Pollen by Tennis

Tennis and I go way back. I think back to the time I wanted to be on the high school tennis team (this was the hey day of late 80s/early 90s tennis – think Reebok Pumps and Agassi vs Chang). Having had no training whatsoever, and no idea what it might take, I got the courage up to sign up for the round-robin tournament to get onto the team. Then the coach consequently forgot to put me in the lineup, and I had to muster even more courage to go ask him why. “Oh, I forgot, I’m sorry – here, I’ll have you play [name escapes me].” Turns out [name escapes me] was the literal best player on the team (and therefore had not needed to go through the round-robin either). We played a best-of-three sets match and I managed to eek out a 6-0 / 6-0 loss, surprising no-one, and resoundingly ending my budding tennis career there on the spot.

It’s a good thing Tennis, the indie-pop duo from Denver, is nothing like the tennis I know. Alaina Moore and Patrick Riley are husband and wife, and they’ve been releasing music together as Tennis for 12 years now. The phenomenal Pollen is their sixth album together, and the first one that’s resonated well enough with me to warrant repeated listening. Sometimes it just takes a while, you know?

Tennis have a shtick that may or may not work for you. Taking their album at face value, it’s full of solid pop music from start to finish. Nothing too flashy, but almost all of it catch and hummable. But then you look at their videos, such as the one above for “Let’s Make a Mistake Tonight”, or the other one released from this album, for the song “One Night with the Valet,” and it’s clear they’re totally goofing around. They’ve been doing it for their entire careers, so you’d think they’d get tired of it, but clearly not. These two videos are so fantastically bad they’re good, and that’s to say nothing of the great music featured.

Give the album a whirl. You can approach it from many sides – there’s some Chvrches in there, some Tom Tom Club, and even some Kate Bush for good measure. I know you’ll like it – and you may surprise yourself and love it enough to put it on repeat.

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Laurel Hell by Mitski

Mitski Miyawaki, who writes and performs under her first name, Mitski, quit music in 2019. Shortly after her critically-acclaimed fifth album Be The Cowboy entered the mainstream, at the final show of her tour supporting that album, she announced to the crowd that it would be her last show indefinitely, and she meant it. “I was thinking this was the last show I would perform ever, and then I would quit and find another life,” she told Rolling Stone when looking back at that time in the build up to the February 2022 release of her wonderful sixth album, Lauren Hell. Her triumphant return, in more ways than one.

Lauren Hell was not a return to form or an unexpected surprise to me — it was the catalyst to finally understanding Mitski and her music. Despite placing her fourth album, Puberty 2, at #24 in 2016, I’ve never really connected with Mitski before. Her fifth album, the one that got her so much popularity that she had to sever all ties from the music world “indefinitely” barely hit my radar in 2018. I think I probably listened to it only once, maybe twice, never to be heard again. Even in the build up to this year’s list, with Lauren Hell, — similar to Big Thief at #24 this year — I knew I should like it, and I tried a few times but it just didn’t click.

Then I compiled the 2022 list towards the end of the year, as I do every year. I took a stab at where things would likely land, and this album was somewhere in the upper 20s. But in the day or two before I was to write about it, like I do every album on the list, I played the album a few times back to back to back. This time, the light bulb turned on. This was not a bottom-of-the-list album, it was better than that. So I shuffled things around. I didn’t push it too far up – I’m not crazy enough to think it’s better than 17 other albums from 2022 – but where each album is placed is meaningful to me, and having this album fall in the middle of the list is saying something. This album is great.

The songs of Lauren Hell are predictable in the best way possible. They start off quieter, they swell to a crescendo in the middle, and then they fall slowly at the end. They’re approachable, and impeccably crafted indie pop. She carries the torch first lit by Kate Bush, carried forward by Tori Amos, and most recently hoisted up by St. Vincent (2009 #24, 2012 #15 with David Byrne,2017 #27).

Mitski conveys a little bit of “off-kilter” similar to those artists in her videos as well. Watch “Love Me More” above, as well as “Working for the Knife” and “Stay Soft,” and you’ll find a performer fully invested in themselves and without shame. She continually puts herself in strange and unusual positions that are fantastic to watch while listening to her beautiful constructions. I didn’t sit with them to try and sort out the deeper meaning, but I’m convinced it’s there. Let me know if you find it. I’ll be over here listening to the album and trying to sort out what’s taken me so long to get to where the rest of you have been all along.

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19. Full Moon Project by Phosphorescent
20. Skinty Fia by Fontaines D.C.
21. I Love You Jennifer B by Jockstrap
22. Too Much to Ask by Cheekface
23. Dripfield by Goose
24. Dragon New Warm Mountain I Believe In You by Big Thief
25. And In The Darkness, Hearts Aglow by Weyes Blood
26. NOT TiGHT by DOMi & JD BECK
27. Preacher’s Daughter by Ethel Cain
28. Live at KEXP, vol. 10 by Various Artists
29. All You Need Is Time by Daisy the Great
30. Cool It Down by Yeah Yeah Yeahs
31. CAPRISONGS by FKA twigs

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#25 on the 2023 Bacon Top 31 — Tennis

#18 on the 2022 Bacon Top 31 — Mitski