now that wtnv is having a resurgence. i would just like 2 point out that my favourite early wtnv weather song ('Closer' by The Tiny) has absolutely VANISHED from spotify, bandcamp, etc. if we bang hard enough on the record label's doors can we put it back

Nick’s Favourite Music of 2022

Those who have followed my work for a while know that I usually start the new year with a collection of reviews looking at my favourite songs of the year. This year, I’m only doing the one post. If my experience with burning out halfway through last years’ list taught me anything, it’s that I can’t commit to the traditional series of twenty-plus blog posts when I know full well that I don’t have the time or the energy to see it through. Maybe things will be different next year. For this year, I’m happy to compromise.

Below, you’ll find the list of my 20 favourite songs of 2022 (YouTube links in the headings, Spotify embed at the bottom), along with a few words about why I love each particular one. Let’s go!

Röyksopp – “Speed King”

I started putting this playlist together with the first and last tracks already in mind, due to their lengthy runtimes. Normally, I’d kick things off with a true opener, something loud and driving. Despite its name, “Speed King” is not that. It’s a slow, electronic burn that builds into something truly formidable. My immediate reaction upon first hearing it was “This is the Daft Punk track I’ve been waiting for since 2005,” but that backhanded compliment ignores how the way the bassline steadily bubbles away in the background is pure Röyksopp, a hallmark that you’ll find throughout their work. The duo released three albums over 2022 and, while there’s great songs on all three (especially the tracks featuring Alison Goldfrapp and Susanne Sundfør), they saved the best for last.

††† (Crosses) - “Procession”

We’re going to stay in a low-key mood for a bit with the next two songs. Considering how I fell in love with Deftones in 2020, it seemed right that I should check out Chino Moreno’s side project when they re-emerged with their first new material in nine years. The PERMANENT.RADIANT EP turned out to be the perfect taster for this group’s softer, more atmospheric sound. I particularly loved “Procession”, which is the perfect showcase for Chino’s distinct voice and a show-stopping bassline that kicks in at 2:40.

The 1975 – “About You”

I find it difficult to pin down my feelings about the 1975. They’re a band I always want to keep at arm’s length, and yet they’ve ended up my year-end lists three times now. That’s an achievement in itself, but doing it with three songs that sound nothing like each other is something else. “About You” is the most U2-ass sounding song of the year. And I like U2 a lot.

Asunojokei – “Diva Under the Blue Sky”

Here we fucking go. Asunojokei are a Japanese band that have picked up the “black metal but happy” torch from Deafheaven and ran a mile with it with their album Island. I keep getting Undertale vibes from “Diva Under the Blue Sky”. Something about the main melody feels very reminiscent of the excellent work Toby Fox did on that game's soundtrack.

The Beths – “Silence Is Golden”

A bit of blistering Kiwi indie rock to get the pulse up.

Phoenix – “After Midnight”

I was not expecting this. A beautiful reminder of what Phoenix are capable of, absolute masters of a slick, twisty pop-rock style that’s very much their own.

Fred again.. – “Jungle”

A true club banger. Turns out you can do an awful lot with a chopped vocal sample, a savage beat and a great sense of dynamics and timing.

Ibibio Sound Machine – “Protection From Evil”

I’ve got a lot of love for tracks that find ways to keep building and building upon themselves. Having a truly magnetic presence like Eno Williams front-and-centre on the microphone would’ve been enough, but having her vocals and the rhythm behind her slowly rising in intensity before colliding together with horns for the climax is downright magical.

Beyoncé – “Pure/Honey”

Never bet against Bey. There’s a reason RENAISSANCE was the near-unanimous critic’s pick for album of the year, that’s because it’s just so damn fun to listen to in full. “PURE/HONEY” splits the difference between the album’s two moods: hard-edged house to start, with shiny disco as a chaser. The way the songs shifts between those two gears makes it the perfect pick for this playlist.

The Weeknd – “Take My Breath”

I remember first hearing “Take Me Breath” and thinking “this needs something extra”. That something extra turned out to be the extended version on the Dawn FM album. Almost twice as long as the single version, it allows the backing beat room to stretch out, with the chugging muted guitar and arpeggiated vocoder properly setting the scene for song to make more of an impression. It doesn’t just benefit the song, but the album as a whole. The three-song-run of “How Do I Make You Love Me?”, “Take My Breath” and “Sacrifice” is a thrilling moment from an artist with a career full of them.

Spoon – “Wild”

“Wild” is my favourite song of the year. I knew that the second I laid ears on it. Spoon have been one of my favourite bands for a long time, and the fact that they can still come up with songs this good after 25 years is awe-inspiring. “Wild” is such a perfect Spoon-esque song, it’s honestly incredible that they hadn’t written it already.

Alvvays – “Belinda Says”

A blast of aural sunshine, with a key-change befitting of its namesake.

Camp Cope – “Running with the Hurricane”

This was a late discovery for me in December. While making my way through all of the hyped releases I’d missed, it was refreshing to come across music that was so direct and earnest. A true breath of fresh air, which I assume a hurricane would also have plenty of.

Shamir – “Reproductive”

By contrast, this was an early favourite that I rediscovered while combing through my existing collection. It always takes me a few plays to properly acknowledge the lyrics of songs. Once I noticed the streak of self-loathing running through this one, it just made the deep sadness of the music hit harder.

The Smile – “Free In the Knowledge”

Choosing my album of the year was tricky. This and the next four acts on the list were all contenders for the crown, though none jumped out as instant picks like previous winners have. In the end, I gave it to A Light for Attracting Attention by The Smile (the new band featuring Thom and Jonny from Radiohead, and Tom Skinner from Sons of Kemet), simply because I had a nice little moment to myself while listening to it for the first time. Relaxing alone in the park, in the warm sunshine, feeling at peace with everything. By the time I’d gotten to “Free In the Knowledge”, I felt a calmness I hadn’t felt in months. Other albums just can’t compete with those personal moments.

Big Thief – “Change”

One last quiet moment before things pick up again. “Change” is a cool breeze of existentialism on a warm day, the kind of vibe Big Thief have been very good at for some time now.

Black Country, New Road – “The Place Where He Inserted the Blade”

I’d said in the introductory post for my 2021 blogs that, after being slightly disappointed by their debut, I was looking forward to Black Country, New Road delivering on their next album. And boy, did they. Ants From Up There is a record that was fascinating on first listen, and keeps revealing hidden layers on repeat plays, especially when digging into the lyrics. “The Place Where He Inserted the Blade” (it’s about cooking, not killing) is a rich portrait of domestic malaise, the kind Jarvis Cocker used to dabble in. It’s sad that vocalist Isaac Wood has decided to move on, but I’m glad he’s putting his mental health first. That can’t have been an easy decision. And, once again, I’m very interested to see where the band goes from here.

Black Midi – “Sugar/Tzu”

I’d lumped Black Midi together with BC,NR and Squid (or Black Midi, New Squidi, as I liked to call the grouping) in that 2021 post, but they really couldn’t sound more different from each other. While BC,NR spent the year chasing a deliberately pastoral sound with strings and all, Black Midi made a record that sounded like an arson attack at a Cole Porter recital. Hellfire is Black Midi’s most accessible record yet (not a high bar, admittedly), and it’s helped grow my appreciation of their previous work too. If you’re in the mood for hearing three musicians (plus a brass section) playing the ever-loving shit out of their instruments, “Sugar/Tzu” is the song for you. I’m a very big fan of the little guitar break at 3:20.

SpiritWorld – “Relic of Damnation”

My ferocious appetite for metal and hardcore did not diminish in 2022, and SpiritWorld’s DEATHWESTERN was the best the genre had to offer this year. It’s loud as hell, yes, but there’s a buoyancy to this band’s music that harkens back to the thrash metal of the late ‘80s. A song like “Relic of Damnation” isn’t just interested in pummelling your ears, it also wants to propel you forward, smashing through whatever boring chore you have to finish. This band is almost single-handedly responsible for me processing as many invoices as I did this winter. I’d listen to Randy Moore make that demonic horse neighing sound with his guitar all fucking day.

King Gizzard & The Lizard Wizard – “The Dripping Tap”

This isn’t the longest song I’ve featured on these year-end lists, and it sure-as-shit won’t feel like it either. Of the five (yes, five) albums worth of music Oceanic overachievers King Gizzard & The Lizard Wizard released this year, “The Dripping Tap” is the crown jewel. While I’ve found some of the band’s other work to be somewhat meandering, this song is 18 minutes of pure, focused, fast-paced psychedelic rock. It’ll take you on a wild ride without even leaving your living room, and the time flies by whenever I put it on. The way the opening verse returns with a vengeance (and the full band behind it) for the final minute feels like a real gift, and the perfect way close out both this playlist and 2022 in general.

Thanks for reading! I enjoyed writing this! If you fancy reading more from me, I’ve done similar series for every year going back to 2011 (and basic lists for 2008-2010). Just copy and paste this link (https://dontlookdown.tumblr.com/tagged/best-of-20xx) and edit the year to see them!

Aidan Bissett Wants You to Know It’s Okay to Be Alone [Q&A]

Photo: Brooke James

Aidan Bissett’s sunny and effortless disposition contrasts the chaotic ode to classic rock that is his latest track “Dumped.” The introspective and cathartic nature of his latest offering speaks to age-old feelings of heartbreak while doubling as an optimistic reminder that cloudy days cannot last forever.

Releasing soft-spoken tracks followed by headbanging, classic-rock inspired hits, this young artist’s music truly feels alive, shifting and evolving from one release to the next. With a soulful dedication to “music first, lyrics second,” Bissett is steadily creating his own lane defined by a relentless drive for experimentation. We had the chance to talk to Bissett about his creative approach, his latest single, “Dumped,” and plenty more. 

Ones to Watch: So, tell me the story behind “Dumped?”

Aidan Bissett: Wow, that’s a good question. I wish when I wrote it, it came from like, I had just been dumped… Well, okay, I had sort of been dumped. I don’t know how to explain that, but let’s just say I was in a relationship, taking time off, in a sense. When we were writing it, it was me, my friends, Ryan and Sean, and we were writing in a zoom session for like three hours. It was not a good song, and none of the three of us wanted to say it was a bad song. So, we were like, “OK, we are going to go take a break for a little.” 

Then I pulled my guitar off the wall and started messing around, because when I get bored, especially in sessions, I like to try and take my mind off things. I’ll play random chords and sing random lyrics, like ad-lib over them just for fun. So, I started playing like three chords that are all throughout “Dumped,” singing this hook line that—it’s going to sound really weird—“I’m taking dumps all the time.” The guy I was producing it with was like, “OK, gross,” but that actually could be really cool… what if we change it to “I’m getting dumped all the time.” And I was like, “Woah.” That’s kind of how it started and we were on a roll and wrote the whole song in two hours.

And the song does mean a lot to me, because I have actually been dumped, multiple times. It sucks, it’s not a fun feeling, so every time I listen to it, it is kind of an “f you” type of song. Like, “yeah, I got dumped but I’m better off on my own anyway.” I always like that feeling better than wallowing in sadness. So, for anyone who does listen to it, I hope that it helps bring you out of the mourn and into a new light.

In the music video, you are seen reading an “Idiot's Guide To Love.” What was the last book you read?

I do love reading, I’ve always liked reading. I have not, in the past year, read a ton of books, which sucks because I actually do like reading. Well, okay, my senior year of high school I read like 13 books but a lot of them were for school. But they were still good books! I’m in the middle of reading Dune, which is very good so far. So, hopefully, I can finish that before the movie comes out. But yeah, I do like reading… when I have the time to sit down with my ADHD mind.

“Dumped” is a noted sonic transition for you. Can you tell me about how you approach your genre-spanning sound?

I don’t really like putting myself in one genre. I’m in a certain lane in the sense I do indie-pop, I do alternative, but I don't want to do straight pop. I feel like it's such a box, and it’s so limiting. I just love exploring different sounds, so even from the start, I put out “Different,” and then the second song was “Worst Girls Of All Time,” which was a completely different sound than the indie-pop wave that “Different” is. So, me putting out stuff like this after “Communication” is me exploring new sounds. To be honest, the things I like to hear always change, the bands that I’m listening to are always changing, and I take a lot of inspiration from a lot of different bands. I just love trying new things. Sometimes it works and sometimes it doesn’t, but it just keeps me on my toes instead of just doing the same formula over and over again.

What are you listening to right now?

That’s a good question, it’s kind of all over the place. There’s this one girl, Remi Wolf, who I’ve been non-stop listening to… I have been listening to her for a minute. When she put out her first EP, I loved it. But now, she’s putting out these new tracks and Solomonophonic, her producer, he’s just incredible and her voice is incredible. They are doing so many things that just aren’t normal in this time of music; it’s just so her own lane. I find that really inspiring in the sense that she’s carving her own path and not following in the line of others.

I feel like I’m always listening to Wallows no matter what. I always have them ready to go. COIN. Role Model’s rolling out new stuff so I’m excited for that, he’s kind of taking a change in his own discography. [The] sounds that he is doing are definitely a lot different from his earlier stuff. This guy, binki. He’s actually opening for Role Model on this tour. Oh my gosh! His music’s insane, so cool. It’s got so many sounds going on, similar to Remi Wolf, there’s so much going on, you’re like ‘wow.. I’ve never heard something like this before.’

For those who don’t know, you write, record and produce your music all by yourself. Can you walk me through your creative process?

Yeah, I’m very musically-driven. Everyone has their own thing, I feel like a lot of artists, like the Olivia Rodrigo types, are lyrically-driven. I’m definitely music first, lyrics second. So, when I sit down to write something I try and get something I latch onto. I’m like, “Oh, this sounds cool. Lyrics could sound cool over this.” Anytime I go into a session or I’m recording by myself, I try to lay down some form of music, and then I’ll freestyle lyrics or freestyle melodies over the top, or pick a melody I like and throw lyrics over that melody. Whether that’s a hook or a verse, that kind of just depends on how I’m feeling. It’s definitely a bit unconventional compared to other artists. I feel like artists are a bit more put together when it comes to writing music just because I’ve only been doing it for like a year-and-a-half. But I have my own process, and it works. Every time I write something I learn something new. I’m excited to see, even a year from now, what my process will be… and even if it's completely different or efficient, who knows?

Tell me about the influence of music in your childhood and the decision for you to be a musician at a young age - you started playing electric guitar very young - what was your household like? Musical family?

My dad wanted the kids in our family, I have two other siblings, to play an instrument for two years during our young adult life. He wanted us to play piano before we got to pick, so we had two years of piano and then we had to pick an instrument. So, my sister went and played two years of piano and didn’t really stick with it afterward. Then, it was my turn and I was like, “Well, I don’t really want to play piano, can I play guitar?” And since I was the only one who asked, who expressed interest in a different instrument, he was like, “Sure.” I started in second grade and I’ve stuck with it the entire time. I took lessons for years, and that’s how I kind of got into the classic rock scene. My dad was a huge classic rock fan so he showed me all greats… and that was all I listened to for years. It definitely had a large impact on what I did. I would even play in little recitals, and I always played classic rock songs like AC/DC or Guns N’ Roses.

It wasn’t necessarily a musical household, like my dad isn’t musical, my mom isn’t musical. The reason he wanted us to play an instrument is because his mom made him play an instrument as a kid, so he was like, “You guys get to do that, too.” But it is true, one of us ended up using it.

What do you want people to take away from “Dumped?”

It’s an amp-up song. I want them to feel energized, to be happy with yourself. Getting hurt in relationships happens all the time, but it's okay to get hurt in a relationship. It’s kind of how you bounce back, and I want this song to be like a bounce back. Like, you hear it and, “Oh! This is me bouncing back! I don’t need to sit and cry anymore, because that’s not fun.” Sitting and crying is okay, everyone’s done it, but there’s a point that you reach, in that break-up phase, when the crying needs to stop and you need to go out and live and be the person that you are, independently. So, I would hope that it inspires you to be your independent, wonderful self again.

Is there anything else you would like to say about your music, or in general, that you want to take the chance now to say?

Well, I’m sitting on a lot of songs. So, I’m excited to get all the rest out, and again, everything is so diverse. All the music is so diverse, I just feel like each song is its own thing, which I really enjoy. I feel that’s really unique to my own music, where you’re getting something new every time. I’m moving to LA. That’s the other thing. So, if anyone sees me in LA, please stop me and say hello!

I have never been tagged in anything before, so I hope I do this right

I have been tagged by the wonderful @jancox to create an album wall using this website. I have to admit this one was really hard for me to do, since I don’t listen to albums or certain artists for that matter. I just listen to a bunch of random songs that I think sound cool and then they get put into one of my over 70 playlists on spotify (I actually counted them). But I was able to wreck my brain enough to present you with seven albums, that I really enjoy.

- The Original Hadestown Brodway Recording is on this wall because I think it’s a wonderful musical arrangement and I get to listen to an entire musical without having to look up “sLiMe TuToRiAlS” on youtube. Sure the visual is missing but I'm a creative person so I manage. Also this Musical has everything: From jazzy songs, that make you wanna get up and do the Charleston to heartbreaking ballads, that make you bawl. And considering that the musical is a tragedy and is entirely based on a story in greek mythology, that always ends bad.... yeah I may have shed a few tears over this.

- Blue Neighboorhood. Man I remember this. Back when the WILD Ep was out and way back when Troye Sivan was nothing but a Youtuber with big dreams. I am really proud of how far he has come, but then again I love coming back to this once in a while. These songs strike a nerve with me, even nowadays in 2020 and at 22 years old. I especially love HEAVEN on this album, mainly because it’s about Troye openly saying, that if he can’t get into heaven because of his sexuality, he doesn’t want to go. And this really opened my eyes and made me feel okay about having gay feelings, while still doing voluntary work in the church and believing in god (at least at the time).

- I’m Wide Awake, It’s Morning is an incredible feel good indie album, full of meaningful, albeit sometimes nonsensical, lyrics and the strumming of guitars. So your everyday indie album right? Well yeah, but that’s why I like it. When I think of Indie, Bright Eyes and this album especially are the first things that come to mind. Not to mention, that the song Lua always reminds me of Life is Strange, specifically Chloes room during the morning. And you can bet that almost all of these songs are in my morning playlist. They just fit so well, y’know?

- PTX Vol III. This one is purely here because I used to be a huge Pentatonix fan. So much so, that the first concert I have ever been to was the one in Bavaria during the On My Way Home Tour. And Bavaria is a 7 hour car drive away from where I lived during the time and I was 16... But I made it and it was magical. I remember how flashed I was afterwards and how I couldn’t sleep due to the adrenaline. My God there was so much personal drama surrounding that concert though, but yeah. I still think, that Pentatonix makes awesome music and I admire their way of making acapella arrangements that can hold a candle to the original. My favourite song on here is probably See Through. Not only because Mitch is the lead, but also because the arrangement sounds really intricate and the lyrics are sensual as hell in my humble opinion.

- Currents. Imma be real. Tame Impala could probably sit on a synth and they would still produce some amazing songs, that are as unique and intricate as ever. To me their music is just ideal music to vibe to. Whenever I don’t know what to listen to, I put their spotify page on shuffle and I will find something, that I love. They can just create songs that will carry you away into a different realm, while you’re trying to decipher and pick apart the various details of each note. And there aren’t many artist that are able to do that. The only other one I can think of is....

- Gamma. If you know this album or this band, we are automatically friends. No questions asked (unless you don’t want to be, then that’s fine). This album was created by a german band named Fewjar (Don’t worry they sing in english) and their songs are masterpieces. They manage to take me away on a journey far away from the here and now. And they have been doing so since 2015. Nothing they create is like any other song of theirs. Sure they have their signatures with some synths, guitars and such, but they manage to make every song sound so individual. I really can’t explain it too much, since you have to listen to them in order to really get the full picture. But their songs are certainly not for everyone. Which is why I've put Gamma on here. It’s a good place to start from, since it’s leaning into that 80′s style of sound. It’s sounds a bit more mainstream than their other songs. However if you want my personal recommendation: Listen to Polemonium on their album afewsides. It’s still my favourite song after 5 years of knowing them.

Last and actually least. Yep I didn’t know what to put here so I just picked Two Door Cinema Club and their album Tourist History on here. Don’t get me wrong. I love TDCC for what they do. Most of their songs are dancey and give you that certain kind of pep to your step. Their songs are fun, energetic and really make me wanna shimmy down the streets, whenever they come on in my headphones, but I usually only like a selective few of their songs. My favourite song is What You Know and it just so happens to be on this album, therefore I picked it here. I mean I told ya’ll that I don’t really listen to albums...

And we’re done. Phew this was something. Hopefully you got some idea of these albums. I don’t know who to tag so I’ll just go for it. @bad-puns-n-finger-guns @missjanjie @justedgehere and @thackeryisatop Feel free to participate if you like <3

Diary of a Junebug

At the Drumbeats Festival! 

Guess which camp had the honor of hosting the Drumbeats Festival? Actually, it was kind of a last minute thing. Sunny’s camp was originally going to do it but scheduling conflicts happened and since my camp’s the nearest, they decided to move it here. First the Happy Floral Festival and now this? It’s been a lucky year!

So for the past week Isabelle, Katie, Daisy Jane, and I have been working hard to get things ready for the festivities. Since we’ve had experience with the Happy Floral Festival, preparation was a lot less daunting this time around. I’ll admit, it was tight, but we managed to get it done.

Because things were a bit hectic due to last minute changes, we had help from some of the performers who arrived early. To my surprise, there were some familiar faces at the festival. One of them happens to be Hawk, the last of the BFF Squad who finally made it to the camp! His sister Paloma is one of the performers along with her partner Phoebe in a duo called Lo-Pheebs, which is a play on lo-fi. What a cool name! I’ve only met Paloma a handful of times and she’s always fun to hang around with. Phoebe perfectly compliments her in personality as they’re chill and laid back while Paloma’s enthusiastic and playfully aggressive.

Another familiar face were the Thornton bros. Ever since the entourage officially disbanded I haven’t seen much of Josh and Lake, and even less of Demetri. Shortly after leaving the entourage, Josh became Lo-Pheeb’s manager, which was unexpected but turned out to be a good fit for him. Meanwhile Lake’s been focusing on his acting career as well as trying to become an influencer and Demetri’s studying at Seashore Path while working at Kitchen Cove on the weekends. In short, they’ve all been super busy to the point that they rarely saw each other anymore, which was surprising to me as all three are super close.

The Drumbeats Festival is a music festival where all kinds of artists come together to perform. It has an indie, folk rock, lo-fi vibe that makes you feel chill and pumped up at the same time. I wasn’t familiar with many of the artists so it was great listening to and discovering new music. Lo-Pheebs is definitely on top of my list of new artists to check out! 

Lo-Pheebs became a thing over a year ago, shortly after Paloma’s band Out of Sight disbanded. She met Phoebe while on tour a few years back and they became friends, later partners. Lake was the one who suggested Josh become their manager because he felt that his brother needed someone to boss around that wasn’t him or Demetri. Josh is the type of guy who can go a little overboard when it comes to being supportive, something his brothers know all too well. Paloma’s similar in that way too so that’s why they get along so well. At least Phoebe’s there to balance them out as they’re good at handling conflict and helping others see the bigger picture, something that Josh and Paloma admit they’re working on.

This year was supposed to be a busy one for Lo-Pheebs as they were finally breaking into the charts. The festival was actually their first performance in months as they decided to take some time off touring after finishing a major one earlier this year. Josh had to leave abruptly towards the end of their last tour when Lake was badly hurt while on vacation. Also, in between tour stops, Paloma was helping Hawk in Crescent Moon and Phoebe had their own family stuff to deal with. So with everything being so hectic, the duo decided to postpone their next tour and focus on studio work, resulting in their first EP, Bring Down the Beats.

Now that Lake’s almost fully recovered, Josh is slowly getting back into the swing of things. It’s good to see Lake again, especially since he almost died in a freak accident. So naturally his brothers are a bit overprotective of him, making sure that he doesn’t exert himself and such. He can’t run around and explore with his bros, but he’s perfectly content hanging around the camp and taking pics to post online. Honestly, I’m surprised that he doesn’t have more followers.

Hawk and Demetri are an unlikely duo I never saw coming. In a way, they’re kinda like Paloma and Phoebe - the enthusiastic and easily excited one and the chill and quiet one. They’re both into computers and tech stuff - Demetri’s a self taught hacker and Hawk likes to build stuff. Them building something together is either genius or dangerous - let’s be honest, if anyone were to accidentally build a killer robot, it’ll probably be them. Still, I’m interested in a collaboration between the two just to see what they can come up with.

In between setting up for the festival, we also took the time to hang out at the camp. Hawk was going to meet up with Paloma and Phoebe at the festival so when he heard that it was being moved to the camp, he decided to drop by early. So Paloma, Phoebe, Josh, Lake, and Demetri tagged along as they too wanted to help out and spend a couple days at the camp. When we weren’t doing festival prep, we went fishing, bug catching, swimming, cloud gazing, seashell hunting, and foraging - all the fun outdoorsy stuff that one does while camping. It was also a good way to wind back from the stress of setting up a festival, which we definitely needed.

The Drumbeats Festival was a blast! Like I said, I’ve discovered a bunch of new artists to check out. I also learned a lot about drums, which was unexpected, but now that I think about it, the festival is called Drumbeats for a reason. Who knew that drums can be so interesting? Some of the stands are interactive - not only you learn about different kinds of drums, you also get to play with them! 

There’s nothing more perfect than a fun festival under a starry night. Hawk says he’s been into constellations lately, especially now that he has a newfound appreciation for them after spending a couple months out in space. It’s cute seeing him and Celeste gush over stars and galaxies! 

We got to see the Starstruck Nebula, something that only shows up once in a blue moon so that was super amazing! The books were right, words can’t accurately describe how it looks. The closest I can come up with is like a rainbow kaleidoscope made up of stardust and flames, which probably doesn’t make sense now that I think about it. Now I can cross off another thing from my bucket list!

While messing around with drum tracks, Josh and I got to talking about the future. By that, we mean Hawk, Paloma, Lake, and their significant others. Paloma’s with Phoebe, Hawk with Kat, and now Lake and Tom are a thing. According to Josh, it was kinda a will they, won’t they relationship - though it was a surprise that they ended up together. Lake did say his near death experience caused him reevaluate some things and they spent a lot of time together while he was recovering so it makes sense. 

As for Hawk and Kat, there’s been talk of an engagement in the near future. AJ, Elara, and Micah have mentioned it - Micah being fully convinced that a conversation he overheard between his sister and dad has to do with Kat seeking advice on proposing. Devi, Leyla, Tulippa, Misty, and DT have speculated on it as well. So far, nothing from Kat and Hawk themselves so it’s still all up in the air. Let’s just say that when one of them finally pops the question, we’ve got the champagne bottles ready.

Josh also talked a bit about Lake’s ordeal and how it shook him and his brothers up. For a while, before the accident, things were rocky between the two brothers. Most of the time it was minor, petty disagreements, usually involving one of Josh’s schemes gone wrong. They still don’t always see eye to eye, but things were really bad around the time between the entourage disbanding and the accident. And in the middle of all that was Demetri, who was trying to keep the peace as he hates it when his brothers fight, especially when they try to drag him into the conflict. 

When everything came to a crashing halt, Josh had to come to terms with some hard truths. The main ones being that he can’t fix everything and that sometimes it’s not okay. Being the oldest and having practically raised his brothers by himself, he’s super protective of them. So it’s understandable why Lake and Demetri sometimes feel smothered by him. He’s been working on giving his bros space and their bond has grown stronger since then.

I’ll admit, sometimes while catching up with Josh I wonder if this is the same guy I met at Rave’s party (it was a weird time and no, I will not elaborate), but not in a bad way. Of course, he’s still the same happy go lucky, playful, and easily excitable goofball we all know and love - now with a touch of emotional maturity. He and his brothers don’t always have it easy so it’s good to hear that things are getting better. Seeing the three of them together not only reminds me of their close bond - something I always admired about them - but also how much they’ve been through. 

I’m glad that Josh is finally able to find some peace for himself. Being out on the road with Lo-Pheebs really helped him find a purpose outside of his bros and in return, Lake and Demetri can live their own lives without worrying about leaving Josh behind.

After having a busy week, there’s nothing more rewarding than a night full of fun festivities!  On a side note, Lo-Pheebs is on the roster for Concert in the Stars, so the camp will be a stop on their tour, which is set to begin in a couple months. Lake and I are making plans for him and his brothers to spend a weekend at the camp during an event. Also, Hawk and I are also making plans for a BFF Squad camping adventure. So there’s a lot to look forward to in the future.

Favorite Albums of 2019

2019 was a big year for me in music. According to my Last.FM stats, it’s the most music I’ve listened to in one year. That played a big role in why I have a top 50 albums list for the year. There was a lot of stuff I really enjoyed.  

I tried to find new bands this year because I’m over 30 now which they say is around the time you stop seeking new music and I want to prove that wrong. 14 out of my top 50 were brand new artists to me, which I wish was higher, but that’s a goal for next year now. 

I also reignited my love for some bands. I got really into the Go-Betweens in 2019. I bought a documentary about them, a book about the two founders of the band, and got a box set of their last three albums that is now one of most prized music possessions. I also found some Deerhunter records in Nashville that I listened to quite a bit. I also got to see them live this year which was a real treat. Other artists I got really into this year was Townes Van Zandt, Guy Clark, Bombay Bicycle Club, Chris Isaak, Hightide Hotel, The Brave Little Abacus and Titus Andronicus (who I was already into, but got almost all of their albums on vinyl now).

It was another terrific year for live shows as well, as I got to see a lot of artists I loved as well as ones on my bucket list. Kacey Musgraves, Sharon Van Etten, Priests, mewithoutyou (2nd time), Tigers Jaw, Titus Andronicus (2nd Time), Angel Olsen (3rd Time), Deerhunter, Trampled by Turtles, and Miami Horror. The best month was late April to late May when I got to go to five amazing but very different shows. It was one of the most fun months of my life. I got to see the Drums (2nd Time), PUP, Ratboys, Doomsquad, Operators, Desire, Chromatics, and Passion Pit! All of them were some of the best shows I’ve ever been to.

Now enough about my music year, let’s get to the list. I only wrote things about the top 30 but wanted to highlight some other ones so expanded the list to 50. Like I mentioned earlier, it was a really great year of music. Not sure if I will release a list of favorite songs this year, but we’ll see. I’ve lately become more of an album fan instead of singles. Let me know what you checked out this year!

50. Chromatics – Closer to Grey  

49. Hatchie – Keepsake

48. Nilufer Yana – Miss Universe

47. Denzel Curry - ZUU

46. Pedro the Lion - Phoenix

45. Proper. - I Spent the Winter Writing Songs About Getting Better

44. Turnover – Altogether

43. Jay Som – Anak Ko

42. Big Thief – Two Hands

41. Jimmy Eat World - Surviving

40. Titus Andronicus – An Obelisk

39. The National – I Am Easy to Find

38. Priests – Seduction of Kansas

37. DIIV – Deceiver

36. Mildura - Mildura

35. Jamila Woods – LEGACY! LEGACY!

34. Doomsquad – Let Yourself Be Seen

33. Charly Bliss – Young Enough

32. Operators – Radiant Dawn

31. Black Marble – Bigger Than Life

30. The Get Up Kids – Problems

I was late on the Get Up Kids (I know, I know, I’ll turn in my emo card after this article), and I’ve been trying to catch-up these past couple years. And what perfect timing because it’s the first album in eight years (They also had a terrific EP in 2018). It’s a really good return album from them. They can still write amazing pop punk anthems, and few bands leave songs stuck in my head as often as the Get Up Kids do. It’s interesting that the early wave of emo are now elder statesmen of the scene and they touch on that a little in this album. Reflecting on the past and what it means to be a band in 2019. It’s always good to see a band not only not just rely on nostalgia to tour on, but still release relevant music that stands up with some of their best material.

Favorite Track: Satellite

29. Bon Iver – i,i

It’s interesting where Bon Iver has gone in the past decade. First bursting on the scene with the perfect story of going to a cabin and recording a heartbreaking breakup album. Since then he’s won some Grammys, been featured on Kanye West songs, and embraced the synthesizer. For some reason, however, this album reminds me more of “For Emma, Forever Go” than his previous couple albums despite still using the more electronic approach. It has that same raw honesty that his debut had. He’s not alone in the woods anymore. He’s commanding a large group of musicians now, creating this huge sound without losing any of his heart. He also sounds more assured in himself. It’s seems like the beginning of a new era for Justin Vernon and the last song “RABi” sounds like his “riding off into the sunset” moment. Awaiting the next adventure.

Favorite Track: Faith

28. Yola – Walk Through Fire

A really strong debut album from singer/songwriter Yola. It’s really soothing with a nice wall of sound production that just sweeps you away. It also helps that she has such an amazing voice. Songs like “Faraway Look” & “Lonely the Night” feel like songs I’ve known my entire life, but was just waiting for Yola to record them. Really excited to see what she does next.

Favorite Track: Lonely the Night

27. Prince Daddy & the Hyena – Cosmic Thrill Seekers

“Cosmic Thrill Seekers” is an ambitious album, like “The Monitor” level of ambitious. It’s written almost entirely by Kory Gregory about his cycles of struggling with mental health with allusions to Wizard of Oz. They take you on a journey on this album. The feelings of self-destruction, to wanting to escape from people who aren’t even your friends, and not quite fitting in with rest of the world while also playing the most anthemic guitar riffs and crashing cymbals.  I can only imaging what the experience is like seeing this album performed live. It would have to feel like a sonic tornado, and you would wonder what just happened after you’re walking away on the street. This album didn’t make it number one on any charts, but this album is going to mean so much to so many people. Also, the last track goes right back into the first one to begin the cycle again.

Favorite Track: Lauren (Track 2)

26. Strange Ranger – Remembering the Rockets

It’s amazing how much this album reminds me of 90’s indie rock. It is so easy to picture Strange Ranger playing this album in between sets of Mazzy Star and Teenage Fanclub. I had not really clicked with Strange Ranger’s earlier stuff, but this album just seemed to make sense to me. It sounds like a fully formed album with a band that is confident enough to be more adventurous. There are some incredibly poppy hooks, but also some interesting synth beat choices. Also the switch of singing songs about the end of the world to being excited to go on a date gives the album a little extra something. A good mixture of despair and hope.

Favorite Track: Leona

25. Lost Under Heaven – Love Hates What You’ve Become

I love when a band just says “F*** It! Let’s make songs meant to be heard in a stadium,” even though they will never get a chance to. This is one of those albums that is meant to be turned all the way up with you screaming along to every chorus in your car. They are definitely wearing their hearts on their sleeve on this one, encouraging you be the best version of ourselves so by the time the album reaches it’s colossal closer “For the Wild,” you are ready to take on the world. It’s fun when a band decides to be super sincere on an album. You actually feel like rock and roll will save us, just like you did when you were a teenager and first found music for yourself.

Favorite Track: For the Wild

24. Mark Ronson – Late Night Feelings

I think my favorite thing about a Mark Ronson record is how much they seem like an awesome compilation album, and this one lives up to its name and is a perfect soundtrack for late night out on the town. He’s got a great ear for collaborators creating the perfect songs to best suit their voices. Lykke Li, Angel Olsen, Alicia Keys, and even Miley Cyrus have some terrific showings on this record. There’s no super hit like “Uptown Funk” on this album, but it is a fun listening experience, and I cannot get enough of Angel Olsen’s “True Blue” on here (Which really should have ended the album. It’s a perfect end credits song).

Favorite Track: True Blue

23. The Drums – Brutalism

The Drums are a group that has had quite a decade. They’ve released four albums, and every member but Johnny has left the group. “Brutalism,” however, is still a strong album in one of the best indie rock discographies of the past 20 years. There are some throwback songs to the early Drums days (Body Chemistry), a rare acoustic ballad (Nervous), and one of the catchiest songs they’ve ever written (626 Bedford Ave). The Drums get overlooked, but they’ve quietly created an impressive catalogue that is just begging to be reevaluated with “Brutalism“ adding a lot to that conversation. Not many indie rock bands make it to five albums, let alone having songs on that fifth album that fit along their biggest hits.

Favorite Track: 626 Bedford Ave.

22. Brittany Howard – Jaime

When I first heard this album was coming out, I thought it meant that Alabama Shakes were done as a band and Brittany was going to be an exclusively solo artist now. However, after listening to this album, I understand why it was not an Alabama Shakes record. This is a very personal record that just wouldn’t sound right as a band collaboration. This is Brittany’s story. She’s singing about life on the road, her faith, first crushes, family, and making sense of what it’s like growing up in the south. This solo record also gave her a chance to explore some different sounds than she would have on an Alabama Shakes record. You can hear some Prince influence, especially on the final track “Run to Me.” Not sure if she plans to release more solo records, but I hope this isn’t the last.

Favorite Track: History Repeats

21. (Sandy) Alex G – House of Sugar

“House of Sugar” has probably got my favorite Side A of any record this year. It just gives a chance to showcase what I love about (Sandy) Alex G so much. You’ve got the psychedelic drone style and that fast almost folk-punk style. It’s just filled with this fun eclectic sound and his voice, while probably viewed as limited in sense of range, just captures so much emotion in the music. I found this record to be one that rewards you the most the more you listen to it. I feel like I’m always discovering something new with each listen. I always enjoy checking out the latest (Sandy) Alex G record because his albums are always adventurous, and “House of Sugar” is definitely that. I would have a tough time describing this album. It’s like when you’re in a dream and there are those moments that completely change the scenario and location, but for some reason it makes sense to you in a way you can’t explain. That’s what this album is like for me.

Favorite Track: Gretal

20. Angel Olsen – All Mirrors

If I had to describe this album, I would say it’s Angel Olsen’s “Nebraska” if she had Bauhaus as her backing band. This is a big sounding record, and it’s easy to let the emotional crescendos take you away. You feel every emotion she’s putting on this record, and it is a wild ride. It’s a breakup record, and this album does a good job of capturing that feeling fresh off a breakup that just feels like a tornado of feelings. It’s a storm of emotions, but sometimes there’s a beauty in a storm as well. She said there’s an acoustic version of this album that will come out next year, but I’m glad we got to hear this version first. We get to feel the real raw emotion on this, and then when more time has passed a chance to be softer with a more reflective look back.

Favorite track: All Mirrors

19. billy woods + kenny segal – Hiding Places

It really sounds like Woods is letting it all out on this album; frustrations with music, other people, the current state of things, and his intensity is only amplified by the beats from Kenny Segal. The samples on this album are not catchy, and they shouldn’t be. This is an album that wants you to reckon with what Woods is saying. That’s what makes the final album so impressive. It’s a perfect blend between Wood’s lyrics and Segal’s beats. Complimenting each other in frustration and uneasiness. I was not familiar with either artists before this album, but I’m definitely a fan now, and I hope they will collaborate again in the near future.

Favorite Track: Red Dust

18. Truth Club – Not an Exit

There is something very old school about Truth Club. They’ve got this post-punk nasty guitar riff energy that just make this an album a delight to hear. They sound like a band with something to prove, delivering exactly what you want from a post-punk record. Sweet riffs, monotone vocals, and done in less than a half-hour. Love it.

Favorite Track: Student Housing

17. Helado Negro – This is How You Smile

Sometimes records just feel like a dream as if you can just see the music and travel in it. That’s how I feel every time I listen to “This is How you Smile.” The mixture of electronic and folk makes such beautiful music and Roberto Carlos Lange’s voice is perfect on top of these amazing collections of sound. Apparently he invited a lot of different musicians to play on this record and it really sounds like a group of friends got together and had the perfect jam with Lange’s artistic vision taking the lead. Some songs tackle today’s issues with even some field recordings from an Abolish ICE March in Brooklyn and singing about being proud of being Latinx, but not being confrontational about it. It’s beautiful music with a message.

Favorite Track: Please Won’t Please

16. Deerhunter - Why Hasn't Everything Already Disappeared?

You’ve got to give credit to Deerhunter for continuing to make really interesting albums throughout all of the 2010s, and this one seems like a good one to end the decade with. When so many of their contemporaries have disbanded or walked away from music, Deerhunter has kept going. Not resting on their past success, but creating new sounds and challenging their audience to go somewhere new with them. They can still write an amazing hook and the lyrics are as sharp as any previous album. It’s an ode to a world that seems to be on the brink of destruction by its own design.

Favorite Track: Plains

15. Anderson Paak – Ventura

Anderson Paak is on quite a creative streak with this being his fourth album in five years and I think this one may be my favorite. He’s got some amazing guests singers on this album including Andre 3000, Brandy, and the legendary Smokey Robinson. It just sounds terrific too. The 70’s soul-funk inspiration makes for some of the best grooves I’ve heard this year, and it’s a perfect album for a night drive.

Favorite Track: Jet Black

14. PUP – Morbid Stuff

Few bands do “ANGER” as good as PUP, but Morbid Stuff is not the typical angry record either. It’s like “I’m angry. You’re angry. Let’s be angry together” kind of record which is perfect for the general attitude of 2019. PUP inspires a real passionate fan base, and on this record it’s easy to see why. They packed it with cathartic anthems for the disenfranchised. Not getting along with your family? Not quite over your ex? Feel like you missed that turn you were supposed to take in life about four years ago? Get over here and let all that anger out by singing along with us. This album is community even though you can’t be with this group in person. It also helps that this is a band that can PLAY. The musicianship is just fantastic which is probably helped because this is a band. These four guys have been PUP since the beginning and they sound better and better on each album. So let’s get angry!

Favorite Track: Kids

13. Raphael Saadiq – Jimmy Lee

It’s been eight years since the last Raphael Saadiq album, and it’s understandable because this album is dealing with a lot of heavy issues; addiction, incarceration, faith, and losing family. It’s also an album that Raphael Saadiq could have only made after being a bit older with some life wisdom to look back at. Sometimes it can be uncomfortable to listen to, but also necessary. It feels like a very personal album, and you can tell how much work must have been put into producing it. The album sounds terrific, which makes sense for how much experience he’s had producing other projects in-between albums. I also forget how talented of a singer he is. This album is a real showcase of his vocal skills. Some songs sound like he’s pouring his soul into it, and just somehow keeping his voice from breaking. You get swept up in that anger he feels. This album will make you really think about where the world has been, where it’s at today, and where it’s going. A powerful and necessary album for 2019.

Favorite Track: Rearview

12. Orville Peck – Pony

Orville Peck’s music is the kind of music that would sound just as perfect being performed on stage at the Grand Ole Opry as it would hearing it off a jukebox in a dive bar in the middle of nowhere. Peck’s really tapped into that timeless country sound that just seems to sounds good anywhere in any situation. Feeling sad? Perfect. Feeling that freedom you get from just hitting the road alone? Perfect. That baritone voice is so beautiful to listen to as well. It’s a new generations Roy Orbison or Chris Isaak. Beautiful but haunting, and it wouldn’t sound out of place in a David Lynch film. The storytelling in the lyrics are also astounding. I can picture the desert riding while listening to “Dead of Night.” It’s fascinating to know that this is Peck’s first album because it’s so well formed in terms of lyrics, vocals, and hooks. Makes me even more excited for what the next album will sound like.

Favorite Track: Dead of Night

11. Great Grandpa – Four of Arrows

“Four of Arrows” sounds like a level up album from Great Grandpa after their terrific debut “Plastic Cough.” It’s a great example of a band expanding their sound without losing the identity that made their first album special. The band sounds tighter, richer (especially with the addition of strings and synths on some songs), and more ambitious. It also helps to have the amazing Alex Menne vocals. She really conveys an energy that escalates these songs’ emotional payoffs. Especially on a song like “Digger” where she sings (almost screams) “That’s why I hate you,” “That’s why I love you” with almost the same energy. You may not know what each song is about, but you certainly know how it feels.

Favorite Track: Treat Jar

10. Holy Ghost! – Work

Sometimes all you need is great dance album in your life, and Holy Ghost! provided that for me this year.  They have a kind of style of dance music that has fallen out of critical favor by the end of this decade, but I still love to hear it. They continued the tradition of Daft Punk’s “Random Access Memories” of applying their flavor to 70’s dance music, and it’s terrific fun. This album is super catchy, has wonderfully danceable grooves, and features a 7-minute plus dance closer. A perfect dance record.

Favorite track: Do This

9. American Football - American Football (LP3)

With emo revival being a big topic of conversation this past decade in certain music critics’ world, it’s only fair that one of the greatest emo bands ends the decade with a terrific album. After reuniting a couple years ago for an okay album, I’m glad they went back to studio to create an album worthy of comparison to their first album that influenced so many amazing artists. The musicianship on this album is just stunning, with a rich tapestry of melancholy permeating throughout. They also happened to create possibly the best duet of the decade by having fellow emo legend Haley Williams join them for “Uncomfortably Numb.” Just beautiful. #defendemo

Favorite Track: Uncomfortably Numb

8. oso oso – Basking in the Glow

To be honest, I feel invested in oso oso. I remember a few years back he released “the yunahon mixtape” as a pay what you want on Bandcamp and planning to walk away from music. I checked it out, and loved it on first listen. Then the album got some nice shout-outs from critics and other artists and eventually found an audience. So to see not only oso oso stick with music, but to release this terrific follow up record as well, feels like a win for everyone. There is a common misconception that emo=sad music, but this album shows that is not the case. There’s a joy on this album that is super infectious. He wants you to feel a part of his joy. It’s an album of positivity that we needed in 2019, and it helps that so many of these songs are very catchy. This is the “dance around your bedroom” kind of album, and just let yourself go for a half-hour. I’m so happy that this album is getting recognized on so many year-end lists. It feels like a win for the entire emo scene that usually gets ignored. The fact that it happened to oso oso makes it all the better.

Favorite track: The View

7. Big Thief - U.F.O.F.

I always thought of Big Thief as a perfect band for fall. Something about their music feels like the end of something before dealing with something that will be tough but necessary. That they’re the ferryman taking us into the next stage in life, and the cost is you’re going to feel a little sad listening to some heartbreaking tales. U.F.O.F., their first album of 2019, can break you down. In the first track “Contact” we hear lead singer Adrianne Lenker let out these howling screams. Giving ua permission to let yourself go. Be your most pure self as this album takes you on a journey. I don’t mean to make this album sound depressing, because even though there’re numerous allusions to death it is quite hopeful. You get to LIVE because one day you will die. It makes life more important because it has an ending.  This album doesn’t have a lot of hooks on it, but it just makes it more important to listen to it as an album. It’s one big piece that feels so right together. It’s hard to imagine anyone having as creatively successful year as Big Thief did in 2019. Kind of apt they got it in right before the end of a decade. A necessary end, I think.

Favorite Track: Cattails

6. Mini Dresses – Heaven Sent

Listening to Mini Dresses’ “Heaven Sent” feels like I found some hidden album demo from the early 2000s that was secretly a masterpiece. I truly do not know why hardly anyone seems to be talking about this album. If it came out in 2008 it feels like it would have been huge on indie blogs. This album is so catchy and a style of indie rock that doesn’t seem to be big anymore, which is a shame because it’s too good to miss. This album reminds me of Blondie if they would have been part of the indie wave of the mid-2000s, which if that sounds cool to you, please check this album out.

Favorite Track: Rank and File

5. Better Oblivion Community Center – Better Oblivion Community Center

After hearing “Would You Rather” on Phoebe Bridgers’ phenomenal debut album “Stranger in the Alps,” I suppose we were all secretly hoping for more songs from Conor Oberst and Phoebe. There are few songwriters that can capture the feeling of loneliness and emptiness, but still have that sense of hope that it can somehow get better like these two can. “If you’re not feeling ready, there’s always tomorrow” on their last song “Dominos” really hits that point home. Their voices sound great together and the production on this album is fantastic. They’ve got the hooks, they’ve got the ballads, and they’re ready to make you cry, but they will be the first ones to help pick you back up. This album feels like an old friend that knows you get sad sometimes, but is always there for you when you need them.

Favorite Track: Dylan Thomas

4. glass beach – the first glass beach album

There’s nothing better than when a band just goes for it on an album. I haven’t listened to an album that has made me think of emo, Disney, Hellogoodbye, and Playstation video game soundtracks all before I’ve even made it to track 5. It’s like they threw everything on the wall and everything stuck. I would not be surprised to find out that this band is around my age. It sounds like an album that only someone who grew up in the 90’s and early 2000’s could make.  Just picking sounds from everything in that era and making an album out of it. It’s pure chaos, but somehow completely makes sense. This album is not for everybody, but if it clicks with you, it’s like it’s looking into your soul.

Favorite track:  cold weather

3. Slaughter Beach Dog – Safe and Also No Fear

I was a big fan of Modern Baseball, like all good emo revival fans should be, and was super sad to hear they were going on indefinite hiatus. When I heard Jake Ewald was starting a new project as Slaughter Beach Dog, I checked out some songs from his album “Birdie” but didn’t really connect with it. Probably because I wanted something more like Modern Baseball. Then when this album came out, it had some buzz from critics whose opinions on music closely line up with mine, and I checked out this album. Whatever opinion I had on the first album, this one was the exact opposite. I really connected with. Listening to it feels like those times where you visit your old hometown, driving around the old spots you used to hang out. Then you realize these spots don’t mean what they did to you anymore, and they never could. No matter how much old friends want you to be that old person again, you can’t go backwards and you’re fine with that. This is also a beautiful sounding record. It sounds like Jake let the other musicians have a bit more say in the sound, and it does sound like a band collaboration. It’s a sweet indie/folk/alternative sound that just pierces my soul. If we don’t get another Modern Baseball reunion, that’s fine. It sounds like Jake has moved on, and I’m ready to follow wherever his new music takes him.

Favorite Track: Black Oak

2. Sharon Van Etten – Remind Me Tomorrow

It’s always exciting to witness an artist make the album they were always meant to. All of her work has lead up to her masterpiece. You feel her soul on this record. Not one moment feels faked. She’s not hiding anything from the listener. Talking about letting go of your past self (I Told You Everything), making a new version of yourself (Comeback Kid), letting yourself love again (Jupiter 4), and what it’s like to be a mother (Stay). Also, on this record she embraces the synth and it makes for some tremendous production. The anthems have an extra kick to them. Not only is this a terrific album for 2019, but one of the standouts of the decade from an artist who already had an impressive discography these past ten years. I’m not sure where she will go next, but I’m hoping this is a sign of what to expect from her in the 2020s.

Favorite Track: Seventeen

1. Purple Mountains – Purple Mountains

This is my favorite album of 2019, and it’s not even close. I was not familiar with David Berman until I heard the first couple singles before the album came out. His name was one that I heard critics tweet about or referenced by other artists, but had never really checked out his music. However, after hearing “All My Happiness is Gone” and “Darkness and Cold” I could not get enough of this music. The melodies were incredibly catchy, I thought the lyrics were super memorable, and they just felt like they really connected with me. He sounded like a natural storyteller, and I was hooked on every word he said. I’m not usually a lyrics person, but I paid attention when I heard these songs. Then when the album came out, it was a treasure trove of an album that I could really dive into. This heartland country sound with a terrific backing band, Woods, complimenting David Berman’s unique voice. I loved it immediately. Then when the tragic news came out of David Berman’s passing, it hit me hard. It’s difficult to talk about this album without acknowledging David committed suicide shortly after it was released. However, I don’t think of this album as a suicide note. This really felt like an album about life. There are struggles, but there are the good moments too. Find the happiness where you can. Margaritas at the mall, that lovely connection of a child with their parent, and if the snow is falling and it’s looking bad, enjoy how warm it will be inside. Berman’s legacy will be everything he contributed to culture; his poetry, his wit, his dark humor, and especially the music. Every once in awhile now when I hear “All My Happiness is Gone” on the radio or if it comes up on a shuffled playlist, my eyes start to well up. Not because I’m sad, but because I’m happy David shared a piece of his soul with us. That’s the real power of music.

Favorite Track: All My Happiness is Gone

on my shelf: soundtrack to my fourth year of uni - winter

Wow, it’s that time of year again! So, you’re supposed to finish my course in 3 years, but barely anyone actually does... This semester I had very few classes and commuted very little, but there’s still a couple of albums that I listened to a lot and so here we go....

Tessa Violet: Bad Ideas (2019)

Finally!! I’ve been eagerly anticipating this album ever since Tessa first announced she’d be releasing one and opened a Patreon for it (was it 2017?? maybe 2018). The first single, “Crush” is kind of different from her older music, but not in a jarring way - you can definitely hear a progression towards this lowkey indie-pop sound throughout her previous EP “Halloway” (very recommended too btw!). “Crush” sounds more cheeky though, but in a very specific way: Throughout the whole album Tessa’s voice has this quality of “trying to play it cool”, but as the story progresses, she becomes more sincere and more openly distressed. Basically, the album tells a story, but that story is never-ending because the album is cyclical - the last song connects thematically and sound-wise to the first song. It starts off with Tessa forming a “Crush” on a guy but she wants to keep it casual. Eventually she realizes he is playing “Games” with her and she mentally spirals down from there, uncovering things that are beyond just heartbreak, ending up at a place where she feels completely emotionally isolated, in the last song “interlude iii”. Throughout all this there’s certain instruments and motifs that keep coming back, but they’re twisted in different ways each time, manipulating what they meant the first time you heard them and connecting all the songs to each other in a way. 

TL;DR this album is so well crafted in music and lyrics.

Tomorrow X Together: The Dream Chapter: Magic (2019)

This album opens with such a good bass riff, right out the gate, and continues moving through seemingly different genres, but everything flows nicely. The boys have audibly matured from their first release, The Dream Chapter: Star, in the sense that the music still sounds fun but less Disney Channel (which was not a bad thing for Star!). As I mentioned, they also tried out more different styles, like R&B and almost-Indie-Pop, this time around and all of them fit them very well. Something that stands out about TXT compared to other K-Pop groups I’ve heard is that they lack an overbearing power and someone with a very deep voice (both things I personally find kind of annoying). They thrive on a more young, yet not childish, image. From their looks alone you’d think they were very innocent, but the lyrics show the concerns about the future and friends of a teenager, which half of them still are. The music has a sort of comforting aura. On this album only one of the members contributed to a song, but seeing as the other members seem to be busy writing too, hopefully we can hear what their perspectives sound like on the next one.

Red Velvet: The ReVe Festival Finale (2019)

The first Red Velvet song that caught my attention was “Umpah Umpah”, the lead single off The ReVe Festival Day 2 because it reminded me of Disney Channel music of my childhood. Listening to that entire album is so incredibly pleasing to my ear because of the way the girls’ voices sound. They mesh together perfectly and cover a range of different tones, which is something I’d not heard much in K-Pop girl groups, who tend to have most members singing Soprano with a very specific tone that makes me uncomfortable for some reason. Red Velvet’s mix of tones work very well together and that shows especially well on their R&B and Ballad songs, while their more Pop songs stand out because of their specific sound, but also the combination of incredibly catchy upbeat sound and slightly more sinister lyrics and music videos (a favourite combo of mine). So this album specifically combines the songs of the previous two albums, The ReVe Festival Day 1 and Day 2 and adds 3 new songs, with the lead single being “Psycho”. This repackage made me listen to the songs off Day 1 more. For a K-Pop album, many of them don’t make sense, but taking that lense off shows what good Pop all of these songs make. In a way, a song like “Zimzalabim” (which was initally met with much confusion) is very K-Pop because of its strange structure that somehow still makes sense to the ear. It just doesn’t have the typical sound, even the EDM-breakdown lacks something (in a positive way). Either way, all of these songs have a tendency to be on a very loud loop in my head constantly but I can’t stop listening to them because the texture of these songs are so pleasing and at times very visceral.

Wonder Girls: Reboot (2015)

For this album’s performances of the lead singles, the girls had to learn to play instruments and they did so pretty well. I doubt they played on the album itself (though all the members did write on the album) but they definitely did play them live during a couple of performances, which is amazing for a K-Pop group to do and I wish more would use a “band concept”. This album is very obviously influenced by 80s synth pop especially because of some of the instruments they used, but it retains a modern feel and of course a bit of that specific K-Pop sound that’s hard to describe exactly. It flows well from song to song and, similar to Red Velvet, sometimes has this specific effect on my ears where the aural texture feels very visceral. In general this album feels somewhat melancholy, but remains interesting and well crafted musically. If you like 80s synth pop but want something more modern that doesn’t seem like a parody or a carbon copy, then this is for sure the album for you.

__________________________________

btw there’s also been just a constant stream of BTS (nothing’s changed there).

So this semester was very female and K-Pop heavy, but not your typical type of loud, aggressive, and/or bright K-Pop. The texture is very important and everything tends to lean more towards R&B. I’ve also been loving certain songs here and there (like Mamamoo’s “gogobebe” and “HIP” and ITZY’s “Dalla Dalla” and “ICY”, songs that SUGA has produced, and Epik High’s “sleepless in ____” EP, as well as K-R&B in general). I’m planning on writing my BA thesis on K-Pop so uhh yeah this is uhh research.. A year ago I wanted to avoid Korean music as much as possible but I think that was mostly because I knew I was gonna get sucked in like this. But now it’s helped me find an interesting topic for my thesis, which is something I was worried about for a while, so so what? 

courtney eaton. 24. genderfluid. they & them. the front bottoms. | i can’t believe i just saw LUCINDA “LUKE” ARCHULETTA walking out of cadence records. they’re the GUITAR & LEAD VOCAL from the INDIE ROCK group WE TRIED USING A BAND NAME GENERATOR who have been in the industry for SIX YEARS. the tabloids love to focus on their ALOOF nature , but they’re also pretty HONEST and they seem to give off a vibe that reminds people of TYING FLANNELS AROUND YOUR WAIST, NEVER BEING WARM ENOUGH, PLAYING AN ACOUSTIC GUITAR IN A SHARP TUXEDO, CLAIMING YOU DON’T SMOKE MARIJUANA WHEN YOU DO, THE COMFORT AT THE BOTTOM OF A SWIMMING POOL. 

                                     she started talking backwards , but nothing                                      good it brings her. so the next time that she                                      sees him, it’ll be peace sign + middle finger.                                      to listen as you read.

listen i always say i’ll stick with one muse and that never happens so i’ll just skip the part here where i berate myself for being weAK and instead introduce u to lukey-pookie here !! they’re a very new muse ( while also combining some essences of other muses of mine ) since normally i pick from a premade roster of my own ocs and normally use courtney for a... very different character but 1.) i’m gay and 2.) i love the front bottoms so HERE WE GO !

tws : depression, divorce, arrest, drug usage / overdose

HISTORY

So Luke was born to a regular working class family in Wilmington, Delaware - they have some relation with the famous DuPont family that built their name there, but don’t have anything to show for it since a few generations ago Luke’s great grandmother cut off the rest of her family and now they don’t speak. So Archuletta it is.

Their mom worked a typical 9-5 job and their dad was an aspiring painter - but he was always... sick. Not sick in the physical sense, no - sick in the fact he never was himself. Sick in way that Luke always thought he was so tired and sad and nothing could ever cheer him up, and they rarely spent much time with him due to his tendencies to keep to himself. So that led to an early divorce between him and Luke’s mother when they were about six years old.

So Luke’s life was relatively normal. Maybe even too normal for them. And they’d try and put themselves out there - even joining musical theatre in attempts to try and find “their group.” Musical theatre was where they’d meet Krista.

A beautiful girl who had a passion for Broadway, booze, and marijuana - she’d become Luke’s greatest friend, and even taking Luke to meet their friends she hung out with regularly after class. But they weren’t the kids you’d want to bring home to hang out with in your parents’ house. No, in fact - they were the opposite.

Bad things, those friends did - well - bad ( or rather, illegal ) things, and Luke followed along. Such as smoking pot and getting caught for it, spraypainting and defiling public areas, maybe getting into a fight or two. In an effort to fit in, Luke would do the same - but they faced the consequences they’d never thought - considering those kids seemed invincible. Untouchable. 

Setting off fireworks from the roof of an abandoned building it a bad idea. Getting arrested the cops is an even worse idea. Your friends running off before they can get caught, leaving you alone to wait for your mom to pick you up... The worst idea.

Nobody came to check on them after that.

Not even Krista.

But the next day, Luke hung out with them like nothing was wrong, following that crowd still - and it’d only reach a breaking point when they were sixteen and had to call the ambulance since Luke found Krista in the bathroom of a party unconscious due to overdose. And thank god she survived - 

And there they were again, without many friends since Krista was seemingly the only person who even came close to genuinely liking them and everyone else, they barely knew anything about. And Luke would grow, finishing high school and clinging to the only other friend they had since childhood - being convinced to write out their issues since by NOW, Luke maybe turned out a bit more cynical than they used to be.

Writings of prose and poetry turned to translating that to music - and that would be the beginning of their new life: We Tried Using A Band Name Generator.

ABOUT ‘WE TRIED’: 

‘We Tried Using A Band Name Generator’ - or more conveniently just referred to as ‘We Tried’ is probably Luke’s pride and joy. It was their friend’s idea for them to originally write out how they felt - and they mutually came up with the decision to try and write songs out of that.

A small band from Wilmington didn’t seem like it was going to get notice, and it took a little while, sure - it started with an EP titled Slow Dance to Soft Rock ( 2013 ) that made Cadence turn their way. Since the indie community definitely liked the acoustic sounds paired with raw, blunt, honest emotions pushed out in songs like The Beers and Swimming Pool. And that was when they got signed.

The first album they’d release would be six months later - self-tilted, We Tried Using A Band Name Generator. They didn’t have too much of a following at the time, but they were making good momentum enough to convince them to keep going.

Things were going so well, in fact, that during touring, Luke & their best friend / drummer actually attempted dating since - there had to be a reason they worked so well together. There had to be SOME feelings. But a million arguments later and stressful tours, overall mentally testing experiences, pushing out an EP called Rose which was as amazing as it was tacing to complete... they couldn’t do it. It was thought that when their best friend left the group in early 2016, it was thought that everyone’s new favorite indie rock group was done for.

And... Luke couldn’t let that happen. It was selfish, too, in the sense that We Tried was their biggest method of release and comfort. So instead of just giving up, they got off from tour and IMMEDIATELY hit the studio for recording and song-writing.

The product of a few months of straight work would result in their 2016 album , Talon of the Hawk - all songs pulling experiences from the split between them and their drummer to their experiences with Krista in high school. 

Au Revoir/Adios was 100% written the day after their ex-drummer left. 

Another year of touring and thankfully, four more members joined the group - producing the EP Needy When I’m Needy as a sneak peak of what was new to come. A few months later , a surprise album called Back on Top would come out. 

The next three years would work well - with the band releasing another EP titled Ann and the inklings sprinkled of the next album - Going Grey.  

SO IN CASE THAT WAS TOO COMPLEX BC I RAMBLE... again, general timeline:

February 2013: Release of Slow Dance to Soft Rock

March 2013: We Tried is signed to Cadence

August 2014: Release of Self-Titled.

September 2014: Both members of We Tried start dating.

July 2015: Release of Rose.

December 2015: Nearing the end of touring, We Tried’s drummer quits and the pair breaks up. Touring officially ends later that month.

January 2016: Luke Archuletta announces they’ll be taking time to focus on a brand new album.

August 2016: Release of the rushed but extremely well-received Talon of the Hawk.

July 2017: We Tried introduces four new members.

October 2017: Release of Needy When I’m Needy.

March 2018: Release of the surprise album Back on Top.

January 2019: Release of the EP Ann, paired with the announcement production of the next album will begin soon.

March: Two songs - Peace Sign & You Used to Say (Holy Fuck) are released to tease Going Grey.

July 2018: Release of Going Grey. 

SO YOU CAN SORT OF TELL THE TIMELINE IS SPEEDY - because that’s a big part of how Luke sort of... overworks themselves and hyperfocuses on their music. Especially since ever since their first drummer left, they haven’t let go of the idea they can only rely on themselves. 

BUT MORE ABOUT THE BAND - We Tried’s aesthetic is sort of The Front Bottoms mixed with the Young Veins - Luke’s especially fond of showing up in suits, vests, etc. despite the normally blunt & uncouth content of the songs. 

There is literally always something being made. Luke can’t sleep without having something in the works. 

And... yeah that’s it honestly it’s rly just TFB but with a TWIST! 

ABOUT LUKE 

5′10, genderfluid bisexual bby who honestly just wants a nap

SOOOO yes, Luke’s a very chill individual but chill in the sense that... they just. Don’t care. Except when it comes to their work - then they work the hardest they can on that shit and have to pay attention to every little detail.

They’re still not actually sure if they have any talent - musical theater never seemed to work out, so why is a band doing that??

But they do have one thing down pat - directing. All of We Tried’s videos have so far been directed by Luke, save for a few. 

This comes from Luke’s longtime adoration of film and cinema, from the perspective of an observer and a director.

They DO have a tendency to be a little... clingy and aloof at the same time. They’re always worried about being in the position of trying to keep a band of only one person alive again but also they don’t really notice they can other people to do things for them now.

They’re independent to a fault, in that case.

And also now finally getting a hang of not falling into peer pressure since it’s just made them cynical and aloof from people now.

They’re v grateful for their bandmates tho!! Don’t get me wrong, they love them!

Luke’s more of someone who communicates their appreciation through gestures and actions than words - setting a blanket on you while you sleep, getting new drumsticks if you broke yours, making coffee in the morning when you’ve forgotten. That kind of stuff.

They don’t get a lot of sleep for the sole reason they sort of have tendencies to keep themselves awake just... thinking. Luke thinks a lot. Luke’s actually wack-levels of intelligent, and it does show in their music save for when they’re making odd comments and obscure references.

Luke talks about tattoos a lot, but they’re actually barren since they’re afraid of needles. 

They also don’t drink, but they do smoke marijuana. But they’ll never admit to it - ...like TFB even though they have a MILLION songs that mention recreational use of the drug.

They sort of don’t really know where their purpose is, still - and that does lead them into a depression of their own, much like their father. They don’t talk to him and their mother that much nowadays - considering, the dream was always that Luke be a lawyer or a doctor and not the crass musician that they are.

They’re lowkey a fucking comedian but in the dry, deadpan humor sense. Most of their interviews consist of them making some joke that either takes a little while for the interviewer to get or one that makes the room silent for a quick minute. Or, even worse, they’re taken seriously.

Despite this aloofness, though, they actually thrive on being around other people. They’re sort of relearning how to accept that, though, since again, they’ve been shelling themselves up in their own work for quite some time. 

Also lowkey a bit of a flirt bt u didn’t hear that from me

Rides a motorcycle partially to look cool and also... bc they have the song ‘Motorcycle’ which was about them. Trying to learn how to ride a motorcycle so it just kind of stuck.

They’ve got another talent in dancing, since they took ballet classes throughout middle school to high school - but had to quit after they got arrested. Shame.

Their one dream was to be Ariel in the Broadway production of The Little Mermaid when they were younger since... they also love the sea and Disney Princesses so much secretly, but they’ve sort of given up on that.

Their love for the sea’s also because of where they’re from - Delaware beaches are beautiful and were Luke’s happy place back then. 

Most of their loves and interests are sprinkled in their songs, in that case - Delaware scenery, references of Disney films, etc.

They’re a very... complex individual. But god I lOVE them.

WCs

THE DRUMMER. PLS GIVE ME THE DRUMMER. I HAV IT ON THE MAIN... PLS GIVE ME THE OG DRUMMER THAT LEFT AND NOW HAS A SOLO CAREER OR IS IN ANOTHER BAND ELSEWHERE. PLS.

also the current bandmates. that would b. cool.

if ppl from luke’s old squad can show up now w/ their own careers... that would b. cool.

kids who they went to high school with that r surprised where they are now.

enemies in the music scene who don’t like luke or we tried for a multitude of reasons

maybe they think luke’s secretly a conceited dick underneath the ‘distant mysterious songwriter’ schtick

mayBBEEEE they think the nature of we tried’s songs are some sort of keep gimmick to try and cash in on being ‘casual’ and ‘relatable’

maybe they just don’t like the damn band i mean. yeah.

any reason. pls.

hook-ups bc i’ll b honest they are... a bit of a flirt. let luke serenade u w/ shit like “historic cemetery” cowards,

a rebound sort of?? probably very short-lived, but i can see luke wanting to get their mind off from their ex/drummer leaving and falling fast into another relationship - and that wouldn’t work out bc of it.

i’d also lov a plot where maybe sb discovers luke’s talent for dancing bc they do it for recreational purposes semi-often now?? 

maybe they can attend a class together or smth

or they just do it for fun at luke’s place

idk this cld go anywhere n it’s honestly adorable

ppl that they befriend who they can just. take back to delaware one day.

or even ppl they just hang out with to relive the ‘good ol days’

trips to the beach

buying store bought fireworks n setting them off

going on camping trips n shit

i’d lov a plot where there’s one person who just thinks luke is like... a MYSTERY and they just get closer and closer in attempts to try and figure that mystery out

also 100% open to brainstorming! i’ll actually get 2 interacting tmr bc it’s 2:30 AM nearly here n i want to sleep so yeah! chances are tho if u like this i’ll message u for plotting!! again if u want my discord - hmu @ rocky lynch lovebot / hylia.#0329. :^)

i love the front bottoms so much

My Favorite Songs of 2018 by Genre

There was a LOT of music this year that I still wanted to talk about but didn’t get put on the other posts I made, so I decided to put yet ANOTHER list together. (Read my top albums and EPs of the year lists if you want some context.) Buckle up, because it’s going to be a long one, folks. Here are the rules for eligibility:

The songs on this list most likely a) weren’t on an album that I loved in its entirety/didn’t feel that strongly about, b) were on an album that I didn’t have time to listen to, or c) were released as singles. 

No songs from the albums or EPs I’ve previously mentioned are eligible. 

I’ll try my best not to include singles that are for albums coming out next year (for example, I’m not putting Light On by Maggie Rogers or Party For One by Carly Rae Jepsen on the list.) Those songs will be eligible if I do a list next year. If I accidentally do put an album single on the list, it’s because I didn’t know ¯\_(ツ)_/¯

Now, presented in no particular order, let’s get to some tunes.

POP

Used to You by Dagny: If you’ve been with me for a while, you know that I’m obsessed with Norwegian pop star Dagny, who I learned about through a recommendation from a friend. This song is one of her best: uptempo but melancholy, with honest, vulnerable lyrics about a strained relationship. 

Crush by Tessa Violet: On the complete opposite end of the spectrum, we’ve got a bubbly sugar-pop song about having a crush on someone. It’s quite simple as to why I love this song: it’s just so joyfully adorable.

Sweet but Psycho by Ava Max: Okay, why is this not a hit the U.S.? It’s already gotten to number one in Norway, Finland, and Sweden, and is making a splash in the U.K. While I’m iffy on the lyrics, this song has one of the catchiest hooks of the year. It’s a giant guilty pleasure of mine. 

Sucker Punch by Sigrid: This was named the eighth best song of the year by Time magazine and it’s easy to see why. It has all the elements that make up a Sigrid song (catchy melody, her signature raspy vocals,) but has just enough quirky touches and eccentric details to it that set it apart from the rest of her discography. 

Do Right by Glades: Glades are so underrated, and I’ve mentioned them in a bunch of posts before. This song is them at their best, with one of the stickiest choruses of the year and a sweet synth riff. 

Batshit by Sofi Tukker: I first heard this song in an iPhone commercial, oddly enough. I’m not going to say that this song is good, because I’m fairly sure that it isn’t good. The chorus is literally the word “batshit” said over and over and over again. But somehow, it’s perfect? It’s simple while at the same time having so many cool elements that it’s never boring. The funky bass riff, lowered vocals, electronic drop are all so infectious. Sofi Tukker are my guilty pleasure band, so check them out if you’re into strange dance club music. 

Chasers by Bahari: This pulsating, electronic groove from California based trio (now duo :/) Bahari is like a dangerous lullaby. The twinkling production and harmonies keep the tone tense but enjoyable. I hope they release more music soon. 

Cause You Did by Willa: Willa exploded onto my radar with her powerful, ass kicking anthem Swan, which she released back in 2016. I was so excited to see that she had released new music. This song is a bit different from her previous work, swerving more into the pop lane, but is still charming as hell. (Fun fact, she was in an episode of Supernatural. 10.13 Halt and Catch Fire. The more you know, am I right?)

San Francisco by Fickle Friends: This is my favorite song off of the Broken Sleep EP (I think it’s an EP? It’s only three songs... Check it out regardless.) Fickle Friends’s sound is so summery and tropical, it never fails to put me in a good mood, and this song is a perfect example of that. 

F**k U by Kailee Morgue: A whole tell off anthem. Like her other material, this song balances darker material with a sweet and innocent sounding vocal delivery. Just make sure you listen to the uncensored version. Listening to the clean version is like listening to the radio edit of IDGAF by Dua Lipa or “Forget” You by CeeLo Green. It has no bite to it without the title word being said.

Emotion by Astrid S: When I first heard Such a Boy, I knew that Astrid S had the potential to be a pop starlet in the vein of Zara Larsson. This song is a lot of fun, with a whistling hook and Astrid S’s usual sassy delivery.  

Cherry by Rina Sawayama: This is a whole BOP, from the whispery intro to the rushing production to the melodic, get-stuck-in-your-head chorus. This song is much like its title suggests: bright and sweet with just enough of a twang to keep it interesting, just like a cherry. 

Baby Don’t Talk by LÉON: Of the two singles she released this year, I can’t help but like this one a little bit more (but don’t get me wrong, Falling is a whole bop and a half.) This song is just so likable, from the snappy percussion to the “ooOOooOOhs,” to the unforgettable melody. LÉON is so underrated, I can’t encourage you enough to listen through her three EPs and other singles. They’re all gold. 

Daughter by L Devine: I can’t tell you how shook I was when I first heard this song. It’s L Devine at her finest, with a catchy melody, relatable lyrics, and just the right amount of electronic elements. This song is the wlw bop that no one’s talking about that everyone should be talking about. 

Carousel by Skylar Spence: I found this gem thanks to Spotify’s Indie Pop playlist. The pulse to this song always makes me want to tap my toes. It’s like if the color yellow was a song. The lyrics are super cute, and the glitchy, robotic chorus just works somehow.  

R.E.M. by Ariana Grande: While I found Sweetener as an album a bit uneven in quality, it’s still by Ariana fucking Grande. She could sing What’s The Fox Say and it would sound beautiful. This track is my personal favorite, with the cute little “bum bum bums” and the all around dreamy atmosphere. There’s also a funny amount of self awareness in this song, with the whole “’Excuse me, um, I love you,’” and “does this end?” It adds a layer of charm and personality that elevate this song. Ariana Grande is definitely the pop idol we need in the hot 100 right now, dear Lorde.

Sue Me by Sabrina Carpenter: What a fricking BANGER! This song rocked me to my core. Sabrina Carpenter is one of the best singers to come out of the Disney machine, and she’s always had potential for greatness (remember Thumbs? That song slaps.) There’s something visceral and inexplicably powerful about this song, I feel it right in my gut. It’s my favorite off of Singular Act 1, @eleanorschidis thank you for convincing me to listen through the album.

Love The Lie by Call Me Loop: I don’t feel like I can communicate why I’m so obsessed with this song, but I’ll try. It’s catchy as fuck, the twinkling guitar riff, the beat and melody... it’s all just so perfect. You know what? I can’t do it justice. Just listen to it. 

Drink About by Seeb ft. Dagny: This might be my favorite pop song of the year, and I both do and don’t know why. On one hand, the lyrics are repetitive, it’s simplistic, and it’s just another club dance song. But on the other hand, there’s something about it that elevates it beyond that. First off, there’s Dagny, who I’ve said before I LOVE, and her performance brings so much emotion and pain and personality to the song. Then there’s Seeb’s production, managing to make an unforgettable drop and chorus out of only a handful of lines. There was a period of time where I would just listen to this song on repeat, and it never got old or tired despite its repetition. It’s like a rush of euphoria whenever I hear it, and I can’t recommend it enough. 

R&B/HIP HOP

Honey Dew by LION BABE: Like Say Lou Lou, I first learned about LION BABE by reading about them in Teen Vogue. I put off checking them out for a while, and when I finally did, I wasn’t disappointed. This songs is one of the chillest I’ve heard this year. Jillian Hervey’s smooth voice and the twinkling pianos and shuffling percussion of Lucas Goodman’s production just meld so perfectly together. 

After the Storm by Kali Uchis ft. Tyler, The Creator and Bootsy Collins: There’s something about Kali Uchis’s voice that is so unique and so sultry, I can’t help but get sucked into her music. This song mixes together her lovely crooning, a rap verse from Tyler, The Creator, bubbly production, and uplifting lyrics, and I can’t help but feel happy whenever I hear it. This song feels like emerging from a cold lake, it’s that refreshing. (Also, count In My Dreams as an honorable mention, that song is great too.)

The Kids Are Alright by Chloe x Halle: The song is awe-inspiring, from the powerful harmonies of the opening to the rhythmic switch-ups present all throughout the song. I love the “we are we are we are” mantra that repeats all throughout the song. It almost sounds like a poem put to music. 

Blue Lights by Jorja Smith: Mixing a spoken word style hip hop and reggae elements into her usual graceful sound, Jorja Smith manages to craft a pretty sounding R&B song with a meaningful message behind it. Her debut album Lost & Found isn’t what I usually listen to, but I enjoyed it quite a bit. Also, can Jorja Smith drop her skincare routine? How does she get it so dewy and smooth? She’s so hecking pretty, I can’t even. 

Honey by Raveena: YouTube played this song as a commercial before a video I was watching, and I fell in love with it. Raveena’s voice is so delicate, fragile even, and just lovely paired with the simple but glistening production. 

Summer Pack by Childish Gambino: Okay, I’m putting both songs on here. My only explanation for this EP is that Donald Glover took the entire season of Summer and managed to distill it into two R&B songs. Summertime Magic has a watery, tropical mood that’s always refreshing to hear (am I the only one that is reminded of Wii Sports Resort?) and Feels Like Summer makes me feel like I’m sitting on my front steps in the middle of August with a melting orange popsicle. 

ALTERNATIVE/INDIE/ROCK

Baby by Bishop Briggs: While more pop leaning than her usual content, the blatant sexuality, personal lyrics, and Bishop Briggs’s usual powerful vocals sell this song. Also, the music video is AMAZING. I’ve put it on my animated music videos that give me life series, but I can’t reiterate enough how great the animation is. Holy hell. 

Gold Rush by Death Cab for Cutie: This song is downright ethereal. It sounds like it’s lulling you to sleep, but in the best kind of way. It isn’t boring, it’s soothing. Hearing this song on the radio is what got me into this band, and while I haven’t heard their entire discography, I know that this song will remain one of my favorites.

Hand It Over by MGMT: Just like Gold Rush, this song is so soothing it’s practically therapeutic. Every time I hear it, I just melt right into my chair. I’d say I’m a casual fan of MGMT, (I haven’t heard their less mainstream albums,) but I really like Oracular Spectacular and Little Dark Age. This is one of my favorite cuts off the latter album.

Idaho by Gorillaz: While The Now Now didn’t leave a big impression on me, this song makes me glad that I decided to listen to it. The production has this swell to it at the chorus, which is just so calming. I really like how the song is dappled with nature sounds, too. It makes me feel like I’m in a cabin next to a lake in the middle of the woods and it’s raining outside but I’m cuddled up in a cozy blanket with a cup of peppermint tea.

Baby You’re A Haunted House by Gerard Way: I’ve never listened to My Chemical Romance, so I didn’t know what to expect from this song, but holy crap. It’s a total banger. The guitars on this track are so fuzzy and aggressive in all the right ways. This was what I had on repeat all throughout Halloween. 

Blood and Bones by TRACE: The only word I can use to describe the song is entrancing. TRACE’s smooth vocals and the laid back production always make me feel so relaxed, and the funkier electronic touches and glittery piano riffs add just enough to keep it all interesting. 

Nobody by Mitski: I told y’all I be mentioning Mitski on one of these lists! While the entirety of Be The Cowboy was lovely, Nobody stands out as one of the catchiest, strangest, and most depressing songs of the year. How can a song about crushing, isolating loneliness that literally has a lyric about the hypothetical aliens living on Venus bop to the gods? I have no clue, but Mistki pulled it off. 

Fruity by Rubblebucket: Speaking of weird lyrics, this one takes the cake: “I said I’d make it to the party / But I’ve got a lot going on / The lioness gave a feast for forty off her body / Then slept on the ground till a flower grew out.” I have no clue what the hell that's supposed to mean, but it works. The little “lalala”s and the whispered vocals make for an interesting listen. Thanks, Spotify’s Discover Weekly!

Pristine by Snail Mail: The brain child of nineteen year old Lindsey Jordan, Snail Mail is one of the most intriguing indie rock acts I’ve heard this year. Her debut album, Lush, is full of awesome songs, but Pristine has got to be my favorite. The lyrics about the monotony of party culture, accompanied by an upbeat guitar riff and communicated through her raw vocals, all come together to form a song that you can both headbang and relax to. 

She’s Kerosene by The Interrupters: I don’t listen to ska punk, but this song is a just a ton of fun. There’s a sweet saxophone solo, and holy crap does Aimee Allen have a ton of personality on the vocals. Even my dad liked this song.

Body Talks by The Struts ft. Kesha: AND I MEAN THE KESHA VERSION. The original is fine, but when you’ve got a version of a song with Kesha on it, do you really need to hear the other one? This song has such an explosive and rocking chorus and Luke Spiller of The Struts and Kesha have great chemistry. I hope Kesha ventures more into the rock genre in the future, because she, well, rocks at it.

Midnight by Black Honey: A grimy banger complete with bold vocals, a chorus that will get. stuck. in your. head, assertive guitars, and a kick ass synthesizer solo? Yes, please. I loved Midnight from the first time I heard it. I might have mentioned before that I heard of this song through YouTube recommendations, and I’m so happy to have come across this song and this band. 

Lavender Bones by Stand Atlantic: As I mentioned in my artist recommendation post, this song is the update to Misery Business by Paramore that I never knew I needed. It’s noisy, it’s angry, it’s so goddamn catchy. I’m not always into the whole punk sound, but this song surpasses its genre. It’s just so good. 

Shame by Elle King: Since hearing Ex’s and Oh’s back in 2015, I’ve been obsessed with Elle King’s debut, Love Stuff. It’s one of those albums that I can put on and listen to all the way through. Her follow up, Shake The Spirit, was also pretty good, showcasing her gritty, powerful voice intertwined with rock, blues, and country elements. This song is the standout, explosive, boot stomping, and a whole lot of fun. 

Uh Huh by Jade Bird: This song is the epitome of a headbanger. It was a tossup between this song and her other singles, Love Has All Been Done Before and Lottery, for this list, but this one just had to be on it. This is one of my most listened to rock songs of the year. The energetic guitar gives the song an electric pulse, and Jade Bird’s vocals... holy shit does she have pipes. Her voice reminds me of Alanis Morissette. This song sprints at full speed, as over as quickly as it started, and a hell of a rush too. 

Fireworks by First Aid Kit: I’m not a big fan of country/folk music, but this Swedish sister duo have surpassed my usual genre bias time and time again. This song is my favorite off of their album Ruins, (they dropped the EP Tender Offerings this year, too. It’s a lovely little slice of folk that I’d definitely recommend y’all check out.) This is a grand, soaring ballad, showcasing the sisters’ harmonization and a showstopping string instrument. Just gorgeous. 

Reasons Not To Die (Demo) by Ryn Weaver: Ryn Weaver was one of the first artists I listened to when I was first defining my taste in music. Her album The Fool is what got me into the indie pop and alternative genres. While hopeful that she’d drop more music, I was also pretty sure that it wasn’t going to happen for a long, long while because she doesn’t currently have a label. Then this song came along. Everything about it is beautiful: Ryn’s vibrato-rich voice, the melody, the lyrics, guys. This song’s lyrics are so personal and authentic. As the song continues, it builds up to this crescendo, and Ryn’s voice gets more powerful and yet more vulnerable at the same time, the music swells... and then it drops back down again. This song makes me teary whenever I hear it, and that doesn’t happen that often. Please, Ryn. Drop more music. Lorde knows we need voices like yours in the current music scene. 

Listen to the complete mix of all these songs HERE. What were your favorite songs of 2018? Any artists, albums, singles, etc. I should know about? Leave your thoughts and recommendations down below.

Loomer: Bliss from Brazil

Loomer, from Brazil, are another great Shoegaze band (or Nu-gaze band if you are timely conscious) that have emerged on the worldwide scene in the last decade.

The band is currently composed of 4 members:

Stefano (Male vocals/guitar),

Michelle (Female vocals/bass),

Richard (guitar)

Guilherme (Drums).

They are currently on the Midsummer Madness label. Looker have released two EP’s and two albums as of the time of writing this, May 2019.

Loomer certainly wear their influences on their shoes (See what I did there!) but Stefano (Lead male vocals/guitarist) insist that they do not force the music that they make and that they are different people and each member brings their own influences and ideas to the studio.  

They really live up to the title of indie as they are independent in their creating and recording of their own songs. Since their 2nd EP ‘Coward Soul’ the band have mixed all of their work and mastered all of it, bar the debut album ‘You Would Not Anyway’ which was also recorded in various places ranging from the comfort of home to an unorthodox location such as a beach!

Loomer prefer to start playing tinny, trebly sounding arpeggios that are more concentrated on authentic guitar tone blended with a bit of bliss that is reminiscent of Swervedriver, in particularly, the outro of their 1993 hit from Sophomore album Mezcal Head; Duel. In fact, their inclination of rock style lead guitar playing and the tone that they select would fit well into any Swervedriver song.  However, Loomer are far from being a rip off band. Their ability to stay clear from obvious guitar effects like Reverse Reverb (which has been subject to over kill in the Shoegaze genre for the last 30 years) and floaty guitar tone sucking ambience is refreshing.

MUSIC WORK

Their first EP’s were ‘Mind Drops’ (2009), followed by ‘Coward Soul’ (2010) and the two albums are ‘You Would Not Anyway’ (2013) and ‘Deserter’ (2017). The first EP’s are both raw in sound quality, like they were made in 1988 and immediately, I can hear comparisons to The Jesus and Mary Chain  (Check out the tracks ‘Search On Your Own’ and ‘Damned’ with Jim Reid style deep vocals and more ear-piercing feedback than your English teacher gave you at school), damn, these guys are loud!

The other EP ‘Coward Soul’ (2010) reminds me initially of Sonic Youth because of the raw octave, harmonic, rapidly strummed spring reverbed guitar playing, and the sudden outbursts of punky shouting during the refrains. This is also the first EP that features female vocals blended with Stefano’s vocals in the form of Michelle, like Thurston Moore and Kim Gordon. The debut album ‘You Wouldn’t Anyway’ aesthetically catches my eye with very 60’s psychedelic cover art that is lit up in a striking purple colour and the music is better produced than their EP’s.

The track ‘Enough (From the debut Mind Drops EP) starts with an interesting tinny slightly delayed single note riff before launching into a raucous, unstoppable and solid wall of sound that features a joyous, bouncy vocal melody encapsulated. Ethereal, fragile but endearing female vocals enter the fray in the first refrain section gliding along with the deeper, reassuring male vocal creating a balance or maybe an imbalance to the music that the band themselves admit to liking the sense of mystery in their songwriting and sound. Classic My Bloody Valentine right there, hence the name of this band. The ending mellows out but instead of the abrasive guitars transforming into ethereal, angelically ambient tools of sorcery,

On their Album ‘Deserter’, a track that grabbed me is the penultimate song, ‘Another Round’ which begins with one very fuzzed up guitar and a few abrupt un-musical jack input noises to create suspense. The guitar tones on this track are pure gorgeous and they also vary. Each section of this song has something different going on with the guitars, whether in terms of tone or chord changes or playing technicalities, it’s all evolving all of the time, sometimes subtle, sometimes blatant.  The fuzz that growls and a purrs like a V8 engine in an American muscle or British lightweight sports car appears in the pre-chorus section acting as a soothing haze coinciding with the floaty vocal lines. This track is by far one of the catchiest and interesting tunes from the album without being too simple or boring.  

The album finale, appropriately named ‘Opinions’  features a mind bending dentist drill guitar effect that emerges at the Thirty One, Fifty mark of the album and emerges again near the end ad sees out the remainder of the song. Again, this is a track full of surprises that gives the listener one final treat before the album ends and all of a sudden, the world seems like such a quiet and dull place.

Therefore, this album, this artist do their job as a huge aspect of the essence of Shoegaze music is to transport the listener and when the music stops, the holy experience is over and the world is bland again, and that’s when you really appreciate the benefit of this incredible genre that we call Shoegaze. Loomer certainly capture this essence.

Link to ‘Enough’ from debut EP, Mind Drops (2009) below:

Stunning track from debut EP, Mind Drops (2009)

INTERVIEW

THE BAND

Where are you from in the Brazil? Where are you living now?

I, jaquelina and guilherme were born in Rio Grande Do Sul, south of Brazil. Fernanda was born in Santa Catarina, also in southern Brazil. Richard was born in Germany. And Michelle was born in the United States. At the moment, Fernanda who played bass with us is living in Florida United States, and Michelle is living in Porto Alegre, she is our current bass player now.

What did you study?

I studied Electronic Engineering. Richard and Guilherme studied design. Fernanda studied psychology. Jaquelina is a self-taught artist. Michelle is studying civil engineering.

What is your day job at present if any?

I like my job, but I dont really want to talk about it. Sorry...

Do you dream to live from your music or is it a passion you do not want to spend your full time on?

I don’t really know. I’m following what life offers me. I really love music and cannot stop doing that.

Do you have families?

I live with my wife Jaquelina. We don’t have any children yet. Michelle lives with Andressa, her girlfriend. Fernanda lives with Kim, her wife. Richard lives with Maria, his wife. Guilherme is divorced and is the only one of us who has a son, Gabriel.

Could you tell me how the band meet and decided to do music together?

I was playing another band called Transmission. In the year 2005 Richard came to live in Porto Alegre, and formed another band called Lautmusik, as he liked my band we decided to do a tour together in 2007. But things ended up not working, Transmission stopped playing in 2007 because the singer has moved to another country. Because of that, we probably ended up making a band.

Guilherme, was already my acquaintance, we played in another band called Materia Plastica, and he came to join us as our drummer. Liege was the last one to join the band, but that gave the finishing touch in the formation, took the bass and made the backing vocals in some songs and sang others. Later in 2013 the Liege left and entered the Fernanda that already played with me in the band Parkplatz. This is the formation that resists to this day.

Can you tell me the inspiration behind your band? You can detect the influences of shoegaze and indie rock. There is also a very interesting duality with some violence in the music that is always balanced by some tranquility with the feminine voice or other means. It is a great example of ying and yang or masculine / feminine influences. Is it on purpose?

We did not try to force the music we made. I mean, at least we think so. We are different people, and each one brings their influences to the music. Sometimes the core of the song is composed at home grossly and finalized in the studio over many essays, other times it is completely developed in the studio. We like male / female duality, we think it brings a balance, or maybe an imbalance. I'm not sure, I just know we like it that way.

Was there a vision of sorts or did you know what you wanted to do when you started up? I.e. when you started the band was it always a project to create a shoegaze band? Or was it different from now?

At first, Richard, our guitarist, had the idea of making a band in the style of My Bloody Valentine. We watched TV shows, we listened to music, watched horror movies. So he had this preconception. But when we got people together and started playing, we had more influences than just MBV, and we wanted to use all of them. It was a lot more fun, and we kept it that way. After all, we do not like to sound too alike to anyone, we prefer to sound like ourselves.

Do you have any other musical side projects apart from this band?

Actually, at the moment we are not playing in any side project, but we already had many.

Could you tell me more on the band composition? Do you have plans to add new members, or is there possible departure scheduled from existing band members?

The band is me (Stefano) on male voice and guitar, Michelle on female voice and bass, Richard guitar and Guilherme drums. Fernanda moved to USA in 2015/2016. Jaquelina played with us from 2016 to 2017. Now we are playing with Michelle Franzen.

We've already had 4 bass players playing with us since initial training. Liege in 2008, Fernanda in 2013, Jackelina in 2017 and Michelle in 2018. We have no plans to add or remove band members. We are just doing music and shows, things that we love, but sometimes the circumstances of life change people's destiny.

Can you tell us more how you came to have the band’s name?

Well, in the beginning we were playing for 6 months and have a scheduled show, but we hadn`t a name yet. So we made a list of 50 names to choose one. Loomer was a suggestion made by Richard, and it was the winner. Of course Loomer is because of MBV song, but what we use to say is that we wasn't looking for anything related to MBV on purpose, it was just a coincidence that this was the best name to think of when we had to choose one.

The Creative process

Who writes the song and the music and how do you get to the final song? Is it a community process, do you have leaders in composing or arranging music?

We have a lot of ways to compose songs. Some of the songs I write at home and bring to the band. Some songs are born entirely in the studio. Some songs starts with a guitar riff, some with the drums or bass giving the idea to the band to complete the rest.

Do you listen to the advice of your band mates? What would you do if they said a song was shit but you liked it?

Well, this has not happened yet. But what usually happens is that sometimes the members do not have ideas to play certain music, and it is put on the shelf to be finished later. Sometimes when a song takes too long to complete, it may happen that we lose the spirit it initially had.

There’s a degree of unconventional songwriting with you guys. Was it kind of intimidating going to record knowing people might not be engaging with the songs in terms of hooks and such and trying to deliver an engaging sound on record?

We just try to make songs that we think are good. We do not know how many people will like it but if we like it it was already worth the effort. Everyone in the band is free to contribute to the composition, and this already provides a greater degree of creativity.

Personally I like songs that confuse the head but that are simple after you understand it. But I will not impose anything if it is not working. I can not say for sure. I think what we do has to be worth it to us, somehow.

You have a great way about your guitars, with tones and melodies answering each other, almost like discussing. Could you tell us more on how you work together on this?

Well, we've played so loud that many times we can not hear what others are doing. It is often a pleasant surprise when we will listen to the recording. Maybe our guitar dialogue is just two guitars talking to the walls. Another important detail is that we try not to interfere with what each one creates. Anyway we think it works.

Talking about the lyrics: who write them? Is there a common thread in them, a theme?

Usually I write the lyrics. But usually I write only what I sing, and when Liege sang, she wrote the part of it. Fernanda has not yet felt comfortable writing her songs, although we encourage her to do so. But she helped me in the lyrics on the last album. I do not think of a main theme when I write, at least on purpose. I think this ends up appearing naturally according to what I am experiencing at the moment.

Do you labor over your lyrics? Is that something that comes easy?

I do not consider myself good at writing. I think I'm better maybe in the melodies. I admit that several songs I leave to decide on the lyrics only during the recording, although I already have an idea of what I would like to talk about. Anyway we like the voice as being just another instrument of music, not being something in the foreground.

Do you have a message that you want to get across in your music? If so, what are some of the messages you want to spread?

I do not have a message. When I start to write I do not know what I'm talking about. And if I have enough time to this initial process the whole letter appears and I am quite happy with the result. But if by chance I leave the lyrics to finish later, then I will need to understand the subject to be able to conclude. These are the hardest to finish.

Did your listening habits changed over the years and does it affect what you write?

Yes, my habits change a little over time. And I think it's natural that what I write also changes. But I do not try to do anything on purpose. What I want to say is that I do not try to listen to something new in order to incorporate this into my music because it's a new trend. What I do is dig old and new bands for something I really enjoy. And when I write, it's always the old thing I've always done.

How is your recognition going in Indonesia and Abroad? Is it growing? Are you happy with it?

Did you mean in Brazil? Yes, in Brazil we have some recognition that has been growing slowly. We are happy with this, because it is a musical style that has no space in the mainstream media. Time helps reward that.

The path to music

Is it easy to find producers and studios in Brazil for indie-rock?

It is not very easy to find, so we produce ourselves. We like to do this because we can keep the result close to what we would like it to be. But we lost in the aspect of an external opinion that could enrich the music.

Your recorded sound is very good, which is not easy. Did you engineer the sound yourself, or did you have a sound engineer with you? If yes could you tell us more about him/her?

The first EP "Mind Drops" was recorded by Lucas Pocamacha, guitarist of Superguidis, a very cool indie-rock band here in Brazil that is not playing anymore. He did this in exchange for a sound card we bought for him. The second EP "Coward Soul" was recorded in the DUB studio that we usually do our rehearsals and we did the mixing and the mastering.

The first LP "You Would not Anyway" we recorded ourselves at home, on the beach, in the studio, in different places. We mixed and the mastering was done by Paulo Casaes (Fujimo).

The last album "Deserter" we recorded in the studio Dissenso and in the studio DUB. I mixed it myself and mastered it. We've been looking for a sound engineer but we still can not find it. We thought it would be very good for us. In the meantime, we're doing things ourselves.

Was it a community work to try to have the best sounding music possible or mainly driven by the sound engineer or by the band?

It is a work mainly directed by the band. We spent a lot of time mixing the result. Recording usually does not take long. But it is not so because we want it this way. It's because the recording (mainly the drums) is usually in the studio and paid per hour. I still believe it's best to spend more time recording and less time mixing. The result would be even better.

Can you tell us how the recording process was?

We are still learning. But what we usually do is record the drums first. Our drummer likes to record with us playing together, without a metronome or guide track. In this sense I think it can be said that each band has an ideal way to do the recording.

Anyway the drums is the one that takes more time to be recorded in our case. And it's worth it because if it gets well done it makes it easier for the rest of the process. It needs to do in the studio. After that we recorded the bass, and it can be recorded at home if we want to save money. It's something quick to record, so it would also be okay to record in the studio.

After the bass comes the guitars. What takes in the recording of the guitars is not so much the execution, but the choice of the tones, the pedals, the regulation of the effects. Many hours of tuning and testing for 4 minutes of noise. But it's worth.

Since it takes a lot of time to adjust the tone of the guitar, it is best to record several songs at a time when you find the right tone. It is possible to record the guitar at home, but it gets better in the studio since we play loud. At last we record the voices, and these we can do at home as well. It's good to have a condenser microphone for this.

The rest we solve in the mix, where we do all the magic. But that is not a rule. We like badly recorded things too. Whistles, voices and guitars out of tune. What does not work can fit in very well. You need to hear what's coming out. I think it's the ear that's in charge after all

How did the recording work differ over time?

We recorded all of our albums. With this we learn over time new things, new tricks. I think you should not give too much importance to mistakes, or avoid doing something because you do not know enough.

More important than that is to let work flow, to enjoy the flow of inspiration because it matters more than the quality of work. But the recording is also part of the work, the two things complete themselves, the recording and the composition.

Is the recording material yours when you are out of a studio or do you borrow/rent it?

We have our own recording material. That is to say, we acquire over time equipment that we understand that would add to the sound of the band. But we also try to stay free to enjoy what we find at the recording location. It may be the noise of the wind, the trees, the water, in a studio we take advantage of some old equipment, a tape recorder, a tube or tape microphone, things that may sound a bit strange, or that inspire us.

Any interesting anecdotes on some recording session you would like to share?

I'm not very good at trying to be funny. But in our first EP Mind Drops we did the recording on a farm improvised. We took the sound table, the microphones, the amplifiers, the drums and everything else. We made the loudest noise, played really loudly and recorded separately, on separate tracks. Could not understand the result at the time.

Back in town, when we went to mix the result, we could hear horse whinnies, the noise of chickens and other strange things on certain channels. When I put everything together I could not see it. It was like this. I think this is funny in a way...

Did getting the live experience across on record create any pressure for yourselves in the recording process?

I think it creates a pressure yes. But we are not very organized to create the songs, or sometimes we take a lot of time to finish them. So some pressure helps us. They push us forward.

Instruments: you seem to be mainly a Fender band. Could you tell me what inspire you to use fenders rather than other brands?

We really like the Fender sound. I think what motivated us to use so many Fender outfits are our influences like Sonic Youth, Dinosaur Jr, My Bloody Valentine among others. We thank them, because we like the result.

A question for a future paper I have in mind: if you use often a Fender Jaguar, could you tell me more about what makes it good to play (sound, neck, …). I find there are lot of noise artists that are using this guitar and I am interested to know why.

In my case, what I like most about this guitar is the sound of it. I think the combination of her sound with distortion and fuzz pedals gives a very engaging effect. Besides I consider a very beautiful guitar. I personally like old, vintage things, working fine.

Do you have one favorite instrument or do you change often?

We do not usually switch instruments. We have a fixed formation, with bass, two guitars and drums. In the recording sometimes we risk playing other things, like acoustic guitar, synthesizer, tambourine. But anyone can say or suggest ideas.

The funny thing to note is that we are a band in which we are all guitar players. Guilherme our drummer is actually a guitarist, and our bass player Fernanda is also a guitarist. I always use the same guitar, the Fender Jaguar. Although you have already modified some things in it like the keys, the pickups and the bridge, it's always the same.

But what I change with some frequency are the pedals. As I have more pedals than fit on the pedalboard, I do some kind of rotation to test everyone. In the end of course there are some favorite pedals.

Tell us what you are looking when trying to achieve your sounds? Do you experiment a lot or have a clear idea of what you want?

We experiment a lot, and we've tried to take advantage of everyone's idea. Maybe this will end up making the song a bit unconventional. But I like strange and uncomfortable songs. I can not say what we are looking for, because each one actually puts it in its own way. We eventually discovered what we ended up creating. I do not know if it's the best way to compose, probably not, but that's how we do it.

Who is the more knowledgeable with pedals? You use them a lot, to great effect.

Thank you. We ended up getting a lot of pedals. We do some research and we end up getting some. In the end we want to use everyone, which is not possible of course. But I think they help increase the possibilities of the songs. Me and Richard are the most interested in pedals, we've been researching what some bands we like have used on albums we like and we're going after them. It's a form of judgment because there is a very wide variety of pedals.

How many concert a year would you do on average and what would be the size of the venue?

We do not do many shows. We do 5 to 10 shows per year. But that depends a little on the season, since we've been focused on finishing the album in recent times. The size of the venues depends a bit on the event, we have already played in venues for 10,000 people, and we have already played in venues for 50 people. The smaller ones are more suitable for us, because our public is not so big, besides, small places are cooler.

Would you mind sharing some good anecdotes from your concerts/touring?

In respect to the reader, it may not be a good idea. =)

What are some places around the world that you hope to take your band? Do you have any plans at present to tour in other countries than the Brazil.

We think of going to countries here near Brazil, like Uruguay and Argentina. We also have plans to go to the United States, after all our bass player Fernanda lives there. We also thought about going to the UK, we even staged a show last year but we couldn’t go. Japan too. It's good to have plans, don’t you think?

Is there any reason in particular that you want to go to these places? Is there something about dream pop/shoegaze in those places that makes you want to go there?

We really like to write songs. Besides composing, recording them, it's very cool. In addition to recording, being able to play them around, and checking people's connection to our songs, this is very motivating. Sometimes we go places far away from where we came here in our huge country and have some people who know our names, follow our trajectory.

They thank us for doing that. I think there is a natural process of an artist wanting to expose their creation. These countries we mentioned before, we are very curious. We have a strong connection with them as well, as these are places that really enjoy shoegaze music, or that have created the style. You know, we're just living.

The Scene

Brazil have a thriving indie scene that is not very well known internationally. Could you tell us more about it?

Brazil is a huge and beautiful country. It's hard to know everything. There are many bands that come and go, and some are really good, but that for some reason are not very well known. In fact the indie scene is something that is self help based on the friendship, and in the musical taste of course, since there is no support of the larger media. We have some blogs and independent radio programs on the internet that have helped. It's really a fun aside.

Is it easy for a Brazilian indie bands to be known internationally? Do you have any example?

I think it's not easy, not because the bands do not deserve it, but because the outside public would probably think 'look, a Brazilian band singing indie rock. it must be bad.'. I do not know. Maybe not. It's all a matter of taste. I do not think much about being known or succeeding outside (or inside) Brazil. I think only of making songs that I consider important, maybe cool, or worthwhile for us to record or play at shows.

With respect to bands, there was an indie band that was relatively well known abroad 'Cansei de Ser Sexy'. With respect to Brazilian shoegaze, I know of two bands that lived in London for a while, Wry that is in Brazil now again, and The Tambourines who still lives there. Our seal, the Midsummer Madness, is now in London as well.

Has the scene changed since you began, and if so how?

The scene changed a lot, many times. In the 80's and 90's, many people went to the shows without even knowing who was playing, local bands had space on some local radios, record companies invested in new bands. In the 2000s there was a lot of variation, difficulty in publicizing the concerts, closing bars and independent rock show venues.

But you can go play in other cities, or on the other side of this immense country. With the internet and social networks, you can promote the shows in distant places. Even though there are few, there are always one or two pubs to play.

Nowadays still appear spaces for bands, because the bands help themselves based on the friendship. It's a way of life.

Is there any Brazilian band(s) you want to recommend in the indie/shoegaze/post-rock genres?

There's a lot of cool bands here. I can cite a few such as Herod, Twinpine (s), Wry, Labyrinth, Sileste, Justine Never Knew The Rules, Firefriend, Lava Divers, Juna, Carne de Monstro, Churrus, Space Rave, The Sorry Shop, Lupe Lupe, Low Dream, Fellini, Second Come, Pin Ups, Patife Band, This Lonely Crowd, Bruxas, Duelectrum, The Soundscapes, Blear, The Cigarettes, ruido\ mm, Proud Beggars, Walverdes

Economics

Do you have a label? Could you tell us a bit more if so.

We have two labels currently, Midsummer Madness and Sinewave. Both help us in spreading the record. Midsummer Madness also helps us in the pressing of physical disks. They both also help us to schedule shows here in Brazil.

How did the funding worked for the LP? Did you invest a lot yourself? Was your label supportive in that respect?

Yes, the label helps with a portion of the money to make the LP, and it returns in LPs to be sold. The other part is paid by us and we have the equivalent in LPs to be sold as well.

Where does the majority of the money go when you’re paying your own way?

Most of the money goes in the beers.

Do you make a decent revenue from your music or is it still very much a hobby?

We do not have enough revenue for considering it a professional work. In the best of situations we can pay the expenses. But that does not mean that we will change or give up, because we do what we love.

How do you sell your recordings (shops, online, …)?

Our label, Midsummer Madness, sells a part of the discs online. We sell online also through bandcamp and at shows.

The Future

What is the next album due?

We're thinking of making a single or an EP now. But we do not have a definitive date yet. It would be good to be this year, but...

Any other project (ie movies soundtrack, …) or plans

Richard plans to make a horror B movie. He really likes 80s-b-horror-movies. Maybe I'll do the soundtrack. Something with synthesizer or noisy bending guitars. It can be funny.

Do you plan to continue music for a long time or are you tired of it?

We do not intend to stop playing music ever. While it is possible to step on the pedals, they will be busy. I do not think it's possible to get tired of something that you love. Circumstances change, sometimes they get difficult, but that's what makes things worth it. I could get tired of not loving anything.

MORE ON LOOMER

Some good music videos

  Where to find them on internet

Bandcamp

Myspace

Facebook

Is there any people that you want to thank here?

I thank Sam and David (the Editor), you’re great!

Trouble’s Afoot - Looking For Parking

A combination of various alternative and indie influences, converging in a very special way.

Trouble’s Afoot is a music project that was conceived by Jordan Cooper, a musician based in Queens, NY. Jordan has a special fondness for indie rock, folk, and other styles, making for an incredibly diverse attitude. Now, the project is actually a 3-piece band, which means there is more room for different sounds and textures! The line-up consists of Jordan Cooper (lead vocals, guitars, and multiple other instruments), as well as Dave Fox (Bass, backing vocals, some guitar) and Christopher Roberts (Drums). The group has a really unique sense of chemistry, and together, these 3 guys are able to combine many different styles. From alt-rock to indie, to pop-rock, anything goes!

“Looking For Parking” features 12 tracks, each blurring the lines between various genres and definitions. In fact, one of the most notable aspects of this particular release is definitely the sheer sonic variety that you will encounter on this here record. The opening song, “A Boy My Age” is a short track (clocking in at under two minutes). After a quirky acoustic intro, the band chimes in at full blast!

“You Say But You Don’t Know” follows with a really infectious guitar riff. This song makes me think of some of the best early British Invasion bands, including The Kinks and The Who (well, before they turned into 70s stadium rock gods!)

The third song on the album is named “Sarah Made A Serenade”, and it has a really cool alt-rock / post-punk vibe, with catchy guitar melodies and great vocal lines. This one precedes “Every Right Hand,” another song under 2 minutes, which packs a lot of energy, in spite of the small footprint! The song leads to “Don’t Be An Idiot.” The attitude of this song is just as upfront as its title, with memorable melodies and great hooks that won’t get out of your mind so easily. This has a cool punk-garage attitude that makes me think of early Cloud Nothings or Wavves!

“And I’m Gone” has a really cool 60s vibe - this song really makes me think of some early Rolling Stones or The Byrds, with a really organic sound and cool vocal arrangements that match the music to perfection.

Coming next is “All I Ever Wanted,” a song with a personal set of lyrics. This is a song about looking for a change - about wanting to overcome one’s backgrounds and “get out,” hopefully somewhere better. “Cellar” is a song that sort of makes me think of Nirvana, not much so for the sound, but for the intriguing lyrics - I like the child-like energy of the wordplay, and somehow the receptiveness of the later motif really works on favor of this track!

“I Care About You” is the classic boy-meets-girl song. This is a very earnest love song, which reminds me of the way I felt when I was a teenager, struggling to really share my feelings and go talk to the girl I had a crush on! Ultimately, this is a very sweet song, with a really cool arrangement and a nice vocal performance to liven it up.

“The Usual Way” is a really edgy track, which immediately strikes for the catchy melodies and a great intro that makes the main chunk of the song even more enticing!

“Everyone Believes Me” is one of the most poignant tracks on the record, and perhaps one of my favorite ones. I love the combination of quality music and good lyrics, and I can definitely relate to the sense of inevitability of life’s end in loneliness, really exposed in the last two lines of this track: “Like all of you, I’m Lined up to die / No one’s ever on my side.”

Last, but decidedly not least, “Dust Town” is a perfect curtain closer for this release. It brings the record full circle, and it really goes a long way, with a poignant and direct arrangement. This song could almost be a lyrical “Cousin” to “All I Ever Wanted” because the themes definitely intersect!

All in all, I’ve really enjoyed the sound and feel of this release! This album has a fresh, young sound, yet it has a tone that reminds me of some of my best records from the 60s, and from the early punk bands of the late 70s as well! In addition to that, this album also makes me think about some of my favorite modern indie groups, such as Cloud Nothings, Courtney Barnett and legends like The Strokes and Arctic Monkeys.

Find out more about Trouble’s Afoot and do not miss out on this project. You can listen to “Looking For Parking” directly through Bandcamp at the following link:

https://troublesafoot.bandcamp.com

We also had the chance to ask the band a few questions: keep reading to learn more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the lyrics the most?

I’m a songwriter and my songs were written on keyboard and guitar. Sometimes I write lyrics and the melody kind of forms in my head as I sing them to myself, sometimes I find an interesting chord progression and then work a melody onto that, that’s how You Say But You Don’t Know was written.

My drummer took care of the beat. I could not even tell you what he’s doing!

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: I stopped performing live regularly around 5 years ago; I find it a stressful endeavor, though I still like to do it once in a while. Being on stage is incredibly uncomfortable, and being in the walls of a recording studio is also uncomfortable. Being on stage is exciting though, sometimes euphorically so, and being in a recording studio is artistically fulfilling (you feel like you’re working on something special, at least when things are going well.) That being said, the hourly cost of a recording studio assures that you can’t feel too comfortable in one.

I’m probably most comfortable in my bedroom studio, but that environment leads to a lot of laziness and procrastination, whereas recordings from a recording studio have a certain urgency and focus to them.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: I Care About You. I struggle to find a flaw in it. It rocks my brains. I love my vocal performance (a rare thing for me to admit to), I love how revved up and energetic the band is, I think the mix holds together the most, and I’m really proud of the lyrics. I also love that I put in a recording of my bass player yelling “YYYEAAAHHH!” at the very end. Easy to miss, though.

What does it take to be “innovative” in music?

Answer: I think more about this in a lyrical sense than on the music side of things. It still amazes me to hear songs on the radio with lyrics YOU’VE HEARD 1,000 TIMES BEFORE. I will not let a song out into the world until I’m reasonably sure no one has heard these words sung before. And to do that, I think of specific things from my life that no one else could possibly know about (see: A Boy My Age) or have said already, and hint at them in the lyrics. I do wonder, however, if the general public is concerned with this stuff, considering who the popular artists are these days.

Any upcoming release or tour your way?

Answer: I’d love to go on tour but I don’t know how to do it! And I can’t afford it! It’s 2018, how can anybody? But I do have exciting new releases coming out very soon. My musical project with my girlfriend, Kristen Gudsnuk, which is called “Sally,” has a three-song EP finished up, which will be released shortly on our Bandcamp page and streaming everywhere. It was made in fancy, fancy studios and sounds like a million bucks!

The next Trouble’s Afoot release is already being worked on, it’s a sort of sequel to Looking For Parking, culled from the same drums and bass sessions of that album (12 more songs.) A little darker, a little more focused too. After that, the 3rd Trouble’s Afoot album, made mostly in my bedroom, is called Party Guy, and is a concept album about having a bad time at parties. It’s the most ambitious, exciting music I’ve ever done. It’s actually almost complete, but my gut tells me it’s a perfect “3rd album” instead of a 2nd one.

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: Oh, you bet. My two Trouble’s Afoot home-bases are Bandcamp and Soundcloud. My Bandcamp has all of my official complete albums (including a children’s album I made a long time ago!), but my Soundcloud is full of live songs, demos, instrumentals, etc. It’s exciting!

Soundcloud: https://soundcloud.com/troubles-afoot

Bandcamp: https://troublesafoot.bandcamp.com/music

My main website is www.jordancoopermusic.com, if you are in need of songwriting or composer services. I’ve done music for The Daily Show with Trevor Noah, and countless Youtube shows, podcasts, etc.!

Top 70 Albums of 2018

Every year here at SILY, we’ve increased the number of records in our year-end list by 10. Over the last few years, that move has been mostly arbitrary, aside from the fact that we increasingly listened to more and more great albums. This year, it seemed like a necessity--there was no consensus #1 album among any of us like there was in previous years. Plus, contributors Lauren Lederman and Daniel Palella didn’t share a single common album in their individual list!

While we know there were more great records in 2018 than just the ones listed below, these were our favorites.

70. Tal National - Tantabara (FatCat)

Tantabara features the best singing on any Tal National album so far. From the long screaming notes of “Belles Reines” to the soft, lovely harmonies of “Duniya” and “Trankil”, each member of the band is given the opportunity to showcase his or her unique style and tone. Tal National is a collective, but let’s not forget the individuals that make up the great band who are now 3-for-3 over their past few records. The difference with this one is it makes them essential listening.

Read the rest of our review here.

69. Robbie Fulks & Linda Gail Lewis - Wild! Wild! Wild! (Bloodshot)

We should be thankful that we have a document of a collaboration between Chicago folk hero Robbie Fulks and the legendary piano player and singer Linda Gail Lewis. Wild! Wild! Wild! is a collection of Fulks originals and covers. On each song, he leads the band and produces. The credits list is, as expected, insane, The Flat Five part of their backing band in addition to a ton of collaborators on individual tracks.

Read the rest of our review here.

68. Brigid Mae Power - The Two Worlds (Tompkins Square)

The Two Worlds–whether referring to pastoral beauty vs. raw anger, the present vs. the past, or something else–is an album for the #MeToo era in 2018. And not just because it’s a protest against toxic masculinity, but because it allows Power to embrace and celebrate her own artistry.

Read the rest of our review here.

67. Shannen Moser - I’ll Sing (Lame-O)

If any album took me by surprise this year, it was Shannen Moser’s country-tinged I’ll Sing. It feels timeless, a piece of folk for the current age that both borrows from the genre’s storied past and the more recent history of indie rock. “Every Town” paints a vivid picture of a backyard party and the wistfulness of the unknown. “West Texas Blues” sounds like it was recorded on the fly, a quick expulsion of emotion mid-road trip. Meanwhile, “Joanna”, “Trouble”, and “One for Mama” could be from another decade, covers of dusty songs from the canon. Yet, the songs are all Shannen. Her warm vocals and the melancholy of her lyrical portraits are what kept drawing me back, lines like “If I could feel something good, I would share with you/You know I would.” There’s a plaintiveness to each song, one that rolls through the album that’s only enhanced by the emotion Moser pours into each vocal performance. - Lauren Lederman

66. Stove - ‘s Favorite Friend (Exploding In Sound)

After a string of Stove EPs occupying the space left in the wake of Ovlov’s initial breakup, a new Stove release has come to feel like an unexpected gift. Beginning to play with drum machines and softer songwriting sensibilities across their previous records, ‘s Favorite Friend comes not as a bold new direction for Stove’s sound, but a refinement of it. Steve Hartlett and Jordyn Blakely have nailed a sound that departs almost completely from the Dinosaur Jr. fuzz soup we have come to expect from Ovlov, diving into more personal anecdotes and ballads, but not totally stripping away the punch Hartlett is capable of. “Liverwurst” encapsulates this perfectly, with its breezy acoustic riff and touching lyrics, leading way to a loud but orchestrated catharsis. “Duckling Fantasy” gives the listener a welcome foray into drummer Blakely playing frontman. Its frantic feeling and confidence solidify it as one of Stove’s briefest moments of brilliance to date. Overall, ‘s Favorite Friend displays that Stove is its own unique entity, capable of great variety and very effective songwriting. - Daniel Palella

65. Sons Of Kemet - Your Queen Is A Reptile (impulse!)

The title Your Queen Is A Reptile is a strong rebuke of the British monarchy’s mistreatment of black immigrants that gains even more political weight in context of Meghan Markle. But instead of making a protest record, Sons of Kemet shone a light on other queens throughout history–black women who have made a positive impact on society at large. With co-production by Dill Harris and features from performance poet Josh Idehen and Congo Natty, Your Queen Is A Reptile takes you on a journey through a wide variety of black stories and black music.

Read the rest of the review here.

64. Joey Purp - QUARTERTHING (self-released)

My real introduction to Joey Purp was his 2016 mixtape iiiDrops and his connection to his friends in the same scene like Noname and Chance The Rapper. What was so exciting about iiiDrops was Purp’s confidence, and QUARTERTHING not only feels like a step forward for the rapper but a leap into the spotlight. Joey Purp has arrived, confidence and flow surrounded by excellent production. “24k Gold/Sanctified” kicks off the album with a sense of joy and celebration, but lyrically, it recognizes that pull back to reality, the realism of the world and its violence, going from “I’m still alive!” to “I know we still alive / But I wake up to bullets flying.” That’s a theme throughout: the weight between celebration and survival, that pull between idealism and realism. “Elastic” reminds me of a grown-up sequel to “Girls@”, and the footwork-inspired beat of “Aw Sh*t!” is infectious. And while he’s more than capable of carrying out an album on his own, Purp finds some help from local names like Ravyn Lenae and Queen Key, but also a few more instantly recognizable names like both RZA and GZA. It’s a debut for an artist who’s been creating for years, but one that revels in its confidence and self-assured boldness. - LL

63. Foodman - Aru Otoko No Densetsu (Sun Ark)

Toying for years with the traditions of Chicago’s footwork scene, there has always been a sense of child-like playfulness conveyed in Foodman’s compositions. The Japanese artist’s rhythms stutter and juke in ways we have come to expect, but the sounds themselves are the artifice of a mind operating fully on a sense of wonder. On Aru Otoko No Densetsu, Foodman strips away what we expect from a dance record, or even a simple reduction thereof. What we are left with are percussive sounds surfacing, seemingly from toys and simple objects, mingling and slowly taking form--not with an end goal or rhythm in mind, but simply with the intent of play. Despite this, there is no feeling of lackluster or aimlessness--every bleep and hit on Aru Otoko No Densetsu explores what one can do when conventions and expectations are subverted. - DP

62. Years & Years - Palo Santo (Polydor)

Olly Alexander purported to release a concept pop album where gender and sexuality don’t exist and whose title was essentially a dick joke. On paper, Years & Years’ Palo Santo sounds like an ambitious album destined only to disappoint. In reality, it’s ambitious and impresses. The trio of Alexander, Mikey Goldsworthy, and Emre Türkmen have made a forward-thinking, percussive pop record about relationships that simply bangs. Whether Alexander is reflecting about a fling with a supposedly straight man or getting over being left, he’s dancing most of the time.

Read the rest of our review here.

61. Kississippi - Sunset Blush (Alcopop!)

If you managed to catch Kississippi live this year, you’ll likely have seen a full band surrounding Zoe Reynolds, but she alone writes the band’s songs. Sunset Blush sees Reynolds tapping into dreamier, poppier indie fare compared to her last EP, the moody We Have No Future, We’re All Doomed. The shift suits her. Her voice worked well with the starker, lo-fi feeling of that EP and is just as strong on her latest. “Easier to Love” feels lush with its synth-driven melody as Reynold’s voice wraps around the sound. That’s not to say the guitar-driven tracks are few or lacking here. “Cut Yr Teeth” finds strength in circling guitars and a realization in the lyrics: “The person you made yourself out to be / Would feel sorry for what you have done to me”. If Zoe had any nervousness about pivoting to more of a pop sound, Sunset Blush proves that Kississippi effortlessly made that move. - LL

60. Kraus - Path (Terrible)

Kraus’ Path is a triumphant effort of pushing sounds so deeply into the red that their proclamations are felt completely despite such careful shrouding. The Texas artist never felt quite a part of his hometown scene, and this isolation and yearning is felt in every blistering moment of Path. The slow, clean build of “Bum” gives way to an absolutely crushing wall of distortion, giving just enough headroom for Kraus’ adept and feverish drumming, as well as his mangled vocals, to cut through. It is all around a unique entry into both shoegaze and experimental music at large, showing what can be done with simple tools pushed to the point of breaking. The emotional quality of this record cannot be understated, even if it cannot be fully understood. - DP

59. Protomartyr - Consolation EP (Domino)

For a band as consistent as Protomartyr, destined to put out a new collection of movingly bleak post punk every couple years, it’s remarkable that an off-year EP would be just as good as a full-length. It’s even better that the EP offers something new for the band. Containing some of their best songs to date, Consolation, recorded by R. Ring’s Mike Montgomery and featuring Kelley Deal on two of its four tracks, is at times more sad and at times more hopeful than anything the band’s ever done.

Read the rest of our review here.

58. Now, Now - Saved (Trans)

Six years after the release of the atmospheric Threads, Now, Now returned with Saved, which shifted their sound to glossy, danceable tracks that still capture some of the desperate, emo bend of the band’s previous output. That’s not to say that a sense of desperation of heightened emotions detracts from Saved. On the contrary, the album encapsulates those seemingly unquenchable feelings of desire into demands (“I want it all” on standout “MJ”) and declarations (“Don’t you know I’m desperate for you?”), giving the synth-focused music an even more commanding presence. On lead single “SGL”, KC Dalager purrs, “Give in to me.” It’s easy to slip into the slick, desire-and-devotion fueled world of Saved, so let yourself in and enjoy the ride. - LL

57. drowse - Cold Air (The Flenser)

It is hard to not draw comparisons from Droswe’s Cold Air to Have A Nice Life’s reissued classic Deathconsciousness. Themes and feelings of loss and hopelessness are carried by crushing guitars, washed out vocals, and a penchant for doom and gloom. What Cold Air excels at, however, is making this sense of dread feel so personal and connected to the artist. Kyle Bates’ ability to make sonic cacophony convey such personal pain takes his efforts just as much into the realm of Mount Eeerie as it does Have a Nice Life. This isn’t romanticizing the apocalypse--this is a real and unguarded glimpse into the personal dread of one coming back from the brink of death. - DP

56. Thalia Zedek Band - Fighting Season (Thrill Jockey)

You can run, or you can hide. You can love, or you can fight. Or, you can do both sets of both, or all of them at once. Picking your battles–that’s what Thalia Zedek’s Fighting Season is all about. Today, the struggle we all share is balancing the personal and the political, and Zedek dives right in on her latest record. Written–you guessed it–in the wake of the 2016 U.S. presidential election, the album shows a woman whose voice is weary but whose instrumental chops are ready to battle.

Read the rest of our review here.

55. The Sidekicks - Happiness Hours (Epitaph)

If you’re a fan of The Sidekicks, you’re aware of the magic that awaits in each of their albums, the joy that radiates through the crowd at one of their shows. And if you’re not in the know, someone out there is ready to share with you the virtues of the Ohio band. Their fifth album Happiness Hours glimmers and shines like a Midwest summer. Bright guitars give each song a slick, competent indie rock sheen, one you’d want to blast while walking along a sun-drenched sidewalk. But within each song are lyrics that range from tongue-in-cheek to self-deprecating, juxtaposing so well with the bounce in the music. If you don’t know The Sidekicks, take this as your call to action: go give Happiness Hours a listen and then see how many times you catch yourself recommending it to someone else. - LL

54. Skee Mask - Compro (Ilian Tape)

Similar to Objekt’s brilliant Cocoon Crush, Skee Mask’s Compro seeks to explore the intersection of dance music and ambient music. Unlike Objekt, however, Skee Mask does so by introducing and slowly unmasking more traditional forms. Break-beats and dance floor standards surface among more haunting sounds. Whereas Cocoon Crush swirls and unravels, Compro takes a veteran sensibility for rhythm and allows it to breathe and build, firmly but satisfyingly swaying between danceable cuts and soundscapes in a wholly refreshing manner. - JM

53. Olivia Chaney - Shelter (Nonesuch)

Singer, songwriter, and multi-instrumentalist Olivia Chaney takes traditional forms of music and standards and imbues them with the type of beauty that can come only from vulnerability and doubt. Shelter, her most recent album, is filled with moments, stories, and broader feelings of letting one’s guard down–whether that’s being open to embrace or being honest with yourself–and the benefits of doing so. “Bare weakness open / There hides strength,” Chaney sings on standout “IOU” over dobro riffs way bouncier compared to her normally downtempo material. That’s the essential idea behind Shelter, an album named after a word that’s got an increasingly negative connotation, whether to describe over-protection of kids or living in a sociopolitical bubble. The type of shelter Chaney sings about is a safe space where she’s supported, can admit to both her shortcomings and her “demons”, and ultimately thrive.

Read the rest of our review here.

52. Restorations - LP5000 (Tiny Engines)

Year-end lists are a great way to encapsulate achievements from the last twelve months, but they’re also a great way to look back and revisit a specific time and place. A listen to Restorations’ cheekily titled LP5000, their first album since 2014, not only shows a band refining their sound but presenting us with a portrait of this year. Punk guitars and Jon Loudon’s tender, graveled voice shine throughout each track, leaving no wasted space in the album. For a short run time, Restorations has a lot to say. It’s a concise, muscular album that clocks in at just under 30 minutes, but Restorations doesn’t need much time to cover the way neighborhoods change and gentrify (”The Red Door”, “Caretaker”), the uncharted territory of suddenly being responsible for more than yourself (”Nonbeliever”), to calling out what so many of us think as we check our phones for the twentieth time in a day: “You’re taking a sip of your coffee / Glance at your phone and you mumble, ‘I hope he dies.’”

It’s an album that commiserates, that takes the time to pull up alongside you if you want to have a conversation or would rather shout along the lyrics, a shared catharsis either way. - LL

51.  공중도둑 (Mid-Air Thief) - 무너지기 (Crumbling) (Mid-Air Thief)

South Korean artist Mid-Air Thief is the musical enigma I never expected this year. Crumbling carries a sense of psychedelia so wondrous and un-forced that wistfully carries the listener through a joyous array of synthesizers and textures. Punctuated by acoustic guitars and soft vocals, this record drifts in ways and through spaces previously untouched. A mysterious release from a seemingly unknown artist, it lends itself to the same sense of wonder explored by many Japanese artists such as Cornelius and Fishmans. Here, however, this curiosity is not tethered by collage, but rather by careful and euphoric movement through moods and spaces, keeping its palette and scope refined but always tinkered with. - DP

50. Sleep - The Sciences (Third Man)

Earlier this year, Sleep released The Sciences, their first new album in 15 years, comprised of some songs that were totally new and some that were written during the sessions for their opus Dopesmoker. But when and where Sleep tracks were born has become increasingly irrelevant since their songs thrive from losing a sense of time and place. They exist seemingly with no beginning or end. And so do the albums themselves.

Read the rest of our review here.

49. The Internet - Hive Mind (Columbia)

Hive Mind is their long-awaited follow-up to Ego Death, and it’s influenced by the aforementioned time away from home and newfound fame and acclaim. For one, Syd hands some singing duties over to Lacy. While previously, especially live, she seemed shy over the course of a full album or show, here, she takes full advantage of the songs she sings, showing off a shiny swagger. Both Syd and Lacy hand over production lead to Christopher Allan Smith. What results is a great album because everyone sounds fresh. The band is wise without being weathered.

Read the rest of our review here.

48. Marisa Anderson - Cloud Corner (Thrill Jockey)

Marisa Anderson’s Thrill Jockey debut Cloud Corner reminds me of something Red River Dialect’s David Morris said to me earlier this year: “Relaxation is a form of growing.” Inspired less by the nihilist expanse of Ennio Morricone scores and more by the necessary buoyancy of Tuareg desert blues, Cloud Corner acts not just as a safety net for Anderson but replenishment during a time of political chaos.

Read the rest of our review here.

47. Half Waif - Lavender (Cascine)

Listening to Lavender, the new album by Half Waif, it’s hard to believe the album is less than 40 minutes long. A bold, maximal, exhausting, and ultimately brilliant affair, Lavender was created by Nandi Rose Plunkett, Adan Carlo, and Zack Levine, all at one point in Pinegrove. Plunkett’s voice and lyrics are centerfold. The album’s title refers to lavender that her grandmother, 95 years old at the time the album was written (and now deceased), would pick and boil. Naturally, the album’s about aging and collapse–of people, of relationships, of the United States of America.

Read the rest of our review here.

46. Bettye Lavette - Things Have Changed (Verve)

On Things Have Changed, LaVette doesn’t just cover lesser-known songs. She covers some of Dylan’s arguably weakest material and makes it her own. Appearances by Keith Richards and Trombone Shorty don’t matter. This album is all LaVette.

Read the rest of our review here.

45. Parquet Courts - Wide Awake! (Rough Trade)

A punk album you can dance to: It’s not a novel idea or even always a good one, but Parquet Courts have made that and more with their latest Wide Awake! With none other than Danger Mouse producing, the band has made a spiritual if not entirely aesthetic sibling to albums like There’s A Riot Goin’ On and Maggot Brain, one that combines their usual biting, witty, and respectful social commentary with heartfelt personal stories. It’s their greatest achievement yet.

Read the rest of our review here.

44. Ruston Kelly - Dying Star (Rounder)

“How the hell do I return to normal / If I'm always ending up flat on my back?”

Ruston Kelly has been through hell, and Dying Star is his document of that time, from overdose to his “return to normal.” For someone who’s made a career out of writing songs for other artists, Dying Star is Kelly’s most focused and refined effort so far, offering sharply painted portraits of addiction and heartbreak. It’s the album of an artist who has been to the brink and stared down the options on either side of a thin line.

Inspired by outlaw lyricists, there is no charm in Kelly’s depictions of drug use and the destruction that so often follows, but there is emotion deep in each track, and even humor (see “Faceplant”). A masterful storyteller, Kelly’s album ultimately celebrates survival and the emergence of a songwriter exorcising his own demons. And if that wasn’t enough to get you to listen, Kelly shows off his figure skating skills (yes, really, he once trained in the sport) in the video for the haunting “Son of a Highway Daughter”. - LL

43. Damien Jurado - The Horizon Just Laughed (Secretly Canadian)

The horizon laughs at Damien Jurado on a song where he illustrates a time he considered ending his life. “The clock is a murderer / My time is her burden,” he sings on the incredible “The Last Great Washington State” on his gorgeous The Horizon Just Laughed. It’s true–everybody dies. But Jurado wants to be there for his own death. “What good is living if you can’t write your ending?” he sings. A move from the Pacific Northwest to California has stirred up a lot in Jurado’s mind while simultaneously spurring some of the breeziest Laurel Canyon or 70s AM radio pop he’s ever made.

Read the rest of our review here.

42. Bonny Doon - Longwave (Woodsist)

The songs of Longwave are heartfelt but lighthearted. There is a personal and relatable touch that accompanies it’s 10 track tenure. “A Lotta Things” explores of sense of personal shortcoming, a desire to shirk one’s responsibilities and expectations. But it is held together by an almost sarcastic quality that keeps it from veering into overtly moody territory (“I’m faking my own death, so I can get some rest”). “I Am Here (I Am Alive)” borrows from David Berman’s sonic frontier while maintaining its own sense of brooding and listlessness. “Where Do You Go?” captures and grounds this listlessness with more anecdotes of youthful daydreaming. The way Longwave winds down with a slowed down version of “Try to Be”’s playful riff is a fitting closer to an album whose aim seems to be to wander. - DP

41. Hop Along - Bark Your Head Off, Dog (Saddle Creek)

Listening to Bark Your Head Off, Dog, the incredible new album from Hop Along, I can’t help but wonder how in the hell lead singer Frances Quinlan has the time to think about all she does. Like all of us in this day and age, she wrestles with the idea that even though everyone dies, it’s important to have empathy for those with a harder road to the eventual endpoint. But that’s not where Quinlan’s mind stops. As everyone else broadly analyzes the tale of Cain and Abel, she wonders what their childhood relationship was like. As everyone is aghast at the state of Arkansas rushing lethal injections before the drug reaches its expiration date, Quinlan thinks about the vacation of the judge who presided over the decision. As a songwriter, she’s able to focus on individual events as representative of something larger. Her illustration of her formative experiences causes her to reflect on those of others, and likewise, us on our own.

Read the rest of our review here.

40. Screaming Females - All At Once (Don Giovanni)

I never would have seen All At Once coming from Screaming Females. Three years ago, they traded the Steve Albini-produced punk of Ugly for the Matt Bayles-addled plodding sludge of Rose Mountain. The results were predictable. However, working again with Bayles, generally more known for his work on post-rock, post-hardcore, and metalcore albums, has provided the band to establish a flourishing relationship with the producer. Marissa Paternoster and company have made an album that’s the perfect sonic manifestation of her anxieties and obsessions, each song essential and traversing a different style.

Read the rest of our review here.

39. Glenn Jones -  The Giant Who Ate Himself and Other New Works for 6 & 12 String Guitar (Thrill Jockey)

Glenn Jones communicates through his guitar, and never more so than on The Giant Who Ate Himself and Other New Works for 6 & 12 String Guitar. Recorded in New Jersey with Laura Baird and engineer Matthew Avezado, it’s an album that’s at times buoyant and at times melancholy but always transparent. Jones’ strings vibrate on the opening title track, alternating between major and minor chords. The instrument and the medium is just as important as the stories themselves. The arpeggio guitar lines with Flamenco flourishes on “Everything Ends”, the dissonance of the swaying “The Was and The Is”, the blues picking of “Even the Snout and the Tail”–for much of the record, Jones is coming up with contemporary standards.

Read the rest of our review here.

38. YOB - Our Raw Heart (Relapse)

YOB lead singer Mike Scheidt suffered an intestinal disease that threatened his very presence on this earth, let alone during the making of the band’s new album Our Raw Heart. Hearing the album, you’d think it was recorded after recovery when Scheidt was so thankful to be alive he couldn’t help but shout to the heavens. That it was recorded during his time of turmoil only makes the record more life affirming.

Read the rest of our review here.

37. The Field - Infinite Moment (Kompakt)

I was lucky enough to see German producer The Field perform 2 months ago. A night of house music and friends was a well needed break from the scenes I typically find myself in. I recall an energy in the room, a sort of joy typically found on the dancefloor. When The Field began his set, the eerie, distant vocals of “Made of Steel. Made of Stone” might have brought this energy to a halt. But the moodiness of these infinitely stretched notes took the energy of the room and seemed to crystalize it. Infinite Moment could not be a more apt title for this record--I saw its captivating hypnosis take effect on a room full of club-goers. The dancing didn’t cease; it just felt suspended in time. Throughout his set and throughout Infinite Moment, there is a persistent feeling of moodiness, an intangible emotion that is preserved indefinitely, reverberating through the record’s 65 minutes. It’s a worthwhile journey, and one that asks the listener to surrender to peace. - DP

36. U.S. Girls - In A Poem Unlimited (4AD)

The 6th album from musician Meghan Remy as U.S. Girls is a self-described protest, like lots of her other work, but it’s an unlikely funky one. On In A Poem Unlimited, the experimental pop artist recorded with a live band and worked with co-producer Steve Chahley (Neko Case) to make a record that takes just as much from Parliament/Funkadelic and Sly & The Family Stone as it does art rock, tackling the power of patriarchal institutions and lauding the women fighting for some share of the power. But it also notably sympathizes with the everyday struggles women experience without wallowing, using its instrumentation as a celebration for a changing moment in time. It’s fitting that In A Poem Unlimited came out right after so many powerful men have finally faced the consequences of their actions because it dares to be joyous despite all reasons for despair.

Read the rest of our review here.

35. Let’s Eat Grandma - I’m All Ears (Transgressive)

I can’t help but think that the vitriol over the band name Let’s Eat Grandma has had a little to do with the fact that the music comes from two teenage girls. Sure, to some, the band name is the type of phrase that’s often followed with “that should be a band name,” but a simple Google search reveals that the phrase is often used as an example of why commas are important. It’s a tongue-in-cheek move made by the duo of Jenny Hollingworth and Rosa Walton, who have followed up their debut I, Gemini with I’m All Ears, an assured album of “experimental sludge pop”. Despite amazing production from Faris Badwan, SOPHIE, and David Wrench, the album is undeniably the duo’s. Its sequencing is perhaps the best of any album all year–it gets better as it goes along. The album itself follows many of its best songs; it starts cautiously and becomes ominous. And it couldn’t have been made by anybody but these two girls.

Read the rest of our review here.

34. Soccer Mommy - Clean (Fat Possum)

Sophie Allison’s debut Clean wraps you up in its world completely, with both its lyrics and warm guitar tones. It’s an album filled with anecdotes that feel personal and universal, the reflections and musings of a young woman navigating relationships of all kinds. It’s revelatory and familiar, soft and angular. Take the opening images of “Still Clean” and the way Allison positions dipping a bloody maw into clear water. Lyrically, the album vacillates between ”I don’t want to be your fucking dog” and “I wanna be the one who makes your stomach tied”, but it doesn’t reflect indecision. Rather, Allison captures what so many of us know so well, whether we’re in our early twenties or beyond: Our desires and relationships are never so simple, but always valid. There’s never a clear answer to the why of it all, but the album’s centerpiece, “Scorpio Rising”, seems to settle on the idea that experience and the chaos that is the universe and genetics might help explain some of it away: “And I’m just a victim of changing planets / My Scorpio rising and my parents.” That this is Soccer Mommy’s official debut can only bode well for the musician’s future output. - LL

33. Culture Abuse - Bay Dream (Epitaph)

Culture Abuse aren’t just a band. They’re a community, they’re on a mission, and their live shows are raucous indoctrinations into their world. Like their Bandcamp bio says, they’re definitely a good time, and Bay Dream’s sunniness feels like a drive down a coastal highway with salt-sprayed air flowing through open windows.

A little less aggressive than their debut Peach, Bay Dream comes in with a stoned, fuzzy optimism that ripples through each track. A song like “Bee Kind to the Bugs” might not work if frontman David Kelling and the rest of the band weren’t so damn earnest. A lyric like “S'why I like you around /' Cause you make me feel good” might not land without a hook, but Culture Abuse’s confidence shines. It’s an album I found myself turning to throughout the year, one that added a little bounce and ray of joy to a monotonous commute or even another rough news day. While Peach was an introduction to the world of Culture Abuse, Bay Dream feels more like is its manifesto. - LL

32. Playboi Carti - Die Lit (AWGE/Interscope)

2 years ago, before Playboi Carti’s debut commercial release, there existed only a small string of Soundcloud tracks to his name. There was an insatiable desire from fans to hear more; I recall playing “Broke Boi” on near-constant repeat. Its simple, airy beat and unending barrage of ad-libs, broken up only by a simple refrain, was so effective and perfect. Carti plays to these strengths--simplicity, energy, and raw confidence, paired with perfectly complementary beat selection--on Die Lit. Much of the production is handled by frequent collaborator P’ierre Bourne, who’s refreshing take on modern rap production has been making huge waves in the past couple years. The most important quality of Die Lit, though, is its completely unrelenting momentum. The beats are unendingly fun, and when Carti is done playing with a track, it moves right forward to more of the same sugar-high. Its frequent comparisons to punk are apt but reductive--the energy and ethos are there, but what Carti accomplishes on Die Lit is unique and a welcome entry in one of the strangest years for hip hop in awhile. Between its never ending joy and a long list of rap’s finest collaborators, Die Lit does so much with such simple terms. - DP

31. Emma Ruth Rundle - On Dark Horses (Sargent House)

To say that misery makes great art is all too fetishistic. Emma Ruth Rundle has made an incredible album about love, creativity, pain, and trauma all at once. Inspired by everything from her past experiences with substance abuse to her move to Louisville and musical and life partnership with Jaye Jayle’s Evan Patterson, Rundle and her collaborators (Patterson, bassist Todd Cook, drummer Dylan Nadon, recording artist Kevin Ratterman) turned On Dark Horses, her third studio album, into a crash, burn, and come out stronger emotional affair. They thrust you in the middle of her head-space on “Fever Dreams”, its bluesy, creepy guitars, keys, and drums starting like the song’s been going on for hours. “Release me away from fever dreams,” Rundle asks, knowing full well her confusion will not subside, as the song slows down in the middle to allow space for swirling, noisy, psychedelic riffs.

Read the rest of our review here.

30. Odetta Hartman - Old Rockhounds Never Die (Memphis Industries/Northern Spy)

Produced by her partner Jack Inslee, who combines beats and field recordings to give Hartman’s tales a sense of space, time, and place, Rockhounds is an album of clear, disparate elements that somehow combine beautifully. I’m not talking about the mere echo on the banjos of the opening track. More like the electronic percussion and static of “Cowboy Song” mirroring her foggy memories of riding a train from San Francisco to Chicago with a real cowboy, remembering his tales of people he met. It’s the unexpected dissonant violins and vocal entrances of the whispered “Widow’s Peak”, originally a studio mistake but resulting in a sense of spontaneity. Or the drifting instrumental autoharp interlude of “Auto”, the stainless steel bowl instrumental “Freedom”, even the electronic beat of “Sweet Teeth” that couldn’t be aesthetically further from the limber banjo picking. 

Read the rest of our review here.

29. Mint Field - Pasar de las Luces (Innovative Leisure)

Sure, Pasar De Las Luces is ripe to be described as ethereal, nostalgic, Interpol-meets-Low–whatever. That’s all true. But a track like “Club de Chicas” separates them from the standard descriptors, starting slow with an echo on the snare and building up to a high-speed pop chase and exhaling back to stasis. In a sense, Pasar De Las Luces–translated to “Passing Through the Lights”–is really an album that encapsulates constant movement and texture, always advancing, always there.

Read the rest of our review here.

28. Wild Pink - Yolk in the Fur (Tiny Engines)

You know Yolk in the Fur is going to be unlike anything Wild Pink has ever made from the first breathy synthesizers. “Burger Hill” is a shift in aesthetic for the Brooklyn band who makes some sort of variation on heartland rock. What remains is their specificity, the sense of time and place that an equally expansive band like The War On Drugs only has on one or two songs. Singer John Ross, looking down, describes the setting as being in a “prenatal snow globe.” The image is layered and loaded–a scene in a life, neatly packaged and edited before it even starts. Throughout Yolk in the Fur, it seems like Ross no longer needs to make snow globes out of things that are infinite. “I woke up too fast from a dream,” he sings later on “Burger Hill”, starting his journey to accept the boundlessness of life.

Read the rest of our review here.

27. The Beths - Future Me Hates Me (Carpark)

You might think an album called Future Me Hates Me would be sadsack and self-aggrandizing. But like the title track from which it takes its name, it’s instead a tongue-in-cheek look at contemporary relationship anxiety. It also knows when to turn the sincerity on and off. New Zealand’s The Beths, jazz-trained musicians who play crunchy guitar pop punk, have delivered an instrumentally explosive and confident debut filled with harmonies, hooks, and feeling.

Read the rest of our review here.

26. Eric Chenaux - Slowly Paradise (Constellation)

Paris-via-Canada guitarist Eric Chenaux has given us his most confident, at ease, and best record with Slowly Paradise. Usually solitary, this time around, Chenaux teamed up with Ryan Driver to write the lyrics that sit atop his gorgeous compositions. He recorded it with Cyril Harrison behind the boards (Sandro Perri is credited with engineering work), and the results are as cohesive as they are adventurous.

Read the rest of our review here.

25. Eli Keszler - Stadium (Shelter Press)

The tone and melody of the synthesizers on “The Driver Stops”, a standout track from Eli Keszler’s latest album Stadium, recalls a film noir or mystery. That’s funny, because Keszler’s sonics cause similar quizzical reactions. Even if there’s a video of him playing it all live, Stadium yields the most “How did he do that?”s per minute. He plays his instruments live but uses Sensory Percussion drum software, and so the balance between control and randomness is vulnerable and ambiguous. Nonetheless, he’s managed to create a cohesive album of sounds inspired by his move to Manhattan--lots of randomness, little control--and specifically his East Village apartment. Some of the tracks, like “Measurement Doesn’t Change the System at All” and “Flying Floor for U.S. Airways”, feature buoyant jazzy snare rolls and ripples of one-off high-pitched synthesizer tone, anchored only by perhaps a steady bass line. No matter what, there’s always anxiety. Queasy Mellotron pervades “Lotus Awnings”, and the relentless plinking on “Which Swarms Around It” render the calming cymbals neutralized. Stadium is ironically named--it’s the huge soundtrack for living alone, together, for city commutes and unit isolation, where you do your best to drown out the noise but ultimately accept its inevitability. - Jordan Mainzer

24. Lucy Dacus - Historian (Matador)

“The first time I tasted somebody else’s spit, I had a coughing fit,” begins Lucy Dacus’ great new album Historian. You assume she’s talking about a first kiss only until the next line: “I mistakenly called them by your name.” It sets up an album that messes with your interpretation of time and space, about everything from her breakup with the abusive former bassist of her band, the death of her grandmother, and the loss of her Christian identity. Dacus, in preparation for a new record more ambitious in scope than her debut No Burden (1 track but 12 minutes longer) read epic novels. You can hear it in the complexity of the instrumentation, like on the 7-minute “Pillars of Truth”, and in the constant change of point of view or addressee. Sometimes, as on “Addictions”, she talks to herself. Other times, she chastises or admires others. The whole record is, to an extent, funny and self-deprecating. It’s mostly self-aware.

Read the rest of our review here.

23. Drug Church - Cheer (Pure Noise)

"At least there’s some self in self-destruction,” vocalist Patrick Kindlon sings on “Foam Pit”, one of many songs on Drug Church’s Cheer that chides corporatism and individualism. Like the best songs from Pissed Jeans or KEN Mode, Cheer is a self-hating, sarcastic, satirical take on the fragile masculinity present in both the economically oppressed and the oppressor. Opener “Grubby” hilariously decries both adult male children and the scumbags with “handshakes and lies” in their pockets. “There’s a guy with a search history darker than a sea trench,” Kindlon sings on “Unlicensed Hall Monitor”, the title character a perfect metaphor for undeserved power tripping. Sure, Kindlon shows some sympathy--the twinkling “Strong References” recalls his experience being pushed to uncomfortable situations as a male model, and “Weed Pin” is call to increase the minimum wage--but for the most part, the chugging hardcore punk perfectly complements the bratty nature of the subjects he inherits. “If you live long enough, you’ll do something wrong enough,” he sings on “Unlicensed Guidance Counselor” before describing crimes that, well, most people don’t commit. “Conflict Minded”’s illustration of selfishness, while on the surface level exaggerated, hits close to home. “Leave your Sentra in the tow lane / Take off from your brother’s wedding / Pull the plug on mom days early / This is your window, don’t you blow it,” Kindlon chants. If you don’t have that guy in your family or aren’t perpetually ashamed by narcissists in positions of power, Drug Church make it at least easy to empathize with their victims. - JM

22. Eartheater - IRISIRI (PAN)

What makes us human, and what makes us individuals? These admittedly unanswerable questions are at the center of IRISIRI, the third album for Queens-based multi-instrumentalist/vocalist Alexandra Drewchin as Eartheater. On the record, Drewchin combines voice--both her three-octave chords, live guests, and sampled chatter from humans--with electronics, to blur the lines between technology and the self. Despite her vocal talents, much of Drewchin’s singing is less stunningly operatic or beautiful and more imperfect and at times cacophonous, contrasting the beatific harp strumming on “Peripheral” and the bouncing hip-hop beat on “Inkling”. But despite who’s voice is at the helm, Drewchin’s lyrical wordplay furthers her aims. “OS In Vitro” juxtaposes “computer” with “you can’t compute her,” while on video-only release “Claustra”, Drewchin alternates between “the owning of my loneliness” and “the end of the loaning of my onliness,” cementing a non-ideal state like being alone as the more personal aim than the ideal companionship. Appropriately, despite star turns from Odwalla1221′s Chloe Maratta and the ever-dominant Moor Mother, IRISIRI is unequivocally Drewchin’s statement of self. “Nobody’s looking” repeats a collection of ambiguous, pitch-shifted voices on “Slyly Child”. But for Drewchin, it doesn’t matter who looks or who doesn’t. She’s there; are you willing to listen? -JM

21. Makaya McCraven - Universal Beings (International Anthem)

Universal Beings opens with chatter. Usually, on an album it’s a gimmick, a thematically forced insertion of a document of capital “a” Artists at work. “A Queen’s Intro”, however, is crowd talk before a performance, introducing the various levels of dialogue at work within Makaya McCraven’s defining album to date. The band players–in this case, cellist Tomeka Reid, bassist Dezron Douglas, vibraphonist Joel Ross, and harpist Brandee Younger–are in collaboration, improvising off of each other. There’s also a level of interaction between band and audience, though, and it’s a fitting introduction to an album that McCraven wished to break down barriers between “scenes” that can often be too academic, insular, and exclusive, whether in terms of social status, class, race, or gender. Launching into a decidedly old school hip hop beat and removing yet another barrier–genre–McCraven and company are ready to go to work.

Read the rest of our review here.

20. Tony Molina - Kill The Lights (Slumberland)

Got a 20 minute commute but still want to listen to a full album? Like power pop? Kill The Lights is for you. Tony Molina’s latest is not just a collection of fantastic spurts of ideas. I haven’t heard an album with this much emotion and style conveyed in such little time since Joyce Manor’s Never Hungover Again. The influences are all over the board--Molina favorite The Beatles on “Now That She’s Gone” and “When She Leaves”, jangly college rock on the melancholy “Give He Take You”, Nico’s “These Days” on the fingerpicked “Wrong Town”--but it’s the combination of the concision of Guided By Voices and the sweets of Big Star that makes Kill The Lights sound so classic. On “Look Inside Your Mind/Losin’ Touch”, Molina crams in two songs, organ-led pop to folk, with a guitar solo and piano outro to boot. The final track, the instrumental “Outro”, combines country-esque twang with baroque piano pop. You can’t help but wonder that if Molina packs this much in a 14 minute opus, does he have an epic in him? But then you realize that Kill The Lights is perfect as is. - JM

19. Laurel Halo - Raw Silk Uncut Wood (Latency)

A departure from previous efforts for the revered Hyperdub label, Raw Silk Uncut Wood is somehow more grounded than Laurel Halo’s dancefloor cuts. This comes through both in instrumentation from Oliver Coates and Eli Kezsler (previous collaborator and uniquely frantic percussion virtuoso), but also in the path these pieces take.These tracks are unfractured, moving forward and building in ways that are both calming and fulfilling. Raw Silk Uncut Wood is a record built upon a generous amount of space, allowing Halo’s excellent sense of texture and composition to take the reins. - DP

18. Rival Consoles - Persona (Erased Tapes)

The new album from Rival Consoles, Persona, is purportedly inspired by Ingmar Bergman’s film of the same name, but such context is not necessary. Persona is very much an album to experience in the present moment. Its use of analogue-heavy synthesizers, acoustic and electric instruments, and effects pedals toy with perception, space, light, and darkness. In listening to it, you experience emotions ranging from melancholy to joy, and for that, it’s complex in its parts but simple in its sum.

Read the rest of our review here.

17. Camp Cope - How to Socialise & Make Friends (Run for Cover)

With anger, earth-shattering power, and empathy, Camp Cope decry selfish and self-obsessed men, call out sexism in the music industry, and lift each other up--and that’s just in Track 1. “The Opener” is lead singer Georgia “Maq” McDonald’s simultaneous look back on her former relationship with The Smith Street Band’s Wil Wagner, who always tried to one-up her with his laments, and her rallying cry for inclusion. “It’s another man telling us we’re missing a frequency / Show ‘em, Kelly!” Maq screams, inviting bassist Kelly-Dawn Hellmrich to show off her bass chops, bucking tradition for something slinkier, rawer, and better. Recorded in 2.5 days, Camp Cope’s How to Socialise & Make Friends is a melancholic, yet inspiring statement of female empowerment and togetherness. “The Face of God” is Maq’s tale of sexual assault that illustrates a thought process all-too-common among victims, unforgivably due to a culture of toxic masculinity: It can’t be, his music is too good. Ultimately, the band do their part to combat it--“Your voice is loud in my goddamn head, boy,” Maq sings on “Animal & Real”--but also find a common humanity in good people, in the man filling a gas tank on Christmas day, in Maq’s mother who doesn’t like her tattoos, and in her late father who died from complications from prostate cancer. The last story is told on acoustic tearjerker closer “I’ve Got You”. “I’ve got you / You’ve got me, too,” Maq declares to her father, but also to anyone who supports her and each other. - JM

16. Petal - Magic Gone (Run for Cover)

Honesty is a word and a concept we seem to throw around these days, but it can save your life. Magic Gone documents a moment for Kiley Lotz, the artist behind Petal, where coming to terms with her own queerness and mental health comes to a head. But it’s that release, that moment of honesty and acceptance, that can change everything for the better, that can mean survival. “Will they love me if I am honest?” Lotz asks on “Carve”.  It’s not just a document of a moment of reckoning for Lotz, but further cements Petal as a songwriter with a knack for poetry in lyrics and gentle, sometimes stark instrumentation that builds a world for those words to live. Take album closer “Stardust”, which begins with a sole, lilting piano that frames Kiley’s clear voice as the song builds. Though the song deals with the strangeness of falling out of love, there’s a sense of hope in the way the final line “I can’t say I didn’t love you,” repeats as guitars crash, only to give way to that same lone piano. - LL

15. Foxing - Nearer My God (Triple Crown)

Foxing has always been able to distill that apocalyptic feeling into their music, taking moments that seem small on the outside and making them monumental. Nearer My God is an expansion on the same idea. Named for the hymn that also soundtracks the dystopian doomsday video CNN was set to play at the literal end of the world, Foxing seem to take everything they can grab and push the limits of just how much one album can hold while not only remaining cohesive but remaining so purely Foxing, too. To simply call it ambitious feels like an understatement.

First single “Slapstick” eased listeners into this new soundscape, offering an approachable and familiar sound, horns coming in towards the end, always a highlight to a live show. But you can find almost every genre within the tracks of the album: Conor Murphy’s R&B-tinged falsetto on multiple tracks, near trap beats, the proggy chaos of “Gameshark”, the absolute shredding guitar solo in “Lich Prince”, and the wait-are-those-bagpipes?-yes-those-are-bagpipes climax of “Bastardizer”. That’s just a start, and to dive into the lyrics of the album would take much more space than this review.

Ever evolving, Foxing has made a statement with Nearer My God, taking the raw emotion fans know and stretching it with finesse. The apocalypse never sounded so foreboding, so danceable, and so damn good. - LL

14. SOPHIE - OIL OF EVERY PEARL’s UN-INSIDES (Transgressive/Future Classic)

The title of SOPHIE’s debut album is an alternate way of spelling “I love every person’s insides,” a sentiment that pervades the stunning release. First hinted at in 2017 with the release of “It’s Okay To Cry”, the first SOPHIE song to feature her own vocals and image and reveal she is living as a trans woman, OIL OF EVERY PEARL’s UN-INSIDES is a showcase of sexual liberation and aggression and a celebration of individuality. The maximalist production and soulful vocals from Calia Thompson-Hannant, aka Cecile Believe (fka Mozart’s Sister) of BDSM anthem “Ponyboy” propels the album into a sort of ironically synthesized humanity. The pitch-shifted vocals on “Infatuation” become a moving falsetto, and the chopped and screwed singing on “Not Okay” are grounded in comparison to the alien crunch of the instrumentation. But the album peaks at the cheerleader chant of “Immaterial”. “Without my legs or my hair / Without my genes or my blood / With no name and with no type of story / Where do I live?” sings Thompson-Hannant. The answer? Everywhere, as long as there are people who love people. - JM

13. Earl Sweatshirt - Some Rap Songs (Tan Cressida/Columbia)

Earl Sweatshirt has so long been mired by a mystique stemming from young stardom and talent that, for better or worse, has been hard to shake. And though we seem to have been granted glimpses into his true self on previous records, his greatest achievement to date, Some Rap Songs, leans fully and perfectly into the haze that surrounds his persona. His tongue-in-cheek wordplay and seemingly effortless delivery have drawn comparisons to the likes of Madvillainy. But the likeness is thin--Earl’s aim is not simply to toy with language and meter. There is an intangible but ever present mood that dangles in front of you through all 24 minutes of Some Rap Songs. Fractured jazz samples and static make up a wall of mist, with Earl peeking through for brief but brilliant nuggets of wisdom and personal anecdotes. - DP

12. Low - Double Negative (Sub Pop)

BJ Burton strikes again. Though he worked with Low on Ones and Sixes, it was this year’s Double Negative that was a true radical shift in sound for the band. Thematically, it’s inspired by everything from an injury Sparhawk suffered to the band members justifying their religion with liberal thought and today’s political world. But a sense of sadness, as always, presents itself through the stunning atmosphere. Alan Sparhawk’s voice oscillates, barely audible on the hissing “Quorum”, thumping “Dancing And Blood”, and whirring “Tempest”. Mimi Parker cries on the shimmering “Fly” and hymnal “Always Up”. But it’s “Always Trying To Work It Out” that actually combines the old and the new. Over a pseudo-hip hop beat and angular, warbling guitar, the two’s auto-tuned vocals flourish over a bed of swirling noise that could find itself on a previous record like The Great Destroyer. Looking back and looking forward, Low march on. - JM

11. Young Fathers - Cocoa Sugar (Ninja Tune)

With Cocoa Sugar, Young Fathers become cleaner and more accessible, but they want you to know it’s of their own volition. “Don’t you turn my brown eyes blue,” they sing on “Turn”, a song on an album about celebrating who you are in the face of people wanting you to change. Recorded in their studio, Young Fathers this time around opted for something both mellower and bigger than they’ve ever done, and the result is something immensely personal. “Tremolo my soul,” they chant over snares, hand percussion, and 808 pops. In other words, they crave the ups and downs of real life. “I’ve never seen wicked ones face their fears / Yet I’ve always seen brave men filled with tears,” goes opener “See How” on which dissonance contrasts with steady percussion and a hopeful gospel choir. Honesty and embracing oneself is way more difficult than self-deception, but it pays off. On closer “Picking You”, the trio add another element of Scottish music to their grime-influenced sound: bagpipes and drum rolls. If “good men are strange” and “bad men are obvious,” Young Fathers would take strange any day. - JM

10. Pusha T - Daytona (G.O.O.D. Music/Def Jam)

“I’m top 5″, Pusha T claims in the first words in the first verse of “What Would Meek Do?” He’s always been a braggadocio--this time, that’s not enough. On Daytona, Pusha crosses the line with unparalleled lyrical dexterity. Setting himself up with a couple tracks where--what else--he talks about his history hustling, he goes so far as to be thankful for addiction. On “Come Back Baby”, producer Kanye West starts with a sample of “The Truth Shall Make You Free” by The Mighty Hannibal (a song lamenting addiction) before Pusha reveals how much he makes off of dope. Even the album art--a photo of Whitney Houston’s bathroom taken after she died--is tasteless.

And then there’s “Infrared”, which has now infamously set off a chain of events wherein Pusha claimed Drake uses a ghostwriter, Drake responded with a lame freestyle, and Pusha annihilated him in “The Story of Adidon”, wherein he, among other things, said Drake fathered a child with a porn star (true) and makes fun of Noah “40″ Shebib’s Multiple Sclerosis. Even if “Adidon” were a part of Daytona, the album would still be the most eviscerating listen of the year in less than 30 minutes. Pusha didn’t even need to say he’s top 5. - JM

9. DJ Koze - Knock Knock (Pampa)

Perhaps not since this very site’s namesake has an album reached such sample-based bliss as DJ Koze’s Knock Knock. While The Avalanches’ opus was a crate digger’s paradise, Koze’s source material ranges from the familiar to the recognizable but still manages to make something entirely new out of it. Bon Iver’s voice is twisted over tropical techno thumps on “Bonfire”, while Gladys Knight provides equal parts sorrow and soul over immortal club anthem “Pick Up”. You’ve got Kurt Wagner’s trademark vocoder singing on “Muddy Funster” and Roisin Murphy’s wailing on the propulsive “Illumination” and growling “Scratch That”. But perhaps the most appropriate sample is on “Planet Hase”. Over skittering hi hats and hand claps, Koze takes dialogue from a documentary about Alzheimer’s in which someone pontificates on the need for music and art in achieving scientific breakthroughs. When we pay attention to the physicality of music and what it conjures within ourselves, we can achieve a sort of nirvana, argues Koze on the finest album of his career. - JM

8. Ovlov - Tru (Exploding In Sound)

For many, the expectations for Tru were uniquely immense. Ovlov’s cult status in the world of fuzzed out indie rock--rightfully earned through the adored AM--had left fans daydreaming of more from Steve Hartlett’s songwriting camp. And though the 5 year span has been punctuated by break ups and releases from the Hartlett-fronted Stove, we long awaited the signature blissed out wall of warm guitars and strained, yearning vocals that are unique to Ovlov. From the opening chords of “Baby Alligator”, Tru is a welcome invitation to experience a band’s unique sonic footprint, re-imagined through a matured sense of songwriting. Whereas AM explored a set of themes and icons or characters, Tru feels more obviously personal. Hartlett touches upon feelings of self-care and relationships, as he did in AM, but now with less of a sense of guardedness. You can always tell when he sings about himself and those around him, but the themes and references feel less obtuse. The band’s sonic palette is taken in more varied directions as well, from the screeching harmonics of “Half Way Fine” to the start-stop wail of “Stick”. Tru’s well-crafted blend of loud 90’s indie worship, shoegaze, and punk solidifies Ovlov’s place in the modern indie circuit. - DP

7. Janelle Monae - Dirty Computer (Atlantic)

Though not technically part of her collection of “android” albums, Janelle Monae’s Dirty Computer takes the theme of human vs robot to a head and adds sexuality to the mix. “Text message God up in the sky / Oh, if you love me, won’t you please reply?” Monae begs on the opener and title track. She struggles with embracing religion because of what many major religions have to say about non-straight people (Monae is pansexual), so Monae realizes that she has no choice but to love her self. “Crazy, Classic, Life” is a thumping anthem to queer black pride, while “Django Jane” is an all-rapped ode to her amazing accomplishments. Her message back is “accept me for who I am,” yes, but its her double entendre-laden ode to her own sexuality in which she finds power. “You fucked the world up now,” she sings on “Screwed”, before declaring, “We’ll fuck it all back down.” Of course, there’s “Pynk”, the Grimes-featuring, finger-snapping gem of a power pop song with a legendary video, that’s a tribute to the vagina, but over the course of Dirty Computer, Monae finds many different ways to say that whether or not our orientations are coded into our DNA, love is love. - JM

6. Objekt - Cocoon Crush (PAN)

An artist solidly known for his bold exploration of techno, Objekt now takes a plunge into a new kind of ethereal beauty on Cocoon Crush. A foray into ambient music, Objekt subverts a lot of what we have come to expect from him. The line between digital and analog is smeared. Tracks are ungrounded, punctuated still by percussion and synthesizers, but in patterns and textures that materialize in mysterious ways. And just as they appear, they stutter and morph in ways unexpected to the listener. The cold machinations of the dancefloor are still present; they are just stretched and masked in exciting and rewarding ways. - DP 

5. Kacey Musgraves - Golden Hour (MCA Nashville)

We like Kacey Musgraves at SILY and included her last album Pageant Material as one of 2015’s best. So what is it about her that makes us continue to return to her music? With this year’s Golden Hour, she takes a step beyond her tongue-in-cheek takes on small town country living and branches out with a gorgeous collection of songs that look inward. It’s a bit of a “What does it all mean?” album, and Musgraves takes her time with each track, as she says on shimmering opener “Slow Burn”: “Old soul waiting my turn / I know a few things but I still got a lot to learn”. That’s not to say that she leaves that broad, hazy question completely unanswered. There’s her LSD-induced meditation on family on the minute-long “Mother”, or the gentle wonder she conveys at her surroundings on “Oh, What a World”, which sees the use of vocoder, adding another dimension to her “Spacey Kacey” nickname.

That’s not to say her knack for wordplay and tweaking tropes has faded to the background. It’s sharper here. Golden Hour shines a light on a disco ball during “High Horse” and heightens the timelessness of a “classic in the wrong way” fake John Wayne. “Space Cowboy” dares you to not crack a smile at the pause between the title’s two-word phrase as she tenderly sings, “You can have your space, cowboy”.

Yes, Golden Hour is a Kacey Musgraves album through and through, and the title encapsulates its themes so well: that flash of ethereal color in the sky, one that we can all see if we just take a moment to look up and savor it. - LL

4. Mitski - Be The Cowboy (Dead Oceans)

Mitski has found strength in the mythology of the Old West. Her latest album Be The Cowboy sees her wishing to embody the confident spirit of the title character in order to find her strength in music and relationships. Co-produced by Patrick Hyland, the album, like Puberty 2, is concerned with the body, and Mitski’s decision to replace guitars with synths allows her to feel empowered through dancing. She feels wanted on “Nobody”, and while she’s dependent on an ex in “Why Didn’t You Stop Me?”, the disco beat of the song steadies her. “Toss your dirty shoes in my washing machine heart,” she begs on the bouncy “Washing Machine Heart”, constantly finding new and humorous ways to sing about emotional baggage.

Read the rest of our review here.

3. Saba - CARE FOR ME (Saba Pivot)

Saba’s CARE FOR ME gained prominence as a tribute to the Chicago rapper’s late cousin John Walt, but it’s also a personal record about being a young black man in America. Over warbling synthesizers and minimal, cloudy production perfect for storytelling, Saba alternates between raw stream of consciousness and meticulously arranged poetry to tell his story. Walt’s death, dealing with depression, anxieties about sex, and fear of police are some of the many themes that bookend the record. On “BUSY / SIRENS”, he raps, “Sirens on the way / Now you’re laying where the angels lay,” while the record ends with him stepping into the shoes of someone dying and on his way up to heaven ( “Chalk outline look like the shape of my shadow”). In between, he details how he’s stayed alive. With the directness and dryness of Vince Staples, he blatantly says, “Momma mixed the vodka with the Sprite / They killed my cousin with a pocket knife,” on “LIFE”. But what has he learned? Each of “FIGHTER”’s verses is dedicated to an altercation, whether physical or verbal, but more importantly, introspection about what happened and why its led him to abstain from negative conflict.

All the while, CARE FOR ME seems to be a breathing document of Saba discovering himself. “Wrote the amount of raps just on a mission to find something,” he declares on “CALLIGRAPHY”. He eventually details the circumstances surrounding Walt’s death on the climactic “PROM / KING”, but what’s important is while life is uncertain and violent, no matter our background, we’ll always have art to make sense of it all. - JM

2. Yves Tumor - Safe in the Hands of Love (Warp)

Yves Tumor’s patent interplay of noise with a brilliant sensibility for pop music is fully realized on Safe in the Hands of Love. To be clear, though, this is not a jarring dance between the two worlds. Whereas most music which could be hastily labeled as “noise” seeks beauty in harshness or through a violent deconstruction of what we know to be beautiful in music, Tumor expertly weaves grating, free-flowing chaos into a gorgeous whole, channeling R&B, hip hop, electronica, rock, and everything in between. Opener “Faith in Nothing Except Salvation”, with its stuttering horns and general sluggishness, somehow perfectly sets the stage for a record that feels cohesive despite its tattered and fractured parts. The following track, “Economy of Freedom”, explores a frightening soundscape, punctuated by low, rumbling bass and an ominous thud. It trods along patiently, slowly making way for angelic vocals, creating something that borders on hip hop while also resembling a Prurient track. “Noid”, while situated in this record, could stand on its own as a magnificent pop song. It’s bouncy sense of rhythm and unrelenting energy are twisted in directions both unexpected and rewarding. Tumor’s ability to gracefully merge all of his sonic talents together without seeming even a bit contrived makes Safe in the Hands of Love an unforgettable foray into experimental music. - DP

1. Noname - Room 25 (self-released)

Our #1 album of 2018 was born out of financial obligation, Noname having moved to L.A., living out of different hotel rooms, and struggling to pay rent. That this context birthed Room 25--an expression of a sexually awakened black woman and staunch observer of the world at large--is extraordinary. In between her debut Telefone and Room 25, Noname lost her virginity, something she doesn’t shy away from talking about on the latter. “Fucked your rapper homie, now his ass is making better music / My pussy teachin ninth-grade English / My pussy wrote a thesis on colonialism,” she spits on “Self”, calling out those who thought she couldn’t rap--many of whom rap only about sex and money--by rapping about sex and money better than they ever could. ��Window” details her sexual encounters over sparse arrangements, strings, drums, and no real beat to emphasize her amazing flow. (“I bought you game 5 tickets / Made my pussy the sequel.”) And “Montego Bae”, featuring sultry sing-speaking from Ravyn Lenae, is a play on a location in Jamaica notorious for its sex tourism; Noname finds empowerment in a potential partner.

But as much as her deserved sexual braggadocio stands out on Room 25, it’s Noname’s self-evaluation that makes the record essential. In other words, before she can “focus on the part of me I’m trying to be,” she has to deal with open wounds. “You title email 'Noname thank you for your sweet Telefone / It saves lives’,” she reveals on the whispered “Don’t Forget About Me” before revealing, “The secret is I’m actually broken.” If posse cuts like “Ace” (featuring Smino and a scene-stealing Saba) and rap battle level punnery like “With You” are surface-level confidence, it’s the final track, “no name”, where Room 25 comes to a head. Explaining why she chooses to go by her ambiguous, anonymized moniker, Noname lists, “No name for people to call small or colonize optimism / No name for inmate registries that they put me in prison.” But if it initially seems like self-protection, it’s actually the most individualized moment on the record. By letting her art and words do the talking, Fatimah Warner makes a defining statement. - JM

Emily’s Media Diet

From the moment my alarm goes off at 8:10am, my life is consumed by media in small ways. The first thing I do after snoozing my alarm (a reminder to get up after 10 minutes) is open Twitter. I scroll through my entire timeline from the night before to catch up on what I have missed in the 6-7 hours I have been asleep. This is quite easy for me to do because I admittedly use the app a little differently than most users, and only have a following count of 70. My account can be considered more of a “fan” page, although I don’t personally consider it one. I use Twitter to connect with fans of small indie bands and artists that I listen to; however, my tweets are not dedicated to them, as fan pages are typically viewed as doing (in fact, I rarely post my own updates anymore). These artists are the only “celebrities” I follow, and the rest of my following is filled with other fans, most of whom have become my internet friends and some that have even become “irl” friends after meeting up at a concert.

Me and my internet friend Audrey meeting at a concert

According to the new Screen Time feature on iOS 12, I only spend about 45 minutes on Twitter everyday. Admittedly, this is the smallest amount of time it has been since I downloaded the app in 2013. Before coming to college, I spent almost all day on Twitter, but this first semester has drastically changed how much I use social media and how I use it. I used to be in constant communication with everyone on my timeline and in DM group chats, but now I use Twitter less for its personal social connections and more for keeping up on music release dates and the news. Although I wish it wasn’t the case, Twitter is the main source of news I consume. I usually read headlines of articles linked to tweets and only read the entire thing when I feel the subject is important. I tend to gravitate more towards recreational uses of media than ones of educational substance.

A band I support advertising their new EP in their Twitter header

In addition to Twitter, I love Instagram. I have two accounts: a main and a “finsta,” where my photos and captions are much more candid. I rarely actually post on my main, aside from photos from occasional important or fun events, but I am constantly scrolling through my feed. I follow 470 people on my main account. I have my account on private and usually only accept follow requests from students with local schools in their bios. I use Instagram to keep tabs on a few favorite celebrities, and what students from Penn and other local schools are doing. I tend to “like” every post on my main account’s feed.

A gif of my preferred way of “liking” on Instagram - the double tap

The feature I enjoy most about Instagram is the explore page, where posts based on my “likes” are curated. I scroll through my explore page on my finsta since I follow more accounts of my interests on there, making the page more accurate. My finsta explore page consists mostly of photography, poetry, tutorials (makeup, hair, food), and memes. I also use my explore page as a way to keep in contact with friends by utilizing the share button on posts that I know they would also enjoy.

A post I recently shared with my friend using the paper airplane icon

Aside from Twitter and Instagram, I don’t really use any other apps with the main purpose of social connections, although I am almost always streaming music from Spotify and occasionally make playlists that I share on Twitter (so my friends can follow them). In terms of TV consumption, I watch shows exclusively through Netflix and Hulu, and I watch them on my Macbook. I enjoy watching series and prefer to binge watch them, especially sitcoms. I only have free time to do this during the summer. Shorter series like Stranger Things and End of the F**king World are ideal types of shows for when I want to have a continuous storyline, but do not have as much time to commit to a long series. When I don’t feel like following a story with a plot that stretches across episodes, Catfish or Black Mirror are my go-to shows to watch. I especially like to do this when I have a couple of hours between classes.

A gif of Nev and Max from MTV’s Catfish, which I watch on Hulu

By making this post, I have realized how much of a scheduled and specific “media diet” I have, and that it is hard for me to use media in ways differing from the habits I have already developed (ie: not opening up to actual news sources, having specific show preferences during free time). I am realizing I should use the ever-growing internet in more effective ways in order to utilize its full capacities, especially since I ultimately have the world at my fingertips at all times.

September 26, 2018 Mix

This week as I was curating the playlist, I got to thinking a lot about the way that our mood at a particular moment affects the music we choose to listen to. Some people say that they pick music the opposite of their mood to counteract a bad day, some choose to delve into that feeling and get in touch with it. I, being the latter, am having a memory ridden, reflective sort of week, so I chose songs that talk about the past a little bit and how they can influence the present/future. I hope you enjoy and find something that suits your mood. 

Spotify Playlist 1. Planet Hunter by Wolf Alice - This song is all about trying to recreate memories of something or with someone that happened awhile back, events which were really positive, but they cannot be rehabilitated. The artist reminds me of if Taylor Swift had not become a pop music sellout and instead taken a dark moody indie music route, and well, the results are stunning because she creates a depth of feeling to the music that most pop cannot do, in my opinion. The part I relate to the most that struck me was the repeated phrase of "I left my mind behind in 2015" which reaches a point where we, as listeners, realize that there are peaks in our lives that we wish to return to, especially at some of our valleys. I love this because it is an upbeat song about feeling out of place in the present, which is really fascinating. 2. St. Paul by Ritchy Mitch & The Coal Miners - Honestly, the piano that tinkles into a wonderful melody/rift in the beginning has to be the most alluring part of this song, which eventually becomes a much bigger feeling as it continues on. There aren't many striking piano-driven songs these days, so I was impressed with that along with the fact that this song clearly disses a saint, yet doesn't seem offensive in the slightest because it is so personal and not an attack on anything but oneself's feelings. The instrumentals and their uncertainty directly correlate with the restlessness of the lyrics and the crunchy sound of the singer's vocals; we love to see a parallel of the sound of the music to the actual meaning behind the song. All the literary techniques used to write a song is the reason why our ears are so attuned to it. 3. Window by Nana Grizol - Going along with the recurring theme of memories and the past, this song is literally a metaphor for a window looking into the past of what something once was. The defining line of this song comes when the singer refers to the window of the past and saying that "we can lift them/and focus on the moments that we lift in" which is a beautiful shift in tone from a reminiscent tune to one that look towards changing for the better and leaving the memories (whether good, bad or ugly) behind for someone else to revolve around. The artist, Nana Grizol, often covers really broad topics, such as negative feelings, the passing of time, moving on in a really succinct way that reaches an audience who needs to hear mantras in a refreshing way. I like to think of this song as a meditative yoga for the ears, please practice daily. 4. Solitary Daughter by Bedouine - I found this song in the most interesting way, so here it is: I was in the Mcnally Jackson bookstore on Prince Street in the city, rifling through the poetry section (as one does) and stumbled upon a book that transcribed songs into poems and included commentary from other writers and from the artists themselves, in a lot of cases. Reading these lyrics as a poem in a book was so thrilling because I often talk a lot about how some songs are really just poetry set to music, and in this case, other people must have thought so too. This piece is incredible in its way of speaking about a woman not needing someone to rely on or anything to sustain her, except for her own self, her home is herself, which is so liberating to both hear and read. I highly recommend reading the lyrics alongside listening. 5. Chemicals by Gregory Alan Isokov - Off of his brand new EP "Dark, Dark, Dark" which was released not but six days ago, is this peaceful and meaningful acoustic folky ballad by a personal favorite of mine. This piece is especially interesting because it plays off of the notion of the different ways in which chemicals can affect a person's body, kind of like the way a person who is really important in one's life can do the same. An image that I love to see showing up in art is the trope of hands trying to reach one another, whether it be in the "Creation of Adam" or an old film. This song plays with this lost hands imagery, in the line "how my hands can't seem to find your hands in the dark", which if I wasn't already in love with the song, sealed the deal for me 100%. Definitely check out the other two tracks off of the EP, they are wonderful as well. 6. Slipped by The National - This week's mix all began with this one sad ballad by my current favorite group and it just built off of this. I cannot express with words, on paper or in person, how much I am tethered to the lyrics of this song. Something about the raw and honest way that this was strung together speaks to a person who is done with being vulnerable to someone who has no intention in showing hidden parts of themselves back. In this narrative song, the speaker is talking to a girl who left the city to go to a more rural area in the South, thus separating the two, and telling how tragic it is to break away from something when he could not be what she wanted him to be. This is a solemn and intense vow to oneself that they will not break down and fall apart because of a love ending, this is another mantra. 7. We're So Lost by Voom - Upon first instinct, I would like to classify this song under tracks I would listen to whilst laying under the stars and thinking about our existence in such a big place or while slow dancing with someone and contemplating what is going on. But now, even in a good mood this song makes sense because no matter how you feel in terms of being in this world, everyone can agree that we have no idea what we're doing most of the times and are mere beings that are floating through time and space, trying to determine why we were placed here in the first place. In some ways, this can be thought of as a slow rock philosophical crisis song, or you can just love it because of the waltz like beauty of it. Your choice. 8. Fuck Love by Lalić - I definitely expected a cynical, bitter, anger driven song when looking at the title, but if I can say any cliché here, it's don't judge a song (book) based on its title (cover). If anything, it's more of a love song, explaining that the speaker has no real reason to be saying things like "fuck love". I think this is interesting because oftentimes, people don't like to be honest with themselves about their emotions, so instead they put up their walls immediately and turn to sarcastic, defensive comments like "i hate everyone" "love suck" or.... "fuck love". Being one of these people, this song opens up that term and exposes us hate poseurs who are very sensitive and truly love to love. The low fi rock sounds with a strong guitar line is nice to hear as well. 9. Blood Bank by Bon Iver - He is so detailed in his description of bags of blood, I have to believe that he actually had a conversation with someone he loved at a blood bank, discussing the differences between people's blood... which is... interesting. It is also vital to this song to understand that the two separate memories he tells about are very closely related because he is explaining the variability of relationships and how to decide whether it is prudent to enter into an affair or to be your own person and indulge in lonely behavior. Of course, it never hurts to be told really emotional things like this with Bon Iver's delicate crooning and layered harmonies that build throughout with such simple complexity, unmatched by other singers in his genre. 10. How It Gets In by Frightened Rabbit ft. Julien Baker - Your first question after listening may very well be "how what gets in?" as my first question was this exact thing. Maybe what gets in is this undeniably wonderful call and response song along with angelic harmonies. But maybe, what gets in, at least in terms of this song, is the literal healing of an open wound and how to properly dress it and make sure it doesn't get infected, or at least that was what was accounted by the singers in question. I interpreted the song to be a recounting and lesson on how love can come into one's life in unexpected places, and how just because there was hurt and pain in the heart for a long time, does not mean it has to stay that way forever. 11. NFWMB by Hozier - This acronym is probably the smartest thing I have experienced in a song's title in a long time: NFWMB is really Nothing Fucks With My Baby, expressed in a classy way, courtesy of the forest prince and love of my life, Andrew Hozier-Byrne. As always, there are several biblical references and apocalyptic death metaphors, which always leaves me feeling very confused and inspired at the same time. The very jazz and blues influenced low key rock song is so different from other love songs that it kind of creates its own category in that sense. It is described by others as "the love song for the end of the world" therefore going back to my feelings of apocalypse, decay and biblical tellings. 12. One In A Million by Hudson Taylor - "You gotta be cruel if you wanna be kind" ok this just hit me way too hard and true. The only way I even discovered this artist is actually because they are opening up for the Hozier concert I am attending tonight and now I am super excited to see them perform as the opening act as well. They remind me of a toned down version of The Kooks in a lot of shared vocals and chord progressions and upbeat instrumentals, except they are a duo hailing from Ireland and they classify themselves a folk band, though the punk/alternative rock influences found in this song are undeniably present. Also present is the message of knowing someone doesn't care about you the way you care about them and needing to be released from that sort of madness... cool. 13. Into The Mystic by Van Morrison - I'm probably not introducing anybody to this song for the first time right now and certainly not the last, but something about the changing of the seasons and the shift of weather from summer to autumn calls out to the mystical and slow dance vibe that this classic and iconic folky rock song inspires. There is absolutely nothing better than the buildup from quiet lull to the horn heavy chorus and interlude that just makes you want to stop and dance wherever you are in your day. Another musical aspect that is highly appreciated by yours truly is the intricate acoustic guitar rift that is taken and shifted into a lot of newer acoustic based songs that we hear all the time these days. The past influences the present and the present is heard in the past all the time, especially in music. 14. Size Of The Moon by Pinegrove - Shifting into a more heavy punk, angst themed style of music is this memory driven song which tells us about a time where the speaker is thinking on the communication issues that occurred in a relationship and how they could have easily been remedied, but there was no effort on the other half's side. From an interpretation of the song, one person smartly said, "It’s really easy to indulge in nostalgia when you’re at a rocky part of a relationship. Suddenly everything appears better than the present, no matter how imperfect those times were." I have to concur with this notion because our perception of the past changes over time and when we miss someone, at times, we look at bad memories and they even start to seem better than being alone... but they are not. 15. Kathleen by Catfish and the Bottlemen - Another song geared towards a relationship not working out the way it's supposed to is from a band that is one of my all time favorites. Their comical British style of lyrics is so appealing to my American way of thinking of things and the heartfelt honesty heard in their songs play along quite nicely with the super power rock style in which they are written. This tune in specifics, is not about the past, but the present and trying to reflect on what is going on in the "now" which is a really complicated thing to try and do, when you are infatuated with someone. The instability is heard not just in the lyrics, but also in the interchanging chords of the electric guitar and the fast paced anxiety ridden drumbeat, which is awesome.. 16. Holland, 1945 by Neutral Milk Hotel - This band is one of the weirdest, coolest ones that only the people who love grating vocals and intense lyrics can truly appreciate to the desired capacity. The whole album, from the 90s, "In The Aeroplane Over The Sea" depicts the story of Anne Frank and the tragedies behind what happened to such an innocent person, along with her youthful romance and how it all devolved in such a short time. A lot of fans of this album have also speculated that there is a second layer of meaning between the World War II references, being that is expresses the kind of tension and tragedy that occurs when you lose some so important in your life, and how the mourning of this loss can only be remedied through appreciating this person afterwards. 17. I'm Not Gonna Teach Your Boyfriend How To Dance With You by Black Kids - Okay, so I'm pretty sure that we can all understand the meaning of the song strictly through the title of this song, negating my opinion before on how you should not judge a song based on its title... well in this case, you can absolutely do that. Not only does it have the best dance tune in the world, but it is also so adorable that the singer's only common connection with the girl he is speaking about is their affinity and adeptness with dancing. Although I definitely have "two left feet" as the singer describes the boyfriend having in this song, I relate to this in terms of music. If there is a person who I really care about, the connection I automatically have is usually in a musical sense, and I am greedy about this relation. We all have something we won't teach someone else's boyfriend/girlfriend if we care about them. 18. 123 by Girlpool - I love this so much. It depicts a relationship where the speaker is asking the partner/SO to tell them everything that is wrong with them in a really sarcastic and aggressive way. It's comical and honest and vulnerable all at once which I have to give a hand for because mixing comedy with painful relationships is something that I always attempt in my writing. The song deals with an interpersonal relationship that is simultaneously “toxic and loving" as described from a contributor on Genius Lyrics, which is a website I often refer to on advice and other commentaries on music I really enjoy. The girl rock power that is disseminated with this track is so strong and empowering, for any gender, so please don't hesitate to sing this when you're feeling angsty about someone. 19. Million Years Ago by Adele - I don't think I ever really talk about my deep appreciation for Adele on here, because I try to branch out from popular artists and focus on more under-appreciated and undiscovered types; but I'm making an exception because although she is one of the most iconic voices of the modern generation, this specific song is so underrated in terms of her best songs. It sounds so french/spanish acoustic ballad inspired and makes me feel like I am transported to a black and white film from the 50s with the sadness and depth that it gives me in such a simple way. It ALSO follows along with my theme of the week, which is looking back in order to look forward, because she sings about the troubles of missing things from the past and dealing with the issues of transforming into a different person. 20. Apocalypse by Cigarettes After Sex - Finally, one of the best mixes of every song I have spoken about previously, is this moody sad love tune by the moodiest, saddest, love bands of the modern generation. There is an unspoken cheesiness of Cigs After Sex songs that for some reason, I am completely enamoured with because I feel like the notion of expressing things in a hyperbolic way has been tossed by the wayside. This group brings back the feeling of needing to tell someone how much they care and not caring about what anyone else thinks, which is important in a world that so often ridicules the ridiculous emotions that love brings about. In particular this song speaks to the feelings of needing to get someone out of a feeling they are trapped in, so to be with them fully, and telling the person they will be there in their lowest and darkest times. 

Hope you enjoyed listening with me, see you next week!

This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to [email protected]. We look forward to hearing from you!

Danyka

French Canadian singer/songwriter Danyka's sultry new single ‘Toi,’ produced by Canadian platinum producer Chris Perry, blends romantic English/French lyrics over a chilled out happy R&B groove setting a summer vibe for a date night with bae. It captures the fun in those beginning stages of a relationship, where being with this person feels so new and exciting you can't get enough and want to know if they feel the same. Danyka elaborates, “’Toi’ is a happy, lighthearted bop about young love that maintains chill R&B vibes. I just wanted to have fun with the songwriting! I first improvised the last line of the hook, Got you on lock, oui je veux de toi, which set the tone for the rest of the song, flowing between English and French. A pink bubble gum song to save for those first few romantic and dreamy date nights, when you're cruising around town in search of different spots to enjoy together.” Listen below.

Danyka · Danyka - Toi

MAGELLA

MAGELLA is a Montreal-based singer-songwriter and DJ with the diasporic blues. With her powerful, warm tone, she uses the various colours of her voice to create a sonic canvas. She examines the themes of isolation, identity and resistance. With a futuristic vision, she writes songs based on her various music influences with a combination of electronic, jazz and vocal improvisation. Her new EP, Checkmate, was “borne of many pent-up emotions,” says MAGELLA. “As I came to terms with those feelings, I treated the EP's tracklist as a motion from my starting point to an arrival in my creativity. Checkmate features ‘Dirty Ice,’ which I wrote as a way to soothe myself after a friendship ended with repercussions. It is a reminder to myself to carry on no matter what is being thrown at me. I wrote it in a way to forgive oneself for not listening to their intuition and keeping on their rose-coloured glasses in unstable interactions and relationships. I explored different time signatures on this song, co-creating a fluid sound with New York based producer, Swaya. My intention was to develop a sound that mirrors life and how unpredictable it can be. I am influenced by jazz singers such as Nina Simone and Billie Holiday. I wanted to recreate their storytelling singing style and combine it with my interest in experimental sounds.” Listen below.

MAGELLA · Dirty Ice

Broken Dreams Club

Broken Dreams Club makes melodic, upbeat electronic indie music, contrasted sharply with sad lyrics about heartbreak, lost love and the human condition. Creating a place where broken hearts can find some company. After three years playing bass and singing harmonies for Bristol’s The Travis Waltons, Amy decided to focus solely on her own project Broken Dreams Club. Named after an EP released by the band Girls in 2010, Amy sought permission to use the name from Christopher Owens. He replied to her request on Twitter by saying ‘go for it’. He hasn’t subsequently responded to any other tweets but Amy remains a huge fan. While on tour in Germany in 2019, Amy caught the attention of Intersphere Records, based in Cologne, who asked if she would like to work together. In response she wrote and recorded The Party EP which is out now on limited edition cassette as well as all streaming platforms. Listen to the EP track ‘Pool Party’ below.

Alex Thom

Alex Thom has just released her debut single, ‘Wise Woman’. The Electro-Pop singer and producer is emerging onto the Scottish music scene with this energetic and heartfelt track. ‘Wise Woman’ contains a collection of Alex’s thoughts that have been twisted into catchy and addictive melodies. By using her signature production style, Alex blends bass-driven synthesiser pads and bright electronic leads to make ‘Wise Woman’ an upbeat and danceable explosion of emotions. Alex describes her aim with production is to create “a warm and juicy atmosphere that takes up the whole spectrum of frequencies to make each layer a listening experience.” Alex’s undisguised and unapologetic lyricism makes the focal point of ‘Wise Woman’ stand out from the first moment. Through experiencing the difficult times of trying to make relationships work, Alex explains that ‘Wise Woman’ can be seen as a message to a person who one wishes to be with, but notices all of the obstacles in their way. Alex says “I want ‘Wise Woman’ to have a personal meaning to every listener. Whether that be in line with my own meaning, or perhaps a different meaning. Regardless, my goal is to make every listener feel empowered.” Listen below.

Alannah Moar

With playful lyrics, warm harmonies and her signature, lilting voice, Alannah Moar has cultivated a powerful rawness in her music that will stick with you. From the age of fourteen, Alannah has been writing and performing her own material; teaching herself guitar and later finding her footing in the local folk scene of Aberdeenshire. Since relocating to Edinburgh, Alannah has spent time developing her sound, working alongside the likes of Berta Kennedy, Matthew Alexander and Gus Harrower. Consequently, her music has matured into a rich amalgamation of folk, pop and rock music, reminiscent of Kate Bush, Orla Gartland and Annie Booth. In Alannah's latest release, she wears her heart firmly on her sleeve. ‘Middle of the Night’ reads like a diary, depicting an explosive revenge fantasy on a cheating partner. A truly DIY record, Alannah wrote, recorded and produced the track (which only took a few days to write) over two years - even playing strings in the song's opening sequence. The song is a confrontation never had, the visceral fury we dare not act upon. ‘Middle of the Night’ is the unashamedly unpolished eye for an eye response. This is a song for those who are sick of "boys being boys" and want to scream at them instead. Listen below.

Zipporah

Hailing from the tropical shores of the Caribbean island of Anguilla; London born songstress, Zipporah, is back again with her latest single, ‘Pull Up’. Based in Manchester, Zipporah embodies the musical soul of each nation entirely, creating an innovative amalgamation of dancehall, pop and alternative R&B music. In each song, she is able to paint a distinct combination of bluesy, sultry lyrics contrasted by tantalizing, waist-rolling rhythms, and sprinkled with messages of enlightenment. ‘Pull Up’, features an electrifying dancehall beat, when combined with its infectiously catchy lyrics, makes it a fire-blazing, nation-roaring, summer anthem. With a lyrical focus on emotionally abusive relationships, Zipporah is able to exude authenticity and vulnerability, allowing listeners to feel connected as they relate. Speaking more on the release, Zipporah says: “It’s crazy how common emotional abuse is today, and yet how afraid we are to talk about it. While it is not as evident as physical abuse, its scars are just as traumatic. I wanted to draw attention to the feelings experienced when in an emotionally abusive relationship, particularly the feeling of being torn about ending the relationship. This song is about gaining the courage to demand better for yourself. Being able to understand that a problem exists and if it isn’t rectified, you’re not going to settle. You deserve not only happiness but peace of mind”. Listen below.

L E S B I A N for the musical asks :)

That you sent me LESBIAN anon, I’m dying, YES!!!

L (a playlist on your ipod): Lmaoooo okay, I have many playlists. Some are on themes according to mood or season, some are grouped by artist or vibe, etc. My favorites are my ‘now’ playlists. I dump everything I am ‘presently’ listening to a bunch into one playlist called ‘now’. After a few months, I add a date to that playlist (it’ll be like ‘Now 2018 Spring’) and then I make a new, fresh ‘now’ playlist and start it all over again! It stretches back a couple years at this point, since I always keep the old ones. It’s neat to see what I was listening to during different periods of time. For example, during Fall of 2016 I was listening to Kim Kwang-seok, Hank Williams lmfao, Winner, and Mylène Farmer!

E (favorite song from the year I was born): Okay, so I was born in 1991…hmm. ‘Our Frank’ by Morrissey?

S (artist you have the most merch from): Love this question. It’s probably Malice Mizer (I have a bunch of CDs, DVDs, photobooks, etc). Actually though, recently I’ve been getting a bunch of Gerard Way shit that’ll probably end up surpassing that. I’ve got the Hesitant Alien album, the picture disc, the Pinkish EP, THE LOLA STUFFED ANIMAL, the Hesitant Alien zine, some random magazines that Gerard is in, the Lola socks are on their way, oh and I have a bunch of his comics shit like Doom Patrol, Killjoys, Umbrella Academy, and the Secret Loves of Geeks he contributed to. I really want the Boyzine thing he did though, that’s my next goal. I don’t know if I’ll ever be able to track a copy down however, unfortunately. Seems hard to find. I’ll keep posting about it and hoping though, hahahahah!

B (Top 5 albums): GODDDD THIS IS GONNA BE SO HARD!!!!!!!! Okay, keep in mind this isn’t in any particular order I couldn’t possibly rank these.

1- Soft Ballet: Incubate. It’s early 1990s, new wave, synth pop REALNESS! Also my fave song of all time, ‘Engaging Universe’, is on here! Woo, it was hard to pick my Top 5 albums though, I nearly put Ippu-Do’s Radio Fantasy or YMO’S Naughty Boys instead! But yeah, ultimately, I put Incubate instead because hmm…there’s something, I’m not sure, otherworldly and philosophical about it. I listen to this album to think. Not sure why. There’s something special about ‘Deep-Sets.’)

2- Malice Mizer: all their albums BINCH!!!!!!! HAHAHAHHAHAHA If I had to pick though yeah, Merveilles…but honestly Bara is beyond good, too…and memoire…I genuinely like all of them, I do. I guess Merveilles best represents their spirit though, as a band? As an art project? Idk, and Merveilles I listened to a lot as a teenager when times were rough and so I’m really attached to the fantasy world they created with that album. It’s like I could leave wherever I was and go there, you know?

3- Susumu Hirasawa: Sim City. This album is so beautiful and meaningful to me. It’s about Susumu’s take on Thailand as a city of the future, as a place where people take their bodies and destinies into their own hands. He was very interested in the transgender women he met there, and befriended several. One, Lady N, is featured on the cover of the album and does some spoken word stuff on the album. I believe she came on his tour for the album too. Hahaha, most of my fave shit has to do with gender/trans/sexuality shit hahaha. It was a hard toss up between that and one of his other albums, Philosopher’s Propeller, which was the basis for the Millenium Actress film soundtrack!

4- Gerard Way: Hesitant Alien– WOOOOO!!! I had to limit myself to 1 Gerard item, otherwise, MCR would fill this shit up too fast! But yeah Hesitant Alien is what got me truly into him because, believe it or not, I’m late to the Gerard train! Only got into him like, 3 years ago, and only truly became a fan for maybe 2 years now. I was too busy with Malice Mizer and visual kei as a teen to notice MCR, or really a lot of things that were big for kids my age then! Like I really have...no affinity for most the rest of emo from that time period, aside from The Used (and obvi MCR). But anyway yeah this album makes me laugh and cry! The song Brother is like a feel I feel…even though I don’t have a nice brother like Gerard does. Also just musically I’m impressed by Gerard’s constant evolution soundwise overtime. He reminds me Bowie that way, always evolving. I have many artists that I enjoy that are more static– there’s defs something to be enjoyed in that consistency, but yeah, I totally admire when somebody can gracefully evolve as an artist over time. It’s not easy.

5- Amadeus - Mikan No Gosenfu To Kurayami No Meikyuu. They’re on some early 2000s, symphonic, operatic, indie visual kei realness! This album shaped a lot of my musical and aesthetic sensibilities for years to come. Although it’s cheap, it was such an ambitious record, such an ambitious project. You can feel a scope that isn’t usually present in an indie band. Defs a band that I wish had made it, but was pretty much doomed to never make it. 

Honorable mention: David Bowie’s Hunky Dory changed my life!!!! 

(I own them all! They’re all important to me!)

I (an artist you don’t like): Normal, uncreative stuff… I’m not even getting specific because then I’d have to like, think about who I dislike and then I wouldn’t be able to get their songs out of my head, hahahaha! Besides, eh, having some musical tastes that are niche or ‘unique’ (though there is defs mainstream stuff I like as well) I’m sensitive to not stepping on other people’s toes about music. I feel like the stuff I like gets shat on as weird/“shallow”/overly focused on visuals (whatever that even means like??? as if you can’t, idk, potentially attend to visual and musical and lyrical artistry at once HAHAHAHA) so I tend to not mention if I’m not into something, unless I’m speaking to somebody who I know for sure isn’t into that shit. But yeah, I can narrow it down to a genre…probably ‘normal rock’. Rock music where it’s like the same chord progressions you hear in a million different bands? That gets to me a bit, er, a lot. Sounds like a drone. Makes me bored and sad LMFAO!!!!

A (guilty pleasure): One Direction! Specifically, their album Four. Idk if that’s ‘guilty’ though because I’m pretty open about it. I certainly don’t feel bad about it. I think I own Four…or did I just download it? I can’t remember.

N (a song you haven’t listened to in a long time but you love): Aw ;.; Man this makes me nostalgic. Probably ‘Green’ from Klaha’s solo album, Nostal Lab. That whole album and the personal symbolism of idk, his many sides through the prism, the past cutting through the future and back again (nostal is short for ‘nostalgic’), it just makes me feel things so I don’t tend to listen to it. Aw, I loved him so much. I used to spend every Christmas/New Years when I was a kid watching his blog, hoping he’d post again. His site is gone now. I think the guy’s just done with music and public life, you know? Hoping wherever he is though, that he’s okay.

Thanks for a good ask, anon :)