhelming; it was the broad range of styles. He worked in a multiplicity of formats, sometimes on his own and sometimes backed by groups ranging from the rocking 3RDEYEGIRL to the funkier New Power Generation, and occasionally joined by guests including Sheryl Crow, Kate Bush, and Maceo Parker. In these settings, Prince slipped into R&B, rock, hip-hop, funk, jazz, electronics, and more.

The trouble is—and this is where Prince’s former label’s concerns were not entirely unfounded—wading through that much music can be a daunting, even confusing process. A lot of people had trouble keeping up with the emancipated Prince’s output. To this day, it can be a challenge, so here’s a handy guide hitting plenty of the highlights, from the steamy funk of “Black Sweat” to the smooth soul of the Stylistics cover “Betcha By Golly Wow,” the blistering rock of "PLECTRUMELECTRUM," the supple jazz of "Xemplify" and beyond.

Rafael Anton Irisarri treats every song as if it’s meant to contain all of Earth’s sounds. The prolific Seattle-based artist records shoegaze-infused techno as The Sight Below and ethereal dream pop with Benoit Pioulard as Orcas. He’s also collaborated with various electronic artists from different corners of the globe. But Irisarri tends to save his most cathartic compositions for work under his own name, creating droning ambient epics that feel infinite in texture. On his 2020 album Peripeteia, he weaves field recordings through an intricate mesh of keys, strings, and indefinable electronic effects that render the listener nearly numb. It’s both hypnotically dreamy and devastatingly dreary—seemingly the complete opposite to the bubbly bounce of a genre like reggae, which happens to be one of his biggest influences. Says Irisarri of his East of the River Hudson playlist: “This mix harkens to sounds I heard in the Caribbean growing up, which shaped the way I make music today. I was born on the island of Puerto Rico—that U.S. territory ‘surrounded by water, big water, ocean water’—and grew up in the 1980s, splitting time between Florida, New York, and San Juan, amongst other places. Growing up, my access to recorded music was fairly limited—scarce resources is certainly not a friend of the arts and culture. Most of the records and tapes I listened to consisted of hand-me-downs from either older cousins or friends. I had an uncle who was very much into reggae and used to make me mixtapes from songs he’d record from the radio. He could pick up a station based in nearby British Virgin Islands where they played this music on a regular basis. That’s how I taught myself to play the bass guitar, listening to reggae cassettes. Half of the time, I didn’t even know who the artists were, and only found out about them way after the fact. Thirty years later, I still enjoy hearing these songs; in some cases the production and aesthetic (heavy use of effects and sound processing, for example) have been incredibly influential in my own work. Hope you enjoy!”

‍Photo by Nikita Grushevskiy

Brooklyn-based band BODEGA create a breezy yet brazen mix of art rock and post-punk that covers topics ranging from modern consumer malaise to the sad, salty fate of “Jack in Titanic.” At their sharpest and most sardonic, they offer some of the more biting social commentary this side of the Atlantic: “Everyone is equally a master and a slave,” they ruminate on the punchy “How Did This Happen?!” Not surprisingly, the quintet soak up wide influences, many with a distinct ability to translate the beauty and sorrow of life into their own poignant languages. They compile quite a few in this set.

Says BODEGA’s Ben Hozie about the playlist: “I think the function of art is to remind us of what we value most in the world and in ourselves. There’s a great Radiohead B-side called ‘A Reminder’ with this lyric: ‘If I get old, remind me of this/The night we kissed and I really meant it/Whatever happens, if we’re still speaking/Pick up the phone, play me this song.’ All of the songs I chose for this playlist are personal reminders. Some of these are hard-hitting, whereas some are silly fun, but each one crystallizes some aspect of what I love in art and life.”

Previously known as Sister Crayon, California duo Rituals of Mine make the type of shadowy and sultry music that’s best consumed in the darkest of hours. Indeed, their newest EP, SLEEPER HOLD, carries the weight of tragedy and trauma, as it comes more than three years after lead singer Terra Lopez lost her father to suicide and her best friend to a fatal accident. Still, the songs are not exactly grim or gloomy but rather sharp and bold, exuding the sexy confidence of trip-hop at its finest (think: Tricky, with whom Lopez has collaborated) and electro-R&B at its dreamiest. While the EP is a form of therapy in its own right, Lopez also has a selection of songs she continually goes back to when life becomes unbearable—and she’s shared them with us here.

Says Terra of the playlist: “These are the songs that I’ve clung to over the years (new and old) when I’ve been at my lowest. Before I started taking antidepressants, these tracks were what kept me going, focused, and motivated to get through the day.”

‍Photo credit: Jeffrey LaTour

India-born, Oakland-based musician Kabir Kumar is Sun Kin, an ever-evolving project that’s as personal as it is community-based. It’s an outlet for Kumar to express his own musical voice, but also a good reason to bring together fellow artists from the Bay Area indie-pop scene to round out his vision. In 2020, he returned with his third album, Private Time, a collection of intimate bedroom pop that’s rich in soulful grooves and heavy with tales of bucking tradition, confronting trauma, and letting go. Even with its weighty themes, there’s an undeniable silkiness to the album’s overall flow, which is influenced by a number of artists—old and new—that Kumar has compiled for us with this buttery-smooth mix.

Says Kumar of the playlist: “It’s called ‘Still Smooth After All These Years’ because I’ve grown increasingly enamored of smoothness in music. When you can combine an effortless listen with subtle sonic complexities, you get songs from which you can pick up new details and feel something new years after your first listen. Moving from the psychedelic bossa nova of Triste Janero, ’80s sophisti-pop of Prefab Sprout, and Japanese city pop of Taeko Onuki to more modern takes by DIY institutions like Mr Twin Sister, Ava Luna, and Benny Sings, this playlist should hopefully shine a light on what we’re going for in Private Time.”

Swans have occupied a significant nook in experimental music since the early 1980s, when singer/songwriter/multi-instrumentalist Michael Gira formed the first iteration of the band in New York City. Since, Swans have been a continual artistic study in evolution and adaptation, as they’ve dived into the wild depths of no wave, post-punk, and noise rock and taken us on nearly maniacal explorations of sound where terror meets transcendence (see the 34-minute epic “Bring The Sun/Toussaint L’Ouverture”). In 2019, Gira returned with a new lineup for his band’s 15th studio album, Leaving Meaning, and that fall he announced a 2020 tour. To celebrate, the influential leader shared with us a playlist of mind-bending sounds, from artists like Pink Floyd, Frank Zappa, and Swans themselves.

Says Gira of the playlist and his 2020 plans: “Here is some music I chose... I hope you enjoy it. The newly refurbished Swans will be touring beginning early next year. In Europe, the stalwart Norman Westberg will be our support. In the USA, the fabulous Anna von Hausswolff will support. In the meantime, my best wishes to you."

On her debut album, With Me, which moves from cheeky pop tracks to heartwarming ballads to empowering anthems, Tatum Lynn sounds well beyond her 19 years. Still, the Arizona-based singer/songwriter glosses it all with a youthful vibrancy that’s infectious. Through it all, she channels a little of Ariana Grande’s sass (see single “Later Baby, XO” with its “thank u, next” vibe) and Taylor Swift’s evocative storytelling—and we think she’d dig that latter comparison, given that Ms. Swift shows up on Lynn’s Car Jams playlist more than once.

Says Tatum: “This playlist is definitely all music I would jam out to in my car! It reminds me of road trips I have taken with my girlfriends and how we just belt out each song like we were putting on our very own concert. I see people doing this with songs from my album, With Me, and am hoping one day I’ll pass by a car of girls blasting and putting on their own road-trip concert of ‘Later Baby, XO’!!”

‍Photo Credit: Nick Spanos

Jimmy Flemion of The Frogs shares his 20 most epically captivating live song performances by his fellow musician artists.

Says Flemion, "As you bear witness to ones vulnerability & essence...a mere glimpse into anothers soul, wonderment exchanged knowing you are somehow connected. Gospel received! Here are my top 20 ranked in order."

‍1. Bruce Springsteen "Backstreets""1976, I felt a need to get out of my seat & as close to the stage in the aisle as I physically could as he delivered this song. It was unforgettable, a sermon that moved me to tears & had the hairs on my skin standing up. The spirit move through him & he felt the need to share it. His performance inspired me to practice, sing & scream at the top of my lungs in our garage in my teens & my first songs revealed a tinge of his style."

‍2. Gary Numan "This Wreckage""1980, the lights go down, auditorium is dark, in anticipation the opening synthesizer notes are played & the drums & band kick in & the lights behind Gary shine simultaneously, shivers run down my spine."

‍3. Lene Lovich "Bird Song""1988, the otherworldly screeches fly from inside her mouth & are echoed & released into the crowd in full wedding dress regalia."

‍4. Klaus Nomi "Cold Song""1980, Milwaukee . Klaus 12 minute performance stopped traffic, turned heads & dropped jaws. The Frogs opened this show & I sang in a lounging lawn chair, a takeoff of Carpenters song, Close to You, turning it into Klaus to You."

‍5. XTC "Complicated Game""1979, Andy Partrridge, unhinged, inside the song, expelling demons, ghosts & letting it all out on display."

‍6. Cheap Trick "Stop This Game""1980, the intro music droned, Robin Zander made his way to the mike & laid into the most beautiful piercing vocal imaginable."

‍7. Patti Smith "Easter""1978, a master class in delivery & recitation, Patti saw to it that you felt what she felt & placed you in person at the resurrection."

‍8. David Bowie "Heroes""1997, sound check for his 50th birthday party. One of the most effortless vocal performances I’ve ever heard. Don’t know if he was holding back because it was rehearsal but it was amazing & flawless."

‍9. The Kinks "Everybody’s a Star (Starmaker)""1976, Ray Davies showmanship unparalleled, prancing playing the part of a star to perfection."

‍10. Prince "God""1997, Prince’ piano & voice in touch with creation at his most expressive continued taking the music & the crowd higher & higher."

‍11. Jethro Tull "Wind Up""1974, Ian Anderson multi directional strums set the tone as he winds the song & the audience up into a frenzy."

‍12. Elvis Costello & The Attractions "Lipstick Vogue""1979, one of the tightest combos ever in all of rock. This version was full speed ahead blistering."

‍13. The Police "Invisible Sun""1981, the hypnotic mood generated combined light & darkness to the point of transcendence."

‍14. The Pretenders "Message of Love""1981. Chrissie & the band were at their finest with their raw guitar attack & solo back beat shining & encased in beauty."

‍15. Donovan "Lalena""1988, a special song for me since I used to sing The Frogs 1980 punk cover version. Donovan explained the back story of the song, Lalena being a prostitute & then proceeded to dazzle with breath conscious breathtaking vocals."

‍16. Lou Reed "Street Hassle""1978, Lou was getting ready to exude his two word punch phrase “Bad luck”, he sings the last line before this, You know what it’s called... the venue is absolutely silent , a guy in the crowd yells out at the top of his lungs, Bad luck, beating him to the punch. Lou got furious, raving mad, pissed off, started playing his guitar louder & louder, it became the last song of the night & he walked off after only 7 songs."

‍17. Todd Rundgren "Real Man""1978, From the moment the show started, you couldn’t take your eyes off him, as he commanded & demanded attention, simply gripping & riveting."

‍18. Alice Cooper "Only Women Bleed""1977, Alice stages a gritty, emotional, engaging prominence of vulnerability."

‍19. ELP "Knife-Edge""1977, Keith Emerson’s showcase, 360 degree spinning Hammond organ, wildly stabbing with knives extending note sustain."

‍20. Roger McGuinn "Chestnut Mare""1988 Roger or rather Jim if you will, captivated with his Wild West storytelling & guitar picking prowess."

The Frogs have recently announced an upcoming release of the originally intended first Frogs album, titled 1st. And will be going on tour to promote the album while celebrating 40 years of Frogs music.

The Frogs singer, guitarist Jimmy Flemion is joined by Evan Dando of The Lemonheads on drums as well as guitars & vocals.

The world has gotten smaller. If you compare the U.S. and U.K. Top 40 pop charts these days, you’ll mostly see the same batch of songs on both. It’s probably a function of the Information Age turning cultural variations into one big, transatlantic pile of homogeneity.

But it wasn’t always that way. In decades past, the British and American pop charts were almost entirely different creatures. Americans trawling through the U.K. Top 40 would encounter a slew of songs and artists that were foreign to them in every sense of the word, as well as some they might know but would never have expected to have mainstream appeal.

The U.S. Top 40 has always been known for playing it safe. Rarely does anything too far outside the margins pop up. But in England of old, you could find edgy, underground artists rising to the top as well as utterly eccentric bits of weirdness with no readily discernible explanation, the results of the kind of old-fashioned regionalism that’s been increasingly phased out.

This collection of U.K. Top 40 hits from the ’60s through the ’90s is designed to astonish Americans who’ve grown used to thinking of the pop charts as the home of the lowest common denominator. On one end of the spectrum are the artists too cool, too quirky, or too in-your-face to ever score U.S. pop hits. That encompasses everything from the doomy post-punk of Joy Division and Public Image Ltd. to the goth glory of Bauhaus, the seminal electro-pop of Kraftwerk, the punk roar of The Damned, and the thrash-metal madness of Megadeth.

But before you decide the U.K. musical mainstream is just exponentially cooler than that of the U.S., take a look at the other end of the spectrum. There’s goofy pre-WWII pastiche, Peter Sellers’ mock-dramatic recitative of “A Hard Day’s Night,” a loopy-sounding brass-band instrumental, a ska remake of a tune whose only lyrics are “Ne Ne Na Na Na Na Nu Nu,” and plenty of other bizarre entries unknown to most Americans.

It all adds up to one of the most schizophrenic playlists you’re ever likely to experience, swooping back and forth from the sublime to the ridiculous with giddy glee. And the breathless momentum incurred will echo the mercurial feeling of following the U.K. Top 40 in the pre-internet era.