This summer, the Billboard Hot 100 witnessed a slew of unique and evocative albums, including releases from Olivia Rodrigo and Gracie Abrams. While these stand-out pop records dominated the charts, recent fall releases have offered listeners a taste of genres from moody indie-rock to lovesick singer-songwriter.
New tracks from Bleachers, Carly Rae Jepsen and Lizzy McAlpine play with genre to provide varied descriptions of the nuances of modern romance.
Bleachers’s “Blood Brothers”
The recency of his public split from Emmy-nominated actress Margaret Qualley had fans of Jack Antonoff analyzing each syllable of Bleachers’s latest single, “Blood Brothers.” Antonoff announced the single on Instagram just a day before its release on Wednesday, foreshadowing the piece as a “very intense one to release” — an emotional warning that seems even more intriguing in light of his publicized love life.
The song begins with an eerie, scratchy synth sound that ultimately breaks into a more acoustic, indie-rock instrumental. Sporting an iconically “Bleachers” combination of warm saxophone, moody guitars and mellow drums, the song perfectly blends into the singer’s existing discography and inevitably transports listeners to a cinematic supercut of their own lives.
The lyrics, though lacking much visual imagery, reminisce on a complicated relationship that is coming to an end. Antonoff melancholically sings, “Oh, God, please make it over slow / Bring back peace, the radio,” during the song’s chorus.
Just before the final minute of the track, which is filled with stirring instrumentals and distorted, sci-fi-sounding synth, the artist sings, “Oh, blood brother, it’s over soon / And I can’t carry you.”
While it’s unclear exactly who the song is for, the possible comparison of a past lover to a “blood brother” — a term often used to signify someone with whom one shares a lifelong bond but not blood relation — is an especially evocative idiom. The singer attests to this inveterate bond, emphasizing that love and memories will remain even in the absence of the song’s muse.
Carly Rae Jepsen’s “On Wires”
Last week, Carly Rae Jepsen released the deluxe edition of her September record, “Day and Night.” With a whopping 32 tracks, the extended release begs the question of whether the original record was worthy of a continuation.
“On Wires” — the album’s lead single — features unique and captivating instrumentals, but its bland lyrics feel more reminiscent of a teenage text chain than a thoughtful artistic dialogue.
Starting with an intriguing mixture of distorted voices and a singular, repeated piano key, the track catches listeners’ attention with its unique musical theatre-like backing. Later, the instrumentation transitions into a more expected, yet still delightfully brooding, chorus of electric guitars. The first few lines feel both invigorating and full of longing, but as time goes on and the line “I want you” is repeated over and over, what once felt bold and atmospheric soon feels banal.
While repeating a line multiple times throughout a track can make the lyric feel more impactful and self-reflective, Jepsen’s use of repetition falls flat, feeling lazy rather than intentional. The song’s ending line of “I wanna be more than friends for the week” may have been satisfying on its own, but it loses steam considering it comes directly after another 20 seconds of uninspiring, repeated, “I want you’s.”
Lizzy McAlpine’s “Over country”
Known as a singer-songwriter with devastating lyricism, Lizzy McAlpine certainly delivered with the track “Over country” off of her latest record, “Angel.” While the song remains consistent with McAlpine’s typical writing prowess, it also offers a deviant theme from her typical releases: pure, uninterrupted comfort in a romantic relationship.
Whether you’re musing over your own far-away partner or simply daydreaming of romantic potentials, “Over country” pokes at heartstrings and prods at nostalgia. It highlights the simple beauty of someone continuously loving another despite physical distances. The simple acoustic guitar paired with McAlpine’s soft, intimate vocals only heightens the song’s emotional depth.
In a world where physical distance has been conquered by technology, McAlpine highlights the awe-inspiring beauty of something that seems so simple in modern society: the ability to love, choose and continuously show up for someone no matter what terrain divides you. The song is a testament to the rare immutability of certain loves, and how, despite an ever-changing world, some bonds are something even “time and space” can’t alter.
Ann Gray Golpira is a Section Editor covering Arts & Culture. She is from Norfolk, Virginia and plans on concentrating in both International and Public Affairs and Anthropology. Outside of The Herald, you can find her writing, recording and producing her original music.
