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Sounds Good is a monthly roundtable where we ask Straight staff what their ears are plugged into during one of our morning meetings. We’ve got a pretty diverse set of tastes, so there’s absolutely no cohesion here: just good vibes. And honestly, that sounds good.

This month, we cheated, and everyone answered over Slack like the cowards we are.

Angela: Right now I am a fully fledged member of the Beyhive, binging Beyonce’s country singles “Texas Hold ‘Em” and “16 Carriages”. 

“16 Carriages” is one of the most vulnerable tracks I’ve heard from Beyonce, ever. Her vocals in a country context soar and I can’t stop listening.

Sara: I am seconding Angela because I LOVE “Texas Hold Em”. It’s exciting to see Beyonce schooling literally everyone by reminding us that country music came from Black people. 

I am also revisiting my love of Wet (particularly “Body”).

Angela: I also just bought my tickets to The Last Dinner Party, a British indie girl band endorsed by both Hozier and Florence Welch (my idols). Their first album came out at the beginning of the month. I’ve heard them be described as the medieval boygenius, and I absolutely agree. Their song “Nothing Matters” is the perfect girlhood track about a lover that is both unhinged and sweet. They’re going to be huge.

Mike: Spending a lot of time driving to and from hockey practices means you need something—in addition to the three cans of Dragon Fruit-edition of Red Bull—to pump you up. Generally, first-wave punk rock does the trick—the Circle Jerks’ Group Sex, the Adolescents’ self-titled blue album, Agent Orange’s Living in Darkness, D.O.A.’s Hardcore ’81, and the Germs’ Joan Jett-produced GI. But for something that hits hard, but still sounds like high art, you can’t go wrong with the Stranglers’ Rattus Norvegicus. 

I found the record on vinyl in a used bin for $4, and have spent the years since wondering who the hell would have given it up unless they desperately needed Top Ramen money. The vocals fall somewhere between menacing and hypnotically lecherous, contrasted by the mellifluous, almost baroque keyboard work of Dave Greenfield. Anchoring it all are the death-punch bass lines of Jean-Jaques Burnell, his work nothing less iconic, especially on “Hanging Around” and “Peaches”. The man is a rightly considered god, and this record is a major reason why. All together now: “Strolling along minding my own business...”

V: Absolute eons ago—alright, last October, when we first started this column—I threatened to fill my picks with nothing but j-rock. I’ve mostly resisted the urge, but now I’m back to talk about Chili Beans. While their recent sophomore release wasn’t my cup of tea, last year’s collab with j-pop’s current hotness Vaundy, “rose”, is an absolute bop: bassy, seductive, and reverberating. 

I’ve also got to highlight Laura Jane Grace’s new album, Hole In My Head, which is a one-two punch of hope and heartbreak. With a characteristically raw production quality and a huge range of musical influences worn on its sleeve, it’s my favourite record of hers since Against Me!’s huge Transgender Dysphoria Blues a decade ago.

Kristi: I have a habit of getting into a band or artist and then having tunnel vision and listening to absolutely NOTHING NEW for months. 

My current obsession is Bakar from the UK, who put out his last album in the fall. I feel like it’s a fresh take on alt-indie music with the more upbeat sensibilities of happy hip-hop (if you can say that’s a thing?). I resent that there are no Canadian dates on his tour, but if anyone would like to take care of my kid next weekend and send me to Seattle, I won’t complain.

Also, Khruangbin is great for a writing vibe when I want to listen to something groovy sans lyrics.