Whether it be lead singles, full albums or even live recordings, April was filled with an overwhelming amount of incredible new music. Even after I narrowed it down to my favorite eight songs, simply deciding the order of the songs was difficult because of how close they all were in quality. Despite the difficult process, I landed on these eight tracks, and here’s why.
#8
“What Was That” by Lorde
After Lorde deprived us of new releases for four years, she has finally delivered by announcing her upcoming album “Virgin.” Lorde teases her return with a classic 2014, Tumblr pop Lorde sound in “What Was That” which heavily resembles my personal favorite album of hers: “Melodrama.” While this is what made her as successful as she is today, I do wish she explored a more unique sound than what she has done in the past. “What Was That” sounds like she fed her albums “Pure Heroine” and “Melodrama” into ChatGPT and told it to give her a good lead single. I want to see how she has grown as an artist instead of hearing her still singing about being 17 even though she’s pushing 30. Despite this, it’s sonically as good as her work always is and I’m excited to see how she will differentiate with the rest of the album.
#7
“Henry, Come On” by Lana Del Rey
The string-focused single “Henry, Come On” captures a Southern Gothic sound we haven’t heard from Lana Del Rey before. The way she harmonizes with the orchestra makes the song sound magical. Although there has been controversy surrounding how long it is taking her to release her, currently unnamed, upcoming album, I understand why the project is taking so long with the amount of effort she puts into the quality of her songs. When I listen to this song, it makes me feel like I’m a lonesome cowboy on a life-long quest. I wouldn’t be surprised if “Henry, Come On” has already been used in a “Brokeback Mountain” edit.
#6
“Silver Lining” by Laufey
“Silver Lining” is a classic Laufey bop. This song’s quiet instrumentation combined with its steady beat creates a soothing feeling. Laufey’s vocals are always outstanding, but how she uses them by layering them on this song is what makes it sound so dreamy. I find it incredibly interesting that Laufey is credited for playing cello, electric guitar and the wood block on this song; I wasn’t even aware a wood block was considered an instrument, But her choice to handpick and play several of the instruments only shows how dedicated laufey was to her specific vision she had for this song. “Silver Lining” has immediately been added to my study playlist because it always gets me locked-in with the serene instrumentation.
#5
“At The Beach, In Every Life” by Gigi Perez
My new favorite of Gigi Perez’s discography is the title track from “At The Beach, In Every Life.” Perez’s vocal talent is absolutely the highlight of the song through the range she displays, whether it be in the background or lead vocals. With all the mentions of lighthouses and the ocean, it’s the perfect closing track considering the beachy themes of the album. “At The Beach, In Every Life” especially stands out because there is no real chorus in the song, making it feel like a love letter. Of course, Perez’s lyric-writing is strong throughout “At The Beach, In Every Life,” but the lyrics in the third verse strike me as particularly powerful: “There I saw you standing/Must’ve been a holy light/’Cause I can’t see and I can’t feel/But the color in your eyes.” Considering this is her debut album, the high quality of it astonishes me.
#4
“Death Wish” by Gracie Abrams
I am such a “Good Riddance” stan, so hearing Gracie Abrams going back to her acoustic and sad roots in the live recording, “Death Wish,” makes me very happy. Stronger than her last release “The Secret of Us,” “Death Wish” combines her skills from that album with the energy of her previous releases. To me, “Death Wish” is very reminiscent of songs like “Older” and “Long Sleeves” with the devastating sound of the piano and even more devastating lyrics. The lyrics as she builds up to the outro are evident of how Abrams has grown in her artistry: “I used to pretend that it didn’t feel evil/Your light of a million suns burns through people/And bridges and cities ’til ash covers ground/A breath of your air is a death wish.” I’m excited to see if we will get to hear an official studio version of “Death Wish” in the future.
#3
“Cuntissimo” by MARINA
After Marina’s previous singles, “Cuntissimo” was a breath of fresh air. “Butterfly”’s inconsistent production and lack-luster lyrics made me write off her upcoming album. However, the moment I put my headphones on and pressed play on “Cuntissimo,” I knew I was wrong. The song starts with a simple violin riff, but quickly switches to a fast-paced beat that immediately captivated me. The word “Cuntissimo” feels a bit gimmicky, but I’m falling for it. The electronic, beat-driven production is similar to the sound that is the foundation of Marina’s career: “Electra Heart” and “The Family Jewels.” Unlike Lorde, this song still has a unique sound with the addition of the orchestra and the modern lyrics. Really, all the similarity shows is how Marina has become more advanced as a musician.
#2
“Headphones On” by Addison Rae
Out of the singles Addison Rae has released for her upcoming debut album “Addison,” this has been my favorite. Of course “Diet Pepsi” was an instant hit but “Headphones On” stands out because it mimics that early 2000s vibe that Rae is going for with the overall aesthetic of this album release. The whispery, layered vocals juxtaposed with the synth-driven production makes the song an immediate club hit. Not only is the production fire, but the lyrics are so catchy that I can’t get Rae’s music off the brain. I find myself singing the first line of the chorus “Guess I gotta accept the pain/Need a cigarette to make me feel better” far too often for a mild Addison Rae fan. Keep an eye out for our review of “Addison” coming out on June 6.
#1
“Not a Lot, Just Forever – Live” by Adrianne Lenker
“Not a Lot, Just Forever – Live” feels like what Adrianne Lenker’s new live album was building up to. It’s a very calm song in the sense that it primarily consists of Lenker’s vocals and her acoustic guitar, but the lyrics and the emotion she puts into singing make the song incredibly powerful. She starts off the song with a simple spoken word introduction, saying “Here we are/For a brief infinite moment/Together in this room, everything has led to this point/And we’re together” which sets the mood for the deep lyrics of the song. Though “Not a Lot, Just Forever” was originally released in 2020, I included this version because of how different it is from the original recording. My favorite part about this version is the inclusion of the violin, which elevates the sadness in the sound of the song and pairs well with her vocals. To read my thoughts on the rest of Lenker’s most recent release “Live at Revolution Hall,” make sure to check out my full review of the album.
Because April had so many great releases and it was so difficult to choose just eight, here are my extended favorites. With all of the incredible singles, I’m excited to hear the albums being released later this year.
