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ewyband · 1 year

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MEDIA EWY CONSOOMED IN 2022

alright queers sit down or scroll past because i’m gonna word vomit out my thought on my favourite things i’ve listened to/watched/played this year that i very much liked.

MOOSIC

ants from up there by black country new road: beautiful BEAUTIFUL album, literally 10/10 best album i’ve listened to this year (as like nearly everyone on any music reviewing site has probably also said). if you haven’t listened to it, its about a straining relationship thats painted using the failed aeroplane project ‘concorde’ as a metaphor to represent the sunk loss fallacy. fav song: good will hunting

THE UNRAVELING OF PUP THE BAND by PUP: this was my first introduction to PUP and listening to this album cumulated in me seeing them in Leeds a few months ago! its an amazing, no-skip, punk album. every single song just PUMPS ME UP !!! makes me wanna smash shit, i love it. FAV LYRIC: ‘200 BUCKS A WEEK JUST TO TALK ABOUT MY LACK OF DIRECTION? I GOT A BIT OF A COMPLEX, IN CASE THAT WASN’T CLEAR FROM THE LAST FEW SESSIONS’

The Dream Is Over - PUP: because i loved the latest PUP album so much i literally just had to listen to this. i only listened to this for the first time a few weeks ago and i’d even go as far to say that its better than tuoptp for sure. again, every single song just fucking goes so hard its insane. i just put this shit on when im walking or gaming and i feel like a mad man, i feel like im dancing in a stadium full of people and we’re all feeling a strong sense of melancholy and violence. i love it. fav song: sleep in the heat (editors note: i didnt know what this song was about until i went to learn it on guitar and looked at the lyrics for the first time and it was so fucking sad it nearly made me cry. RIP norman. im sure you were a great friend)

trick - alex g: this album isn’t my introduction to alex g (lincoln’s sandy cover was) but it was my introduction to their wider discography. i first heard sarah on tiktok and just that intro midi flute and guitar strums flung me back into my childhood. i was playing tig in the playground again, i was making up games in the church car park again, i was scraping my knee trying to climb trees way too tall for me again. this album leaves me with a lot of nostalgia from my angsty-nirvana-listening teen years to my young-dumb childhood years. i love it. fav song: sarah (i also have a major love-hate relationship with the song ‘whale’)

God Save The Animals - alex g: the natural step from ‘trick’ was to look at their new album released this year!!! this is SUCH an interesting album. it goes from classic alex g to some crazy hyper pop type stuff and i LOVE it. i super super love the percussion and the way that the vocals are changed and mangled and distorted in so many different ways. it doesn’t necessarily have any earworms per-say but it does have some pretty incredible new sounds that have really inspired me to develop my own style and try some of the effects mr.g has used in this record. fav song: runner

Be The Cowboy - mitski: my first exposure to mitski was from my partner playing their songs on the car and i never really properly understood it until i saw her live. theres just a pure controlled rage about mitski thats hard to describe in words. its a snarl between words. its letting someone know that they fucked you up in an eloquent hand written letter. i love the pumping synths on this album. i love how mitski can push emotion through her voice to tell a story. sometimes she belts, sometimes she sings softly but you can tell when theres rage behind her voice and i love it. fav song: washing machine heart

Hold on Now, Youngster... - Los Campesinos!: theres something about 2000′s indie music that was particularly made in the UK thats so special because growing up there is such an individual experience that it can’t be translated to anywhere else in the world (much like growing up anywhere else!). lc! manages to capture this and put it into song. its about all the boring shitty themes like love and breakup but telling it through the way we interact with each other. through letters, through mixtapes, through inside jokes and superstitions you made yourself. i love love LOVE the horns in this album and how they work with the violin -- its almost poetic at times. every song on this album slaps, i love the outro. fav song: You! Me! Dancing!

Blues and Roots - Charles Mingus: i got really into jazz due to my uni course having a section on it and i found myself particularly fond of a sub-genre of jazz called ‘hardbop’ and this charles mingus fella is INSANE at it. listening to this whilst walking feels amazing, its like i can see different shapes and colours flashing in my brain, with every bop and sax solo it just hits so hard. fav song: moanin’

GAMES

Hollow Knight: the art in this game is stunning first a foremost, you start in an unknown world and you are given NOTHING in terms of lore. even the community to this day does not fully understand the lore and honestly?? i love it. it gives me a sense of child-like wonder wandering caverns looking for secrets and tiny tinges of lore and it actually gets surprisingly emotional?? it deals with themes of loss, grief and parenthood. its very goth, very melancholic and very fucking difficult. i highly recommend this! i sunk around 60 hours into it

Omori: this game will be super difficult to really talk about because I don’t wanna spoil anything at all but: its a really beautiful portrayal of dissociation and trauma. like a lot of people, i really resonated with sunny and his struggles with fears, basic ones like drowning or heights of course, but also more innate fears like the fear of growing up and losing friends or the grief that comes with losing your childhood. If you’re in your late teens or early 20′s it’ll probably of remind you of a time you forgot and a time that you’ll never have back. very emotional game.

Fortnite: okay mikey deafpony introduced me and the friendgroup to this and it fucks so hard. i never really thought i was into battle royale’s but this game just makes it fun and interesting all the time. yeah, okay, the updates are annoying but it keeps the game constantly fresh and new. i highly recommend playing with friends! was pleasantly surprised with it.

WATCHING THINGS

I didn’t really watch that many tv shows/movies this year so i just put them into one thing okay??

Isle of Dogs: its wes anderson. i love the humour. its not laugh out loud funny but its quick and fast paced and i loved how dark this movie gets sometimes ?? its just a lotta fun and sometimes emotional. i love the stop motion and all the artwork is super pretty. im also a weeb so like, japan yay but it does also suffer from orientalism which sucks.

Moomin (2019): Previously, I could never really get behind this version of Moomin because I didn’t like the voice actors and I didn’t like the animation. However, its really grown on me. It does take a few episodes to find its feet and some episodes do fall flat but it really does stay true to the original source material. After watching the first 2 and a bit seasons, I’d probably say that it stays closer to ‘true’ moomin than any other tv adaptation to date. I also now prefer the voice actors in this version. chris morris is hilarious as moominpappa and i liked the featuring of richard ayoade, making us one step closer to an IT crowd x moomin cross over episode. some of the episodes are actually really emotional ?? i couldn’t get over that this adaptation nearly made me cry a couple times.

Heartstopper: i love how UK schools are shown in this show because it FEELS very accurate. some of the script feels kinda GCSE drama but like, its the representation that really stood out for me. i really appreciated how they didn't just focus on the cis experiences but also trans ones too. its very cute, i liked it.

The Batman: i liked robert pattinson’s makeup (and i STOLE it) and this movie made me hold onto whatever masculinity i had left cuz lets be honest everyone wanted to be batman if u watched this movie.

OKAY THATS IT !!! THANKS IF U READ ALL OF THIS LOL

#black country new road #pup the band #alex g #mitski #los campesinos!#hollow knight #omori #isle of dogs #moomin

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radiant-reid · 2 years

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DUDE RIGHT hs1 and fine line has like rock inspiration but harrys house was just techno-indie-something. its not the same sound and i respect wanting to try something new but also straying so far from his brand just wasnt the move (i dont think it was). rock really suits his voice and i think it appeals to more people/his established audience more than this new stuff

i think a lot of ppl only like it bc its harry and people typically have a difficult time admitting that their fav made something they didnt love!! like a lot of ppl are saying “best album yet” or “aoty” and its just not!! and thats okay!!!

my best friend likes the album alright but is the first to say that its overhyped and overrated. i saw him on love on tour and it was amazing and ive loved him since 2010 but i feel like he played it safe (?) with the album.

and oh boy the merch does not help; the album cover on a sweatshirt???? jeez louise man

yeah, like i know he wanted to produce music that's authentic to him which i love and respect, but it's not a genre of music that i like and i 110% agree that the indie rock (idk if that's the right label) was good for his voice.

i hate to say it but the whole album sounds to me like it's thrown roughly together. i actually hadn't seen the merch until now but yeah... it's not the vibe that's for sure

#rr answers

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mantraisrepeated · 3 years

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so, this year sucked, obviously. unfortunately, so did most of the music released this year, even among artists i really like; this is probably the shortest list i've made so far, and not because i listened to less music lol. one prevailing theory is that many artists' labels have been urging them to hold off releases until 2021 when they can (maybe?) tour again. at this point i really hope that's the case. still, 2020 was - with all its death, injustice and disappointment - able to cough up enough impressive & creative albums to help me get through the year. here they are:

1. Protomartyr // Ultimate Success Today

(yeah, i know a fuckin donkey's on the cover. just listen to it, it's great. absurdly consistent, great songwriting. for fans of Parquet Courts, Idles, and Interpol.)

2. Fiona Apple // Fetch the Bolt Cutters

(experimental-yet-barebones pop that - for millions - will be THAT record that gets conjured when they're out walking down the street and hear a certain familiar drum pattern or piano melody off in the distance...the one that transports and puts them right back in 2020...and this is the only bad thing i can think to say about this album.)

3. Viva Belgrado // Bellavista

(screamo imported from Spain. but it's kind of - dare i say - soft? [even as far as this melodic band's stuff goes] they even have a pop song in here!)

4. Loathe // I Let It In and It Took Everything

(what most metalcore heads will say is album of the year, hands down. suuper creative. sounds like if Deftones were younger and grew up listening to djenty stuff. probably where the future of metalcore is headed and i'm not mad about it.)

5. Frail Hands // Parted/Departed/Apart

(a short, very good screamo album with thoughtful chord progressions and

beautiful clean sections.)

6. Post Animal // Forward Motion Godyssey

(psych-rock w/ heavy 70's influence. sounds like if King Gizzard and Tame Impala's Currents had a baby.)

7. Svalbard // When I Die, Will I Get Better

(a female-fronted melodic screamo four-piece from Bristol, U.K.)

8. Nø Man // Erase

(another great screamo album. well done, lads [& lass].)

9. Envy // The Fallen Crimson

(Japanese metal with big chords, grand crescendos and melodic hardcore influence.)

10. The Strokes // The New Abnormal

(your fav "indie" band has done it again.)

11. Tame Impala // The Slow Rush

(chill, 70's-influenced psychedelic pop-rock. def more laid back than Currents.)

12. Rolling Blackouts Coastal Fever // Sideways to New Italy

(indie rock for the beach. for fans of Wavves, Real Estate, Beach Fossils.)

13. Everything Everything // Re-Animator

(alt/indie rock for fans of Radiohead, Depeche Mode, Yeasayer.)

14. Ratboys // Printer's Devil

(country-tinged indie rock that's usually pretty mellow, but doesn't shy away from distortion. suuuper good songwriting.)

15. Adrianne Lenker // Songs

(an acoustic album. this super-songwriter of Big Thief fame could breathe and i'd save that shit to my spotify. christ.)

16. End //

Splinters from an Ever-Changing Face

(ridiculously good metal/hardcore supergroup [including Brendan Murphy of Counterparts on vox]. for fans of Vein & Code Orange.)

17. Floating Room // Tired and True EP

(shimmering, shoegaze-inspired indie rock out of PDX. really good songwriting.)

18. Real Estate // The Main Thing

(mellow indie-surf rock/dream pop.)

19. Ringo Deathstarr // self-titled

(shoegazey. grungy. punky. beautiful.)

20. Nuvolascura //

As We Suffer from Memory & Imagination

(yet another female-fronted screamo band killing it this year, except this one's more frantic-sounding and kind of cerebral [think math rock].)

21. Sufjan Stevens // The Ascension

22. Bumper // Pop Songs 2020 EP

(chiptuney, anime-ish video gamey music featuring @jbrekkie and the dude from Crying who does the crazy guitar solos.)

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aqua-terra-ventus · 3 years

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congrats on loosing some teef! i hope everything heals up okay and that you feel better soon 💛💛💛 did they give you laughing gas and if so did you do anything silly? also wondering if you have any songs, shows or movies that are your favorite or that you'd recommend? :>

Hi Ollie!!!! :DD I’m feeling pretty good so far actually! (which is great dsfhgjg) I’ve just been taking my prescriptions and icing my jaw as much as I can. Luckily they put me to sleep for the procedure, I had to get all 4 of my wisdom teeth pulled. I don’t remember doing anything super silly, but I do remember the first thing I did when I woke up was asking the nurse if I was allowed to swallow XD. Later in the car on the way home I cracked my mom up (she was driving me) when I was having trouble seeing straight from the anesthesia, so I covered one eye and said I could focus my eyes like that. My mom jokingly asked if I was gonna be a pirate with no teeth, and I seriously answered back that, “Mom most pirates already have no teeth because they get scurvy” and she thought it was hilarious LMAO

As for songs, shows, or movies!! (I talk a lot so I put this under a read more adsfgjgjh. I apologize in advance XD)

Songs!!!!

I’m not sure what your style is but! Recently I’ve been getting into this hard rock/indie rock/metal-esque band called Dance Gavin Dance! I’ve had two songs by them on repeat recently. First is Inspire the Liars and second is Chucky vs. the Giant Tortoise (still not sure why it’s called that, but it’s a banger)

Next I would recommend my current favorite song, Unknown Mother-Goose by Wowaka. I’m also not usually a fan of English covers but I think Will Stetson’s cover of this song is just as good as, if not better than, the original. He’s got an amazing voice and the lyrics resonate extremely well with me. This was also the last song Wowaka ever released before he tragically passed away in 2019, and I think that Will Stetson’s cover is a lovely tribute to him.

I’m also currently really obsessed with these two songs by Pinocchio-P! Loveit and Ultimate Senpai!

I also 100% recommend a band called Red Vox! Their new album Realign is so fantastic.

If you like Undertale and electronic music, PLEASE do yourself a favor and check out SharaX on youtube. She does remixes and original songs, and she is one of my all-time favorite music artists. She is insanely talented and underrated!!!!

Shows!!!

Right now I’m watching Star Wars: The Clone Wars and hoooo baby is it good. I love it so much and I only just started season 2. And I know it only gets better from here!!! I’m also rewatching Avatar: the Last Airbender and I plan to also rewatch Legend of Korra afterward. Both fantastic shows!!!

My all-time favorite tv show is a fun little show called Chuck. :D Zachary Levi plays the main character, it’s got a great acquaintances/to friends/to lovers slow-burn romance, the entire main cast is so lovable and funny, and it’s about spies!

My favorite cartoon is, no surprise here, Gravity Falls :D

Movies!!!

I love love love cartoons, my top 5 are probably...

How to Train Your Dragon (all three. they’re all so good. the third made me cry more than any movie ever has.)

Tangled!!!! My fav disney film and my ideal romance. I have the BIGGEST crush on Eugene, and by extension, Zachary Levi. XD

MEGAMIND!!!! God I cannot get enough of this film. My second ideal romance. Call me weird but I am very in love with that dumb blue alien man. Not to mention the score is so fuckin good!!!!

The Iron Giant. I’ve loved this movie since I was a wee little lad. I used to call it The Iron Giant Robot as a little kid. It’s such a beautiful, unique, and moving film. Every time I watch it, it makes me cry!

Number 5 switches around constantly, but for now I’m gonna say Treasure Planet!

#ventusu #ask

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jakeperalta · 4 years

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Hi. I'm confused why so many people say that Folklore is alternative. It is more like indie..alternative has more instruments and is more rock inspired. My fav genre is alternative and it can be slow and sad like the Smith's or something but for the most part has more instruments. My dream is for her to make an alternative album like Paramore, which is generally what I think of as alternative music. Stuff like the National is more like indie. Sorry this isnt at you really or meant to be negative or anything, it just confuses me. Like if you listen to an alternative radio station the music is nothing like Folklore..thats more soft and indie. I know in categories and stuff I guess it's a wide range though so idk. Sorry for this rant. Do you think Taylor will ever make a fully alternative album? I would love it.

I think fans/critics/the public tend to refer to it as alternative because that’s the genre it was released as by taylor/her label in terms of like itunes listing. “alternative” as an official genre tends to cover a broad range of music that just doesn’t really fit the others - there is no indie genre on itunes, in the same way there is no indie grammy award, so alternative is just sort of the closest ~official~ genre and that’s just what we all refer to it as (i guess in the same way that red was a country album despite being heavily pop leaning)

honestly i have no idea what she’ll do next but i’d love to see her branch out more into the alternative genre! i actually saw someone yesterday say they want a hayley williams/taylor collab so i think it would be popular if she did something like that

#taylor swift #Anonymous #answered

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recommendedlisten · 5 years

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It’s been awhile since Recommended Listen has done one of these, but back by popular (content) demand, the weekly Best of the Rest column has returned to highlight the rest of the week’s great music you should know. Leading into it, Massachusetts DIY scene favs Future Teens and Dump Him both tried to figure out ways to move forward while Big Thief are proving to be unstoppable with their creative genius. The return of Vivian Girls is arguably being enjoyed more so the second time around, Chelsea Wolfe’s natural instincts are giving us even more reasons to appreciate her dark art, and NYC post-punks Bodega continue to live up to the promise of being shiny new models. Meanwhile, Field Mouse succeeded at finding meaning in everything as modern punk scene cult hero Chris Faren searched for his within a screen. There’s a lot more to cover here, so let's get down to the music business.

Here’s the best of the rest from the week of August 11th, 2019…

Antagonize - Slip Death EP [Triple B Records]

The last time I saw Aaron Bedard, he was being showered in balloons and kids walking all over each others’ heads as part of the final bow of Bane, the seminal melodic hardcore band who very much helped make the New England hardcore scene what it is today. Bedard returned to the stage a year ago with a new band called Antagonize, and after throwing down some demos and promos, they’ve released their debut EP Slip Death on the great Boston hardcore label Triple B Records this past week (label leader Sam Yarmuth designed its cover art much like he did for the vinyl reissue of the 2001 Bane classic Give Blood.) Bedard’s intensity has not slowed down with the passing of time either. In fact, it’s become exponentially more confrontational as he and the band thrash through fast, visceral existentialist dread. Throw them on a bill with the likes of Fury, Fiddlehead, Turnstile, or any of the countless names coming out of the Triple B roster right now, and Antagonize -- and Bedard -- know exactly what the scene needs at this moment.

Slip Death by ANTAGONIZE

Charli XCX feat. Sky Ferreira - “Cross You Out” [Atlantic Records]

On September 13th, Charli XCX will release her long awaited “proper” third studio effort Charli. Between years of experimental EPs and one-off singles, it’s been awhile since we heard her target her vision for mass consumption with major label approal, and she’s bringing some of music’s most intriguing voices into the fold with her to get that across. We already heard her team with Lizzo on “Blame It On Your Love” and Christine and the Queens for “Gone”. Its latest preview “When You’re Not Around” is one for Twitter pop fandom, however, as it sees Charli XCX joining forces with Sky Ferreira on the A.G. Cook-produced track. The two artists have been heralded as pop music’s most underrated creators for the better part of this decade, so to hear Charli and Ferreira’s paths cross seamlessly into this digital slowburn as they put the collective shit they’ve dealt with personally over the years behind them is a fitting way for it to happen.

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Code Orange - “Let Me In” [WWE Music]

At least weekend’s WWE Summerslam, rebooted horror heel Bray Wyatt returned after months of being kept off screen in action with a brand new character persona called the Fiend that saw him evolving from the creepy bayou cult leader of previous and into a psychotic children’s program host who turns into a deranged monster wearing a mask designed by horror film makeup legend Tom Savini. In helping get this new terrifying character’s image over with the crowd and viewers watching was Code Orange, one of the most exciting bands in hardcore and metal going right now, who reinterpreted Wyatt’s old theme “Live In Fear”, a sinister, swampy piece of occult rock originally recorded by Mark Crozier, under its new name “Let Me In” and making it into their own heavy pummeling likeness, adding layers of deeper darkness to Wyatt’s Fiend character in the process. This isn’t Code Orange Kids first foray in soundtracking WWE superstars' themes, as they backed Incendiary’s Brendan Gorrone live as goth anti-hero Aleister Black made his way to ring during NXT Takeover Brooklyn III. Now that Black is on the main roster, inevitably he will cross paths with the Fiend at some point, making you wonder where Code Orange's loyalty will lie...

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The Highwomen - “Highwomen” [Low Country Sound / Elektra Records]

The Highwomen -- a.k.a. the country songwriting supergroup of Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby -- are one of the most exciting things to happen to country music this year. On September 6th, they will release their eponymous debut album, and to date, the foursome have proven themselves quickly to be working flawlessly as a well-woven collective where nothing remotely resembling an ego outshine the other in its first coupling of singles “Redesigning Women” and “Crowded Table”. It’s latest is a goosebump-inducing sunset song that hears each member sharing a piece of the narrative that tell a greater story about their ability to overcome all and any hurdle. “We are the daughters of the silent generations / You send our hearts to die alone in foreign nations,” their voices collect in its final moments. “They may return to us as tiny drops of rain / But we will still remain/ And we’ll come back again and again and again.

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Miranda Lambert - “Bluebird” [RCA Nashville / Vanner Records]

Beyond the Highwomen, Miranda Lambert is now joining the highly anticipated of new Nashville releases with her seventh studio effort Wildcard, due out on November 1st. Her last effort was the excellently crafted post-divorce catharsis The Weight of These Wings, but judging by the sounds of WIldcard’s first single “Bluebird”, Lambert is getting back to her old high jinks of sorry not sorry whip-smart lyricism and folding them into cool, flawless country-pop. “And if the house just keeps on winning / I got a wildcard up on my sleeve / And if love keeps giving me lemons / I'll just mix 'em in my drink,” goes its chorus. Lambert’s undefeated streak will likely continue with this as well as her tour behind the LP, which sees her bringing along her Pistol Annies sisters, Maren Morris, and Ashley McBridge along for the ride on select dates for her Roadside Guitars and Pink Guitars tour, kicking off in September.

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Octo Octa - “Can You See Me?” [T4T LUV NRG]

Back in July, Octo Octa, the electronic dance outlet of Maya Bouldry-Morrison, dropped “Spin Girl, Let’s Activate”, the leadoff single from her forthcoming third album Resonant Body, set for release on September 6th. The listen was fully in motion with a bright luminosity radiating from with Bouldry-Morrison she says was inspired after a year of tremendous change and personal growth. That expanded energy extends even further in its subsequent listen “Can You See Me?” in which she allows emotions to overflow onto the soundboard through an empath in samples vocals and a cosmic tidal of synth arpeggios running through whichever cracks in its constant break beats they can find. It’s invigorating, and both as a measure of her art and being, there’s really no avoiding Octa Octa’s presence being made known here.

(Sandy) Alex G - “Southern Sky” / “Near” [Domino Records]

Rocket was a very special album in the prolific catalog of (Sandy) Alex G, though it wouldn’t be a surprise if the experimental indie pop wunderkind’s new album House of Sugar, set for release on September 13th, bests it in its own way. So far, we’ve heard the warped and rickety storytale standout “Gretel” and the earnest ode to a friend and place passed on “Hope”, and this past week, he introduced two more in “Southern Sky” and “Near”. The former, which includes an animated video by frequent visual collaborator Elliot Bech, is a country-stained sigh featuring Emily Yacina that hits a similar backwoods bliss that “Bobby” did two years ago, while the latter retreats to pinbacked repetition, wonky loops and samples that warp the canvas with Alex Giannascoli’s signature smeared fingerprints. (Sandy) Alex G will also be touring extensively behind the effort starting this October, with dates featuring the likes of Tomberlin, ARTHUR and Corey Flood.

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Taylor Swift - “Lover” [Republic Records]

The last we heard of Taylor Swift was her divisive post-pop call-out Reputation, and with its tinge of industrial bangers and stadium-translating success, it’s safe to say it aged better than what anyone expected upon release. Her new album Lover is on the way next week, and so far, two of its early singles have been absolute dogshit while the other was just so-so. In the streaming era, it comes no surprise that there will be 18 tracks total on the album, which means there’s bound to be some duds. Hopefully they’re more like it’s title track, though. Jack Antonoff seems to be one of the few people who knows what to do with making Swift sound like a breath of fresh air in spite of her missteps in this lash-batting late night bar crawler that is the Jekyll to Swifty’s drunken Hyde. She really could have reverted full-on back to country-pop and easily gotten away with it...

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Queen of Jeans - “Only Obvious to You” [Topshelf Records]

The surprises within Queen of Jeans’ sound are unraveling themselves quickly, but in subtle gestures leading up to the dreamy Philly indie-pop band’s release next week of their sophomore effort If you’re not afraid, I’m not afraid. So far, they’ve delivered a devastating blow to the ego in doo-wop form with "U R My Guy” and searched for a way out of a dead end relationship on “All the Same”. “Only Obvious to You” steps away from pastel lights and balloon grandeur, leaving plenty of room fordark space in between two warm bodies for the distance to hit hard. “Love will fuck you over hard,” Miriam Devora repeatedly reminds herself in the listen’s closing moments, and in the listen’s video shot at Philly Pride, they want to do their community a solid by letting it be known that no matter how you love, pain is pain, and your feelings are valid, too. This autumn, they’ll be mending broken hearts on the road alongside tourmates From Indian Lakes.

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Whitney - “Used to Be Lonely” [Secretly Canadian]

Someone in Whitney’s camp had to have intentionally planned to have the Chicago country soul duo’s sophomore effort Forever Turned Around be released at the final breaths of summer and the cusp of autumn’s cupping season on August 30th, because “Used to Be Lonely” is the kind of listen that tugs at the heartstrings of both the, uh, lonely and not so lonely, in a way that will make those with someone feel warm gratitude to have someone by their side, and those who don’t romanticize about the day it happens to them. Its accompanying visuals, directed by Austin Vesely, are on point just as well, as it captures a budding romance developing at the kind of midwestern country fair in a small town you’d hit up some weekend in September when you could use a slice of simplicity in your life of how even the most humble moments can feel extraordinary if you’re sharing them with the right person. If not, Whitney will bring it to you when they roll through your city this autumn.

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#the best of the rest #songs #antagonize #charli xcx #sky ferreira #code orange #the highwomen #miranda lambert #octo octa #(sandy) alex g #taylor swift #queen of jeans #whitney #new music & videos

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linernotesandseasons · 5 years

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My 18 Favorite Albums of 2018

Well...Here it is again! 2018 was a...YEAR. One of the toughest I’ve had so far. But full of hard work, growth, challenges, & little victories. Here are some of the albums that soundtracked it. 18 releases that I loved & supported. Songs that helped me make it through. For the seventh year in a row...My favorite albums. Listed here in no particular order (unless you know/enjoy the english alphabet). Top 5 are probably Monae, Rainbow Kitten Surprise, Field Report, McEntire, & Liza Anne, in that order. Music marks time & space. These are the ones for this year. Enjoy!

AMERICAN TRAPPIST / Tentanda Via

We start our 2018 journey in a comfortingly familiar place with the second official full length album from Toms River, New Jersey’s American Trappist. His self-titled debut made my 2016 favs list and his old band River City Extension (top 5 reunion tour wish list for sure!) were second to Fun. on my list way back in 2012. Safe to say Joe Michelini is one my favorite songwriters of the last 10 years. Lucky for us, 2018 found Michelini writing equal parts depressing & uplifting boardwalk rock & roll for/from the underdog/underground. Tentanda Via (Latin for “the way must be tried”) is a blast of an album; full of horns, drums (both jazzy & rock & roll-y!), inspired piano, & Michelini at the helm sounding altogether confident in his existential breakdowns. To me this reads like a coming-of-age album at heart (the way must be tried!), but a deeper, wiser sort of unraveling. A mid-30′s rock opus about learning to live with yourself. Learning how to make yourself better. These songs are inspiring and mix more than a little Springsteen ethos (maybe it’s the horns?!) with some late 90′s/early 2000′s emo/indie/alternative etc...

The straightforward rockers “Death Wish” & “Nobody’s Gonna Get My Soul” bookend the nine track album with surprisingly nimble & crunchy electric riffs and off-the-charts energy! In between, the mid tempo drive of “Getting Even” & “Don’t Get In” lets Michelini’s emotional writing really shine. The words jump out of the songs, full of passion, desperation, & an urgency that makes me glad people are still making records like this. There’s also a unholy, weird interlude that you have to hear to believe called “Unfresh Dirtwolf.” American Trappist is a band that came from the ashes of another band. A band that seems reluctant to tour West of...Ohio. A band that stays under the radar. Michelini has been writing some of my favorite songs for awhile & it feels good growing older together. Here’s hoping for a new one of these every other (or just every?!) year for me to belt along to with the windows down in my Subaru. Joe, if you’re listening out East, don’t stop. This is why I love music.

“Driving through my hometown I feel the peace of the Lord / Ride up behind me on a blind dream from my childhood / Looking back again, it’s hard to understand / Getting older, I guess I do / Waiting on some waking dream like it might find you...”

BLACK BELT EAGLE SCOUT / Mother of My Children

I bought Black Belt Eagle Scout’s debut album at Twist & Shout Records the day it came out. I think I loved the cover art and the idea of Katherine Paul’s solemnly solo rock album, recorded in the dead of Winter in rural Washington, sounding like just what I wanted in my headphones to face the Fall. Then (as so often happens) I got a text a month later from my partner at 12:27am that read simply...

“I’m okay. Going to bed meow. Listen to Black Belt Eagle Scout.”

From there we took Mother of My Children on a snowy road trip to Durango, Colorado. Crisscrossing mountain passes through snowstorms, & visiting Mesa Verde National Park, we let Paul’s earnest, determined, & emotional songs, sweep us into the gray. All this to say that this album has already marked some pretty specific time & place for me. There is a starkness to these songs, a simplicity that makes the songwriting stand alone. Where lesser lyricists would be revealed as phonies (or simply bad) Katherine Paul’s stark, powerful words are illuminated by her minimalist production. With a rhythmically mournful 80′s/90′s emo touch (for more modern emo fans I might even hear a little Manchester Orchestra) Paul doesn’t pull any punches. The guitar gets delightfully heavy on the outro to six minute epic opener “Soft Stud” and then twirls & spirals with the drums in the entrancingly sad “I Don’t Have You in My Life.” This is an important album for Paul to have written and there is a great power in her words. Oh also... she plays every instrument on the album!?! Guitar, bass, drums, vibraphone, keyboard, organ, various percussion, & all vocals. Very Vagabon. Very Caroline Rose (spoiler alert!)! With our world on fire, and full of threats (from our own government) to native lands & native people, it’s increasingly important to listen to and hear/heed the words and writings of people like Paul; a radical, indigenous, queer, feminist from Oregon. Thanks for speaking out KP. Listen to Black Belt Eagle Scout.

“Do you ever notice what surrounds you? When it’s all bright & tucked under / Do you ever notice what’s around you? When it’s all right under our skin...”

CAMP COPE / How To Socialise & Make Friends

Camp Cope is a GREAT band name. Camp Cope is a REALLY GREAT band. Camp Cope has a wit & an attitude that is so punk rock, so genuine, & How To Socialise & Make Friends is a powerful album. Hailing from Melbourne, Australia, Camp Cope rides a practiced garage-y sound and lead singer & lyricist Georgia Mac’s passionate howl and impressive writing. As someone who grew up on early 2000′s pop-punk, emo, & alternative (something I guess I probably regret more often than celebrate. Because toxic masculinity & white male fragility) there is something so bittersweetly nostalgic in these chord progressions, the earnest electric strums, the yell-sing vocals, that takes me back to high school. Georgia Mac has a way with words, sliding them in & out, over cascading, steady strums, & then sometimes building them up to a frantic yelling. These are songs that sound as if they had to come out, had to be sung this way, like no one else could write or sing them. With an equally muscular rhythm section, “The Opener” attacks music industry sexism head on (if you haven’t seen Camp Cope live, it is chill inducing hearing a whole room belt along to every word) with a bass riff that could fly a jetliner. The three members interact so well together musically and everything from the driving “UFO Lighter” to the lilting “Sagan, Indiana” sounds tightly rehearsed. Equally passionate in their social media presence and their willingness to engage and fight for social justice issues, Camp Cope represents the future. Bands like this are changing the game right now and it’s exciting to hear it in real time.

When I close my eyes for a second, as the title tracks rings out and the gorgeously, lightly sad “The Face of God” ambles in, I’m 17 again. I’m driving for the first time, crying at the moon by myself or laughing with my friends. I’m a freshman in college, skipping my Friday classes (and braving mountain passes!) headed west, headed home. Then I snap awake and I’m 32, it’s Winter here and Georgia bellows “Just get it all out, put it in a song. Just get it all out, write another song!” Thanks Camp Cope. This album is special.

“It’s another all-male tour preaching equality / It’s another straight, cis man who knows more about this than me / It’s another man telling us we’re missing a frequency / SHOW ‘EM KELLY / It’s another man telling us we can’t fill up the room / It’s another man telling us to book a smaller venue / Nah, hey, cmon girls we’re only thinking about you / Well, see how far we’ve come not listening to you / ‘Yeah just get a female opener, that’ll fill the quota’...”

CAROLINE ROSE / Loner

It took Caroline Rose four years from her weirdly rootsy-riffy debut album to find her true self, but Loner sounds every bit like an artist comfortable in their own skin & confident in their craft. Dialing up the synths, fuzz, and brilliantly tongue-in-cheek lyrics, Rose touches on all the big topics: drugs, death, sex (ism), and money! with a casual, conversational songwriting maturity that belies her 28 year old sophomore-ness. Favorites include “Jeannie Becomes a Mom” (check out that bouncy organ!), the steady build & twisty, head-turning songwriting of “Getting To Me,” & the electro warp & wend of “To Die Today.” I was finally convinced into falling for this album when my partner played it three times (or was it six?) back-to-back-to-back on a rainy Summer Sunday afternoon drive from Granby, CO back into Denver. Something about the pacing; the complex, yet immediate song structures that leave you wanting more. These are songs of tested confidence. But shining through it all, Rose is a wild card. A red clad rockstar with a palpable spirit, not afraid to wear her heart on her sleeve & laugh a little along the way. Loner is full of dance jams for the cool kids & the loners. At its core it preaches acceptance, and teaches us to love ourselves & love each other for who we are. Go Caroline! See you in a month in LA!

“Waitress sets the tables, two & four & six / Laying placemats, knife, fork, spoon, upon napkin / All the counter people, she knows us all by name / A counter people fission, everywhere we are the same... / & so you line ‘em up, a single cell, another one gone / Ostracon vase with your name on the line...”

FIELD REPORT / Summertime Songs

At some point during this year I begin to realize how important beloved songwriters releasing new works is always going to be to me, I was falling (& re-falling) for new works from long time favs Calexico, Gregory Alan Isakov, Florence & The Machine, & of course Phosphorescent. But somehow it was Field Report’s third release Summertime Songs that stuck and became perhaps the most meaningful of all. I fell in love with Field Report in the midst of a hard, hard winter (2012 I think). Their sophomore album Marigolden has been a constant companion since 2014. I first heard this set of songs (the ones that comprise Summertime) in the June of 2017, sweating in the familiar Eau Claire, Wisconsin heat. Hearing a set of 100% new, unreleased material is exciting and also kind of a risk. After the set I wrote that the new tunes “Sound like June. Like wet cement & flash floods. Like swollen rivers & mosquitos full of hard fought human blood. Like growing older & having kids. Intimate details stretched over skittery, percussive thunderclouds. Like grabbing an electric fence. Digging in &...replanting.” I was 100% in it. On a high in Wisconsin & falling deeper in love with music. Then Field Report went mostly silent & we had to wait till early 2018 to get the recorded versions. Adding even more drums (Shane Leonard deserves a shout-out here as a killer pocket player!) some electronic effects, and ramping up on the arm-out-the-rolled-down-window singalongs definitely serves Chris Porterfield (did you know the name Field Report is just an anagram of his last name?!) well. Whoever it was who asked him “why don’t you try Summertime songs” was on the right track. His songwriting is as electric as always on this set of heartbreakers & as usual he follows a lot the same threads. His lyrics here are visceral, wordy, & wise, & i can feel the songs growing up with me. Sometimes I lead, sometimes they lead me, but we always seem to find each other exactly when we need to.

“Time is a bird with a mean, hooked beak / & he’s just waiting around to work on you & on me... / Shotgun wedding, black on blue / The river’s swelling like a bruise...”

H.C. McENTIRE / Lionheart

Heather McEntire has been carving out a name for herself in the North Carolina music scene for years fronting old-school punk band Bellefea & more recently, the much loved Mount Moriah. But way way back in January, Lionheart roared in under her own name; all ferocious & tender, confident & wild. A true southern record, Lionheart is vocal & lyric forward. From the Sunday morning hymn swell of opener “A Lamb, A Dove,” to the driving swing of “Baby’s Got the Blues,” & the late night, red wine country of “When You Come For Me.” McEntire enlists all her talented musical friends on this effort. There are co-writes with the legendary Kathleen Hanna of Bikini Kill (whom McEntire credits with helping her find her individual voice), bgvs from Amy Ray (Indigo Girls), Angel Olsen, & Tift Merrit, & inspired guitar work from William Tyler & Durham favorite Phil Cook!

Through it all, McEntire stays true to the thread that made Mount Moriah’s “How To Dance” one of my 2016 favs. Lionheart exudes the smells & scenery of North Carolina and reads like a map at times, referencing points from Stoney Creek to the Green River Gorge. Some of my favorite songs written over the last five years (or ever) have a very strong (& often specific) idea of place. If country music is going to representative of the country that I want to live in, it’s going to be sung by people like Heather McEntire. A powerful queer southern woman; vulnerable & brave, a true Lionheart.

“You’ll find me in the hollow, dosing anything that might / Make the map look any smaller, give me a dog in the fight / So call it off or call it God, call it anything you like / Do you see it in my eyes? / A levee on the rise, do you see it? / The tellin’ ain’t told gently, so pay your tab & pay your dues / The dogwood & the chicory & a silent wood stove flue / Your baby’s got the blues just like you...”

iZCALLi / IV

I was late to the party on Izcalli (a band from my own city!) and when I found them, it was magical, I think they were playing an opening set for Jessica Hernandez & The Deltas at Lost Lake and I probably stumbled in late from PS Lounge or Tommy’s Thai to shredding electric guitar & ska, latin funk, & pure Led Zepplin Rock & Roll. Frontman Miguel Avina was howling & stomping in Freddy Mercury-meets-Mariachi white pants, his long curly hair everywhere, all energy. I was immediately hooked. Calling them my favorite local band and finally getting to put them on this end of the year list. Izcalli joins some pretty good “local band” company here on linernotes&seasons. From Nina De Freitas’ EP last year; Yawpers, Covenhoven, & Rateliff in 2015, to Isakov & Covenhoven in 2013 & The Lumineers all the way back in 2012! Izcalli has been playing around Denver for 13 years and have slowly built up enough of a following to headline the Bluebird Theater last year. Their fourth album (aptly titled IV) comes out swinging and showcases plenty of heavy power chord riffs, violin, horn, & songs in both English & Spanish. Their heavier, more classic rock influenced songs (”Lightning Red” & “Eso Velocidad”) absolutely explode with fiery lead guitar and inspired drumming. When they dial it back and let their Mexican influences show through, like on the eerily crunchy, violin led “Quite de Mas” and the woozy saxophone breakdown of “Solo Se Morir,” they showcase depth and a real songwriting ability. There is an almost Muse-like thunder to the monstrous organ riff of “A New Lie” and closer “Si Estoy Contigo” sends everybody out dancing. With influences from all over (most notably their homeland Mexico City) & a live show that’s not to be missed, Izcalli embodies everything I think of when I think of a true Denver band.

“A frozen heart in me turned out to be my one way home / I swear I’ll leave, I’ll drive myself down to Mexico...”

JANELLE MONAE / Dirty Computer

Dirty Computer is my favorite album of 2018. Much like my favorite album last year (Lorde’s Melodrama) no one was as simultaneously honest & excavating in their personal songwriting; while still writing such absolutely shredding club bangers, as Janelle Monae. Dirty Computer acts as a coming out party of sorts for the 32 year Kansas City-ian, although, to be fair, her first two albums had already scored her Grammy nominations and the stamp of approval from Prince, Eryakah Badu, & Michelle Obama. Her debut The ArchAndroid and her followup The Electric Lady, found her creating elaborate alter egos, protest songs, and complex, critically acclaimed song cycles about life as a black woman in America. With Dirty Computer she is able to hold multiple titles at once. Schizophrenically on top of her game, tying all her alter egos together with stellar production, monster vocals, and some of the best, most interesting pop songs since...well...maybe since Prince. From the Brian Wilson assisted eerie sci-fi sweetness of stage setting opener “Dirty Computer,” she lets loose on some of her most fun, live-a-little anthems “Crazy, Classic Life,” and “Take a Byte.” Deeply personal, political, & inspiring “Django Jane” is stunning, & sets the stage for mega back-to-back singles “Pynk” & “Make You Feel.” Songs of my (and everybody else’s) Summer for sure. “I Got The Juice,” is light & bouncy, & personal favorite “I Like That” is rebellious & rides an immediately memorable instrumental into one helluva vocal take from Monae. She makes a political statement in closing with the anthem “Americans,” (anybody else think this one especially sounds like a lost Prince track?) but her strength is her ability to be both personal & political; a true diva with a purpose. These songs are Janelle creating and sounding exactly how she wants, pushing the limits of what a superstar can do, Her show at the Paramount in July was a highlight for me, and Dirty Computer is hands down my album of the year.

“Box office numbers & they doin’ outstanding, running out of space in my damn bandwagon / Remember when they use to said I look too mannish? / Black girl magic yall can’t stand it...”

LIZA ANNE / Fine But Dying

In a year where I seemed to gravitate to albums & songs about living in, and growing through, mental health issues; Liza Anne’s blistering (and epically titled!) Fine But Dying was definitely a top five album for me. A gifted songwriter, Dying finds Anne finally letting it out with a heavy band, a light touch, & a deep dive into the insecurities & struggles that seemed to be (gulp) some of the same ones I was going through this year. Songs about conversations, relationships (both romantic & platonic), and most importantly, about examining & improving yourself. No one on this list unpacks, observes, and mines their own heart & mind as well or as deeply as Anne does across these 11 tracks. When she really cuts loose, like in the ballistic breakdown of “Kid Gloves,” the fuzzy crunch of “Get By,” or the spiraling, swirling (& also epically titled!) “I Love You, But I Need Another Year” she shines. Fine But Dying is wise beyond its years and a no-holds-barred, place-in-time look at mental health & how we should all be addressing our issues & working things out. Her show at Globe Hall here in Denver back in April was cathartic, thoughtful, & one of my favorite of this year for sure. Yay for fearless songwriters, Yay for rock & roll. Fuck yeah Liza Anne!

“I ran once, took my flight across the ocean / I thought if I could make my way across the sea I’d find a place / Now I’m swallowed up by a city that doesn’t give a fuck / To whether I am up on time / Or whether if I am, well...alive / & I’m so good - getting too good at hiding / Too good at keeping to myself that I’m spiraling...”

MESHELL NDEGEOCELLO / Ventriloquism

I think it was “Atomic Dog 2017″ that first caught my ear at some point last year. I didn’t know Meshell Ndegeocello, but I knew that what I was hearing was classic. The off-kilter guitar strums slithering into that bass drop, finally settling into a steady groove, that melody appearing (seemingly out of nowhere) into a rolling, & instantly recognizable chorus. Next thing I know I’m googling George Clinton and off into an 80′s funk youtube rabbit hole. A covers album to stand up to any other covers album, Ndegeocello has a masterpiece on her hands in both song selection & creativity. In a year where she turned 50, the sneakily titled Ventriloquism is her 12th studio album, Inspired by listening to oldies radio on car rides to her childhood home, influenced by Prince & Neil Young; Ventriloquism is a super smooth revamp of 80s & 90s R&B. What Ndegeocello does so seamlessly on Ventriloquism is take these songs and make them flow as a part of a whole. There is light in the darkness here. There are threads of continuation here. An appreciation for those who came before, those who paved the way. Ndegeocello is a true artist and these reinterpretations not only nod to classic songs & artists, but dig out their own little important niche in 2019.

“Sometimes it snows in April / Sometimes I feel so bad, so bad / Sometimes I wish life was never ending / & all the good things they say, never last / Springtime was always my favorite time of year / A time for lovers holding hands in the rain...”

MIYA FOLICK / Premonitions

Every year I wait till the last minute (and beyond!) to finish this list. I write it up in November & December, agonizing & filling out what I think are my favorite albums (18 this time!) of the year. I enjoy whittling the list down to a manageable number, but I also enjoy reading everyone else’s lists; finding new finds & hearing what other people liked. Then, sometime in the middle of December, I am knocked out by something I missed over all the year of listening & reading. This year it is MIYA FOLICK! I was given a wintry new year’s mix of goodbye 2018 (and F*** you!) tunes from my partner (which I will probably post & write about sometime as soon as I finish posting this because it is goooood), and track 9 of that spotify mix. Bouncy horns, a killer beat, & lyrics that cut right to me but leave me smiling. Rhyming “self home” with “cellphone”?! Singing about leaving the party?! Yesssss!. This is for me! On deeper listens, Premonitions is a goddamn masterpiece. Starting slowly & melodically, openers “Thingamajig” and the title track are captivating, then it unexpectedly explodes into 80′s dance bangers about half way through. Most of the album is deeply personal and self examining, finding Folick digging into to her own weaknesses & fears, without always settling on answers. She is vulnerable yet grand; part Lorde, part Florence, part Stevie NIcks, part Regina Spektor...All Miya. At its core, Premonitions celebrates life, celebrates the little victories. If you want to know/hear what that sounds like, maybe I should let you read from Miya’s bandcamp page...

“Premonitions begins with ‘Thingamajig’ -- something you can't quite recall the name of, but you know exactly what it means and what it feels like. Like the pull of desire that comes with not quite remembering fully. The magnetism of something just on the tip of your tongue. I wanted the album to feel like that thing.

I think a lot about about memory-making as an act of creation, the words we use to describe a memory give shape to and sometimes mutate the memory itself. I believe that the way we choose to describe the events of our lives is not only a means of creative fulfillment, but an absolutely vital part of creating the world we want to live in. When we are dishonest in the present, we create a dishonest future. When we are honest in the present, we create a more honest future. I wanted this album to be the vehicle for a hopeful, truthful, generous, and loving world. I tried not to posture or pretend. I wrote about my life as I've seen it and how I'd like to see it, as both memory and premonition.

The producers, Justin Raisen and Yves Rothman, and I spent months collecting organic sounds to fill the world of this record. We threw away everything that felt false and tried to keep the soul of each song alive. I hope Premonitions gives you comfort and joy. I hope it feels like all the mysterious details of your lives, all your massive and mundane glories. I hope it reminds you that there is beauty in the details. Rainbows in your sprinklers. Drinking water from a hose. The way it felt to make a friend for the first time. Locking yourself in a bathroom to avoid everyone. Dancing until your shins burn. Leaving your phone in an Uber and making your best friend drive you an hour away to knock on a stranger's door after locating it on Find My Phone. Losing a friend. Losing yourself. Remembering...”

MT. JOY / Mt. Joy

I had almost finished making this list and nearly forgot about an album that marked a month-plus in the Spring when I listened to almost nothing else! Philly by way of LA’s Mt. Joy debut with an album that blends sunny California folk & smoothed out east coast pop-emo, into easy listening, easy singing indie rock. Named after a mountain in Valley Forge National Park (SE Pennsylvania); Mt. Joy’s songs similarly find geographic touch points across the US, making this a true road trip record. Multiple California references (San Fran, Mulholland, Hollywood, the ocean), make their way down to New Orleans, and end up on the east coast (”blood on the streets in Baltimore” & “the beaches of Chincoteague”). Without breaking any new musical ground, Mt. Joy sounds comfortable & confident, and their songs play bigger & stickier than your average radio friendly pop-saturated-folk. When the title track hits its festival ready build (”you can’t stop us, feel like Ziggy Stardust”) you’ll have a hard time not rolling down your window and singing along. “Way up over Mt, Joy. Where everyone’s free now. To move how they feel now.”

“Your life will change straight out of the blue / The clouds in your mind just passing through / Image the horses when you set ‘em free / Go tear down the beaches of Chincoteague...”

NONAME / Room 25 (& Song 31)

Room 25 kicks in innocently enough: smoothly humming wordless voices, steady drums, & jazzy piano flourishes. Like a lazy Sunday morning. Noname (Chicago’s 27 year old Fatimah Warner) introduces herself with a laid back, matter-of-fact, stream of consciousness “maybe this is the album you listen to in your car when you’re driving home late at night, really questioning every god, religion...” But then she says something that should make you pay attention.

“Nah. Actually this is for me.”

That creative confidence. That freedom, defines the rest of her album. No matter how much critical acclaim Room 25 racks up (I saw this album on a ton of end of the year lists!), no matter how downright fun & laugh out loud funny her breakneck rhymes are, this one is for Noname. I mean, you can still download (aka OWN...like for your ipod!) the whole album on bandcamp FOR FREE! Following in Chance’s footsteps, it’s free mp3s for people like meeee! Raised in Chicago’s slam poetry scene, she dabbles here in downtempo, smoothed out, futuristic jazz & soul. All the while she is unapologetically herself. Her words tripping over each other, too many thoughts, too much energy, too much passion to hold in. A clear blockbuster talent. One of my favorite new finds from last year’s Eaux Claires festival, her late afternoon set up on the hill was radiant & joyful. The artwork I used here is from her early 2019 single “Song 31,” as she has pledged to change the official Room 25 cover art, due to assault charges leveled in October against the artist who did the original cover. “I do not and will not support abusers, and I will always stand up for victims & believe their stories.” Noname said, and she has been proven to be as vocal in her personal life as she is on tape. As she says in the uplifting “Ace...”

“Globalization is scary, and fuckin’ is fantastic” And yall still thought a bitch couldn’t rap huh?...

“When labels ask me to sign, say ‘my name don’t exist’ / So many names don’t exist / Moved into Inglewood & the trauma came with the rent / Only worldly possession I have is life / Only room that I died in was 25...

Medicine’s overtaxed, no name look like you / No name for private corporations to send emails to / Cuz when we walk into heaven, nobody’s name gonna’ exist / Just boundless movement for joy, nakedness, radiance...”

RAINBOW KITTEN SURPRISE / How To: Friend, Love, Freefall

Rainbow Kitten Surprise made one of my five favorite albums this year (and probably the one that I sang along to in the car more than any other!) Imagine Modest Mouse growing up in North Carolina, in the 2010′s, writing smart, anti-lumineers-imagine dragons tunes, and going on to play arenas & rock clubs alike. This Boone, NC (pop. 17,000) five piece crank out catchy pop rock tunes; equal parts funky basslines, ooohs & ahhhs, and deceptively clever lyrics about religion, the south, and relationships both platonic & romantic. Huge single “Fever Pitch” rides rolling drums, background whoops, and finds charismatic frontman Sam Melo languidly recounting his religious upbringing and sing-rapping about getting to know you better. Other standouts include the acoustic blues (and Aha-Shake-era-Kings of Leon reminiscent!) “Painkillers,” the “Moon & Antarctica” rattletrap sing-song of “Possum Queen,” and the laugh-out-loud funny breakneck alternative pace of “Matchbox.” But it is song of the year contender “Hide” where Melo lays bare his feelings about growing up gay in a deeply religious south, when you get a peek at what Surprises these Rainbow Kittens are capable of. What starts as a bouncy love number takes a turn into some deep songwriting with “I’m running from a place where they don’t make people like me, I keep the car running, I keep my bags packed. I don’t wanna’ leave, just don’t wanna’ leave last.” This is Fruit Bats’ “Soon-to-be Ghost Town” written by someone who’s lived it. RKS packages it all up as emotional anthems, dancey-catchy choruse that stick, & an album that-while serious, is so damn fun to sing along to. They’ll be at Red Rocks next Summer so come hop on the bandwagon and get to know your new favorite band!

“You’re a master of passive-aggressive magic tricks like “that’s not the card that I would’ve picked, but it’s your life to live like how you’d like to live...’”

SUN JUNE / Years

Sun June’s debut record Years is an album that I never expected to be on this list, but one that pushed its way into my heart, ears, and mind a lot over the early Summer. I kept comparing it to Leif Vollebekk’s gorgeously haunting 2017 release Twin Solitude that made it on last year's list in that it managed to be rhythmically funky & interesting while being mostly SO quiet. Even the more “upbeat” numbers; from the gorgeously, golden swing of “Young,” to the steady backbeat of “Baby Blue” keep their composure meticulously. The writing is transfixing on Years and the band is so tight, with every member adding just the right amount of soft sound. I tried to explain it to somebody as music you have to “squint to hear.” It sounds good in the background, all sweet & rolling. But better up close, turned up in headphones. All together & bright. This is an album I would listen to sleepily, on my way home from work, driving Colfax in the first light of dawn at 5 in the morning. Sun June’s lack of an internet presence is refreshing (is there ANYWHERE I can find the lyrics for this album??!!), I think they’re from Texas, and I don’t think they’ve even played a show in Colorado yet! Regardless, Years is tied together with a quietly tight rhythm section, and Laura Colwell’s wispy vocals, grabbing at the edges of my brain, calmy insisting “Four in the morning, I could get used to this...”

“I was almost always leaving / Looking for the reason / Bedside hospital daylight / I go with the Southern mountains / Down the 405, I’m coming tell me you don’t deserve this / I was young...”

TIERRA WHACK / Whack World

I love me a good concept album, but even I would’ve thought that the idea of 15 one minute songs(complete with video accompaniment) making up an entire album, would be a tough sell. Whack World makes good on an innovative concept, delivering something breezy, catchy, & lasting, and making Tierra Whack one of my favorite new finds of 2018! My little sister showed her to me on a “Get-your-ass-to-the-gym” playlist and “Fruit Salad” was immediately stuck in my head for weeks. Mostly down-tempo, Whack is clearly a witty lyricist and creative mind, and at 23, a game changer in the music scene. Also an effortlessly cool, musical, badass. With almost no choruses, this is an album you can listen to over and over (and throw any tracks in mixes) without any clear singles. The bouncy gospel-tinged “Pet Cemetery” has hand claps & dog barks, and is followed immediately by the laugh-out-loud vocals of “Fuck Off.” Whack never takes herself too seriously (so many off the wall and laugh out loud funny vocals!) and the Philly native shows that one minute songs can turn a lot of heads and end up on a lot of end of the year best album lists! Whack World!

“Crispy clean and crisp & clean / For the dough I go nuts like Krispy Kreme / Music is in my Billie genes / Can’t no one ever come between yeah / Don’t worry about me I’m doing good, I’m doing great, alright...”

TYPHOON / Offerings

It seemed like a lifetime since Typhoon released their sophomore knockout, masterpiece album White Lighter back in 2013. I’ve grown a lifetime since, experienced everything since. In the first few weeks of January 2018, out of the darkness, out of the silence: came something darker, weirder, but still magical and at its core, celebratory. Typhoon is one of my all-time favorite bands, one of my favorite live shows, and frontman Kyle Morton writes about memory & loss, life & death, better than anybody in the game. With Offerings they have dropped the peppy horns, slimmed down to (only!) seven members, and zeroed in on the heavy, spiraling folk-rock that hearkens back a little to Bright Eyes or The Decemberists, Broken Social Scene or Arcade Fire. As a loose concept album, Offerings explores in four movements (Floodplans, Flood, Reckoning, & Afterparty) what happens to a mind stripped of memory. Or (side quest/plot/twist) a world willfully forgetting its history. From the hushed chanting that explodes into huge string swells, drums, and shouts of opener “Wake” to the rhythmic, glowing build of the 8 minute “Empricist,” to the mystical picking and ruminating of “Algernon” the first movement could almost stand as an album of its own. The rest of the album unravels at equal parts slow reflection (”Mansion” & “Beachtowel”) and sweeping indie rock (”Remember” & “Darker”). Although a lengthy (and at times not easy) listen, I think Offerings will go down as one of the most ambitious rock records of the last few years.

“& so the light fades / It’s still your birthday / So blow out your past lives like they’re candles on a cake...”

VALLEY MAKER / Rhododendron

There is a mysticism buried somewhere in the emotive vocals & break-in-the-clouds writing of North Carolina by way of Washington State’s Valley Maker. Austin Crane is the singular voice behind the Valley Maker project, painting time & space on a dark, slippery canvas, and hiding complex truths in the rhythmic tides of Rhododendron. This ground has been tread before; by countless folk singers & prophets, wailing of death, dark magic, & the myriad mysteries of time, but Valley Maker understand their place in the linear and bring a modern take to ancient stories. Part War on Drugs-highway-drone (check the double yellow rattle of “Light on the Ground”), part Ben Howard’s-foggy-British-countryside (”Beautiful Birds Flying”), Crane writes songs that stick. They claw and seep their way into skin, into veins, and haunt in a way that echoes of the past. This is songwriting as a conduit. These stories are Crane’s, but they are older; tales told since religion begin. From the first lines of the roiling, dark sky opener (”time is just a game I play / it’s written on the ocean’s waves / circling beyond my brain / something I could not contain.”) to the uncertain give & take of the earthy “Seven Signs” (”I’m cutting in line but I haven’t decided...”) the writing is equal to the musicianship Crane and his backing band clearly have in spades. With Chaz Bear (Toro Y Moi) providing stellar percussion and Amy FItchette (who I was lucky enough to see sing with VM at the Doug Fir in Portland) lending absolutely haunting, otherworldly harmonies, Crane has depth beyond his strange tunings and bleep & bloop electric forests. Through it all there is a steady rhythm to the darkness and like in “Baby, In Your Kingdom” when he tops a wonderfully simple, acoustic walk-down with “Baby are you satisfied? Take a decade, take a lifetime, I know we’re always on a one way street...” there is a timeless beauty even in the mystery. Oh, and saxophone. Rhododendron has some great saxophone.

“Baby in the next life / I can touch you, I can ride the light / Goddamn I wan’t where I thought I’d be / 29. Burn the world around me & I hide / Baby in your kingdom / Sink my roots in, I’m a tall tree / I know, wind is gonna blow again / I know, when I am with you...I am known...”

#black belt eagle scout #camp cope #caroline rose #field report #janelle monae #liza anne #meshell ndegeocello #miya folick #mt joy #noname #rainbow kitten surprise #sun june #tierra whack #typhoon #valley maker #izcalli #american trappist #h.c. mcentire

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thefandomgang · 3 years

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Newer Songs I love:

1) Champagne Problems- Taylor Swift

my fav song off evermore. the story behind it is absolutely heartbreaking. I love how taylor describes the stigmatisation of mental health issues and the way society still treats people that struggle. We still need spread awareness for such an important topic! Thank you taylor for such a beautiful song🥺💞

2) Know me again- Cian Ducrot feat Cate

ABSOLUTE BANGER. The bridge is by far my favourite part of the songs. The way their two voices blend together still gives me shivers. A beautiful ballad about unrequited love🥺 CAN ONLY RECOMMEND!!!

3) Boys will be Boys- Dua Lipa

This song may be a bit „older“ than the rest of the songs but its still such a cool and accurate song. It also expresses how woman are still viewed as some kind of object of men‘s pleasure and how females have to grow up even faster than boys because we have to protect ourselves. The lyrics>>>

4) Dancing with the Devil- Demi Lovato

I have never been the biggest fan of demi but with this album she really evolved into such a honest artist. The lyricism is fascinating and i absolutely adore the „dancing with devil“ metaphor. A huge step for her and im so happy she shares so much about her past to inspire others. Im glad she‘s still here to fight<33

5) Its a Sin- Elton John and Yearsandyears

What a beautiful cover. From the vocals of both singers, the beautiful piano to the breathtaking anf by far best performance at the BRITs- it‘s an experience of a lifetime.💗💘💓💖💕

6)Mr. Perfectly Fine- Taylor Swift

I doubt i will ever forgive taylor for hiding this MASTERPIECE for such a long time. An amazing banger with great lyrics and heartbreaking story behind it. Not happy she ever has to rerecord (fuck🛴) but im glad we know have this beautiful song.

„Ive been picking up my heart, he‘s been picking up her“- the best lyric. no question.

7) Astronomy- Conan Gray

Indie at its best. The soft guitar, the mesmerising vocals. With this song Conan put himself on a new level. Will probably end up being one of my most streamed songs of the year. I can already see it🤠

8) Groupie- Cate

What a pretty voice!! My favourite song by such a good and underrated artist. Love it with my whole heart.🥺🥺🥺

9) F*kn Around- Darren Criss

Never in a million years would i have thought i would hear him coming back with such a song. Rock Darren has always had a big place in my heart since early glee days but with this track he has outdid himself again. The bass is so catchy im not getting out of my head. An absolute banger!!😌 AS HE SHOULD

10) good 4 u- Olivia Rodrigo

And again, a banger. I have to admit i liked driver’s license but didn’t really enjoy deja vú that much. But after this song came out i became really excited for SOUR. It gives me major „Forget me too- Halsey and Machine Gun Kelly“ vibes and im here for it😌

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magnetic-force-of-a-may · 5 years

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Now I See Daylight: Lover is Taylor Swift’s Brightest Glow-Up

I wrote a ~2,000 word review of Lover. I’m so proud of you @taylorswift buddy, and as someone who majored in literature, I always like to close-read and write about the art I appreciate. and I love love lover, and I hope you’ll like my review (skip to the last paragraph if it’s too long hehe). <3 @taylornation The musical event of my year transpired last night when Taylor Swift released her hotly anticipated 7th studio album, Lover. It’s Taylor’s 13th year in the game, my 11th year as a Swiftie, and we’ve both never been better. After dancing/crying/listening to Lover since last night, I’m finally ready to write my review of this triumphant, exuberant pop masterpiece.

It’s been a whirlwind past few months, from five holes in the fence to the star-studded, not-without-controversy YNTCD to the gorgeous title track that is “Lover.” As always, Taylor and her team have orchestrated a business-savvy album roll-out, complete with an elaborate, year-long, Easter Egg hunt. There is always much speculation about a Taylor Swift album, and a marketing campaign structured around clues is a smart way of creating the speculation, shifting listeners’ attention somewhere productive; in this case, re-watching the “ME!” music video over and over to catch all the eggs and amp up the video’s views. But to hear Lover in its entirety at the end of an Easter Egg journey is ultimately rewarding and intimate. “I am an architect, I’m drawing up the plans,” sings Taylor in “I Think He Knows.” The Lover era confirms her skills as a powerful architect; she builds speculation, constructs masterful bridges (she really went to “bridge city” with many songs on this album), and shows no signs of stopping.

The opening track, “I Forgot You Existed,” is an understated earworm that essentially bids the reputation era (and the Kimye drama of 2016) adieu. “It isn’t love, it isn’t hate, it’s just indifference,” Taylor shrugs. Vocally, the song has a colloquial quality; throughout, Taylor speaks, laughs, even trails off. It’s the equivalent of the throat-clearing that launched Track 1 of reputation, “Ready For It.” The first and essentially last song about “drama” on Lover, “I Forgot You Existed” clears the path for the 17 raw, emotional tracks to come.

The immediate next track, “Cruel Summer,” is an absolute pop-bop that immediately takes us to the higher register (Taylor in soprano-mode is sublime). It’s likely the next single (Tay teased the title in the YNTCD video and in a recent Amazon ad). This is the first song on the album that takes us to BRIDGE CITY—Tay practically screams “he looks up, grinning like a devil” in the bridge, and it’s amazing. We get to hear several New Taylor Sounds in this album, and it’s a lovely surprise each time. The trumpet(?) tease that opens “False God” and the way Tay sings “lo-o-o-o-ve” in the chorus prove that it’s all in the details. Structurally, the song staggers the lyrics in the chorus, such that each bleeds into the next (“Religion’s in your lips / Even if it’s a false god.” The religious imagery in Taylor’s past two albums is fascinating). Something similar happens, with even more syncopation (and brass!), in “It’s Nice to Have a Friend,” which is the grown-up, dreamier version of “Mary’s Song.” Speaking of the debut album, the way Taylor sings the bridge of “Cornelia Street” (“Barefoot in the kitchen…”) sounds just like the chorus of “Invisible.” Are these callbacks to her debut album coincidental? Knowing Taylor, likely not.

Indeed, many moments in Lover remind us that the old Taylor is far from dead, as she previously proclaimed in LWYMMD. "Miss Americana and the Heartbreak Prince” makes a direct reference to Tay’s song from the Hannah Montana movie (I looove “Crazier”), and in “Daylight” she sings that she used to think of love as being “burning red,” a lyric from “Red.” And Track 12 of Lover, “Soon You’ll Get Better,” is like Track 12 of Fearless, “The Best Day” (one of my all-time favs)—both are songs about Taylor’s mom, Andrea Swift, who is currently battling cancer. “Soon You’ll Get Better” is the album’s #1 tear-jerker, and features Andrea’s favorite band, The Dixie Chicks. It’s the closest thing to country on the album.

But on Lover, we are undeniably listening to a new Taylor who brings the storytelling traditions of country into the energetic world of pop. This Taylor writes about love from a stronger place of growth and self-confidence. You know that meme that goes, “I’m you but stronger”? That’s Lover to Taylor’s early discography. Tay’s confidence jumps out clearly in ME!, which was the first single Taylor released on 4.26 and honestly still one of my favorite tracks from the album (catch me yelling “HEY, KIDS! SPELLING IS FUN! on tour). I truly love Brendon Urie’s part in that song. Although “ME!”might have a reputation for being a “kids’ bop,” it channels a form of self-awareness that we also get on “Afterglow,” which is about a lover who understands her own flaws: “It’s all me, in my head.” Both “Afterglow” and “ME!” speak to the beauty and possibility of experiencing a storm with someone and recovering together afterwards, be it in the rain or in the light. It’s not just self-awareness that Taylor demonstrates on Lover, but also social awareness—this is the year she finally became vocally political, after all. “YNTCD” was her first LGBTQ anthem. Although some have accused Tay of “queerbaiting” (there’s always some flaw to pick out, isn’t there), the song is truly Taylor’s love letter as an ally to the LGBTQ community. Then there’s “The Man,” which slams the patriarchy by imagining a world in which Taylor is not a woman, but a man. “If I was out flashing my dollars I’d be a bitch, not a baller,” she sings. She also gives Leo Dicaprio a well-deserved roast; while Taylor’s dating life has received extensive scrutiny, tabloids don’t hate on “Leo in Saint-Tropez” the way they lambast Taylor for ‘serial-dating.’ “The Man” also sounds very much like HAIM’s “Forever” (“Dress” on reputation gave me HAIM vibes too). And I’ll forever stan Taylor x HAIM.

In Red, Taylor sings “Stay Stay Stay” to someone who later likely breaks her heart. Interestingly, the song on Lover that sounds like a musical echo to that track is “Paper Rings,” an adrenaline rush of a song about getting married. The song is another perfect 60s bop, and I love all the counting that happens in the song; it lyrically and spiritually channels the “you’re the only one I want” energy from Grease. “I like shiny things,” sings Taylor (we know) “but I’d marry you with paper rings.” And theother elephant-in-the-room song about marriage is of course “Lover,” which has literal wedding vows in its beautiful bridge. Of the three marriage-related songs on this album, “Lover” wins my heart (and it’s Taylor’s favorite song that she’s ever written, I hear). It’s a beautiful ballad that comes straight from the heart. Like the best Taylor Swift songs, it’s personal. We get straight to the time and place, like in “Cornelia Street,” the street on which Taylor used to live. In fact, the song’s melody seems to share the same musical pattern as “Delicate,” and some fans even speculate that the “third floor on the West side” from “Delicate” is on Cornelia Street. Another song is that is very location-specific is “London Boy,” which is a personal favorite for its allusion-heavy lyrics and catchy beat. I know that some Londoners are shaking their heads at the lyrics, but oh well—it’s a cute nod to Taylor’s current boyfriend of three years, Joe Alwyn, who (if you haven’t figured it out by now) is the inspiration behind many of the songs on this album. Another standout, should-be-a-single track is the aforementioned “Miss Americana and the Heartbreak Prince,” which demonstrates Tay’s exquisite, imaginative storytelling style and mastery of metaphor (“Getaway Car” was the masterful-metaphor song on reputation). I could really write a paper on these lyrics. The Guardian seems to think it’s about living in Trump’s America? It’s a song that, along with “The Archer,” is reminiscent of Lana Del Rey’s dreamy pop (although the latter, while lyrically lovely, has yet to totally grow on me). Taylor has long been outspoken about her love for Lana’s music (they also share a producer: the amazing Jack Antonoff). If this means that Taylor’s music is beginning to take on a slightly indie-rock quality, I’m not complaining. For instance, “Death by a Thousand Cuts” has a slightly Vampire Weekend-quality to it, especially with the freestyle piano tinkling that emerges towards the chorus. But it would be remiss for me to compare Taylor to other artists (although maybe this at least proves that I listen to other music hahahahahah). As she sings in “ME!”, she’s the only one of her(!), and Lover proves this to a T (see what I did there?). From the records it broke even before release day to the pop perfection we’re getting on every track, Lover is bold and brassy, and Taylor knows it.

A few months ago, Taylor wrote in an Elle listicle that she has learned to “step into the daylight and let it go.” That line has indeed revealed itself to be a lyric from the final track of Lover, “Daylight,” a 5-minute long song that beautifully closes the album. “I don’t wanna look at anything else now that I saw you,” sings Taylor to her lover. But she also ends with a monologue: “You are what you love.” For Taylor, to love someone is to also love yourself. And that message of self-love radiates throughout Lover.

Earlier this year, I read an article with the headline, “Sad Taylor Swift is the Best Taylor Swift.” While it’s true that artistic production does often come from places of suffering and heartbreak, Lover steps into the daylight and delivers songs on an album that is wonderfully bright. The album cover, shot by the talented Valheria Rocha, captures the softness and loveliness of this glow. In Lover, Taylor is not our heartbreak princess. And we don’t want her to be, either. She’s braver than “Fearless,” and she’s more than simply “Clean.” I’d like to argue that Taylor is at her best at her brightest, which is to say at her clearest and cleverest. She’s someone who shines, inside and out, in her music and in her life. The illuminating, skin-clearing grace that she delivers on Lover lights up my room. This review is glowing, and so is Lover.

#lover #taylornation #taylorswift #reverbnation

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theshmaylor · 7 years

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I meant to do real things this evening, but instead I spent 3 hours making a Tegan and Sara primer. Soooo enjoy if you want

Okay so Analise010 asked for a Tegan and Sara primer, but I didn't find any I liked, so I had to make my own. And then well...it became a lot. SORRY FOR THE EXCESSIVE LENGTH. But also I'm lazy and didn't include photos, that was a step too much effort.

The Basics Tegan and Sara are a band. It feels weird to call them a band when it's just the two of them (plus whoever's in their backing band at the time), but wikipedia calls them an "indie pop singing duo" and that's worse, so let's go with 'a band'. They are both lesbians. No, they're not dating. They're identical twins. Their faces are incredibly similar so I don't know why I even have to say that, but a surprising number of people think they're dating, so. For a while it was very easy to tell them apart, but then Tegan took out her labret piercing, and their hair for the Love You to Death tour is more similar than it's been in years. But I think Tegan cut her hair sometime in the past few weeks, so hopefully it's simpler again. Sara has a narrower face than Tegan. You can also use their tattoos to tell them apart, but honestly we'll be here all day if I continue at this level of detail. When they're preforming, Tegan always stands on the left side of the stage and Sara on the right (from the perspective of the audience). Both of them write songs, sing, and play instruments. Generally, they don't create together. They each write their own songs and then work together to polish and edit them. Whichever sister wrote the song is the one who sings lead vocals on it. They have EIGHT albums. So many! And as far as anyone knows, they're planning on making even more music. We're gonna do this shit chronologically. 1. Under Feet Like Ours (1999) Listen, maybe don't start here. There are some gems to be found, but they were babies (only 19 years old!), and it shows. Plus, about half the songs also appear on their second album, so you won't be missing a lot. It was initially released with the band name "Sara and Tegan" until they decided it sounded better the other way, changed it, and haven't looked back since. My fav tracks Clever Meals This is Everything 2. This Business of Art (2000) Again, about half the tracks come from Under Feet Like Ours and it was only released a year later, so it feels a little young too. But by picking the best bits of their previous album and adding in new material, it definitely feels like a step up. My fav tracks My Number Not With You Hype 3. If It Was You (2002) This is where we start to get a little less folky. More pop-y, more electronic, and definitely more upbeat. More love and breakup songs, less undirectional teenage angst. My fav tracks Living Room - This is a Tegan and Sara CLASSIC. If they play it at a show, it's usually in the encore, and the entire room ERUPTS when it starts. Underwater I Hear Noises Terrible Storm 4. So Jealous (2004) This is kind of the beginning of their mainstream success. A lot more critical attention and some radio play for their singles. The first time I ever heard of Tegan and Sara was between this album and the next. I was in high school and fell for them hard, and honestly they've been my favorite band ever since. My fav tracks I Was Walking With a Ghost - The White Stripes covered it, which honestly probably contributed to T+S's popularity a lot, but I think that fucking cover is awful Where Does the Good Go Speak Slow Fix You Up

5. The Con (2007) This is it. This is the album. This is the one that cemented their success and brought in many of their lifelong fans. And it's the reason I'm even writing this fucking thing in the first place. Today they announced The Con X - a tenth anniversary tour where they'll be playing an acoustic arrangement of all songs in album order, and I've been excitedly swooning about it all day, which is why Analise asked for a primer.

My fav tracks The Con Hop a Plane + Soil, Soil - two tracks that appear in that order on the album and you have to listen to them in a row. The mood change is just everything and so perfect. I'm probably in the minority for putting Soil, Soil on my favorites list though, so do what you want with that... Burn Your Life Down Nineteen - listen, this probably isn't the best track ever, but it's so satisfying to wail along with. Great stuff at live performances Back In Your Head Dark Come Soon

(I know it's a lot, but count yourself lucky that I didn't just list the whole album)

6. Sainthood (2009) Getting even more electronic here! This was probably their most experimental album I think. It's also the first time they co-wrote a song, "Paperback Head". That's not one of my favorite songs, but I'm glad they tried out something new.

My fav tracks Hell Alligator - which I mostly just love because Sara says it was inspired by Rihanna, which makes no sense to me when you listen to the song The Ocean Sentimental Tune Someday - for this one, I'm just gonna leave you with a quote the Autostraddle review, which imprinted on me very early after I first listened to it and now it's all I can think about every time I hear the song: "At first listen, this track may sound like an anthem a garage band might be inclined to write, one of those “fuck you, world! we’re gonna be famous one day!” tracks – but IT’S NOT, and that’s partly why it’s so great. This isn’t about how the world has wronged Tegan. It makes me think of a 17-year old Tegan getting over a first relationship and putting on a false bravado to prove she’s going to become something, like she’s trying to convince herself rather than anyone else."

7. Heartthrob (2013) This is where people started throwing around the word 'sellout'. Which, in general, as a concept can just fuck off entirely. Yes, I think they were trying to reach for more mainstream success, but why is that a bad thing? More success = more chances to hear them live and a better likelihood of getting even more music. Plus, there seems to be this idea that musicians at the start of their careers have the most artistic freedom and are the most 'real', and after that they're doing what the record label wants. But that doesn't make any goddamn sense. Do you think 19 year old Tegan and Sara had any clue how to navigate the music industry and ensure that their artistic vision got out there? No. They've said in multiple interviews that they're originally piano players who were basically forced into the indie folk acoustic guitar thing. This album brings those keyboards to the forefront and they don't have to pick up guitars at all if they don't want to. Plus, no matter the change in sound, the lyrics are pure Tegan and Sara. That's never going to change.

My fav tracks Closer - the music video is an amazing giant queer sleepover party and everyone should watch it I'm Not Your Hero Drove Me Wild How Come You Don't Want Me I Couldn't Be Your Friend

8. Love You To Death (2016) It's just over a year old and they're currently touring in support of it. This is the album where (in addition to their songs about romantic relationships) they have some distance from some of the rough patches they've had as sisters over the years and can finally write music about that. White Knuckles and 100x are both songs inspired by those times. Plus, they made a video for every single song on the album.

My fav tracks Boyfriend - their queerest song to date, don't let the name fool you U-turn - oh god I love this song but the music video is terrible. Okay so it's not a terrible video in and of itself, but I don't like it at all for this particular song Dying to Know Stop Desire Hang on to the Night

Misc

Yay! You made it to the end of my babbling about each album, so do you know what that means? MORE BABBLING ABOUT OTHER THINGS. I'll try to keep it short though (mostly because I'm lazy and want to eat dinner soon)

- When they recorded The Con, they also filmed the entire thing and turned that into a movie with a 'chapter' (about 10 mins each) for each track. It is DELIGHTFUL and a great entry point for getting a feel for their personalities and learning more about them beyond just liking the music. A wonderful person has collected the chapters here and here

- Banter! A super important part of Appreciating Tegan and Sara is their concert banter. They talk more during shows than any other band I know of and a lot of it is fucking hysterical. It also feels like their way of setting boundaries, you know? They share so much and talk about things from their past very freely, which stops people from poking into their current personal lives more than they might otherwise. Maybe at some point I will make a curated list of my favorites, but see above re: lazy etc. For now, just search youtube for Tegan and Sara best banters. You'll find plenty.

- Live screw-ups. There is always one song that Tegan can not remember the words to or play all the way through. As soon as she figures it out, it'll happen to another song (Admittedly, this is happening less lately as they play more festivals and want to look good in front of randos who don't know much about them). Which leads to plenty of fabulous footage of Tegan fucking up a song and swearing. Sara also fucks up occasionally, but less often. Sometimes they power through, sometimes they restart, and sometimes they have the audience sing it. And I can't explain why it's so adorable and precious but it just IS. Again, not gonna link to vids, but the song "Northshore" has some of the best because it's so fast.

And now I'm done typing for real this time :)

#tegan and sara #fan primer

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