![]() Grapetooth is light on fuss and big on easy thrills. The “red” theme extends to the Chicago synths-and-vox duo’s name, which refers to what happens to your teeth when you imbibe fermented grape juice, and should give you some idea of what you’re in for with their self-titled debut. ![]() It’s the sort of lighting choice you might use when you’re hosting a party at your post-collegiate apartment and trying to obscure the smudges on the walls. Grapetooth has a song called “Red Wine,” and the video for it opens with a shot of an interior illuminated by a red light bulb. On the whole, the record is a prime example of clean and simple pop writing, but the group’s collective quirks make it stand above everyone else, regardless of language. The plush “Paradise” is the record’s standout-showing most readily the ease with which each member can bounce from lithe singing to rapping. ![]() ![]() While “Fake Love” has garnered the most success, songs like the jazz-inflected ode to Pluto “134340” and the 90s hip-hop-cribbing anthem “Anpanman” make the album feel full and diverse in a way that few pop albums do. BTS, South Korea’s most successful boy band in a pure numbers sense, capitalized on these overarching narratives this year with the release of their crowning achievement, Love Yourself: Tear. The genre’s current mainstream success has been a long, steady build, and now, thanks to a generation of listeners who grew up on the internet no longer biased toward the sounds of their home regions, it’s fully entered public consciousness in North America. ![]()
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