Human Pursuits Radio 003: STAND FOR A MIDWEST PRINCESS
Yer best musical buds on U.K. Americana singer Yola, and "Midwest Princess" Chappell Roan
VANCOUVER – Hark!
What sound doth cut through the virtual static?
Could it be???
Yes!!!
Human Pursuits Radio has returned from holiday, with your first pan-Pacific bulletin of 2024.
This week, best musical buds Dan Zajac and Ethan Sawyer are keeping it F.T.G. (For The Gorls), with selections from soulful British singer-songwriter Yola, and rising queer icon Chappell Roan.
This year, the boys have a single resolution: to sort through the filler and promote only Proper Chunes.
Touch the dial at your doom!!!
Dan’s pick: Stand For Myself by Yola
Intro
DZ: In the interest of changing up genres again this month I wanted to take Ethan on a trip back to my version of 2021, which was a weird year to be a Canadian living in New Zealand. With strict border closures in place, my partner and I were locked in the beautiful, natural prison that was NZ. This album soundtracked a lot of our exploration that year, along with many lockdown nights, and has since become a comfort album of mine. Hopefully, Ethan feels the same.
ES: While I’m happy to have a month with no pop-punk or emo, I’m somewhat skeptical of Daniel’s pick. I’m sure Yola is very nice, but the album cover is not something I would reach for instinctively. Praying there’s more here than meets the eye.
Barely Alive
ES: Well if this isn’t a Twistos twist. Sweet 1970s soul in a shiny 2010s package. A quick scan of the album credits shows it was produced by Dan Auerbach (The Black Keys) who also worked on Lana Del Rey’s Ultraviolence. Not a banger, per se, but this is a breath of fresh air.
DZ: Insert *surprise surprise* meme. Yes, the album cover is an…odd choice. This may not be a banger but Yola’s soulful crooning hits me right in the feels. Queue this up on a weekend morning with a cup of coffee and feel all your stresses wash away. The vibes are real!
Dancing Away In Tears
ES: For as much as we talk about Chunes, I don’t think you and I have ever discussed my love of soul music. Sonically, this song reminds me of Marvin Gaye’s ‘Mercy Mercy Me (The Ecology),’ with a little bit of Can’t Get Enough-era Barry White in the melody for good measure.
DZ: Soul music?! Definitely not. Not quite a Track 2 Slapper but this one has some pretty layered instrumentation. Auerbach’s production makes everything crisp and clear. I’ll take your comparisons as a sign of success!
Diamond Studded Shoes
ES: Damn, is that a clavichord I hear? A pretty funky pop song about the lives of the working poor.
DZ: HOW do you even know what a clavichord sounds like?! Anyway, you’ve said so little about probably the most ‘fun’ song on the album! Love me some Springsteen-eseque working-class Americana, wrapped up in a catchy Chune.
Be My Friend
ES: Sonically, it sounds a little bit like Gaga circa Joanne. Yola’s willingness to embrace different genres gives the record a certain timelessness. Lyrically, I find this one a little scattered. Not my favourite, but not bad.
DZ: Agree to disagree. I love Yola’s vocal performance on this. Her vocal strain in the chorus is so good. Such a pretty guitar solo too. One of my highlights.
Great Divide
ES: Now this is what I’m talking about. On the surface, this is a simple song about loneliness and wanting someone. But it’s delivered with such conviction. Yola can sing her little ass off but I think Auerbach’s production falls short here. The live performance of this song at Stagecoach Festival feels a lot more energetic than the studio recording.
DZ: I never had a problem with the production on this album, but that live version does slap. Like, really slaps. Yola’s vocals there are 10/10. Goosebump-inducing. The album version was one of my faves before, but now I think that’s true despite the production.
Starlight
ES: And another strong vocal performance. Is that a nod to Nina Simone I hear? Is this song supposed to remind me of Gnarles Barkley? Hard to tell.
DZ: Yes, another strong vocal performance on a song that’s so smooth. Not one of my faves but still pleasant.
If I Had To Do It All Again
ES: File this under shit only you and I care about (a.k.a. S.O.Y.I.C.A.) but the first half of this album is a little short on bridges and a little heavy on guitar solos for my liking. I keep waiting for some jaw-dropping moment to come and grab me by the neck. And instead, it’s some guy noodling on his Strat.
DZ: This exercise is interesting because you’re flagging things in the album that I haven’t noticed after many, many listens (albeit, definitely S.O.Y.I.C.A.).
The lack of bridges and *big moments* is a fair point. Admittedly, I tend to listen to this album passively. It’s something I put on in the background, for comfort, like a warm blanket. Listening more actively, I think the missed opportunities are more apparent. This track specifically doesn’t bring much unique or interesting to the table.
Now You’re Here
ES: This song is smooth. Like, silk sheet smooth. And yet I can’t help but feel that Auerbach kind of dropped the ball on this entire record. Again, a poorly recorded YouTube video should not have more energy than the polished studio track.
DZ: Damn. You didn’t have to come for him that hard. But also, where’s the lie?
Whatever You Want
ES: A little bit country, a little bit rock’n’roll. Either way, it’s catchy, with a bridge (and another guitar solo) to boot.
DZ: I really like this one! Yola’s vocals shine through here and the energy is welcome after the last few tracks. And it’s true, a bridge!
Break The Bough
ES: The most joyful song about a parent’s death I have ever heard. This might be a Proper Chune right here.
DZ: I quite like the final stretch of this album. This song does have a bridge, and Yola really lets her vocals rip throughout. Horns and woo-oohs and lots of fun (just don’t listen too closely to the lyrics).
Like A Photograph
ES: Before we wrap, I should mention the musicianship. In particular, I found myself gravitating towards bassist Nick Movshon. His playing provides the rhythmic backbone that most of these songs build on, though every performer seems pretty wonderful.
DZ: Yes, really great musicianship throughout. We should also give props to the percussionist Sam Bacco (I also think this is one instrument that Auerbach assists in the mix). On an album of great vocal performances, this may be the best.
Stand For Myself
ES: Number 12 with a bullet. The music, the lyrics, and the production all play off each other perfectly. Does this confirm Auerbach is better at producing rock music? Maybe.
DZ: Agreed. Great end to an album which I am now slightly reevaluating after your comments and this discussion. I imagine this would be killer live.
Ethan’s pick: The Rise and Fall of a Midwest Princess by Chappell Roan
Intro
ES: There’s no such thing as an overnight success, but for me, it felt like Chappell Roan was suddenly everywhere at the end of 2023. Leah’s sisters played the shit out of this record on our recent trip up to Whistler and I feel it is extremely “Dan-coded.” Let’s see if my theory proves true.
DZ: Damn you, Ethan! Coming in strong with another banger album. I hadn’t heard this before you recommended it. That said, I think the tracklist could be pared down to make a greater 10-song album or an even better 8-song EP. Look forward to discussing my new fave pop girlie!
Femininomenon
DZ: Immediately this reminds me of Robyn’s Body Talk–specifically that record’s opening track, “Fembot.” It’s less about the way it sounds, and more about the obvious ‘fem’ references and just how weird both songs are; especially being placed at the start of each album. Chappell’s throwing everything at the wall here–spoken word, cowbell, a nonsensical Papa Johns lyric–and I’m loving all of it. Stupid, cheeky, and unabashedly queer.
ES: The Papa Johns lyric may be nonsensical but it is so pleasing. Very reminiscent of something Kesha might have done on Warrior. Also, you may notice that Olivia Rodrigo’s producer-du-jour Dan Nirgo helped write and record this thing.
Red Wine Supernova
DZ: As soon as the synths started I was hooked. Ethan, this continues to prove your Track 2 Slapper theory. A fun story about a messy hook-up, that is also straight-up hilarious. One big strength of this album is Chappell’s lyrics, which are so camp and clever that they had me LOLing on first listen (and subsequent ones, too). I think the bridge here may be the best example of Chappell’s comedic perspective. I also love how explicit she is willing to go.
ES: Yeah, it’s a Track 2 Slapper, a Proper Chune of the highest caliber. Even though the lyrics are fairly explicit, she somehow manages to communicate consent without it being cringe. Crazy to think how far we’ve come in the 10 years since ‘Blurred Lines’.
After Midnight
DZ: If we’re talking about cutting this album down to a ‘greater 10-song album’ or an all-killer-no-filler 8-song EP, this one would make the first cut, but probably not the second. A fun mid-tempo bop which again, has clever lyrics, but remains relatively unremarkable.
ES: If this was on a Carly Rae Jepsen b-sides album you would eat it right up, but sure. It’s more straightforward than tracks one and two, but I think it helps reestablish expectations for what’s to come.
Coffee
DZ: My big criticism of this album, I would say, is that it contains two halves: (i) the ballads and (ii) everything else. There is one key ballad that I think is quite successful, but generally, I find the rest to be forgettable. I think that’s because the ballads miss some of the fun and clever aspects that Chappell does so well in other songs. You could cut this song to make a stronger album.
ES: I would agree that this song is a little forgettable. Maybe she felt the need to demonstrate that she’s a true artist and more than the made-up Midwest princess we see on the cover…?
Casual
DZ: This is it. The ‘Driver’s License.’ The centerpiece ballad. The only one we need. Such an effective contrast between the very explicit lyrics and the laidback production. Sonically, it echoes the assertions from Chappell’s unnamed partner –that their relationship is ‘casual’. Killer bridge too.
ES: Chappell Roan could write Hamlet but Shakespeare could not write ‘Casual.’ “You fucked me in the bathroom / When we went to dinner / Your parents at the table / You wonder why I’m bitter???” Pure poetry. Horny and heartbreaking.
Super Graphic Ultra Modern Girl
DZ: Now we’re into the one-two punch of BIG bops on this album. The spoken-word intro is absolutely wild, and I love that includes one of the album’s two references to Mean Girls (“Wearing these…fugly jeans”). I die. Like ‘Femininomenon,’ I think you could argue this song is doing too much, but why make that argument when this is so fun?!
ES: Let the record show that Leah called this one. She said, and I quote, “I can just see him saying, ‘You guys! This is so fun!!’”
HOT TO GO!
DZ: Again, this is just SO MUCH fun—the gang vocals and cheerleader vibes are in full swing here. I haven’t mentioned Chappell’s vocal performance very much, but she is so committed to these cheekier songs, and her delivery sells the energy. This has been stuck in my head for days. There are hooks all over this thing.
ES: Seriously, we are hooked on phonics over here. Also: see Peyton’s excellent analysis of this track from a few newsletters back.
My Kink Is Karma
DZ: On first listen this was not a highlight for me, but it’s become a surprise fave. It’s slower than the past couple of tracks, but it has gorgeous verses, a killer call-and-response pre-chorus, and a HUGE wall of sound chorus. The bridge climaxes–literally–in a moment of pure, euphoric dark comedy. Also, this was released before Taylor Swift’s Midnights so Chappell can proudly say she embraced karma first.
ES: TBH the middle of this record is so much more than a one-two punch. Chappell has spent 4 songs pummeling us like a speed bag. This is my favourite vocal performance on the album.
Picture You
DZ: See my comments above regarding the ballads. This is probably the most forgettable of the bunch. I don’t think I’d ever come back to it outside of listening to the whole album.
ES: I sort of agree, and yet I don’t think this is a bad song. Lyrically, it’s less interesting than what came before it but, like Yola, I think Chappell is simply a singer I enjoy listening to.
Kaleidoscope
DZ: Another somewhat forgettable ballad. Chappell is a really good singer though, and this is probably one of the best showcases for her voice.
ES: If you enjoy Chappell’s voice here I’d encourage you to listen to Angel Olsen’s most recent record, Big Time. Her vocals are similarly lush and dreamy.
Pink Pony Club
DZ: I absolutely love the storytelling here, as well as Chappell’s vocal performance (especially each “Ohhh what have you done” in the chorus). The song opens with piano and includes multiple guitar solos, which both evoke the feeling of a ‘live bar performance’. Having recently visited the Abbey in West Hollywood–which helped inspire the song–I’m happy to have a personal connection to this track. I also love that Chappell recruited the famed first-ever boot from RuPaul’s Drag Race, Porkchop, for the music video.
ES: I’m sure this is not intentional, but the melody here really reminds me of Bo Burnham for some reason. It’s like if ‘FaceTime With My Mom’ ‘Jeff Bezos I’ and ‘All Eyes on Me’ did poppers at the Abbey or something.
Naked In Manhattan
DZ: A fun disco-pop bop, although not one of the highlights. I appreciate that it contains Mean Girls reference #2 and the (continued) brazen queerness.
ES: Finally, some Pisces representation. Worth noting that this was a single with a music video and everything. Related: Chappell apparently styles herself, and I think she’s quite good at it.
California
DZ: The final ballad. It’s just missing that spark.
ES: Something I’ve tried to remember listening to both of this week’s picks is that I’m always approaching art with an inherent privilege (straight, white, middle class). My first few listens, I sort of thought this was a boring song, that was just for Chappell. The YouTube comments tell another story:
“This is a beautiful song Chappell, being that I'm from the same place as you it hits even harder. Really makes the world feel gigantic, small, exciting and desperately reminiscent all in one.”
Guilty Pleasure
DZ: This song is fine. It would make my 10-song cutdown album but not my all-killer-no-filler 8-song EP. I appreciate that it turns up the energy from the first chorus and brings back the quirkiness (is she yodeling in the bridge?!). Also, the vocals on the chorus are pretty.
ES: The bridge single-handedly makes this an acceptable album closer. It’s a big, memorable moment in an otherwise alright pop song.
Proper Chunes, Proper Chum
Dan’s Chunes → Diamond Studded Shoes; My Kink is Karma
Dan’s Chum → If I Had To Do It All Again; Picture You
Ethan’s Chunes → Stand For Myself; Red Wine Supernova
Ethan’s Chum → Be My Friend; Kaleidoscope
Closing argument
DZ: Ethan’s commentary on Yola, and simply putting the album through this exercise, has given me a slightly adjusted view of that album. By discussing each song, I now notice that the album lends itself to an ‘aggregate’ listening experience, where you benefit by putting it on and letting the vibes wash over you. This is in stark contrast to Chappel Roan’s record, which is chock-full of moments and ideas (occasionally to its detriment). Either way, it keeps the discourse interesting.
ES: In his year-end songs list, Stereogum’s Tom Breihan made the astute observation that “Anything can be a banger, but almost nothing can be a banger.” That’s sort of how I feel about Yola. The songs are good, but her live performances seem to outshine the studio album. Compare this with Chappell Roan, who has plenty of Proper Chunes, but who could have pared the tracklist down to create a more efficient project.
Comments, criticisms, collaborations? Bang the inbox – ethan@humanpursuits.org