On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year's aptly named Turn Into compilation showcased a fuzz-loving artist in flux—chronicling her mission to master bedroom recording—then the rising Oakland star's latest, Everybody Works, is the LP equivalent of mission accomplished.
Duterte is as DIY as ever—writing, recording, playing, and producing every sound beyond a few backing vocals—but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk.
And while Duterte's early stuff found her bucking against life's lows, Everybody Works is about turning that angst into fuel for forging ahead. "Last time I was angry at the world," she says. "This is a note to myself: everybody's trying their best on their own set of problems and goals. We're all working for something."
Everybody Works was made in three furious, caffeinated weeks in October. She came home from the road, moved into a new apartment, set up her bedroom studio (with room for a bed this time) and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like "Lipstick Stains" all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like "1 Billion Dogs" and in the melodic distortions of "Take It," we also get the sublimely spacious synth-pop beauty of "Remain," and the luxe, proggy funk of "One More Time, Please."
Duterte's production approach was inspired by the complexity of Tame Impala, the simplicity of Yo La Tengo, and the messiness of Pixies. "Also, I was listening to a lot of Carly Rae Jepsen to be quite honest," she says. "Her E•MO•TION album actually inspired a lot of the sounds on Everybody Works."
There's story in the sounds—even in the fact that Duterte's voice is more present than before. As for the lyrics, our host leaves the meaning to us. So if we can interpret, there's a bit about the aspirational and fleeting nature of love in the opener, and the oddity of turning your art into job on the titular track. There's even one tune, "The Bus Song," that seems to be written as a dialog between two kids, although it plays like vintage Broken Social Scene and likely has more to do with yearning for things out of reach.
While there's no obvious politics here, Duterte says witnessing the challenges facing women, people of color, and the queer community lit a fire. And when you reach the end of Everybody Works, "For Light," you'll find a mantra suitable for anyone trying, as Duterte says, "to find your peace even if it's not perfect." As her trusty trumpet blows, she sings: "I'll be right on time, open blinds for light, won't forget to climb."
1Lipstick Stains (1:52)
2The Bus Song (3:37)
41 Billion Dogs (2:44)
5One More Time, Please (3:42)
8Take It (3:20)
9Everybody Works (3:29)
10For Light (7:23)
While Jay Som returns to the fuzzed-out guitars and yearning pop that has defined her earlier work, these new songs introduce an ever-expanding palette — shimmering and spacious synth-pop, glossy R&B and slinky, polyrhythmic funk.
"Melina Duterte may be at the beginning of what looks like a breakthrough year, but with promising songs like 'The Bus Song,' Jay Som already feels fully formed."
“It’s exciting to listen to her music and know that you’re never going to hear the same thing twice.”
Consequence of Sound
“If Turn Into was a collection of off-the-cuff musings by a musician still finding her place in the world, then Everybody Works is the confident, multi-faceted work of an artist with something real and true to tell the world.”
"Though Jay Som's intonation is tender, ‘The Bus Song,’ her new one, is fierce — and ultra-catchy."
"[‘The Bus Song’] sounds like an artist who isn’t just comfortable with their sound, but confident in it—confident that this is the music they should be making at this moment in time. That kind of energy is so often what can lead an artist to greater success, and if this track is any indication, Duterte has it in spades."
“Duterte’s quick ascent is a strong indication of both her talent and her growing importance to the West Coast music scene.”
“A nice dose of the kind of sensitive-sounding, lyrically honest indie rock that made early Death Cab and The Execution of All Things-era Rilo Kiley so addictive. Don’t let that make you think it’s too precious or anything though; it ends with a noisy, grungy guitar explosion”
Baybee (3:44)Charlotte Hornsby and Jesse Ruuttila