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"Throughout Jay Som's superb Everybody Works, Melina Duterte crafts breathless vocal melodies with jazz-inflected harmonies and cathartic bursts of noise that give her aching songs a frenetic crackle. That musical blend breathes life into Duterte's songwriting, particularly when capturing the transition from youth into adulthood with such personal specificity that her lyrics feels intimately familiar."
“It’s exciting to listen to her music and know that you’re never going to hear the same thing twice.”
"[‘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."
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.
"Though Jay Som's intonation is tender, ‘The Bus Song,’ her new one, is fierce — and ultra-catchy."
“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”
“Duterte’s quick ascent is a strong indication of both her talent and her growing importance to the West Coast music scene.”
“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.”
"Everybody Works, Jay Som's fully-realized, proper debut is an incredibly vivid and articulate lo-fi pop album; from the tenderly intoxicating "(BedHead)" to the sleek "One More Time, Please," Duterte's introspective songwriting is refreshingly unpretentious yet aesthetically confident. She takes blurry snapshots of her life and washes over them with fuzzy distortion and blossoming guitar hooks, loosely banding the fragments together in a package that's somehow humble and sweeping."
"Duterte plays all the instruments on Everybody Works, including some of the coolest psychedelic guitar solos recorded this decade, sometimes hidden within layers of jazzy, fuzzy counter-melody. The result feels personal and vulnerable and, above all, beautiful. And it’s our favorite album of 2017."
"Everybody Works can restore your faith in the future of indie rock. Part of that comes from its restless sound, an interplay between the chilly whispers of shoegaze and warm R&B-funk, packaged with lyrics that consider the benefits of patience in moments of pessimism. The album also feels like a thoroughly modern invention in its design: budget bedroom pop, with every part played and produced by Duterte, though you wouldn’t necessarily know it based on the record’s robust sound."
"An indie-pop breakthrough that feels like the first step on a long, winding road: Melina Duterte exudes charisma and utilizes the type of storytelling that can help project her intimate vocals on a wide screen -- assisted, of course, by some of the year's most aqueous, spellbinding guitar work. Everybody Works not only sparkles, but suggests a songwriter with a lot to say, and many more engrossing projects ahead of her."
