#2013 seat toledo | Explore Tumblr Posts and Blogs

halo-of-light-band · 1 year

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Recently I've been thinking about bands. Specifically the idea of having multiple different people, each on their respective instruments, contributing to the art of creating music.

I was thinking about this as I was listening to Car Seat Headrest, and also watching some of their live performances from last year's tour. Because it's relevant to the post, a little bit of backstory: Car Seat Headrest was started by Will Toledo in 2010, and for the first 5 years and 11 albums released, the music was almost entirely written and recorded by Will. In 2015 the band was joined by drummer Andrew Katz, guitarist Ethan Ives, and in 2016 Bassist Seth Dalby. The next 3 albums released consisted of material that had already been written by Will prior to 2015, but was recorded by the newly formed band.*

Listening to the more recent era of Car Seat Headrest music, both the albums and live performances, I'm really struck by just how much having a band has contributed to the sound. Their 2020 album Making a Door Less Open was the first entirely composed and recorded as a band, and while I really love Will's early work as a testament to creativity while confined to just writing/recording by yourself with limited equipment, every time I listen to MaDLO I'm blown away by how much each band members' skillset elevates the music. Ethan's shredding guitars on Weightlifters, Deadlines (Hostile), and Martin, Seth's smooth and measured bass on Can't Cool Me Down, Andrew's expertise in both electronic and real drums throughout the album... it all adds up to a really cohesive, really solid sound. I'm sure that if Will was still making music by himself it would sound wonderful, he's a very talented musician and songwriter, but having the full band just adds so much the sound.

I think this is even more apparent in their live performances, having 5 people each focusing on their parts, their instrumental specialties, really adds up to creating a beautiful, polished sound. The album version of Hymn - Remix is decent, but the live version is transcendant, with upbeat, driving drums, Ethan fucking KILLING the guitar solo, touring member Ben Roth's organ bringing a both jazzy and religious vibe to the song, and Will adding an amazing dramatic flair to the song as he falls to his knees, singing "If I give this up, will I be saved?"

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The band elevating the art is especially true when they play Will's older songs. Last year's Masquerade Tour opened the set with Crows, a song originally released in 2013 on Nervous Young Man, and I'm sure some of the improved sound can be attributed to 9 extra years of musical experience, but when I listen closely I can hear each members' musical style shining through, and giving the track a whole new vibe. The chorus is given a new energy, but the verses are haunting with Ben's tinkling synths, Seth's steady bass, and Ethan's falsetto harmony. (I love Ethan's backing vocals, but my sister hates them for some reason. Meghan if you're reading this, you're wrong.)

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I don't think these observations are anything new - there's a reason that a lot of great artists either were bands, or had permanent members in their backing bands for solo artists. No one person can be amazing at everything, especially in an artform like music when there are so many different skills needed to create a good song, and so having other talented artists to contribute to the creative process can bolster the quality greatly. Hell, even just having other artists to consult on a project is really valuable, even if they aren't directly contributing to the final creation.

As an artist, and as a person with a lot of social anxiety, these observations are very important. I've played in groups before, but never on a project I was creating. I have a very hard time willing myself to reach out to people, to ask for input or help in creating part of my music. I have a desire to collaborate, but this has been a barrier to me, because unless somebody asks me first, I don't seek it out. I really like the idea of collaboration with people I artistically vibe with, and I understand how much value it can add to art, but my social anxiety often holds me back. I think I'm getting better with time. I've actually been making some artist friends that I talk to regularly in the last couple months, I feel more motivated to share my ideas and discuss artistic concepts with them. I'm still writing and recording my music entirely by myself, but I'm at least slowly beginning to let other people into my creative process, and let my guard down a little bit.

Will Toledo recorded his early music on his laptop, in his car, by himself, not as a creative choice, but as a necessity due to his position as a socially isolated teenager. It also created a very interesting and unique and beloved sound. Both of these things can be true at the same time. I can create art that is my own, constrained by my social and physical limitations, beautiful because of those limitations, while also not being tethered by those limitations, recognizing that my art can be so much more when I start to let other people in.

#*Seth was not part of the band for the recording of Teens of Style but I didn't want to interrupt the flow of the post to mention this #My ramblings #Car Seat Headrest

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juanmecanico · 3 months

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lboogie1906 · 2 years

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Albert Vann (born November 19, 1934 - July 14, 2022) was a former member of the New York City Council from Brooklyn representing the 36th district, which includes parts of Bedford-Stuyvesant and Crown Heights. He was a Democrat. He was born in Brooklyn. He earned a BBA from Toledo University, and master's degrees from both Yeshiva University, and Long Island University. He has served in different capacities as a teacher and administrator in New York public schools throughout his professional career. He was a member of the Alpha Phi Alpha Fraternity. He was one of the founders of Medgar Evers College and one of the founders of the African American Teachers Association. He was a former instructor at Vassar College's Urban Center for Black Studies. He was a member of the New York State Assembly (56th D.) from 1975 to 2001, sitting in the 181st, 182nd, 183rd, 184th, 185th, 186th, 187th, 188th, 189th, 190th, 191st, 192nd, 193rd, and 194th New York State Legislatures. He exchanged seats with Annette Robinson after the New York City Council enacted a term limit. He was elected to the New York City Council in November 2001, and ex-City Councilwoman Robinson was elected to the State Assembly in 2002 to fill the vacancy. Both represented the 36th City Council District, and Vann remained in the City Council until 2013. In the November 3, 2009 election he was challenged by Mark Winston Griffith, who ran on the Working Families Party ballot line. He defeated Griffith and went on to serve until 2013 when term limits prevented him from seeking re-election. On October 23, 2009, he voted to extend term limits for the mayor and the City Council. #africanhistory365 #africanexcellence #alphaphialpha https://www.instagram.com/p/ClJYDOQrgIx/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence #alphaphialpha

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tinahujewul · 2 years

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rowoqeguxo · 2 years

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jellyfishrave · 2 years

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#car seat headrest #will toledo #nervous young man #crows (rest in bigger pieces mix)#2013 #bandcamp #indie

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ladiablesse · 2 years

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someone needs to make a video essay or even a tiktok series about some of the celebrities who were on here n all the iconic/funny/bizarre moments they had. like not just john green cum is one of my favorite tastes. but also when frank ocean came out as bi, when childish gambino was pretending to be an asian woman, when barbie ferriera was pretending to be black so she could say the n word, when steve lacy also came out as bi but admitted that he wouldn’t feel comfortable dating other black boys, when will toledo from car seat headrest got roasted for calling sufjan stevens carrie and lowell surface level even though it was literally about losing a parent, when grey delisle was doing whatever the fuck she was doing in 2013. also the rise of odd future, playboi carti, xxxtentacles, nyc streetwear dudes, justine skye, mitski, art hoe collective members turned big time models. i’m sure there’s more i just cant think of everything now but yeah so much shit happened on this site that’s not related to fandom shit which is what ppl usually like to talk about when they make tumblr history video essays.

#hell jt from the city girls was on here last year #fiona apple is supposed to still be on here roaming anonymously n i love that for her

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garbagequeer · 5 years

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what are your favorite cshr songs?

i change my mind a lot and can’t make decisions so im just gonna go album by album picking my favorites because there’s A LOT of great songs (also these are in no particular order cause i really am a gemini who can’t make a simple choice). when im done with this i’ll bold the ones i guess are my overall favorites but i have too much room in my heart and brain and i love all of them and i can’t not mention all the great songs that i love. Also my overall favorites change all the time hence the full long ass list. again i AM a gemini

teens of denial:

drunk drivers obviously (and drunk drives single version with the modified verse from plane crash blues like. if you cant find your friends you can leave without them !! so much)

destroyed by hippie powers (which holds a special place in my heart cause i remember listening to it 24/7 and going to the bar with my friends during second term finals my first year of college instead of studying and then the year after that going to see csh also during second term finals and them playing it like. full circle baby)

not what i needed. i feel so empty trying to explain this!

1937 state park

unforgiving girl (also holds a special place in my heart cause im pretty sure it’s the song that got me into them after being like hey i should check out that car seat headrest band since like 2013 but never getting around to it)

the ballad of the costa concordia like. i love to die thank you

drugs with friends (also it feels 5 times more special to me since i saw them play it)

fill in the blank

literally i feel bad for not just putting every song from this album like i love them all they punch me in the face every time but. gotta move along.

how to leave town:

BEAST MONSTER THING (LOVE ISN’T LOVE ENOUGH) LIKE. WHAT? WHAT?? !!!!

i want you to know that im awake / i hope that you’re asleep. you know that quote from like. an article about greta gerwig and lady bird that’s like (wait i googled it):Every situation is pretext for a confrontation: underdone eggs, a pile of rumpled clothes, a hand reaching too quickly for the radio. The question on the surface might be ‘What did you do?’ but the feeling underneath is ‘Who are you and why don’t you know how to love me?’that’s this song

is this dust really from the titanic? mainly cause i think it’s underrated and very endearing like. car seat headrest: more guitar shit

hey space cadet. obviously like

wasn’t going to put more songs cause i think i need to relax but. the ending of dramamine deserves to be listed i mean i can’t hear a thing now i guess i belong to me now but when night fell on montana i found a rest stop completely deserted but i still felt the eyes upon me so i drove away. it BE like that

you know what? fuck it. america and kimochi warui are also favorites. they’re all so good im sorry i CANT do this

nervous young man:

first of all: i wanna sweat. it’s like. you CAN have the euphoric emotion of bodys outside of the fantasy. effervescent amazing uplifting etc etc

burning man. i will go crazy istg like he’s like im defined by the fact that you’re there and we’re different people… i wanna burn your picture! i mean…… yeah

plane crash blues i mean shut up with all these bad vibes all this yelling just shut up shut up shut up! like. to himself.. we get it. and if your luggage is lost you can leave without it and if you run out of drugs you can sleep without them and if you wanna go home you can call a taxi and if you don’t wanna talk you can sit in the backseat. much to think about

death at the movies. sometimes you’re a little depressed and you just. watch movies and it’s weird

boxing day. hand will toledo a womanhood card right now for this like yeah! i feel so haunted and no one seems to notice and no one seems to care!!!! and it doesn’t really matter I’ll just ajlhfsdg!!!. ALSO literally i did something bad im not allowed to go outside anymore i can only be awake at night for the next year of my life. been there done that and all. ALSO i have worms in mouse traps baby cracks me up every time

the gun song. there’s a lot going on there

afterglow and jerks cause i love to have fun too

monomania:

misheard lyrics and i don’t think it gets enough love

times to die and also the teens of style version

overexposed (enjoy). again i love fun

los borrachos (fun fact: i saw the painting it’s named after irl and i was like. sick csh reference museo del prado)

SOULS. !!!!

maud gone both versions. sweetheart please love me too long

sleeping with strangers. i love to have fun

anchorite (love you very much). i get my feelings hurt by someone i love i listen to this song like. YOU SON OF A BITCH!!! YOU MOTHERFUCKER!!! call it catharsis

and that’s literally the whole album except for one song. im sorry

twin fantasy (which is two albums but. it’s really just one which is very meta of it/them imo. also unless i specify im talking about both versions):

B O D Y S

famous prophets. both versions make me feel breathless

beach life-in-death OBVIOUSLY

twin fantasy (those boys) and i think both versions really mean so so much together which is true of all of twin fantasy but. particularly here it hits me like. from he has only lyrics now to these are only lyrics now. it’s a lot

my boy (more the 2018 version)

nervous young inhumans (the 2011 version. for the monologue like. he defined twin fantasy. also the fact that galvanistic isn’t a real word he just fucked up and that’s the chorus)

high to death (more the 2018 version but both are great)

honestly sober to death for the don’t worry you and me wont be alone no more which is. so much. ALSO when they play sober to death/powderfinger and ethan does great vocals

cute thing (2018)

my back is killing me baby

no passion. he wants a man who would hate him and who would leave him if he were open and he’d do the same to him. he dreams he watches porn but he cant see it. he understands some ugly ass feelings

father, flesh in rags. it bangs

strangers but the teens of style version

happy news for sadness cause once again he says the ugliest shit (i liked you better when you hated yourself every time i think about love i think about me thinking about you) and it makes me think of that shit about how people will disclose they think they’re bad and they have bad thoughts when they’re going to ask to be loved. also you can never tell the truth but you can tell something that sounds like it

the drum. did i say i love to have fun? i love to have fun (both versions but i think i like the original more at least rn)

stoop kid

something soon (both versions)

starving while living:

it’s only sex

reuse the cells

devil moon

i hate living

literally all other csh shit cause i don’t listen to many songs from the first records :/ and stuff:

i can talk with my eyes shut

the ghost of bob saget. the lyrics to this song are hilarious and relatable somehow

i have to mention i am afraid of literally everything / i scream social / this one time I went to a coffee house because some guy I knew was playing and I just sat there for an hour and didn’t talk to anyone and then I came home and wrote this song / you have to go to college / it’s you you’re the asshole that made this but literally only cause i felt like laughing when i was 18 and finally got around to checking out csh and he was like. i wrote these songs about when i went to college and i was afraid of everything and shit was hard. cause like. same. and i just have a fond memory of going through csh’s entire discography from newest to oldest and ending up awake till almost 7am losing my mind. i feel like this about lots of songs from the first 5 albums but i don’t really listen to them much tho. someday i’ll get around to giving them a chance again

that thing someone made where they put together pain star (if heaven is full of people…) and …then it will be exactly the same as earth

does it feel good (to say goodbye?)

and their cover of hey ya even though it’s not a csh song. im mad no one has posted a proper recording of it because i do love to have fun. also their cover of this must be the place too. and the cover of waves of fear also. they’re all really fun

#answered #csh #car seat headrest #im terrible at picking things as you can see #anonymous

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sentinelchicken · 5 years

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This was from three years ago (2016) when the McDonnell Douglas MD-80 still formed the backbone of Allegiant’s fleet. ⁣ ⁣ Allegiant in their history operated 61 MD-80s total, the most at any one time I believe was around 53. The first Mad Dogs in Allegiant’s fleet were actually two MD-87s that were delivered second hand in December 2001 and January 2002. The rest of the used MD-80s from then on were MD-82/82s with the aircraft finally retired from Allegiant services last year. ⁣ ⁣ The low cost of ownership of the used MD-80s which averaged about 24 years of age allowed Allegiant to rapidly ramp up and ramp down seat capacity due to seasonal demand as their primary customer base was almost exclusively connecting leisure and discretionary travelers from smaller secondary markets like Idaho Falls, Laredo, Toledo or Shreveport to major leisure destinations in Florida, Las Vegas/Phoenix, or Southern California. ⁣ ⁣ The Airbus A319/320 aircraft started joining Allegiant’s fleet in 2013 as an eventual replacement for the MD-80s. As of the fall 2019, Allegiant’s current fleet is made up of 38 A319s and 55 A320s. ⁣ ⁣ #Avgeek #aviation #aircraft #planeporn #KLAS #LAS #airport #planespotting #airlines #McDonnellDouglas #MD80 #Allegiant #N427NV #instagramaviation #splendid_transport #instaaviation #aviationlovers #aviationphotography #flight #AvGeeksAero #AvgeekSchoolofKnowledge #AvGeekNation #TeamAvGeek (at McCarran International Airport) https://www.instagram.com/p/B3iLJu5hsdA/?igshid=o73p6375davi

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noveltylsland-blog · 5 years

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Our Favourite Albums of 2018

2012-2017 - Against All Logic

(Other People)

Whether Nicolas Jaar meant this to be an understated release or not, the deeply soulful samples, thunderous lo-fi aesthetic and immaculately timed and detailed track phasing of 2012-2017 make it one of the year’s most impressionistic and innovative electronic releases. Not pretending to be any more than a collection of house tracks, 2012-2017’s cohesion lies in its consistency of quality, as well as its lo-fi style. Jaar’s taste for extended, developmental dance songs is addictive and as fit for easy, danceable listening as it is for intense scrutiny. Every track begs repeated listens and rewards through revealing yet more hidden elements. It goes to show just how technically gifted Jaar is that an offhand collection of tracks can be so thoroughly excellent and make more of an impact than his more dedicated peers. -E

Dead Magic - Anna Von Hausswolff

(City Slang)

Dead Magic is Anna Von Hausswolff’s fourth full-length record in which she delves into the dark abyss in a purifying explosion of distressed emotion. A sinister ambience is maintained throughout, even during the more beautiful and uplifting moments – which are typically conveyed through Anna’s rich harmonies alongside powerful, yet unnerving, electronic drones. It is these moments that make Dark Magic what it is. Instead of wallowing in a pit of despair and desolation, Anna offers a way out, stressing that there is beauty even in the darkest of places. It is an exquisitely refined project which blends dark musical themes with emotive vocals to create a sonic soundscape that will leave you completely mesmerized. -M

7 - Beach House

(Sub Pop)

Simplicity has always been Beach House’s charm and on 7, not only do they manage to revert back to the gorgeous, organic simplicity of Teen Dream and Bloom, but they do so while immensely expanding the breadth of their sound. 7 is only fingertips away from the untouchable timelessness of those two aforementioned records, and is one of Victoria Legrand and Alex Scally’s most ambitious artistic leaps and successful reinventions. This is an affirming record, demonstrating the duo alive-and-well, working with a still-evolving sound; and as easily as capable of producing indie-pop hits (‘Lemon Glow’, ‘Drunk in L.A.’) as they are of thoughtful, tender ballads (‘Black Car’, ‘Last Ride’). 7 has its fair share of career highs, cementing Beach House’s reputation as one of the finest indie acts of this decade. -E

Twin Fantasy - Car Seat Headrest

(Matador)

Will Toledo is perhaps the most inventive, boundary-pushing artist in modern indie rock; so when he turned his hand to remaking his own 2012 Bandcamp release Twin Fantasy, the result was always going be interesting. With two ten-minute-plus songs, extensive spoken-word passages, and a distinctly self-aware tone, nothing of the charm of the original was forsaken. A hi-fi recording, reportedly utilising seven musicians and a hell of a lot of retrospective adjustment to the source material, 2018’s Twin Fantasy is everything you felt the original had the potential to be, and more. Instead of a messy, chaotic cacophony, here Toledo’s project is revealed as an intensely personal, momentous opera of indie rock, with Toledo as a proclamatory main protagonist, an idol of teenage angst and confusion. Twin Fantasy is epic and indulgent, flawed and truly excellent. Indie rock hasn’t seen anything as promising as Car Seat Headrest since its heyday in the 90s, and this band are still yet to disappoint. -E

You Won’t Get What You Want - Daughters

(Ipecac Recordings)

Bleak, harrowing and violent – three words that are often tossed around to describe bands loitering around the darker offshoots of noise rock; yet Daughters’ You Won’t Get What You Want accentuates those descriptors in their fullest definition. Like an atrocity one can’t seem to look away from, the Rhode Island band take the same uncompromising swathes of noise from their 2010 self-titled record but warp and extend it. Swallowing the rest is a manufactured, engrossing silence of negative space that underlies everything from the pulsating waves of distortion to Alexis S.F. Marshall’s vocals; from the clattering, dictatorial drumming to the smatterings of dramatic piano. Daughters’ thoroughly austere ethos has no release; You Won’t Get What You Want is uncompromising in its walls of thick, violent sound and thorough in its sheer immersivity. This is music unlike anything else released this year, and a revival statement for a genre that’s been largely stale for years. -E

Ordinary Corrupt Human Love - Deafheaven

(-ANTI)

With their fourth release, Deafheaven give their critics the middle finger with an uncompromising statement of intent and self-determination. 2015’s New Bermuda hinted that the band had taken the critique of 2013’s Sunbather by metal purists to heart, as they went for a darker, more aggressive sound. With Human Love, however, we see Deafheaven position themselves in-between these two contrasting sounds, as they get the best of both. The hard-hitting aggression of tracks like ‘Honeycomb’ and ‘Yellow Canary’ will satisfy the most committed metal heads, whilst the hazy shoegaze of the shorter tracks, ‘Near’ and ‘Night People’, will enchant the Sunbather converts. As always, the juxtaposition of George Clarke’s piercing screeches paired with the beautifully aggressive guitar hooks of Kerry McCoy is something to behold. With the addition, this time of a heavily post-rock influence, the progression to an explosive climax has never been so poignant on a Deafheaven project. The LA outfit have switched up their sound flawlessly, finding the perfect balance of style and aggression in a masterwork of emotion and intensity. -M

Year of the Snitch - Death Grips

(Third Worlds)

How do they do it? This is Death Grips’ sixth studio album in as many years, and each one has been as exhilarating and unique as the next. Year of the Snitch is perhaps their most out-there project to date, and that’s saying something. This time out the trio go for a more experimental rock approach. The familiar elements of industrial hip-hop are of course still there, but they are dominated by heavy synths and guitar riffs to create a soundscape that is both unfamiliar, yet somehow typical of Death Grips. That, for me, is the beauty of Death Grips; no matter what direction they take their sound, they completely own it. Year of the Snitch is not going to dethrone Exmilitary or The Money Store, but it’s also not a runner up; it’s in a different world altogether. A typically unapologetic adventure through pop music from the Sacramento trio. -M

Knock Knock – DJ Koze

(Pampa Records)

knock knock is a house album that manages to escape the rather utilitarian nature of the genre, and is instead an artful and diverse project from the German. Koze is clearly a master of his class, as he effortlessly floats between hip-hop, soul, disco, house, and even folk, to create a project that is not merely a compilation of bangers, but a versatile playground of sounds, similar to that of [i]Wildflower[/i] by The Avalanches. The features on here are just as puzzling as the multitude of genres, with the likes of Bon Iver and Roison Murphey making appearences, but, of course, Koze manages to slot them in effortlessly. At 19 tracks, one would expect this album to feel like it had overstayed its welcome, but thanks to the wealth of ideas, it is a perfectly judged, captivating record. -M

Some Rap Songs – Earl Sweatshirt

(Tan Cressida)

Earl’s transformation from the “hot and bothered astronaut” we were introduced to eight years ago, into the mature, yet despondent 24-year-old he is today has been and interesting and difficult experience to observe. His fourth full length album picks up where his latest EP, Solace, left off, as he continues to improve his craft, whilst simultaneously sees his mental health decline. Just like his earlier releases, the Madvilliany and Donuts influences are obvious, but this time take the form of production and song structure. Verses begin and end abruptly, choruses are essentially non-existant, and most of the beats consist of just a roughly looped sample. The result is that it feels as if we’re getting a peak into Earl’s musical sketchbook. Nothing feels finished or even polished, which gives the project a raw and intimate feel. Earl’s lyrics add to this feeling as he explores his state of mind by discussing his struggles with depression and the passing of his late father, displaying a maturity beyond his years. Some Rap Songs is a delicate and honest project from a talented and troubled artist, focused on the improvement of his art. -M

God’s Favorite Customer - Father John Misty

(Bella Union/Sub Pop)

Attuning his touch to more tender, less ironic pastures suits Josh Tillman to the tee. God’s Favorite Customer is a significant scaling-down from the grandeur of last year’s Pure Comedy, but the novelty of hearing Tillman’s actual emotions proves an adequate substitute. The metaphysical is, as always, a dominant, recurring theme, but the engrossing topics of failed relationships, suicidal thoughts and substance abuse combine for a stirring sort of listen that long-time listeners of his haven’t really had the opportunity to divulge in. As much as records need pacing, careers do too - whereas on I Love You, Honeybear and Pure Comedy Tillman is feeling sorry for us as a society and suffering with us along the way, God’s Favorite Customer sees him looking inward and finding a certain personal relatability. He’s a man who makes mistakes, and not so much the hip-swinging, foot-stomping unstoppable rock star he’s always seemed to be. Unmistakeably pitch-perfect vocals, supported by his usual excessively stellar songwriting and lush arrangements of horns, strings and so on, all make for yet another impeccable record from a man who can seemingly do no wrong. –E

Beyondless - Iceage

(Matador)

There’s a certain magnitude to the overall sound of Beyondless that takes your ears off; the culmination of four records of growth for Iceage from which they’ve emerged masterful, tasteful manipulators of their own terrifically refined chaos. The Danish art punk quartet edge closer to almost entirely orchestral noise rock (‘The Day the Music Dies), while also never straying too far from pop (‘Pain Killer’, ‘Catch It’). More a refinement of the style initiated on Plowing into the Fields of Love than its own bold stylistic turn, Beyondless reveals Iceage as a much-needed successor to the angrier days of the Bad Seeds. Gritty and throttling but eloquent too, their particular brand of post-punk isn’t just vastly noisy and technically excellent, but distinctive, promising and unlike anything else in the current scene. –E

Joy as an Act of Resistance - Idles

(Partisan)

Not one for the Tory snowflakes. Forty-odd minutes of Joe Talbot unrestrainedly slapping down the hypocrisy in the British right wing, taking pleasure in exposing the ridiculousness of all things bigoted, from Brexit to anti-immigrant sentiment, toxic masculinity to class hierarchy and general snobbery. It’s a piledriving critical punk commentary on Britain’s 2018, but more than just Brutalism updated for this year’s current affairs. Joy has some impressive musical developments, from more ambitious slow cuts like ‘Colossus’ to more emotional instrumentals, such as the heart-breaking ‘June’. Talbot isn’t the most subtle of political commentators but that’s precisely his point; and instrumentally Idles make sure every track is immaculately and brutishly performed, with nods to various strands of British punk dotted throughout. All the perks of Brutalism plus clear improvement, Joy is one of the finest punk records of the decade, from one of this year’s most essential bands. -E

POST- - Jeff Rosenstock

(Polyvinyl)

Jeff Rosenstock follows up his 2016 record, WORRY., with a similarly hostile and exhilarating showcase of pop-punk as it should be done. On POST-, Jeff’s dense style really shines through as the fierce melodic punk music is paired with cynical and somewhat depressing lyrics to create a perplexing, yet rousing juxtaposition. The lyrics are as catchy as they are striking, with many notable chants that will get stuck in your head for days. “ET TU USA, ET TU, ET TU USA!” It is unfortunate for Jeff that the success of WORRY. has somewhat degraded the standing of the record with most critics. POST- should not be overlooked as it is still an incredibly fun album, full of memorable chants and defiant sentiments. -M

Aviary – Julia Holter

(Domino)

With such a change of direction from her previous effort, Julia Holter’s fifth full length release, Aviary, rejects traditional pop song structures, and offers us a work of art which is as beautiful as it is mad. It is perhaps the most uncompromising album released this year, with no regard for its accessibility or its reach. There are four-minute bagpipe spectaculars, howling choral compositions and moments of arduous free jazz. It is, indeed, a difficult listen at times, but we are rewarded with moments of sheer beauty. This is exactly the point Julia wants to make. She wants to portray the mayhem and hysteria of modern life, describing Aviary as “the cacophony of the mind in a melting world”, but also gives us an important message of hope and the resolve to look for an answer. That is why this album is so important; it is a vessel for empathy that invites disparate people to join in her euphoria.-M

Kids See Ghosts - Kids See Ghosts

(G.O.O.D. Music/Def Jam)

Kids See Ghosts is a rare, rare breed of album that manages to take two artists and exact them both at the pinnacle of each of their abilities. Take Kanye West, at his most creatively unsettled, apparently cramming as many production ideas as he can into twenty-four minutes. Add Kid Cudi, and his apparently perfect range of singing, humming, harmonising and hook-crafting. Kids See Ghosts not only has them both at their creative peaks, but at their most lyrically relevant. West’s verses are incredible, eloquent and playful, reminding listeners exactly why he’s more than just a talented producer. He’s less confrontational and hubristic, while Cudi offers sensitive and deeply personal verses on his own journey through mental health problems. This is easily both artists’ best work this decade, an endlessly relistenable treasure-trove of a record that feels like more than just a genuine accomplishment, but justification that neither of these artists deserve any less reverence than they were deserving of in the first place. -E

I’m All Ears - Let’s Eat Grandma

(Transgressive Records)

British teenage duo Let’s Eat Grandma’s debut is enthralling, accomplished, experimental stuff. Channelling a broad range 80s synth pop idols such as Soft Cell and George Michael, but also taking obvious influences from modern pop artists like SOPHIE and The xx (not to mention Pink Floyd on ‘Calm and Collected’); Jenny Hollingworth and Rosa Walton’s ambitious songwriting, endearing lyrics and knack for poppy hooks aren’t just immaculately written and arranged, but make for some of 2018’s most addictive tracks. Virtually every track feeling like a single; the emotionally heavy ‘I Will Be Waiting’ or the jumpy ‘It’s Not Just Me’ are just as easily radio-friendly as the slow cut ‘Ava’, or the Oil Of Every Pearl’s Un-Insides run-off ‘Hot Pink’. Add to the mix the two long cuts, ‘Cool and Collected’ and ‘Donnie Darko’, and I’m All Ears gives a broad definition of the duo’s ambitions and talents, indicating their fondness for extended instrumental phases and ability for writing well-structured, impressively mature tracks. -E

Now Only - Mount Eerie

(P.W. Elverum and Sun)

Now Only, as a companion to last year’s A Crow Looked At Me, feels just as poignant a documentation of the process of one man’s grief as that record did. Slightly brighter and more reminiscent than purely devastated, Now Only shows improvements in Phil’s mental health not only through its themes and lyrics, but in how it expands instrumentally and structurally far beyond Crow, further toward the territory of the Mount Eerie work of old. Phil still has an unerring ability to chillingly plunge his listener back down to Earth with the utterance of a single, understated line, always having the reality of death looming over his vocals, no matter how wistful and optimistic they may seem. Phil can (like Kozelek, Malkmus, and few others before him) sing regardless of rhyme or pace, transcending lines and effortlessly fitting instrumental structures that occasionally err towards his work on Wind’s Poem or Clear Moon. Now Only is anything but another A Crow Looked At Me, an intense, documentary listen that demonstrates musical recovery as a metaphor for personal progress, that will (along with its companion live album, After) surely go down as one of the most profound artistic commentaries on death in popular music. -E

All Melody – Nils Frahm

(Erased Tapes)

Nils Frahm’s All Melody is a real masterclass in progressive electronica. Following the atmospheric opener, ‘Sunson’ really kicks things off; a nine-minute rhythm-driven epic, with the pulsating hits of the bass marimba intertwined with pan-flutes and delicate synth melodies. From here we get an assortment of climactic electronic tracks, intense choral compositions and beautiful piano pieces, which somehow manages to maintain an impressive sense of cohesion and flow despite the disparities of sound. All Melody remains calm and meditative throughout, with a melancholic mood, but you never lose interest; each track is as captivating as the next. The attention to detail and texture, really make this album what it is; the nuances and subtleties give it the depth that an album with such ambition needs to stay interesting and emotionally compelling. A remarkably well rounded and unique album, incorporating qualities of techno, ambient and classical music to a devastating effect. -M

Wide Awaaaake! – Parquet Courts

(Rough Trade)

Wide Awaaaaake! is a fantastic leap forward for Parquet Courts. The record is produced by Danger Mouse, a match that doesn’t necessarily make much sense on paper. However, the Grammy award winning producer allows Parquet Courts to run free, only adding his signature touches when completely appropriate. The result is that Wide Awaaaaake! is the groups most diverse record to date, with a wonderful sonic range from aggressive indie-punk to afro-groves reminiscent of Remain in Light. And the songwriting on this record is amazing. Savage and Brown hit gold with a dynamic blend of their classic art-punk rages and a more contemporary commentary. These lyrics are politically charged and socially conscious, yet done with such taste and style that nearly all pretension is avoided. Wide Awaaaaake! is a success on all accounts; Parquet Courts have experimented with their sound just enough to create something that sounds familiar but also entirely different. -M

DAYTONA – Pusha T

(G.O.O.D Music)

I think we’ve all been waiting for this for a very long time. Since Clipse broke up in 2010 and Pusha T started his solo career, there have been glimpses of brilliance, but his full-length projects have never truly delivered. Daytona, however is the perfect mix of his cocaine kingpin persona, political art rap, and gritty, challenging beats. All of these factors are typical of a Pusha project, but, under the direction of Kanye, there is a real sense of cohesion and focus which has been missing throughout Pusha’s solo career. The ending, Infrared is a particular highlight, as Pusha addresses the unscrupulous history of mainstream hip-hop, whilst also cementing his integrity within the genre; he truly is the ‘rapper’s rapper’. At a mere 21 minutes, this album will be one of the shortest in terms of run time you will hear all year, but it makes for an airtight listen, with no fillers – just straight bangers. -M

Compro – Skee Mask

(Ilian Tape)

On Compro, Skee Mask takes us on a trancelike adventure into the heart of the arctic tundra and out the other side. The opener ‘Cerroverb’ sets the scene as reversed samples are paired alongside occasional bass flickers to create a cold, dreamy atmosphere. From here on in there is a subtle exploration through 90’s dance music, with influences including trip-hop, jungle, and everything in between. Through his keen ear for a melody, and ability to bring his drums to life, Skee Mask reminds us how devastatingly sensual the fundamentals of dance music can be. Compro is a masterwork of simplicity and perfectly timed progression. The subtle changes to the texture and the slow build-up of the breakbeats throughout results in a vastly nuanced record capable of mixing these cold ambient scores with the energetic breaks and techno beats. -M

Oil of Every Pearl’s Un-Insides - SOPHIE

(MSMSMSM/Future Classic/Transgressive)

SOPHIE’s full length debut is as beautiful, beguiling and absurd as expected. Humorous and sincerely insane, Oil of Every Pearl’s Un-Insides ranges from achingly, tentatively soft to thunderously, tectonically loud, from dystopic drone to tongue-in-cheek BDSM references. It’s extravagant and knows it, and we wouldn’t have expected any less from the debut of one of contemporary electronic music’s most promising and revolutionary pioneers. Everything about Oil of Every Pearl’s Un-Insides is postmodern and glorious, displaying an excellence down both ends of the intensity spectrum; from the enveloping atmosphere of opener ‘It’s Okay to Cry’ to bombacity of EDM banger ‘Immaterial’. It feels exploratory of the capabilities of electronic music, seemingly including a take on Top40 pop, glitch, ambient and many, many other styles. A deliberately confusing listen, this is easily one of the most interesting albums of the year and one that I hope becomes a blueprint for others to copy in the years to come. –E

Superorganism - Superorganism

(Domino)

No one quite knows exactly what a “Superorganism” is (in musical terms), but if it’s some kind of eclectic creature churning out broad, slightly-left field and all-fun pop tracks, then this London-based, multi-continental eight-piece bedroom-pop collective fit the description pretty well. Don’t think too much when listening to Superorganism and it’s a joyous and bouncy, accessible indie pop album brimming with catchy choruses and ear-worming melodies. Listen deeper, and it’s jumpy and rich, glitchy and noisy; laden with quirky “found-sounds” like car horns and screeches, and playfully complex and layered. Playful, fresh and fun, the octet’s debut proves that mainstream pop doesn’t have to be mundane and formulaic, and that there’s a potential future in interesting, inventive pop music. -E

Konoyo – Tim Hecker

(Kranky)

Following the somewhat disappointing Love Streams, Tim Hecker is back on top, as he turns to Japan for inspiration – in particular the ancient courtly music known as [i]gagaku[/i]. The archetypal flutes, drums and strings of this traditional genre are contorted and manipulated, and eventually swept away into the cold and eerie electronic drones typical of Tim’s previous work. What emerges are vast soundscapes that are both minimal and monumental. Tim knows exactly what he is going for and is in complete control, able to fuse points of extreme simplicity and intense noise together so seamlessly. Konoyo is one of the most immersive listening experience you will have all year, and certainly puts itself forward as contender for ambient album of the decade. -M

Cocoa Sugar - Young Fathers

(Ninja Tune)

There aren’t many sounds in modern R’n’B as soothing as the three Scottish voices of Young Fathers, pining in tandem with their signature hypnotic, larger-than-life harmonies. Cocoa Sugar brings together the trio’s expansive, hymnal vocals and impassioned performances over instrumentals constructed of bass-heavy beats and minimalist melodic injections; crafting dense tunes with emotional weight and political potency. There’s an ardent politicism running throughout tracks like ‘In My View’, ‘Toy’ and ‘Border Girl’, as well as an undeniably British perspective that makes Cocoa Sugar relatable, relevant and important. On top of all that, it’s also impressively experimental; Young Fathers’ freedom from traditional song structures, accompanied by their distinctively alternative beat style, feels abstract and purposeful and unlike anyone else. This is their finest release yet, a brilliant demonstration of their stylistic breadth as well as their ability to work politics into their very particular niche of R’n’B. -E

#music #2018 #end of year list #rock #pop #pop punk #ambient #hip hop #best of #lists

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