Y/N is a weekly music guide based on our very scientific, non-subjective Yes/No rating system. You could get with this, or you could get with that.
Y: Baltimore club niña TT the Artist’s ‘90s-inspired video for “Fly Girl” alludes to Technotronic’s most iconic groove commands and Saved by the Bell graphic direction, but the various dance styles split the difference between throwback and super-current. “If you look good, you pay your bills, and you make your own money,” declares TT, “put your hands up... this is the flygirl movement.” Welcome to your new going-out anthem.
Y?: Your main chick Enya’s first video since you frequented a crystal healing store called Prism has dropped, and “Echoes in Rain” is all that you hoped it would be: pop bangers disguised as sacred Celtic string-section hymns, with Enya reclaiming her throne as the holy godmother of chillwave. I’ll have what she’s having, amirite.
N: The Chainsmokers’ dickish 2013 hit “Selfie”—which I seemed only to ever hear at my gym—trafficked in Los Angeles trend clichés and the kind of frat-boy hee-haw that plays well on every city’s Power 105 and any given number of 4 p.m. sets at the EDM festival. “Until You Were Gone” is a fine and lovely song in their new repertoire of penance, “Roses” is all right too, but the video’s wolf-eyed and juvenile drooling over a SoulCycle instructor fosters the kind of male-centric comedic banality that was annoying in 1995, much less 2015.
Y: This live rendition of “Softcore,” from Tamaryn’s addictive darkwave album Cranekiss, literally reminded me to pull out my winklepickers from the back of my shoe closet, because it is fall and my entire wardrobe consists of black. But it’s not goth symbolism with Tamaryn, per se; it’s just that she knows the value of a rich bassline, and how it interacts with the way her vocal tone reads “serious business.” Drum machines are underrated.
Y????: K-pop crown princess and fashion icon CL is working hard to break into the English-language pop market Stateside, mostly with trappy rap numbers like the virulently hooky “Doctor Pepper” and, here, “Hello, Bitches.” While the choreography goes harder than perhaps any video this year—courtesy in part the ReQuest Dance Crew (thanks, Miss Info)—it’s dismaying to hear someone with such starpower resort to rap trope and cliché, even while deploying a razor-edge delivery in both English and Korean. Although it gets more promising by the second verse, and at least she’s no doubt truthful in her depiction of her life of private jets and diamonds from Dubai, I’m hoping the characterization of this song as a “street single” means her solo debut will be a little weirder and more adventurous.