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jeffhane · 3 years

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dynasty live watching: an incoherent post so that i’m not spoiling people on the twitter tl (i doubt any of this will be chronological or coherent enough to actually contain spoilers but better safe than sorry!)

oh my god the “previously on” - i forgot abt fallon and evan....

Theyre at a FUNERAL??? this was actually predicted but oh my god. if its steven i am going to be so mad. what an unfitting end to the- WAIT WHAT SIX MONTHS? what was that font;;;;:; whes sueiwjwk

copper arch🥵🥵🥵

this is cute. this is cute i like faloon pretty women so true

BYE I FORGOT ABT THIS VASE

fallon is genuinely such a bad person this is so bizarre,,,, i think she needs to calm down about oiterally everything ever

“This wedding is our chance to break the cycle of craziness” babe ur literally the one making the cycle of craziness

w. was that an ikmenn of liam getting his head off

JEFF MY BELOVED HE LOOKS STUNNING IN THAT OUTFIT. WHYS ALEXIS HERW “POWER COUPLE” YOU WERID MANIPULATIVE PERSON GET AWAY FROM HIM LOL

alexis is up to no good. bad bad jpeg. why do they write her dialogue like this

adam is acted so well lmao he’s the most unhinged person to ever exist *screams*

ohhh dominique, i don’t remember much abt her 😭😭😭 this woman she’s with is beautiful

ITS LAGGING????? i cannot Believe tjis

~rebrand~ ok girlboss!!!!!!!!! can we ship this businesswoman i dont recall her name with fallon???? id like that i think

too many plotlines have happened in too many minutes, i’m already forgettint things that have happened... isn’t blake supposed to be in prisoj? no? Ok: sure

adam is constantly doing this expression that is like 👁👁👁👁👁👁👁👁👁 HI SAM HI SAM HI SAM BEAUTIFUL MAN I LOVE HIM WHOS THIS MAN

raf is so stunning ughhhh i’m loving the costumes this season, everyone looks great! is this man a sam love interest? nervous? that is kinda cute. i miss stevej though. sadness. so many emotions

UHHHH hi alexis sure ig ur here

~OMENS~ babe that’s a tad dramatic don’t you think?????????? “Ignore the lore at your own peril” alright

WHOS THAT? WHOS THAT? OH HER OK

bye everything is going wrong for this......:..:::... *rubs hands together evilly* that will certainly be entertaining

credit scene!!! such a beautiful cast! where’s anders, oh how i miss him... i miss monica too wasn’t she supposed to be BACK🤔🤔🤔🧐🧐🤨🤨

its a commercial break... havent had to watch the show with these for so long😑😑😑. getting american ads is so funny bc the vast majority of them are Not at all relevant... at all

BACK TO DYNASTY!!!!!! was that a slinky? huh? oh ok that’s why the marriage is happening at the manor. #whenyouonlyhaveoneset oh hi ok monica so shes not going to be here?????😑😔😳

WHY IS SHE GETTING A CAR I FEEL LIKE THATS FORESHAWDOIWIJG FOR UMMMMM.... NOT GOOD THINGS ..... ITS LAGGING AGAIN 🤨

blake having dinner... ok hi cristal,,,,; is the priest subplot back? that was a weird one

adam???? how on earth does adam work his way into everything? NEXT GUEST? HUH? are you cheating on your wife? HI CULHANE! HI!

“straight people are exhausting” i mean yes, objectively, absolutely, but culhane is #notstraight .... idk how i feel about sam and this man. also what? huh? staying here? ok cool ig

OHHHHH he got married i see i see

“Haven’t you milked the carrington cow already” but....... she is literally the person who deserves the stuff..... k......... i don’t like dominique but she was given the short end of the stick also blake stop manipulating people just bc they tell u the truth😶😶😶😶😶😶😶

frustrated that we haven’t seen fallon in any non-wedding related stuff yet i always liked her more ~dramatic~ plots . like she’s a sweetheart but i do want her to evolve beyond thsi. idk if that makes sense. ok bye

“A relative’s happy marriage” uh???? we live in a society😔📈

who is father lynch<3333 oh he is in the hospital that’s not great oh adam upset that’s new /s

y is kirby dressed like an elf. god bless.

ughhhh i just think adam is not good for kirby. he’s not good in general. so true . what is he up to. ads again hhhhhhhhhh💯

omg we are back!!!!! blake wear the suit!! hi liz!!! i’ve seen pictures of this outfit, it looks nice. “I really want things to work out with liam” now that would be great but you’re in a soap opera so the chances of that are .... I DONT EVEN ONOW IF U CAN WEATHER ANYTHING W CRISTAL...)))))!$$ NOT NECESSARILY THE BEET CHOICE????

~technically it wasn’t cancelled~ alright love i feel as though you’re not telling the full truth here. ok his name is ryan . we know that now . cool . this relationship is awkward but it could be sweet

what the Fuck is dominique talking about this is so creepy😭😭😭 please do not market lingerie to ur niece 🙂🙂🙂🙂🙂🙂 why does no one in this show know how to be polite

“You want me to stake my personal assets” i’m sure this would be meaningful if i knew anything about finance????? WAIT WAIT WIAT WAIT WAIT DHE REHEARING THE SAM DONS G THE SONG ALEXIS DONT INTERRUPT HER SINGING THE SONG🧐😔😔😔🤬🤬🤬🤬🤬🤬🥰🥰🤬😤😤😤😤😤😤

~duplicitous sham~ that’s quite a juicy phrase ms fallon. alexis i dislike your marriage. and you in fact. yes x . “We were just like any other newlyweds” except the newlywed factor........:

anders. oh my god i adore him so much. he reminds me of my grandfather . YES adam is dangerous. anders i love you so much. be my grandfather figure. top 10 cool old dudes of all time.

liz is so beautiful how am i suppised to “Focus” on the “storyline” kirby just went 🥰🥰 also hi culhane ily babe

“My father’s convinced adam is pure evil” you see, that is......... trueeeee...........:.::: im sorry culhane ily love

this dialogue unfortunately does not flow all that well LOL . people dont think up things like this on the fly “my love is like that boutineer” sir i guarantee that metaphors r not going to save ur relationship... HI sam. so true. hi ily. samhane? culsam? 😳😳

DONT STEAL ANDERS SPOT OH HI JEFF YOU LOOK STUNNING.......... BEAUTIFUL BOY ....... HI!!!! ~you are the only family you’ve ever needed~ shit none of this wouldve happened if the Carringtons werent so greedy ij the first place

~true love has many faces~ how many anti liam omens can they sneak in into the episode 😭😭😭😭 hi laura whats up

the poor waiters at this establishment...... why does laura look like a rlly young version of my grandma........: huh.... wont think abt it /... alexis bad mom.jpeg

“I don’t want to miss my sons special day” ok bye i don’t #care she’s kind of rude

fallon trying to avoid future drama is confusing to me as that used to be her ENTIRE THING? HUH??? everyones talking to their moms today what the heck do that many people talk to their moms???

jeff hiiiii <333 that maroon suit!!!!! love!!!!!

Dont hurt anders you strange little evil man!!!!!!!!!!! (Adam, for reference)

fallon likes to ~e n u n c i a t e~ her dialogue. Drama Teachers Love Her

FIRBY SCENE! WELL THEY R TALKINF! UWU ! UWU ! smiles:) smiiiiiles:) the height difference i cannot do this😑😊😊😊🕯🕯🕯 BYE

BueirHWIIDWJDIWIFJWIFJWJJFWJFJWJDJWJDJWIFJWJFJWJDKWJDJWDJJWHDWHDHWHEHWHDHWJDJWJRJWJEJWJDJQUEUWJEJWJEJW CRIES SOBS SCREAMS THIS OS SO FUCKING FUNNY

Kirby you dumbass😭😭😭😭😭 ALEXIS WUDIWNDJW JEFF CAN YOU NOT HEF FCANKREMTIWN WHY IS THIS DIALOGUE IM SCREAMIGNRJFJD

kirby babe you are the kist imorjri WHQT? HUH? when all the characters have the maturity of a 13 yr old <33333 DID THE SHOW JUST END?????? OK.... DAMN.... they were really 2 minutes away from the end and remembered that things are supposed to happen in tv show episodes.... i cannot tell whether it os over actually?????? huh??? going to keep watching because it would be so embarrassing if i missed a few minutes oh yeah theres more

IM SORRY WHYBARE THESE PEOPLE SO STUPID. every single one of them. ih my god l. ohhhh my god . “I never meant to hurt you” you cheated on him. both of them are bad people. 🤨🤨🤨🤨🤨 kirby darling what were you thinking . this dress on kirby is STUNNING ugh, she’s so charming . adam Shut the fuck up. He hasn’t said anything but shut the fuck up. OH MY GOD ADAM SHUT THE FUCK UP. OH MY GOD I HATE ADAM SO MUXH. OH MY GOD HOW IS HE THE WORST PERSON TO EVER LIVE 😑😑😑😑😑😑😑😑😑😑😑😑😑😑😑😶😶😶😶😶😶😶😶😶 HES SO EVIL

“I didn’t want to tell you because i didnt want you to think of me as a monster” why did you do that stuff then bro . Kirby you SHOULDNT trust someone after they say that? How naive? Huh ?

omg hello jeffs grandma!!!!! she deserves better than every shitshow in this family... god🤨 dominique being a good person? i like to see that. she seems so genuine. ok this is nice . wait... SAFE? 😳😳😳😳 💴 💵 #money i miss monica

why do they never have sufficient lifhting in WAIT..... HER?????? #dumbofass HI JEFF <33333333 HI you can scam and whatever ur allowed to i support u

ooohhhh GORGEOUS fallon outfit

“Such a fail” IS THIS 2012 . CRINE HEIDJWJFIWNDWJDNWKFJW ENJDJSDJWJNDJWJD they keep saying folklore and im thinking its some sort of reference to the album and i get confused. wheres scheming fallon. need scheming fallon. do a scheme. do it

“We are that lucky couple” press x to doubt .... wait who is this🤔🤔🤔🤔🤔🤔🤔🤔 this seems cincerning im cocnentwd why did it zoom in on this random man

#how many ads are there you ask?#too many #i never watch things live #this is .... a lot #american cell service is so cheap #cruella de vil ad😭#how does the cw app work #more ads ig #i dont have the attention span to remember what happened before the ads

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alpha-incipiens · 4 years

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Favourite music of the decade!

This is some of what I’d consider the most innovative, artistic and just great to listen to music from 2010-2019.

First a Lot of very good songs:

Crying - Premonitory dream

Arcade Fire - Normal person

Sufjan Stevens - I want to be well

Deerhunter - Sailing

Foster the People - Pumped up kicks

Carly Rae Jepsen - Boy problems

Grimes - Butterfly

Travis Scott - Butterfly effect

Future - March madness

Kanye West ft. Nicki Minaj et al - Monster

Juice Wrld - Won’t let go

Danny Brown - Downward spiral

Kendrick Lamar - Sing about me, I’m dying of thirst

Kate Tempest - Marshall Law

The Avalanches - Stepkids

Iglooghost - Bug thief

Vektroid - Yr heart

Ariel Pink - Little wig

Mac Demarco - Sherrill

Vektor - Charging the void

Jyocho - 太陽と暮らしてきた [family]

Panic! at the disco - Ready to go

The Wonder Years - An American religion

Oso oso - Wake up next to god

The World Is a Beautiful Place & I Am No Longer Afraid to Die - I can be afraid of anything

And my top 20(+2) albums:

Calling Rich gang’s style influential on trap would be like saying Nirvana may have had some impact on early-90s grunge. In 2019 with trap so omnipresent in popular music, hip hop or otherwise, through the impact of artists like Drake and Travis Scott it’s almost hard to remember when this was a niche genre - it was Rich gang that popularised its modern sound here. Birdman’s beats with their rattling hi-hats and deep bass could have been made 5 years later without arousing suspicion, while Rich Homie Quan and Young Thug deliver consistently entertaining flows and numerous bangers between them. Thugger, this being his first major project, steals the show with his yelpy and hilarious rapping style. This may have once been the defining sound of house parties in the Atlanta projects; now it can be heard blasting in the night from white people’s sound systems around the world.

Early 21p may have never aimed to be cool, to avoid a certain appearance of lameness, but they did have a knack for writing some really catchy pop with an optimistic message. To the devoted, the critics of Pilots’ apparent mishmash of nerdy rap, sentimental piano balladry and EDM production were just stuffy, wanting music to stay how it was back-in-the-day forever and unwilling to get with the times. This viewpoint is understandable when you approach this album openly and actually listen to Tyler Joseph’s lyrics about youthful anxiety and insecurity, delivered with real conviction and sincerity, actually recognise that disparate musical elements are all there for emotional punch. A few songs do underwhelm. But this is emo for post-emo Gen Z’s and it’s easy to see why to some it can be deeply affecting.

The musical ancestor to the ongoing and endless stream of ‘lo-fi hip hop beats’ youtube mixes, chillwave filled the same low-stress niche, and Dive released at the peak of the genre’s relevance. Tycho’s woozy, mellow sound prominently features rich acoustic and bass guitar melodies over warm synths, enhancing the music’s organic feel compared to that of purely digital producers in the genre. The experience of starting this album is like waking up in a soft bed, the cover’s gorgeous sunrise reddening the room’s walls, while a guitarist improvises somewhere on the Mediterranean streets outside. And it is indeed great to study or relax to!

Simple, minimal acoustic guitar and vocals. If you’ve got talent this type of music shows it, or else it doesn’t: perfect then for Ichiko Aoba. Her touch is light, her songs calm, meditative, in no rush to get anywhere. As if serenely watching a natural landscape, one can best understand and enjoy Aoba’s music in quiet and peaceful appreciation.

Through the incorporation of genres like shoegaze and alternative rock, Deafheaven managed to create a rare thing: a metal album that’s both heavy and accessible, needing no sacrifice of one for the other’s sake. Over these four main songs, there’s a sensation of being taken on an intense, atmospheric and even emotional journey, with the band stepping away from the negativity and misanthropy that dominates most metal. The vocals, closer to the confessionalism of screamo than classic black metal shrieks, express more sadness than they do aggression, and in respites between solid blaring walls of guitar and drums, calm pianos and gently strummed guitar passages set a pensive tone. This totally enveloping, flawlessly produced sound can take you away, like My Bloody Valentine’s best work, into a dream or trance.

By the late 2000s MCR had taken their thrones as the kings of a subculture formed from the coalition of goth, emo, scene and other assorted Hot Topic-donned kids, and earned a lifelong place in the hearts of many a depressed teenager. But after the generation-defining The Black Parade Gerard Way took off the white facepaint and skeleton costume, ditched the lyrics about corpse brides and vampires, and embraced an anthemic, purely pop punk sound. The silly story of Danger Days, set in a dystopian California where villainous corporations rule and only the Punks can stop them, serves as a kind of idealised setting for the all-out rebellion against authority and normality that so many fantasised about taking part in. The band’s electrifying performances are the most uplifting of their decade making music. For many diehards the upbeat sound here was a celebration that they’d made it through the most difficult years of their lives, and a spit in the face of those who’d done them wrong.

The teller of rural American tales, the indie legend, the teen-whisperer himself. John Darnielle, long past his early lo-fidelity home recordings and now backed by a full band, loses none of the heart his songs are famous for. The theme of the album, taken straight from John’s childhood when the pro wrestling on TV offered an escape from his abusive stepfather, is complemented by the country and Tex-Mex flavouring to the instrumentation. Some of the best lyrics in his long career infuse the stories of wrestlers with universal meaning - his characters try, fail, lose hope, reckon with their mediocrity, and when they step into the ring they’re up against all the adversity life can throw at them. John Darnielle’s saying that when that happens, you stand up and sock back.

Folk music was always a major part of the Scandinavian black metal scene during its peak years, so when American musicians began exploring the genre naturally they incorporated American styles of folk. The complex, oppressive and sometimes hellish compositions here, starkly contrasted with bluegrass that sounds straight from the campfire circle, give the impression of life in the uncharted woods of the American frontier, in the middle of a brutally cold winter. Almost unbelievably, one-man-band Austin Lunn plays every instrument on the album: multiple guitar parts, bass and drums as well as banjo, fiddle, and woodwinds.

Andy Stott seems to delight in making his music as unnerving, haunting, perhaps even scary, as possible. The female vocals these songs are built around become ghostly, echoing and overlapping themselves disorientingly. The percussion, audibly resembling metal clanging, rustling or rattling in the distance, is often left to stand for its own, creating a tense space it feels like something should be filling. UK-based club and dub music can be felt influencing the grimy almost-but-not-quite danceable rhythms here, but the lo-fi recording and menacing vibe makes this feel like a rave at some sort of dimly lit abandoned factory.

There’s so much Mad Max in this album you can just picture it being set to images of freights burning across the desert. True to its title, the nine songs on Nonagon Infinity roll into each other as if part of one big perpetual composition, with the end looping back seamlessly to the start and musical motifs cropping up both before and after the song they form the base of. With its fuzzy, raw sound, bluesy harmonica and wild whooping, the Gizz create a truly rollicking rock’n’roll experience. The band would go on to release 5 albums within twelve months a year later, but Nonagon shows these seven Australian madmen at the height of their powers.

Sometimes you just want to listen to fun, hyperactive pop. The spirit of 8-bit video game soundtracks and snappy pop punk come together to create a vividly digital world of sound that seems to celebrate the worldliness, connectivity and shiny neon colours of early 2010s internet culture and social media. The up-pitched vocals and general auditory mania recall firmly Online musical trends like nightcore and vocaloid, while the beats pulse away, compelling you to dance like this is a house party and the best playlist ever assembled is on. It demands to be listened to at night with headphones, in a room lit only by your laptop screen.

“You hate everyone. To you everyone’s either a moron, or a creep or a poser. Why do you suddenly care about their opinion of you?” “Because I’m shallow, okay?! … I want them to like me.”

The fact that that Malcolm In The Middle quote is sampled at the emotional climax of this record should give some idea to the absurdity that defines Brave Little Abacus. It’s not even the only sample from the show on here. And yet the passion and urgency so evident in Adam Demirjian’s lispy singing and the band’s nostalgia-inducing, even cozy, melodies are made to stir feelings. The tearjerker chords and guitar progressions are so distinctive of emo bands with that special US-midwest melancholia, and they are interspersed with warm ambiance and playful sound effects ripped from TV and video games, seemingly vintage throwbacks to a sunny childhood. Demirjian’s lyrics, yelled out as if through tears or in the middle of a panic attack, verge on word salad in their abstraction, but that’s not the point: you can feel his small town loneliness and sense the trips he’s spent lost on memory lane. The combined effect all adds to Just Got Back’s themes of adolescence and the trauma of leaving it. While legendary in certain internet communities for this album and their 2009 masterpiece Masked Dancers, the band remains obscure to wider audiences.

These Danish punks know how to convey emotion through their raw and dramatic songs. Elias Rønnenfelt’s vocal presence and charisma cannot be ignored: his husky voice drawls, at times breaks, gasps for breath, builds up the deeply impassioned, intense force behind his words. The band sounds free and wild, unrestrained by a tight adherence to tempo, often speeding up, slowing down or straying from the vocals within the same song, as if playing live. Instrumentally the command over loud and quiet, tension and release, accentuates the vocals in crafting the album’s pace. Horns and saloon pianos throughout give the feel of a performance in a smoky, underground blues bar, with Rønnenfelt swaying onstage as he howls the romantic, distraught, heartbroken lyrics he truly believes in.

At some point on first listening to Death Grips, a thought along the lines of “He really yells like this the whole way through, huh?” probably crosses the mind. When Exmilitary first appeared, quietly uploaded to the internet, the rapper’s name and identity unknown, another likely reaction among listeners might have been “What am I even listening to?” But perhaps more revolutionary than Death Grips’ incredibly aggressive sound and style might have been its foreshadowing of how over the next decade underground rap acts would explode into the mainstream through viral songs, online word of mouth and memes. It showed all you needed to come from nowhere to the top of the game was to seize attention, and it did that and far more. MC Ride’s intoxicatingly crass, intense rapping captures the energy of a mosh pit where injuries happen, the barrage of sensations of a coke high, while the eclectic mix of rock and glitchy electronics on the instrumentals is disorienting in the best way. If rap were rock and this was 1977, Death Grips would have just invented punk. Ride’s lyrics paint a confrontational, hyper-macho persona; unlike much hip hop braggadocio, the overwhelming impression given is that Ride truly does not care what anyone thinks. He just goes hard and does not stop. It’s music to punch the wall to.

Inspired by classic rock operas, this concept album represents some major ambition and innovation in musical storytelling. Delivered in frontman Damian Abraham’s gravelly shouted vocals, the complex lyrical narrative of the album follows a factory worker, an activist and their struggle against the omnipotent author (Abraham himself) who controls their fates. Featuring devices like unreliable narrators and fourth-wall breaking, it takes some serious reading into to untangle. But it’s the bright guitarwork, combining upbeat punk rock and indie to create some killer riffs, that gives the album its furious energy and cinematic proportions.

Joanna Newsom is enchanted by the past. Like 2006’s ambitious Ys, the music on Divers makes this evident with its invocation of Western classical and medieval music, throwing antiquated instruments like clavichords together with lush string orchestration, woodwinds, organs, folk guitar and Newsom’s signature harp. With her soulful, moving vocals leading the way, it’s hard not to imagine her as some kind of Renaissance-era country woman contemplating nature, love and mortality in the fields and the woods. As always Newsom proves herself a stunningly original and creative arranger with the sheer compositional intricacy and flow of these songs, and most of all the harmonious intertwining of singing and instrumental backing.

Burial’s music is born from the London night: the bustle of the streets, the faint sounds from distant raves, the buskers, the rain on bus windows. This EP’s dreamlike quality makes listening to it feel like taking a trip across the city well after midnight, watching the lights go by, with no idea where you hope to get to. Every single sound and effect on these two songs is so precisely chosen, from the shifting and shuffling beats, the swelling synths and wordless vocals that sound like a club from a different dimension, the ambient hiss and pop of a vinyl record. Musically this sound is drawn from UK-based scenes like 2-step and drum ‘n bass, but twisted into such a moody and abstracted form as to be nearly unrecognisable as dubstep. Just when this urban, dismal sound is at its most oppressive, heavenly soul singers or organs cut through like a ray of light in the dark.

There’s an imaginary rulebook of how construct music, how to properly make tempos and combinations of notes sound harmonious, and Gorguts have spent their career ripping it up and throwing it in the bin. On 1998’s seminal Obscura, their atonal experimentation sounded at times like random noises in random order. But listen closely to Obscura or Colored Sands, their return after a long hiatus, and the method behind the madness emerges. One mark of great death metal is that it’s impossible to predict what direction it will go even a few seconds in advance, and the band achieves this while presenting a heavy, slow, momentous sound. The density of inspired riffs, and the intricate balancing of loud and quiet, fast and slow paced throughout these songs are exceptional. In instrumental sections the guitars will echo out as if across a barren plane, then the song will build up to the momentum of a freight train. Behind the crashing and twisting walls of guitar the patterns of blast beat drumming are almost mathematical in nature. Luc Lemay’s harsh bellows sound like a warlord’s cry or a pure expression of rage to the void. It’s threatening, menacing, unapproachable, but it all makes sense in the end.

Futuristic yet deeply retro, Blank Banshee’s music takes vaporwave beyond its roots in the pure consumerist parody of artists like Vektroid and James Ferraro and makes it actually sound amazing. Songs are built out of a single vocal snippet processed beyond recognition, new agey synthesisers, Windows XP-era computer noises, hilariously out of place instruments, all set to the 808 bass and hi-hats of hip-hop style beats. The genre’s pioneers intentionally sucked the soul from their music using samples pulled from 70s and 80s elevators, infomercials and corporate lounges - here the throwback seems to be to the early 2000s childhood of the internet, and the influence of a time when email and forums were revolutionary can be felt. The effect of this insanity is an album that whirls by like a techno-psychedelic haze: the atmosphere of dark trap beats places you squarely in a 2013 studio one moment, the next you’re surrounded by relaxing midi pianos and humming that a temple of new age practitioners would meditate to. Still, at some point when listening to this album, perhaps when the ridiculous steel drums kick in near the end, you realise that this is all to some degree a joke, and a funny one. It’s hard to overstate what an entertaining half-hour this thing is.

While 2012’s Good Kid, m.a.a.d City presented a movie in album form of Kendrick’s childhood and early adult years, TPAB’s journey is one of personal growth, introspection, and nuanced examination of the state of race in post-Ferguson America. It’s simultaneously the Zeitgeist for the US in 2015 and a soul-search in the therapist’s office. Sounding deeply vulnerable, he openly discusses depression, alcoholism, religion and feelings of helplessness. The White House and associated gangstas on the cover give some idea to the album’s political themes, with Lamar contrasting Obama’s presidency to the political powerlessness and lifelong ghetto entrapment of millions of black Americans. Everything I’ve written about the lyrics here really only scratches the surface because the words here are substantive, complex and dense with meaning. Near enough every bar can be analysed for multiple meanings and interpretations, essays can and have been written on the overall work, anything less does not do justice. The musical versatility on display is astounding: the album acts as an extravaganza of African-American music, from smooth west coast G-funk to east coast grit, neo-soul and rock to beat poetry, and most of all jazz. Like an expertly laid character arc the record progresses through its ideas in such a way that they’re all impactful, with the slurred rapping imitating a depressed drunken stupor followed later by exuberant, defiant cries of “I love myself!”, the white-hot rage against police brutality balanced by the hopeful mantra: “do you hear me, do you feel me, we gon be alright”. Perhaps the most culturally significant album of the 2010s and an essential piece of the hip-hop canon.

This harrowing hour chronicles the struggles and everyday tragedy of a series of characters and their relationship with the city they live in, narratively driven by some outstandingly poetic lyrics. Jordan Dreyer’s wordy tales despair at the poverty, gang violence and urban decay in the band’s native Grand Rapids, Michigan, an almost childlike open-hearted naivete in his words as he empathises with the broken and alienated people in these songs. There’s no jaded sneer or sly lesson to be learned as he sings about the child killed by a stray bullet or the homebird left alone after all their friends move away, just genuine second-hand sadness and a dream that compassion and community will eventually heal the pain. Taking elements from bands like At the Drive-In’s fusion of punk and progressive, and mewithoutyou’s shout-sung vocals, La Dispute hones its sound to a razor edge to put fierce instrumental power behind the lyrics. Not an easy listen, but a sharply written songbook and a perfect execution on its concept.

Around 2008, Joanna Newsom met comedian Andy Samberg. Within a year, their relationship was becoming the basis upon which the poetry of Have One on Me was spun. Newsom’s lyrics, exploring her relationship with her future-husband, nature, death, spirituality, are above all else loving. Through her warm and vibrant voice, at times an operatic trill and in others deeply soulful, she expresses the joy of love for another, the peace and earthly connection of her beloved pastoral lifestyle, deeply affecting melancholy and grief. Contemplative, artful, genuine or expressive: every lyric in every sweet melody is used to offer her ruminations on life or overflowings of passion.

More so than her previous and next albums, the feel of the album is of not just a folkloric past but also the present day, with drums, substantial brass and string arrangements, and even electric guitar anchoring the sound to Newsom’s real, not imaginary, life in the 21st century. Yet songs here with moods or settings evoking simpler lifestyles and the women living them in 1800s California or the Brontës’ English moors still have a universal relevance. Whether rooted in past of present, the instrumental variety of these compositions, from classical solo piano, grand orchestral arrangements led by harp, to the twang of country guitars or intricate vocal harmonising, makes it apparent that this is the work of a master songwriter in full command of well over a dozen talented musicians. Ultimately, what makes this my favourite album of the decade is that, very simply, it is one stunningly beautiful song after another, all collated into a cohesive 2-hour portrait of Newsom’s soul.

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