#hook and loop asmr

[anderwater]

Vampire ASMR with the Cast of First Kill | Netflix

[thisbrokenmask]

Moving On

Title: Moving On

Pairing: Yoongi x reader

Genre: Established relationship, fluff

Warnings: N/A

Word Count: 1.7k

Song inspiration: Moving On

A/N: Another one of my submissions for ficswithluv’s Bulletproof Bingo Event, and this one is especially poignant for me as I got the keys to my new apartment today! It’s also my first time living entirely on my own - no fellow students, no partner - so I’m very excited to be taking on this next adventure! 

Also, in case you didn’t notice, I’m a bit soft for Yoongi :) 

“Is this the last one?” You turn to see Taehyung pointing to the box at his feet and nod in confirmation, watching as he immediately bends down to lift it. He doesn’t mention your lack of sarcastic comment that the last box sat in the middle of the room is clearly the last one, and you try not to frown at how effortlessly he lifts it and turns to take it out of your apartment. You remember how you’d had to slide it across the floor once you’d filled it not even a week ago, but you aren’t about to question your significantly stronger friends when they’re helping you and your boyfriend move. 

Once Taehyung’s footsteps disappear down the hallway towards the elevator of your soon-to-be ex-apartment building, you turn to look around the now-empty room that was formerly your lounge. The TV is no longer on the wall, the wide expanse of blue somehow looking smaller without a flatscreen in the middle of it, and all of your photo frames are securely packed away, their hooks removed from the walls and the holes filled in and painted over. 

Your footsteps echo on the bare wooden floors as you turn to wander towards the kitchen, the rugs you’d used to cushion the floor already rolled up and waiting inside the truck outside. The ghosts of tummy-aching laughter and birthday songs ring in your ears as you try to remember all of the celebrations and movie nights that have happened here over the years. You subconsciously step to the side to avoid the end table that’s no longer there, a short chuckle passing your lips as you realise how deeply this action has seeped into your muscle memory. It’s understandable, given how you’ve lived here for just over three years, but you still can’t help but laugh at yourself. 

The white kitchen cupboards gleam in the sunlight that seeps in through the window above the sink, all of them meticulously wiped clean and emptied. A soft smile graces your face as you remember all the dinners you both cooked here, the glasses of wine you giggled over, even the few times you made love on the floor when the bedroom was just too far away from the front door after a date night. 

“Ready to go?” A pair of arms wraps around your waist and a chin settles on your shoulder as Yoongi whispers in your ear, his deep voice the most sinful ASMR you’ve ever heard. The warmth of his chest against your back helps to soothe the nerves that have been creeping up your spine for the last few days. While you’re glad to be out of the small, cramped apartment that you could barely afford by scraping your earnings together three years ago, you’ve never been good with saying goodbyes, even to places. 

You remember the first night you spent here, the two of you sat on the floor with a few take out containers between you. Boxes sat on the counters above you and took up the floor in the next room, and a mattress was waiting on the floor in the bedroom for when you eventually collapsed into bed together, frameless until later on in the week. Your belongings were threadbare at best, a lot of secondhand pieces making up the most of your possessions, but it was finally your own space. The two of you, together.  

“I think so,” your whispered reply is shaky as you place your hands over his where they rest on your stomach, his hum of amusement rumbling against your shoulders. 

“Don’t tell me now you want to stay?” he teases, turning his hands over to lace his fingers with yours. 

“Definitely not,” you laugh, squeezing his hands in return. “I’m glad to be leaving, really. We’ve outgrown this place and I’m ready to move on.” You nod to yourself, feeling your confidence rise with each word, knowing that you mean them all wholeheartedly. You’ve definitely outgrown this apartment, both of you now making much more money than you’d ever dreamed of three years ago thanks to Yoongi’s growing success in freelance music producing and your own writing career taking off just over a year ago. 

But it’s not just the money. The two of you have gone from strength to strength as a couple, weathering the storms of being broke, missing out on dream jobs, stress-fuelled arguments and late nights spent deciding whether to pay the bills on time or eat more than packet ramen for the foreseeable future. You’re ready to keep moving forward through life with him, already knowing that you’ll stay by his side for as long as he’ll have you. 

The man who lives full time in your heart starts to sway slightly, his hold on you guiding your hips to follow his from side to side. “Yeah?” His nose nuzzles into the spot just below your ear, your breath catching in your throat as he places a gentle kiss to your pulse point. You nod weakly, your confidence slipping at his question. “Then why do you look like you’re going to cry?” 

With a deep breath, you close your eyes and pull your hands from his. You feel him tense slightly, but he relaxes as soon as you guide his hands to the slope of your body between the dip of your waist and the curve of your hips. You finally turn in his arms, looping your arms around his neck, unable to blink back the tears in your eyes despite the smile on your lips. His eyes are watching you carefully, dark and deep and attentive as always, even when the black hair of his fringe threatens to overlap them. It hides his eyebrows, but you know one is cocked slightly to match the lopsided smirk he’s giving you. 

“Because, this is where we grew up, Yoongi,” you tell him, watching as his expression relaxes from a teasing smirk to match your soft-eyed smile. “We went through so much here; the good, the bad, the ugly… the fun.” You pull gently on the hair at the nape of his neck at the memories of the kitchen floor you’d just been reminiscing on and grin, a deep sigh sounding when he closes his eyes and bites his lip before staring straight back at you, pupils dilated. “We’ve got so many memories here,” you continue, looking around at the empty walls and pretending to ignore the way he grips you tighter. “I know it’s not the best apartment, but it was us. This was our home, and I’m going to miss it.” 

Yoongi’s stare softens once more and he internally curses how he knows he’ll never win against you; you hold his heart in your hands and he worships how gently you hold it, never squeezing too hard or letting him feel like you might drop it. 

“I won’t miss it,” he says quietly, catching you off guard as he leans in a little closer.

“No?” He shakes his head. “Why not?”

“Because you’re my home,” he states, as if it were a fact universally acknowledged. “As long as I’m with you, I’m more than happy.” 

“You’re my home, too,” your watery smile threatens to push your tears down your cheeks, but you manage to catch yourself before they do. You smile instead, adoration clear in your eyes as you look up at him. 

Yoongi’s heart beats wildly at the conflicting emotions coursing through his body, wanting to make sweet, reverential love to you, fuck you against the wall until you know nothing but his name, and simply hold you tightly against his chest, all in equal measure. You bewitch, ensnare and captivate his senses all at once, always have done, and he constantly struggles with how he can possibly express how much he loves you. He wants to worship every inch of you and yet feels too inadequate to even gaze upon your body. He wants to wait on you hand and foot and give you anything you want, but also wants to see you thrive in your own spotlight, carving your own path as you go. He’s torn between fierce attraction and heady admiration at every turn, but he wouldn’t have it any other way. 

As his friends have repeatedly said, he’s whipped. 

And guess what? He’s proud of it. 

You’re the woman who has stood by him despite everything, despite all the hardships you easily could have upped and walked away from. You’re the one who comforted him when his own parents refused to recognise his dreams, letting him vent and cry rather than telling him they weren’t worth the pain they caused him. You’re the person who admonished him for wanting to give up on his dreams of music, even when it was barely bringing enough money to the table despite keeping him up all night. You were the first person he wanted to tell when he finally sold a track for a decent amount of money, running home to show you the cheque in person because he could barely believe it himself. 

And here you still are, in his arms, gazing up at him like he’s worth more to you than the whole world, a position he still doesn’t feel like he’s even close to earning. You entered this flat together and you’re leaving together, off to take on new adventures together on stronger legs. Your new apartment is bigger, with enough room for Yoongi to have some proper equipment in a proper studio space while you have your very own writing desk in your new office. You’ve been able to upgrade your bed from a rickety-framed double to a memory foam-topped queen. There’s even more space on the kitchen floor. 

You smile as he lets his forehead rest against yours, both of you closing your eyes as you breathe into the same private space between you. As you feel his hands move around to rest at the base of your back, you feel a new surge of confidence fuelled purely by the love you feel radiating off of your partner. As long as you’re with him, you feel invincible.

“Let’s go,” you say, not moving an inch. 

“Okay,” he whispers back, pulling you closer so that your chests are pressed firmly together. 

A final deep breath, you pull apart. 

“I love you.”

“I love you, too.” 

If you would like to read any more of my writings, please feel free to check out my masterlist here. 

[thesunlounge]

Reviews 364: X.Y.R.

X.Y.R. is among my absolute favorite purveyors of transportive balearica, soothing synth ambient, and mysterious fourth world, and ahead of writing about his epic, mystical, and deeply zoned out Pilgrimage LP on Not Not Fun, I’d like to take some time to write about the artist’s Tourist, which saw a cassette repress by Ingrown Records a few months ago, after originally being released by the label on vinyl back in 2017. X.Y.R.–real name Vladimir Karpov–has explored a range of fantastical and otherworldly textures across his discography, whether through his increasingly psychedelic collaborations with Not Not Fun, or through releases such Robinson Crusoe (Lost Soundtrack), El Dorado, and Artika, all of which explore sonic narratives both mythical and imagined. But amongst all the shades and styles he has worked with, I am perhaps most fascinated by his journeys into tropical dreamworlds and horizontal paradises, such as those found on the Big Calm cassette. And in many ways, Tourist was a spiritual successor to that album, as both releases perfectly soundtrack lazy days spent at seaside, with music that is seemingly meant to evoke the feeling of swaying in a hammock strung between two palm trees, as warm salt-air, rhythmic waves, and perfumes from exotic flowers lull the mind into a meditative state of bliss. As always, X.Y.R. colors over his beloved Formanta-Mini and Alisa1387 analog synthesizers with pedal fx, an RC-20 loop station, and field recordings, while also giving space to the guitar of Dmitriy Borodin on album opener “Celler Florida Fiesta.” And just as on the vinyl release, Alexandr Dimov’s evocative artwork graces the cover, with his visage of a fisherman gazing at some glorious sunset perfectly encapsulating the album’s paradisiacal evocations of a relaxing island escape.

X.Y.R. - Tourist (Ingrown Records, 2017 / 2020) In opener “Celler Florida Fiesta”, percolating synthesizers shimmer like Carribean crystals, only as if seen through a mirage of seafoam. Vocalized bass textures fade in and mechanical loops click, pulse, and breath while bird whistles flutter at the edge of the mix. Reverb-soaked field recordings move around the periphery as the synths occasionally lock into playful tropicalisms that pull my mind the work of Hosono…these bleary and blurry themes of child-like wonderment and equatorial ecstasy. Everything is held together by hushed rhythms of reverberating click and clack, while fourth world hooks whoosh back and forth between pan-pipes and whistles. And by the end, the abstracted tropical loops and drunken themes of seaside mirth begin to suggest an android’s approximation of an island lullaby. The swirling warmth of “Bon Voyage” follows, with organic bass thumps and hissing cymbals flowing through dub delay chains. New age synthetics smear and smoldering subsonic waves work through melodies of equatorial splendor, with looping phrases bathing the mind in a summer sunshine glow. Reggae-hued textures spread outwards amongst echoing chord bursts, hazy heatwave pads diffuse in from distant horizons, and as the basslines recede, white noise whispers and sighing seed shakers add polyrhythmic movement. Soviet-era synths cycle through mermaid melodies that dance across the stereo field, and bass notes swim dreamily in one ear, only to have starscape leads resume their phrase on the other side of the spectrum. 

Pads hover amidst bubbling liquids at the outset of “Bathyscape Journey,” and dreamspace synth circulations merge with white noise shaker patterns. ASMR clicks and electroacoustic whispers flutter as those hovering pads reach towards an impossibly beautiful horizon, and faded whistles emerge to lead a relaxing island sway. The mix overflows with texture and movement as underwater gemstones generate sparkles that trail off to the far reaches of the stereo field, and lush layers of reverb create an otherworldly effervescence…as if the entire mix is bathed in softened layers of pearlescent fizz. Deep chords evoke a choir of masculine sea sprites, and something in the melodies recalls the folk music of the southeastern Pacific. Tapped cymbals evoke drumsticks splashing into metalloid pools of static and further folksy whistles melt over the mix, which increasingly evokes a psychedelic paradise of tropical wonderment, wherein colorful creatures of the seafloor play strange woodwinds of shell and coral while analog cloudforms swirl all around. Next comes “Mountain Drift” and the sounds of breath, children, and bubbling synth pulsations that increasingly grow in magnitude. Insectoid rattles are heard far away and blurring layers of squarewave synthesizer intermingle, as dazzling phrases and interlocking echo patterns flow in from all directions. Mystical temple melodies evoke an ancient forest shrouded in fog, but the sounds of humanity are never far from reach, as snippets of childlike chatter coalesce with birdsong and industrial factory detritus. I’m reminded at times of the distinctive new age and environmental ambient of Inoyama Land, as well as of minimalism, due to the increasing presence of bouncing curlicues. kinetic echo cycles, and psychoactive sound loops.

In “Captain’s Pipe,” avian conversations surround soft focus synth melodies that move through longform ascents and descents. Harmonious wavefronts of organ-esque tonality bath the body in ecclesiastical light and sequencers constructed from ocean crystals dazzle the mind, with time signatures not quite aligning, and thus creating a vibe of daydream intoxication. Keys buzz in the left ear and voices speak in the distance, and though I know not the title’s origin, I like to imagine it as the name of some café deep in the jungle…a sort of harmonious glow of life and culture in the heart of a rainforest, with people basking in tropical melodics and conversing about nothing at all while birds paradise flit from tree to tree. Flowing seamlessly into “Euphoria,” heavenly tones quiver like Spacemen 3, only as if heard underwater and surrounded by bubble clouds that erupt from seafloor vents. Space age whistles and meditative pads whisper together until suddenly, the track develops into a fully formed island groove, one that sees equatorial basslines thumping, shakers sketching out rhythms of seaside mesmerism, and synthesizers harmonizing together, with tones ghostly, otherworldly, and again recalling the worlds of City Pop (think Wonder City Orchestra and Jun Fukamachi’s ambient work). Wavering leads dance around the spectrum while being tracked by percussive sparkles and elsewhere, bubbling currents flow upwards before dispersing into shards of light. Eventually, those groovy basslines recede as seasick synth work diffuses into the mix, but it’s a false ending into whirlpool of angelic shimmers and metallic wisps, for soon enough, the thumping bass jam returns, bringing with it atmospheres of a thrilling seaside sashay.

Reverberating voices sit above a drunken bass gallop in “Cocktail Party,” as if meant to suggest a futuristic saloon town by the sea. Thudding percussions underly the bass motions while tropical hazes flutter in and out of focus…all while vibrato atmospheres cycle through strange patterns. Percussive pads mimic steel drums, smears of feedback arc in the distance, and the beats cut momentarily before dropping back in, with the body falling ever further into the loping sway. There’s a touch of Ethiopian music intermingling with spaghetti western soundtrack work, and at times the vibe presages the more blissful and balearic moments from SiP’s Leos Naturals. And later, further melodic layers descend to create harmonizing polyrhythms as the titular cocktail party precedes somewhere deep in the mix. The glimmering synthesizer wavefronts of “Coconut Haze” emerge from crowd chatter, while slow motion loops whirl around bass pulses that are felt more than heard. Strings synths diffuse into clouds of gas and heatwave leads flutter upwards while lullaby arpeggiations sit deep in the background ether…their subdued rhythms eventually enhanced by ceremonial drums and tambourine jangles. Electronics evoke the feeling of being surrounded by a summer storm, with gentle layers of resonance joining together and generating soft spiritual howls. The body sways back and forth on the paradise rhythms, and hissing textures of pink noise and serene static surround the spirit, again evoking a cleansing bath of rainfall. Closer “Vanishing Point” begins with garbled electronics and reversing streaks of angelic radiance–the vibe gentle at first–but growing increasingly strange was the track progresses. Tapped cymbals and tambourines flow in as arps made of glowing glass fire across the spectrum, generating dazzling light patterns that seem to emanate from some unseen center. Berlin school textures are filtered into vaporwave crystals before ascending on currents of rainbow energy, and the melodies are enhanced with a sense of wistful nostalgia akin to 50s pop…like a paradise remembered, or perhaps only dreamed.

(images from my personal copy)

[ongfreestyle]

Top 20 K-pop Songs of 2018

2018. 2018 was a year and it turns out that my favorite albums were not kpop albums so this was kinda hard, but I decided not to break my tradition (even though it's February) and give you my list anyways.

20. Why by Hoody ft George (The Queen returned with a smooth slow bop for us and when I say it LISTENED to this I MEAN IT)

19. DKDK by Fromis_9 (My girlies came back with a fresh cute song about the pitter-patter of their hearts and I couldn't get enough of this song)

18. Baby Don't Stop by NCT U [Ten and Taeyong] (This song is just. A LOT for me the ASMR-esque hook the way the song just flows in an unexpected way. We stan BDS(M).)

17. Forever Rain by RM (This song is actually perfect for my mood. It's like RM dropped his music just in time. Thank God.)

16. Singularity by BTS (V truly SNAPPED with this song and if for some reason you haven't seen the masterpiece that is the video then do yourself a favor and check it out)

15. Euphoria by BTS (My are always filled with tears of love? When I hear this song Jungkook gave us the most emotional pop song? Of the year and every time I hear it I am reminded how good he is at his job)

14. Go by NCT Dream (UUMMM THIS SHOOK ME! MY SONS GREW UP AND WENT OFF! ESPECIALLY HAECHAN!)

13. 1,2,3 by NCT Dream (ANOTHER BANGER WHERE MY SONS DID WHAT THEY HAD TO DO AND THE DANCE IS SUPER GOOD)

12. Scentist by VIXX (Vixx KNOWS how to make a concept. A TITLE TRACK. THIS WAS ON LOOP FOR DAYS and I'm STILL not sick of it)

11. Your Girl by Khan (if I'm correct, the members of Khan were on The Unit and although they didn't win it, they still took a W and made this jam! Their voices over this beat is EVERYTHING and I hope to keep hearing from them)

10. Love Scenario by IKon (YES THE NATIONS SONG!! My top ten were very close but don't think I DON'T YELL these lyrics in my car. I can even hit Bobby's rap a bit lol)

9. La Vie en Rose by I*Zone (When this song dropped I KNEW it was going to be my favorite song and even in my top 20 it rings true and I cannot wait to see what else they have in store for us

8. Seoul by RM (Good. Vibes. Good. Beat. Good. Everything.)

7. Martini Blue by DPR Live (Mr. Hong Dabin came for my edges with this track and he got them!! I LOVE this song and the video is just. Art.)

6. 134340 by BTS (CALL IT BY ITS NAME! 134340 crawled so the LY series could walk! The BARS in this song are nearly unmatched and Rap Line did everything as did vocal line. This song is groovy. Wavy. And I love it)

5. Trivia: Seesaw by BTS (Yoongi made a great soft pop sad song and you better believe I listened to it almost everyday since it dropped)

4. Text Me by DPR Live (I believe this was his year and I hope he gains more fans because what he out out in 2018 was AMAZING)

3. Anpanman by BTS (My soul leaves my body when this comes on I TWERK TO THIS SONG. I GET LIT TO THIS SONG. IT MAKES ME SO HAPPY despite the kinda sad undertones.)

2. Bad Boy by Red Velvet (RV NEVER COMES TO PLAY AND THIS TRACK PROVES THAT! WE SHOOTIN BAD BOYS DOWN ALL YEAR)

1. Trivia: Love by BTS (Namjoon is my bias and this solo made me love him 29373× more! This song just makes me happy and just. Living and loving it's just...one big good mood. 2018 was a BTS year for me and that's okay with me)

[hcmj]

HCMJ’s Favorite Albums of 2018!

Listen to a mix featuring these albums here: HCMJ’s 2018 End Of Year Mix

Honorable Mentions: 

LLLL - Chains Phase 4: Resemblance

Various - 慕情 in da tracks

Endurance - Shade Terrarium

Farragol x dropp - 楽感 / optimo

pool$ide - aquarius

FUJII - EUPHORIA

Andrew W.K. - You’re Not Alone

Stardazer - Vacation Dreams

Alex Crispin - Open Submission

Foodman - Aru Otoko No Densetsu

20) TUPPERWΛVE - To you baby, with love

As the years go by, sometimes I still crave that classic-style (or as Tech Honors once described SEAWRLDハートブレーク, “trash-ass”) vaporwave sound. It’s the usual fare of slowed down antiquated R&B with filter sweeps and side-chained kicks, but TUPPERWΛVE’s sample choices and looped snippets stay inspired throughout, building emotionally impactful arrangements and proving the artist has what 90% of contemporary vaporwave is missing: a sense of taste and purpose. NUWRLD vibes.

STREAM/DOWNLOAD

19) The Caretaker - Everywhere At The End Of Time - Stage 4 & 5

Leyland Kirby released stages 4 and 5 of his six part, multi-year epic simulating a mind falling into dementia. It’s said the last memories someone suffering from dementia retains are the melodies heard in their youth, and on this year’s installments we find melodies from the first stages lost in a haze of static and noise. While not as easy to listen to as the first three stages, these 8 tracks lose the poetic titles of the previous installments and present an absolutely horrifying interpretation of the confusion that comes with a mind breaking down.

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18) Kate NV - для FOR

I won’t lie, I went into the new Kate NV hoping for at least a few heart-melting rib-cage exploding pop masterpieces like what she showed us on Binasu (my favorite album of 2016). However, the absence of conventional songwriting on для FOR ends up being its defining characteristic. The album delivers a set of impressionistic synth sculptures that slowly develop an album that blossoms into blissful organic structures with brushstrokes of vocals before skipping off into a brightly lit horizon.

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17) 忘れた頃に手紙をよこさないで - Tamao Ninomiya

There is an air of surreality drifting through the new crop of Tokyo underground post-pop. Tamao Ninomiya’s “lo-fi bedroom pop” is always performed in PJs and has a playful gloominess with a thousand-yard-stare kind of shyness that exudes a special kind of emotional resonance. Everything is gentle, subtly “off” - it’s an inventive and delicate pop sketchbook. 

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16) Kero Kero Bonito - Time 'n' Place

The same way Pokémon Yellow was a video game based on an anime that was based on a video game, Kero Kero Bonito is a British group that has arrived at a sound closer to early 2000′s jrock than the British rock that crop of Japanese musicians were imitating. While the final 1/3rd of the album drags, there’s no denying the pop perfection of “Time Today,” the Blue-Album-Weezer thunder of “Only Acting,” the Parklife-era Blur artschool bounce of “If I’d Known,” the whimsical bubblegum of “Make Believe,” or the saccharin yet heartfelt “Dear Future Self,” a pop meditation complete with "Mr. Blue Sky” charm and melodramatic chamber orchestra arrangements.

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15) we could die here - we could die here

While “brooding ambient” is a genre I have drifted away from these past years, ‘we could die here’ reminded me of why I was once drawn to it. It’s all about creating atmospheres, and while so much of genre these days seems to be producing the same, boring, smoke-filled neon/black room, ‘we could die here’s lush sound succeeds in building a sprawling, haunting world with enough depth that it’s worth returning to.

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14) poemme - Moments in Golden Light

Similar in scope to ‘we could die here,’ Moments in Golden Light is as advertised - warm and soft. Blissful pillows of ambience constructed in the old style, poemme pulses and drones with the silkiness of Hakobune and the breadth of Steve Roach, featuring a track that even unabashedly layers in bird samples.

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13) Machine Girl - The Ugly Art

The Ugly Art is special, as it’s the first Machine Girl album that begins to capture the raw energy and power of their live shows by showcasing live drums. The insane breaks are intact and the blistering Dreamcast punk is more hardcore. It’s dense, unrelenting in its shredding, and culminates in the epic “A Decent Man,” a 10 minute violent rave masterpiece with more content than all 3 Matrix movies combined.

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12) Oneohtrix Point Never - Age Of

Age Of is a complex concept album more convoluted than a Roger Waters solo project. The music itself makes the trip one worth taking, through 13 immaculately produced tracks painting a post-apocalyptic machine world. It has an ability to turn pop tricks on tracks like “Black Snow” and “Same,” while the sound remains distant from any of comfortable paradigm. Bits of static, broken samples, and walls of noise develop into larger-than-life ballads that seem eerily familiar despite being so alien. The arrangements are complex and the production is deep, it’s a cyber-western soundtrack that always commands full attention. 

SPOTIFY / APPLE MUSIC

11) Seth Graham - Gasp

Gasp has a charm and complexity that sets it apart from a lot of experimental composition. The tape cut samples of “Whisper - Slap” sound impossibly worked on, while the ASMR freakouts of “Binary Tapioca” and the restrained playfulness of “Flower Cheese” make the process sound like an artist working effortlessly. Deeply emotive and loudly expressive, Gasp has a sound that digs in its hooks and burrows deep.

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10) Equip - Synthetic Core 88

The long awaited followup to the seminal faux-ost I Dreamed Of A Palace In The Sky, Synthetic Core 88 delivers on the promise of Equip’s earlier work and brings it to a new realm of legitimacy. This is a 32-bit RPG I wish I could play - with all the themes of interwoven technology and magic revealing themselves in the clever score. The conflict between the cold steel and floral lushness emerges in the sound somewhere between Uematsu and a “Tales of” game. This album could only be made by someone who truly understands how music supports the worldbuilding an RPG needs to be a successful narrative platform.

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9) Utsuro Spark - Static Electricity

Utsuro Spark is a miracle. One of the highlights from the impressive output of the Japanese label, Local Visions, this mini-album is a collection of beautifully crafted metropolitan electro pop. Sharp instrumentals including studio-perfect guitar and on-point synth work lay a foundation for blissfully creamy vocals - pop music that is full of desperate longing and unpretentious charm. The katakana titles recall the old Japanese pop it draws inspiration from, but in many ways the soul of this music at the very least meets the bar set by the old masters. 

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8) Tsudio Studio - Port Island

I was lucky to play a show in Kobe with Tsudio Studio, whose brilliant songwriting and iconic vocal delivery completely won over my heart and soul. The jazzy coolness and gorgeous chord structure for tracks like “Azur” and “Snowfall Seaside” are absolutely intoxicating, while the hooky R&B in “Mikage” and the Phantasy Star Online space-shredding of the opener “Tor” make Port Island a mini-album where every single track is a stand out.

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7) Dinosaur On Fire - Populous Romantique

After a 6 year gap, dds cohort Tech Honors unleashed the second Dinosaur On Fire album in a maelstrom of prog rock and laser beams. It’s an ultra hi-fi production that bounces from stoner prog to krautrock to synthwave to operatic video game symphonies to Ray Lynch arp fountains and back again effortlessly. Populous Romantique showcases the expansive reach of Tech’s abilities both as a visionary artist and producer.

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6) Monari Wakita - Ahead!

While so much jpop has become aggressively intense and fast-tempo, Ahead! provides a soulful contrast. Monari Wakita is an ex-idol and alumni of Especia, a group known for capitalizing on 80′s/90′s nostalgia. Ahead! mostly pulls from the 90′s, with new jack swing aping and hyper-produced city pop so technically perfect that the instrumentals would sound at home on the soundtrack of a 90′s Sonic Team video game. It’s that FM bass, synthetic swing, and plastic instrumentation against Monari’s powerful and soulful voice that gives Ahead! its irresistible charm and made it one of the most addictive albums of the year.

VIDEO 1 / VIDEO 2

5) Ventla - Plugged-Matic/Sublingual Odyssey

After years of silence, Ventla returned in 2018 with 10 (!) new albums on his quest to release 100. Ventla’s music continues to be eclectic vignettes of scratchy pop music, utilizing a seemingly endless variety of instruments and synths. Of the 10, the “classic Ventla” sound of Plugged-Matic and the playful exoticism explored on Sublingual Odyssey were my favorites - but with an artist whose entire catalog of 477 songs is easily played on loop for days on end, picking only 2 albums is almost an act of futility.

STREAM/DOWNLOAD: Plugged-Matic/Sublingual Odyssey

4) emamouse - Pigeon’s Point

emamouse’s genius visual art and surreal identity are accented by her equally forward thinking music. The iconic opener “01_PP2″ is a brilliant statement of purpose; a homicidal vocaloid squeaking words you can’t quite understand but frighten you nonetheless over a synth organ jamming out hypnotic post-pop you can’t help but dance to. This is music written by a true artist with a powerful vision of reality and instrumental chops informed by video game music deep cuts. “08_Pigeon’s Swipe” is another great showcase of emamouse’s ability to skew Dragon Quest baroque synths and contort them into the brilliant, unsettling world of her boundless imagination.

STREAM/DOWNLOAD

3) TWICE - What Is Love?

Kpop can be a divisive genre, but its meteoric rise in the US is no fluke. The Korean pop machine has mastered the art of the pop song, and nowhere is it more evident than in TWICE’s “What Is Love?” Perfect structure, heart-tugging hook, surprising turns, and a chorus that sounds like 1000 girls yelling the lyrics from the bottom of the grand canyon, “What Is Love?” is technically perfect and sweetly endearing. It’s truly the most perfect pop song I’ve ever heard.

VIDEO

2) Mid-Air Thief - Crumbling

Crumbling is an album so in tune with my personal taste it’s hard to believe it exists. With a foundation of Lamp-esque dreamy pop labyrinths, Mid-Air Thief weaves complex arrangements peppered with ELO synths, chiptune fireworks, lo-fi indie folk revery, underwater voices and Elliott Smith whispers, even some Merriweather Post Pavilion electro-hippy clouds. It’s all the right flavors and textures coming together in a perfectly balanced, romantic masterpiece.

STREAM/DOWNLOAD

1) Lamp - Her Watch / 彼女の時計

I discovered Lamp through a vaporwave album back in 2014 that sampled them heavily, and while those short samples of cooing vocals and breezy guitar looped with their heads underwater certainly worked in a satisfying way on that album, discovering the source material was a revelation. Lamp is the result of an algorithm to determine music that would be most appealing to me, and they hit new ridiculous heights of personal appeal on Her Watch. Their signature labyrinthine hurricane of Beatle-esque chord changes under soft voices and bossa nova rhythms is re-fitted into a nostalgic frame, sometimes approaching an almost city pop revivalist sound. The tenderness of “Slow-Motion,” the romance of “A Train Window,” the pop genius of “1998,” the borage of melancholic brightness that rolls from the opening chords of “At The Night Party,” all of it falls into place on the most sublime 36 minutes I have heard in a long time. It was the soundtrack to my life this year and my favorite album of 2018!

STREAM/DOWNLOAD / SPOTIFY / APPLE MUSIC

[thevividgreenmoss]

Lawrence, Sloan, and Nesbitt are not household pop names, but on Spotify they have each racked up tens of millions of streams and prime playlist placements, specializing in muted, mid-tempo, melancholy pop, a sound that has practically become synonymous with the platform. It’s a type of music that could easily fit on mood- and affect-oriented playlists like “Chill Hits” (a playlist with nearly four million followers that all three are currently on), “Chill Tracks” (with over two million followers, promising “smol and delicate notes to calm your bones”), or “Sad Songs” (“beautiful songs to break your heart”).

These artists’ individual backgrounds tell a tale of three streaming-era success stories. Lawrence was first a model with a considerable Instagram presence, the daughter of an actress, with celebrity friends. “I want to brand myself as a musician and have people love me for being a musician, not for being an Instagram girl or a model,” she told Women’s Wear Daily this year. Fair enough. A later interview with Lawrence includes a photo where she performs before a Spotify banner.

…“I’ve definitely been in circumstances where people are saying, ‘Let’s make one of those sad girl Spotify songs.’ You give yourself a target.”

…It makes sense that pop has been going largely in this emo-ish direction, one that is more “chilled” (to use a word that platform seems to like) despite taking on heavy topics. We live in an increasingly isolated culture, and, more and more, music listening is something that happens in solitude via headphones as opposed to collectively. Pop music today is less about big, upbeat, going-out-partying anthems, which have been replaced by smaller, more introspective tunes about internal quandaries. The sound of Spotify, as Matt defines it, is also “very Lana”—“When we think of pioneers of a sound, there’s almost no one else I can think of more than Lana del Rey … Her singing style and that bleakness, and the hip-hop influenced production, paved the way for all of this.”

…Musical trends produced in the streaming era are inherently connected to attention, whether it’s hard-and-fast attention-grabbing hooks, pop drops and chorus-loops engineered for the pleasure centers of our brains, or music that strategically requires no attention at all—the background music, the emotional wallpaper, the chill-pop-sad-vibe playlist fodder. These sounds and strategies all have streambait tricks embedded within them, whether they aim to wedge bits of a song into our skulls or just angle toward the inoffensive and mood-specific-enough to prevent users from clicking away. All of this caters to an economy of clicks and completions, where the most precious commodity is polarized human attention—either amped up or zoned out—and where success is determined, almost in advance, by data.

The chill-hits Spotify sound is a product of playlist logic requiring that one song flows seamlessly into the next, a formula that guarantees a greater number of passive streams. It’s music without much risk—it won’t make you change your mind. At times, these whispery, smaller sounds even recall aspects of ASMR, with its performed intimacy and soothing voices. When everyone wants your attention, it makes sense to find reprieve in stuff that requires very little of it, or that might massage your brain a bit. Both traits—its seamlessness and its chillness—reflect music that has become instrumentalized for the platform, whether it resulted from Spotify’s own preferences or the emerging tastes of artists who have developed in its wake.

Although in professional songwriting settings there might be Spotify-specific goals, Matt clarifies: “I don’t think most people are making it for Spotify. I think at this point it’s just young kids who are products of that. That’s just music they like. They’re not thinking ‘I’m going to make Spotify-core’—things move so fast. These are just kids that are influenced by Billie Eilish or something.” As the tastes of certain young artists are reflecting back the “tastes” of the platform, it seems safe to say we’re close to a type of pop genre that’s entirely Spotified.

>___<

[poresorpixels]

Berberian Sound Studio (2012)

The Duke of Burgundy

(2014)

lulbuozets: Giallo meets Brakhage, sensssoohaahlity, style as substance, savory>sweet, brittle grasps, (p)lush interiors, asmr, vixens, dominance/submission, sedate hysteria, dissociative gracenotes, tuff luv, dream illogic, september/may

In a sense, English director Peter Strickland is a sort of executive lounge perv - like those chin stroking suits in Enemy, watching high-heeled women squish exotic spiders in a secret, dark room. Not unlike Cronenberg, he's an unapologetically glazed over sensationalist, dragging the intrepid moviegoer into his tantric hedonism kaleidoscope. Both of his films here are the sort where you are more likely taken for a blind ride by their signature quality than premeditatedly engaged. They don't offer expansiveness in the traditional sense, more often content to snuggle up to their vividly rendered seedy spaces and graze.

He is tremendously good, so far, at doing him. Already having a calling card style is quite astonishing, given an ouvre standing at two as I write this. Though it is technically his third film (with one on the way). Sadly, his first - 2009's Katalin Varga, is available next to nowhere (in the uk, on region 2 dvd). It seems like something else entirely, which has me abuzz with curiosity. Hopefully it will turn up somewhere soon.

Berberian Sound Studio has much to love and explore. The soundtrack contains the last work of the fantastic early 2000's group, Broadcast, its production sadly coinciding with lead singer Trish Keenan's sudden passing. It is a fine thing, and their hard-charging harpsichord title sequence song is arguably the most exciting passage in the film. The sequence cleverly (perhaps confusingly for some) contains credits for the film within the film, which i'll annotate forthwith.

producer: Francesco Coraggio (Cosimo Fusco) A vile mysoginist, who doesn't have anything positive or neutral to say about anyone or anything.

director: Giancarlo Santini (Antonio Mancino) A self-aggrandizing, work averse glad-hander. Doesn't seem that interested in post-production studio rigors, beyond pawing at his female cast.)

Il Vortice Equestre (The Equestrian Vortex) In Santini's witch torture-fest, this title never comes to mean a damn thing. Not even some foley coconuts - which is hilarious.

music: Hymenoptera (Broadcast) Defined as a large order of insects, comprising sawflies, wasps, bees and ants. This never comes to any sort of significance either, and Burgundy is preoccupied with lepidopterology. I'm guessing its something to do with the gynecological root of the word.)

The doleful, adorable puss of Toby Jones is a special thing, and Strickland surely isn't the only one to've capitalized on this fact. But I don't know if I've ever seen him oogled quite to this extent, at one (seemingly signicant) point being rippled and mushed like a wad of celluloid playdough. Perhaps his sweet, daddy long-leg rescuing Gilderoy is too sympathetic for a film so resistant to a storyline. His disgust with the lurid set pieces he is producing sound for is a hook of sorts, but it doesn't pay off. Despite his grounding of a winningly surreal setting full of clunky vintage gear and sudden power outtages, Strickland seems content to merely fold him up like wallpaper origami. The shift to him, and his increasingly dire letters from mum, being the subject of another film within a film, comes off like a solipsistic punch-out.

But it's a fun mess, with all its noisome fruits and veggies and demented, face contorting soundbooth histrionics (was reminded of Mike Schank's blood curdling soundbooth howl in American Movie). One I was sure I'd enjoy more than the S&M love affair of his next film. But I was decidedly wrong. Where Berberian Sound frustrates, and lunges for a cheap beginning-to-end loop with its blurry film reel image, The Duke of Burgundy is an impressively well rounded circle.

Again there is repetition. But rather than mere recurring visuals (that flashing "SILENZIO" sign of diminishing returns) it is direct reckoning with the practice. Particularly, when it fails to make perfect. Perfection in role playing seems to be the goal in the relationship on display. But despite fooling us with their act at the onset, it becomes clear that the imperiously beautiful Cynthia (Borgen's imperiously beautiful Sidse Babett Knudsen), who is older, is mostly driven by the desire to make Evelyn (an eerily faux-innocent Chiara D'Anna) happy. We see their routine, day-spanningly meticulous as it may be, going from refinement to going through the motions.

The world of moths and butterflies seems infinite to Cynthia, the imagery of her studies juxtaposed with her more traditional gratification from Evelyn when the play is done. In these moments, there are whispered devotions (uncannily spooky, like those of Let's Scare Jessica to Death) that we do not see Evelyn mouthing. When we see the fear in Cynthia's eyes, it comes clear that these reassurances are in her head. When the strain of trying to keep up the charade later reaches its peak, these whisperings shift to one word: "pinastri" (Sphinx pinastri aka the pine hawk-moth). Their safe word, a discouraged protest for Evelyn, becomes Cynthia's haunted keening on the doubt infesting and devouring her love's foundation.

Perhaps Evelyn tries to be accomodating, but she is unmistakably insatiable in everything she does. Even her delvings into encyclopedic butterfly trivia feel like but a fetishized extension of Cynthia's confectionarily domineering role for her. Cynthia has to be someone else, while Evelyn only need be served. Even after Cynthia finally breaks down in tears under the rigors of keeping up the routine and Evelyn vehemently consoles her, the older woman knows its 'either buck up, or let this girl slip through your fingers'.

Much moreso than his previous work, The Duke of Burgundy expertly arranges its drama, deadpan humor and surrealist chills into a satisfyingly seamless whole. And even more compellingly, these elements are often interchangeable. Cynthia's sonorous snoring, for example, is both a funny contrast to her sleek routine and a touchingly sad tell after she has exhausted herself to the utmost for her love's devotion. Elsewhere, acts that might be repulsive are rendered kind of bittersweet. Without bespoiling his (their) heightened tableau, he gives the unglamorous rigors of human frailty their full thematic due.

Once again, we are graced with a drop dead gorgeous soundtrack, this time from the duo, Cat's Eyes (awesome cat in this movie as well, who is content to just look on). The opening Belle & Sebastianesque piece is particularly winning (there's that harpsichord again) with its distinct use of a single clipped breath on the downbeat. It closes with a much sadder, Julee Cruise kind of thing, which is fitting given that Cynthia will likely keel over in mid face-sit some day.

Worth mentioning as well is the welcome return of instantly striking Romanian actress Fatma Mohamed, who plays a kink specialist carpenter with unnerving, Lynchian command. She was a spirited, camera-beloved highlight of Berberian, giving no quarter to her dickhead bosses. Luckily she's back for this year's release, In Fabric, along with Knudsen, Gwendoline Christie (Brienne of Tarth herself), Julian Barratt and Marianne Jean-Baptiste (who played one of the best characters ever with the lovable, all-suffering Hortense Cumberbatch in Mike Leigh's Secrets & Lies). With that cast, and the significant improvement ratio between these two films, I'm chomping at that bit to see what that dirty birdy Strickland has in store.

[vapormaison]

Best of 2019 Vaporwave Release 1/4: Constant by Hotel Pools

There’s an argument present in more ideologically-possessed, Boston-Brahmin administered art history circles that goes something a little like this: for a work of art to be truly great, it must innovate. All other attempts ultimately function at best as imitation, objects d’art meant to be consumed, then disposed, forgotten. “Good art” must always be in a savage competition to experiment and challenge for these galaxy-brained individuals. I won’t expound on this theory too much as it could land me in some hot water with these very university art departments my day-job is occupied with consulting. I merely mention this to preface the review by stating that I’m fundamentally opposed to any totalizing view of art and it’s worth.

In short, looking at creativity in this way takes an axe to aesthetics in lieu of novelty. And while I I can find novelty intriguing, I cannot enjoy it without an accompanying aesthetic appeal. On the contrary, I can enjoy pure aesthetics without novelty. I can enjoy them a lot, in fact. And what we have in Hotel Pools is pure, unadulterated sonic aesthetic. 

Constant stays consistent — it doesn’t attempt to reinvent the wheel, and I say this as complimentary as one can — as it does what knows with aplomb. What it does, which surprisingly few vaporwave LP releases do nowadays, is provide a sonically sound and unapologetically focused LP that slaps from start to finish. From track one to track ten, we get strong, full, repayable compositions that string together a solid sonic narrative from beginning to end.

I’m never left questioning arrangement, as a quick test in tractor studio 3 confirms my suspicion that one could play each track in a live set and mix them seamlessly in sequence with minimum effort. We’re not just looking at a set of singles. What we have is a real LP crafted with a classic artisan’s eye. Again, it’s that attention to detail that makes this album so remarkable in its polished-ness. Each of these tracks is — to use a culinary analogy — a plate of magnificently cooked tapas plates that combine to create a sequentially perfect Manhattan brunch in a pricey, Hell’s Kitchen restaurant like Sevilla. They exist as great individual dishes and in a carefully curated sequence. And that must be enjoyed — and moreover, appreciated for what it is: great.  

PART 1: THE MUSIC

Accelerate gets the show on the road with a synth-heavy, late 80s analog sort of sonic space. Perhaps it even ventures into lo-fi. A timely drum loop does the work of progressing the track to more complex layers of added synths, which, coming over the really full midrange of my KEFs, did a lot to create a feeling of acceleration that’s only enhanced when you hear a purring engine and the sound of tires burning out on asphalt. It wouldn’t feel out of place somewhere in Nicolas Winding Refn’s Drive, or a new-wave remake of Two Lane Blacktop.

Stardust transitions seamlessly from the closing snares of Accelerate and brings the album into a very well-trodden synthwave/futurewave arena. The layering of light percussions on each hook is done expertly, and Hotel Pools doesn’t let them sit for too long, allowing the synths to bear the weight of progression.

s o l o brings the energy of Stardust down a notch and opens by veering more onto the lo-fi end of the scale by presenting us with a sonic array that wouldn’t be out of place in an old IBM or AOL infomercial for the first half of the track — and then seems to pick up with the space, grace and pace of an Jaguar XJR of mid-90s vintage once we pass the minute mark. This peppy sonic landscape seems to exit as abruptly as it enters, however.

Flare does exactly what you’d expect it do sonically with its array of distortion-driven percussions and synths that seem to fade in and out in a procession that seems almost elegiac. This is probably the track that sounded the plainest in my digital listen. Luckily, vinyl adds just enough warmth into Flare to make it really sizzle. You get richer, fuller vibes from the low-end of the spectrum, and each percussion hit seems fuller and more robust — complimenting the synth array instead of seeming in opposition to it, bringing analog harmony where there is compression-fueled digital dissonance.

Vega is the most vibe-worthy of all the tracks. By building a very ambient soundspace and then developing it with a playful chord progression, we get something really unique. I’m tempted to use that phrase from the state of Rhode Island’s disastrous marketing campaign that made its appearance on the New York City metro in 2016: “cooler but warmer”. That phrase manages to capture the energy of Vega. It does very little to represent the moribund, decline-managed, means-tested myopic dystopia that calls itself Rhode Island.

Disconnect definitely feels the most “synthesized” in a synth heavy album, giving us a vintage array that would be very much at home in a sci-fi flick like THX 1138 or Videodrome. The song’s title is intriguing, because I didn’t detect much in the way in discordance or manipulation — this is more reminiscent of vapor-synth in its younger form — before the great proliferation of the genre that took place around 2014/5 or so. If anything, it’s more aptly titled re-connect, considering that it brings us back to a simpler era of the genre — and, at the risk of becoming political — our lives.

Melt exists in a formless state somewhere between mall-wave, synth-wave, and that traditional vapor sound. It is also another track I was initially rather cool on during my initial digital listen. But this is where I have to give a firm, firm, recommendation for the physical. Melt’s simultaneously playful but methodical sound sounds compressed to hell on Spotify, Youtube, etc. You get the full-breadth and depth of the piece with the vinyl in a way that goes beyond my capacity for expression. If you want to confirm for yourself, buy the album and enjoy the lossless. That’s near-on what you’re getting with the press.

Hover is a damn good composition — but in album with great pieces throughout, you have to like one the least. Hover is that for me. I think this may be because Hotel Pools gives us a really polished, layered composition from beginning to end — and while progression is not a necessity, for me, at this stage in the album — it is welcome. But as a penultimate piece, it still performs well.

Return closes on a strong note. With a smattering of blaring synths, lo-fi loops and light drum hit, we’re gently faded out of this record as the track glides along a well-planned denouement. The soft note it ends on actually gave me a sort-of ASMR experience — which while not my intent when going into a dedicated listen, is appreciated nonetheless!

PART 2: VINYL LISTENING EXPERIENCE

My previous experiences with Stratford Ct. built in a bit of bias going in. While their Cassette releases have always kept me satisfied and been kind to both my eyes and my aging deck, I had almost resolved to stop buying vinyls from them altogether. My “Strawberry Banana” edition of Fall ’18 was received brutally by my system. Tinny highs, unimpressive muddy lows. My first assumption is to never blame the release. I make every effort to readjust my equalization, switch speakers (to SX-50s, which reproduced even more of that sound profile, albeit with the bass even more diluted). I even brought the LP with me to flex on a friend and coerced him to run it on his Technics system — a SL-1200 (a DJ, obviously) run through a mid-fi rack of Black-Box gear from the early 90s accompanied by a pair of JBL studios (230s I believe) for what could approximate a real reference listen. They sounded marginally better there — but I still can’t say I was impressed enough for it to regularly feature in my regular listening lineup.

This difference can probably be chalked up to a difference in analog amp technology at the time: because the Japanese systems are brighter — where my amps designed by Dr. Matti Otala from the early 80s carry on that tradition of funky, 70s warmth in a lower TIM package. This naturally means that the 90s Japanese systems are going to clean up more imperfections on a press but provide a slightly less warm and comfy listening experience.

All that said, I’m perfectly willing to accept that I might own a dud, or an mis-press, who knows. This happens with vinyl — as contrary to hipster opinion, it’s not actually a precision medium. At a certain stage of audiophilia, you learn to accept it. I took that one on the chin. You have to with this hobby — given the low production runs.

This release, however, is solid. It comes through with energy and vigor in my system, with tracks like the heavily layered Vega, mid-melodic Melt, and the synths of Return gently guiding your exit from the sonic space built so masterfully by Hotel Pools. There is also a certain crispness to the vinyl which is reminiscent of some of the newer digital manufacture of coming out of china recently. The technological sounds of this profile actually gets just enough warmth from my system to make the whole project a joy to consume on vinyl hi-fi.

Whatever pressing or manufacture issues happened with my copy of Fall ’18 were not present here, and redeemed Stratford Ct. enough where I’ll definitely be picking up their vinyl releases in the future without hesitation. All in all, an impressive release from both artist and label.

[deadcactuswalking]

REVIEWING THE CHARTS: 5th May 2019 (Stormzy, Taylor Swift, bird sounds lol)

This week is really busy and crazy, so I’m going to try and keep it brief – although I have a lot to say.

Top 10

The biggest – or the first immediately notable – story is the new number-one, as “Vossi Bop” by Stormzy, reaching a peak of 12.6 million streams in its first week, the most ever for a British rapper. Its battle with our number-three spot was heavily publicised and Stormzy (And Lil Nas X) understandably won, mostly because of timing, however I don’t think Taylor Swift could have gotten the number-one spot anyway. At least pop music has gotten exciting, I guess – doesn’t mean the UK charts are any good right now, but it’s a significant improvement. This song is massive as is its video, and Stormzy’s first-ever #1 on the chart as a credited artist, and fourteenth top 40 overall (It’s his sixth top 10 hit overall). I pray to God this crosses over to the US, because, yes, I think it can.

To my surprise, Lil Nas X is still at number-two with “Old Town Road”, down a spot from last week, featuring Billy Ray Cyrus. I thought it’d be left demolished by Swift and Stormzy, but here we are, I suppose. Speaking of...

At number-three, we have another debut, Taylor Swift’s 25th (!) Top 40 hit and her 13th Top 10 hit, and Brendon Urie’s sixth Top 40 hit and first ever Top 10 hit, “ME!” credited to Taylor Swift featuring Brendon Urie of Panic! at the Disco, or as the YouTube video claimed, “(feat. Brendon Urie of Panic! at the Disco) ft. Brendon Urie”. I’ll talk more about this and “Vossi Bop” later, but it’s safe to say that this was even huger than Stormzy’s track, at least worldwide, yet was beaten in pure sales and streaming. I guess that’s what we get for not counting radio on the UK charts.

Now it gets less interesting. “Someone You Loved” by Lewis Capaldi is down one spot to number-four, thankfully.

“Piece of Your Heart” by MEDUZA and Goodboys is naturally down three spots to number-five thanks to the sheer power of the top three.

Billie Eilish’s “bad guy” is down two spaces to number-six.

The late Avicii’s posthumous release “SOS”, featuring Aloe Blacc, is down one position to number-seven.

Tom Walker’s “Just You and I” is holding on, down three to number-eight.

Russ (Splash) and Tion Wayne’s “Keisha & Becky” is still safe off of the remix’s longevity, down a spot to number-nine.

Finally, rounding off the top 10 at #10, is “Location” by Dave featuring Burna Boy, up a singular spot from last week.

Climbers

Okay, first of all, “All Day and Night” by Jax Jones and Martin Solveig as EUROPA featuring Madison Beer is only up two spaces so it’s not notable enough, but may I add that the official single image was used for weeks until they decided to use the thumbnail for a version uploaded via TunesToTube.com and I’m not joking, the watermark is still present and visible in the image used – how does this slip through the cracks? Anyways, “No Diet” by Digga D is up seven to #20, becoming his first ever UK Top 20 hit, “Carry On” by Kygo and Rita Ora from Detective Pikachu is up nine spaces to #30, and that’s all.

Fallers

Fallers are a different story though, there’s quite a lot to talk about here. First of all, the streaming for Jonas Brothers’ “Sucker” may or may not have been cut as it’s down six spaces to #13, whilst four consecutive early 2019 hits continue their gradual fades out of relevance, with “Giant” by Calvin Harris and Rag ‘n’ Bone Man down eight to #24 but “Don’t Feel Like Crying” by Sigrid, “i’m so tired...” by LAUV and Troye Sivan as well as “Don’t Call Me Up” by Mabel all down six positions to fill up the #25-#27 slots. I’m also unsure to why there are premature drops for George Ezra’s “Pretty Shining People” down 12 to #37 and “Let Me Down Slowly” by Alec Benjamin featuring Alessia Cara down seven to #38, although our final drop here from Post Malone with “Wow.” down six to #40 is fully expected.

Dropouts & Returning Entries

Some earlier 2019 hits are making room for the Summer it seems, perhaps due to streaming cuts as “bury a friend” by Billie Eilish is out from #15 and “Dancing with a Stranger” by Sam Smith and Normani is out from #36. Some songs that never went anywhere like “Who Do You Love” by The Chainsmokers featuring 5 Seconds of Summer and “MONOPOLY” by Ariana Grande and Victoria Monet are also out, from #38 and #40 respectively, but the biggest story is George Ezra’s “Shotgun”, which has spent nearly all of its 58 non-consecutive weeks on the Top 75 chart in the Top 40, and is finally out from #30 – although it’s still outside of the top 40. Other than that, there are no drop-outs or returning entries to speak of, so let’s get to reviewing the new arrivals.

NEW ARRIVALS

#36 – “Sixteen” – Ellie Goulding

Produced by Mike Wise and FRED – Peaked at #19 in Scotland

Okay, so, I’ve never had to talk about Ellie Goulding all too much, and to be perfectly honest, she’s continued to sour on me the more she puts out and the less unique her material gets. Sure, her songwriting chops have always been there and hopefully always will, but she isn’t as interesting as I wish she was, especially instrumentally as while her producers carved her own lane back when she was making stuff like “Lights”, she seems just to be chasing trends in recent years. Regardless of my opinion of Ellie Goulding, she’s made some good stuff and this is her twenty-second UK Top 40 hit, so let’s see how it fares... well, this sure would be mediocre in 2016. In 2019, it sure exists. Remember tropical house? Yeah, you love that, right? Well, let’s mix it with the boring and dull vaguely-pop music of 2019, and make what isn’t a disaster at all, somehow. It starts abruptly with a looped and manipulated vocal sample that goes nowhere, before cutting to an immediately pretty interesting guitar-lead verse, which then kicks into gear for a really bouncy, fun pre-chorus. Then the chorus comes in where Goulding strains her voice talking about being 16 and wearing her significant other’s T-shirt, and all of the momentum is killed when it drops into that manipulated vocal sample. Do I appreciate the tongue-in-cheek MSN reference? Of course, I do, and the lyrics are actually very unique and I’d argue pretty great, and really invokes that youthful sense of exploration and feeling like you can do it all, you’re on top of the world... but I’m not sure if it holds up sonically, especially with that freaking drop, it really isn’t pleasant and feels like a remnant of recent past. Overall, it’s okay and I don’t really care about it enough but I understand the appeal, as with Goulding’s work overall.

#34 – “Don’t Worry Bout Me” – Zara Larsson, not featuring Alessia Cara

Produced by The Struts – Peaked at #7 in Sweden

I say NOT featuring Alessia Cara, mostly because BBC seems to think it does. Sigh, there’s an insane amount of mistakes on this week’s entry. Anyway, this is Zara Larsson’s new single and like all of her singles it has a massive singles push, and by that I mean an incredible amount of pretty pointless remixes, whilst the original is just a cloudy pop single that doesn’t stand out at all from the rest. This particular single, co-written with goddess Tove Lo, is her ninth UK Top 40 single and only slightly more recognisable, mostly because it takes an 80s/early 2010s fusion of dance-pop that was pretty interesting but the build-up feels a bit drawn-out, with the lack of percussion making the way-too-obvious autotune stick out like a sore thumb, but once the strings and 808s hit, it’s not much but it does add a lot of drama and that cinematic feel is immediately killed by the drop, but the chorus is a catchy kiss-off, and the fast-paced percussion and house music-influenced bass does add a lot of bounce to the hook, and it is pretty fun. There’s a really nasal, eerie synth sound in the bridge that was irritating at first but did grow on me, but then it disappears for the entirety of the last chorus and outro, which doesn’t add any sense of climax or finality at all. The rest of the song doesn’t exist. Next.

#18 – “Let Nature Sing” – The RSPB

Produced by literal birds

So, this is the confusing one I think I might have to explain a bit. “Let Nature Sing” is a campaign more than it is a hit single, as The RSPB isn’t a band, rather it’s one of the largest wildlife charities in Europe, specifically the Royal Society for the Protection of Birds. Now this isn’t a pandering charity single with a bunch of celebrities singing vague lyrics about we love the Earth, it is our planet, we love the Earth, it is our home, no, it’s literal birdsong – for two minutes and thirty-two seconds. Now, initially, I had no idea how to rank this in the top 20 so I invented a new “???” tier just for this single and any other bizarre picks that ended up in the top half of the charts... but I think I love this. There are 165 critically endangered species within Britain’s environment, as RSPB claims in their promotional website for the single, and that is 56% of the wildlife in decline. So they’re raising money a la Band Aid and/or Lil Dicky, for preservation of British wildlife, and trying to spread the word about this single, which eventually did get enough downloads and sales, as well as 58,000 streams to chart. Now, I hope this money is used well and that the birds who are sampled in this song are paid songwriting royalties because this is great. This is beautiful. Now it’s not like this has any specific structure, and I haven’t researched to see what species of birds are singing here, but this is pure serenity and almost works as ASMR wave sounds to fall asleep to. Sure, there are a bunch of reverb effects that make the woodpecker sound jarring, and some non-bird sounds that kind of sound like an artificial bass being added, as well as a synth but that may just be my complete lack of knowledge about birds in general. It’s all chopped up and it definitely is not pure recorded birdsong, which I’d be inclined to check out, but for what it is, the sounds here are quirky, fun and sound natural, and since it’s helping a cause, I’d say stream it. It’s not unpleasant and isn’t a 7-minute joke about small penises featuring Lil Yachty as a sexually-transmitted illness, so I’d argue it’s a better alternative to actual charity SONGS... so, yeah, stream this, it’s short, it’s calming, but I doubt this will stay longer than two weeks if that.

#3 – “ME!” – Taylor Swift featuring Panic! at the Disco

Produced by Joel Little and Taylor Swift – Peaked at #1 in Hungary, Nicaragua and Scotland

There’s a lot to hate about this new lead bubblegum pop single from Taylor Swift’s upcoming seventh studio album, featuring vocals from Brendon Urie of Panic! at the Disco fame. There really is a lot to hate, from the factory-settings production that feels like such an abrupt shift from the mechanical albeit jagged electronic production from the last album, Taylor’s aggravating inflections from her verse AND the pre-chorus, the nonsensical chorus which rips hard from “Sit Next to Me” by Emeli Sande, the marching band percussion that reminds me all too much of “Shake it Off” as well as Urie’s work on Panic!’s most recent album especially with the rattling hi-hats covered up by a blast of overproduced trumpets, and the cringeworthy bridge, where two grown adults in their early 30s starting their middle-eight with, “Hey, kids, spelling is fun!” – seriously, this was written only by the producers and the artists, how is it this unfitting and odd for Taylor to be singing? Surely, Taylor should be able to come naturally with great songwriting like she has before, even on reputation, and this shouldn’t be as awfully-written as it is. The “Spelling is fun” tangent doesn’t even fit the time signature, for God’s sake. Oh, and this trainwreck of a line:

Girl, there ain’t no “I” in “Team” / But you know, there is a “Me”

No, there isn’t. There isn’t a “Me” in “Team” unless you rearrange it, and in that case, it’d be misspelled, hence your bridge’s message, which is, as I recall, spelling is fun, is undercut by the fact you can’t spell. What does that even mean in this case, since it would otherwise be a cheesy lyric about how they’re a team or whatever, because it’s been rearranged and manipulated? Is there no “Me” in “Team” anymore? Are Taylor and Brendon breaking up in the middle of their spelling bee? Are they saying their relationship is as complicated and infuriating as this one lyric? Let’s see Taylor’s reasoning here:

“We wanted it to be playful, we didn’t want it to take itself seriously at all.” That, by the way, is why I love this song to death and despite everything I can nag about it, it’s actually really fun and one of Taylor’s best songs to date. It screams colour even without the expensive music video, and every little annoying misstep counts towards the hilarity of the song and how carefree it is, from Taylor’s “UHH” ad-libs to them both belting distant lyrics about how there’s a lot of lame guys out theeeeeere, it all comes together and makes a really cool song that doesn’t care about your judgement. Yes, I had a lot to say about that one, but I’ve been building it up for nearly two weeks now. You can’t spell awesome without “ME!”, I guess.

#1 – “Vossi Bop” – Stormzy

Produced by Chris Andoh

Speaking of awesome people, welcome back, Stormzy, one of my favourite British rappers and one of the most unique, with Gang Signs & Prayer holding up as one of my favourite hip-hop albums ever. Merky Academy’s founder has decided to strip it down a bit for this minimalistic return to form after a gospel-tinged and R&B-influenced debut studio album. This is “Vossi Bop”, and it bangs. We have that lo-fi yet menacing synth line looping in the back of the mix before the thumping bass kicks in with a catchy and eerie piano melody which really adds a lot of grit to Stormzy’s bars, mostly just about living life of luxury and celebrating his rags to riches story. While the 808s are admittedly mixed a tad oddly, as is the trap percussion, the rattling hi-hats give an otherwise pretty slow-paced rap flow some bounce and quick-paced energy. The multi-tracked hook is catchy and anthemic, although Stormzy’s refusal to dab is a bit more EB the Original Master than I would prefer, and I personally like the Mondegreen, “my brothers don’t die, we just Vossi bop” better, but the verses are pretty great. In this context, Vossi bopping means a laidback dance popularised by a guy named Vossi that went viral a few years ago – in fact, this song was made ages before its release. In the bluntly-delivered verses with some smooth flow switches, Stormzy discusses how he looks at his girl and thanks God. How wholesome. Also F Boris Johnson and he’s Chuck Norris? It’s not exactly the most poetic Stormzy’s been, but he does have multisyllabic rhyme schemes and his lyrics are at least coherent, which isn’t really what I can say for most UK rap that debuts on the charts nowadays. He also refers to jet lag as “f***ing up my body clock”, and we have a censored word that we don’t know yet, and have yet to have had any explanation for? We’ll see, I guess. Anyways, this is an absolute banger and I’m ecstatic Stormzy has a #1.

Conclusion

This was actually a cool week in retrospect. Best of the Week is going to The RSPB for “Let Nature Sing” because it’s two and a half minutes of birdsong in the top 20 and that’s impressive enough. The Honourable Mention is tied, going to both Stormzy for “Vossi Bop” and Taylor Swift with Brendon Urie for “ME!”, whilst Worst of the Week goes that Zara Larsson song. Blech. Follow me on Twitter @cactusinthebank for more pop music ramblings and Top 20 rankings, and I’ll see you next week!

I could never die, I’m Chuck Norris (Chuck Norris) / F*** the government and f*** Boris (Yeah)

[thesinglesjukebox]

FKA TWIGS FT. FUTURE - HOLY TERRAIN

[5.75]

Defending the "Cellophane" crown...

Joshua Copperman: By most standards this is a [7]. It's haunting and sultry, as well as every other adjective that can apply to a Future song or a FKA Twigs song. But FKA Twigs also put out a masterpiece a few months ago in "Cellophane." The collaboration with Skrillex and Jack Antonoff should ideally result in a professionally produced version of 100 Gecs. Not even Twigs' increasingly explicit (if predictable) lyrics can make the looped sample and trap drums fresh. Future's verse, hyped up as "emo" and about his "failures as a man" is especially disappointing, with only a handful of lines reaching the potential ("if you're praying for me, you're playing for keeps" is the best). Emo Future, trap Twigs, minimalist Skrillex, and hip-hop Antonoff should make for an interesting mess, but it's instead a case where almost everyone stretches themselves and no one succeeds. [5]

Joshua Minsoo Kim: Twigs does her mannered vocalizing, sounding convincing in her grandiose theatrics as usual. The music -- a rather tame, diluted take on her sound design-focused electronics -- doesn't elevate the lyricism and performance so much as make me think the dark and moody instrumentation that has long defined her music sounds terribly flat now, especially when juxtaposed with Future's functional guest spot. I wasn't in love with "Cellophane" when it dropped, but this makes me appreciate that single all the more. [4]

Josh Love: As per usual, Twigs sets up an irresistible tension between her arch, brittle avant-R&B and the directness and depth of feeling in her voice and lyrics. Her commitment is such that it can even redeem something as embarrassing as "Once my fruits are for taking," though I'm not quite sure what Future is here for other than to sell a joke he might not entirely be in on. Twigs is asking for a man to cast off his bullshit façade of macho consumption and give himself over to a true union of souls, and Future superficially seems to be struggling to be worthy of that request, but if you're paying attention he's still just wrapped up in himself ("Watch me drown in my pain","Pray for my sins, make me stronger"). [7]

Katherine St Asaph: The most I've liked a Twigs song in some time, probably because it's less sterile in music -- a study in soprano and danger, wonderfully ominous -- and conceit, Craig David flipped and made artsy, sacred and vulnerable. But as usual, the track meanders, and Future in particular is lost amid this terrain. [6]

Alfred Soto: Data tells me that I've heard "Holy Terrain" four times. This can't be. I can't hum a single part, nor has FKA Twigs delivered a performance no less squeaky than than usual. Future's presence is supposed to symbolize something or other. [3]

Juan F. Carruyo: FKA Twigs' breathy singing style fits perfectly into the current ASMR trend going on right now in the pop music landscape. When she soars above the droning backing track she sounds beautifully hurt. Then Future comes and takes it home (with patois included). [7]

Nortey Dowuona: FKA Twigs finally swerves back from the edge, her voice plaintive and trembling, yet still resolute. Low, fuzzy bass lurks behind the ghostly, curtain synths, while clumped, cramped drums trip up Future, who pleads and begs for her l-- [7]

Vikram Joseph: FKA Twigs still sounds bracing and distinctive, even doing trap-pop. This is elevated by a dense, murky, claustrophobic soundscape and by its defiant weirdness, by the way it resists obvious hooks and still entwines itself around you like a plant in a horror movie. When it comes to Future's rap, it feels like the same has happened to him -- it's delivered like he's suspended in mid-air, completely obviated of his own volition, and it kinda works. So when Twigs asks, "will you still be there for me, once I'm yours to obtain?", you feel she already knows what the answer is. [7]

[Read, comment and vote on The Singles Jukebox]

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Top 10 Albums of 2018

It’s that time again. What a year. Thank gods we had great music for a little reflecting, some much-needed re-energizing, and of course, a lot of rabblerousing.

Here are my picks for the year’s 10 best albums. What turned your tables in 2018? Let me know at reynardloki@gmail.com.

Happy 2019!

Rey

10) Sleep — The Sciences [Third Man Records]

San Jose psych-doom power trio Sleep have emerged from the purple haze to release “The Sciences,” their fourth studio record — their first in nearly two decades — giving stoner rock fans everywhere 53 glorious minutes of dark, dank, primordial heaviness that few if any bands can deliver. Anchored by Jason Roeder’s surgical-strike stickwork and vocalist Al Cisneros’ syrupy, sludgy, downtuned bass, master axe-smith Matt Pike plows through the kind of menacing riffs one can imagine flying off Hephaestus’ anvil as he’s forging Poseidon’s new trident — just as the god of the sea is packing his bags (and bowl) for a journey into the deep.

Listen on Spotify.

9) Mojo Juju — Native Tongue [ABC]

Born in Australia of mixed heritage — Aboriginal (Wiradjuri) and Filipino — Mojo “Juju” Ruiz de Luzuriaga, in her third full-length LP, digs deep into race, family, immigration, colonialism, identity politics and Indigenous heritage across 16 soulful, sultry, deeply personal and exquisitely original tracks that stretch across styles, genres, vibes and even languages. In a troubling era where xenophobia is on the rise, “Native Tongue” deftly explores what it means to be “the other.” “Just because you own the airtime, you think you own the sky,” she proclaims on “Think Twice,” lassoing a global Zeitgeist that is impossible to ignore — and making it far groovier than anyone thought it could be.

Listen on Spotify.

8) JPEGMAFIA — Veteran [Deathbomb Arc]

For his third studio album “Veteran” (a reference, at least, to his four-year stint in the U.S. Air Force), the 28-year-old mad-scientist glitchcore rapper/producer JPEGMAFIA (aka Barrington DeVaughn Hendricks) pulls out all the stops and then some to deliver one of the most distinctive hip-hop albums in years — if his wild and wooly aural experiments can even be considered hip-hop at this point. Vulcanic bass lines slither over shattered post-industrial beats as the New York native, now based in Baltimore, stretches his restless, inquisitive mind (he has a master’s degree in journalism), riffing on such far-ranging matters as Defense Department discharge forms and the fashionista handbags made famous by singer Jane Birkin (the one-time collaborator/lover of Serge Gainsbourg). The production is totally frikkin’ insane; the samples alone set him apart, from the bizarre epiglottal workout (a looped ODB vocal) that snakes through “Real Nega” to the brilliant rapid-fire Bic pen-clicking in “Thug Tears,” which triggered, at least in one fan, an ASMR (“autonomous sensory meridian response”), the unique auditory-tactile synaesthetic feeling of euphoria that has been used to describe a “spine-tingling” event. In fact, the whole 47-minute affair is fairly spine-tingling — and a bit bone-rattling, too. (h/t: JF)

Listen on Spotify.

7) Art Brut — Wham! Bang! Pow! Let’s Rock Out! [Alcopop!]

The Berlin- and London-based art-punk quintet comes crashing back after seven years of silence with their exuberant, hook-laden fifth studio LP, a tightly-wound 35 minutes jam-packed with gorgeously odd, party-ready, rock-steady mini-anthems with more horns, harmonies, group ah-ahs and sing-alongs than your drunken final campfire jam at band camp. Cheeky speak-singer Eddie Argos keeps things humming along with blisteringly droll deliveries of super-catchy, instant-classic lines. “I hope you’re very happy together, and if you’re not, that’s even better,“ he sniggers to an ex-lover in what could be the most gleeful break-up song ever written. In “Too Clever,” Argos distills the waggish self-reflexivity that has been his touchstone since the band emerged 14 years ago: “Sometimes the smartest man in the room would rather be outside — howling at the moon … Ah-woo!” Press play and let the bad/good times roll...

Listen on Spotify.

6) Young Jesus — The Whole Thing Is Just There [Saddle Creek]

For their third studio album, art rockers Young Jesus have crafted fresh, expansive highways and byways across the musical map. Ranging like the plains of boozy philosopher-poet bandleader John Rossiter’s Midwestern roots — and shot through with the jazz-inflected post-rock his Chicago hometown made famous — “The Whole Thing Is Just There” shows the now Los Angeles-based four-piece at their edgy-yet-dreamy, exquisitely exploratory best. Enveloped by a spacious production, Rossiter muses nimbly, often ironically, over complex arrangements interspersed by instrumental improvisations, with angular shards of guitar peppering lush soundscapes. “If saints aren’t given voice to teach of burns, we’re led to blood periphery,” he warns on the brooding, labyrinthine opener “Deterritory,” before the band opens the throttle and doesn't let up for the rest of this multifaceted 49-minute masterwork. 

Listen on Spotify.

5) Daughters - You Won’t Get What You Want [Ipecac]

The hyper-intense post-grindcore noise mavens from Providence come out swinging on their fourth studio full-length (their first after an eight-year hiatus), showing that age hasn’t mellowed them out one bit. Above droning swirls of machine-edged walls of guitar, monomaniacal tank-tread basslines and call-to-battle drums, lead caterwauler Alexis S.F. Marshall lords over a gathering storm, slinging scorching, misanthropic observations of humanity’s dark side. “It may please your heart to see some shackled, wrists and throat, naked as the day they were born,” he howls on “Long Road, No Turns.” For 48 grinding, often terrifying minutes, Daughters exercise a powerful, all-consuming yet controlled cacophony — the kind of music killer hornets must listen to when they swarm. Still, there are intermittent flashes of beauty amidst the menacing Sturm und Drang of this post-apocalyptic wasteland, like one of those hornets pausing on a lonely flower, drawing a touch of sweet nectar before buzzing off for the kill.

Listen on Spotify.

4) Unknown Mortal Orchestra - IC-01 Hanoi [Jagjaguwar]

While recording their fourth full-length “Sex and Food” (also released this year) in such far-flung locales as Mexico City, Seoul, Reykjavik, Auckland and Portland, Unknown Mortal Orchestra’s Ruban Nielson (guitar, bass), his brother Kody (drums) and their father Chris (keyboards, flugelhorn, saxophone — the latter two often patched through effects) found themselves hunkered down one night in Hanoi. There the wandering New Zealand minstrels met up with Vietnamese musician Minh Nguyen (on sáo trúc, a traditional Vietnamese flute) for a casual jam at Phu Sa Studio. What emerged from that session are seven inspired tracks of sexy, smoky, brooding, propulsive Miles Davis-inspired exploratory improvisation. “IC-O1 Hanoi” may only clock in at 28 minutes, but it unfurls otherworldly mood for miles.

Listen on Spotify.

3) Jeremy Dutcher — Wolastoqiyik Lintuwakonawa [Independent]

Toronto-based operatic tenor, pianist, composer, ethnomusicologist and Indigenous activist Jeremy Dutcher mines his First Nations roots for his striking, inspirational debut, a labor of love that is the culmination of five years researching and transcribing the traditional music of the Maliseet, an Algonquian people of New Brunswick, Quebec. “When I first got to hear these voices, that work for me was a profoundly transformational moment in my life,” he said in a CBC interview. “It was a process of deep listening — to sit there with these headphones and really hear what these voices had to tell me.” Featuring the grainy, century-old recordings of his ancestors’ songs (which he uncovered on wax cylinders at the Canadian Museum of Civilization), the endangered Wolastoqey language (spoken by around 100 people), modern sounds and rhythms, and his own penetrating, emotive voice winding through sprawling post-classical rearrangements of traditional First Nations music, “Wolastoqiyik Lintuwakonawa” (“Our Maliseet Songs”) is an ambitious, fascinating and important work — a richly deserving winner of the Polaris Prize, one of Canada’s most prestigious music awards. Dutcher says his art is rooted in “Indigenous futurism,” one aspect of which is recovering traditional languages and viewpoints to counteract the Western narrative that seeks to erase them. Celebrating ancestral voices while looking to the future in a fight for today, this is one for the ages.

Listen on Spotify.

2) King Tuff — The Other [Sub Pop] 

On his dark-themed yet fun-filled fourth studio album, Vermont’s reigning king of psychedelic garage rock roams new territory, plumbing the worrisome depths of our current technology-driven, environmentally-destructive reality. Backed the impressive drumming of longtime collaborator Ty Seagall and aided by blasts of brass and sinewy synths, King Tuff (aka Kyle Thomas) rolls through crunchy, bluesy riffs, peeling back the layers of our iPhone-addled brains to reveal the poetry, nature and wilderness that we’ve lost along the way to our self-inflicted digitized annihilation. “So take me to your telescope and point me to the void, save me from the ones and zeros before it all gets destroyed,” he beseeches on “Circuits in the Sand.” If The Doors would’ve been the perfect final act to take the global stage as Armageddon rains down on Earth (“The End,” of course, being the last song we’d ever hear), King Tuff, with “The Other,” stakes a fairly convincing claim to the rabblerousing penultimate slot. 

Listen on Spotify.

1) Caroline Rose — LONER [New West] 

Somehow, Caroline Rose has managed to explore tough themes like sexism, misogyny, loneliness, self-doubt, infidelity and death, while delivering some of the most instant-party gems of 2018. Arch yet artful, Rose’s satire-spitting, synth-heavy third studio LP slips into seductively murky corners that burst open into dazzling technicolor skies on a dime. “I go to a friend of a friend’s party,” she deadpans on the opener. “Everyone’s well dressed with a perfect body. And they all have alternative haircuts and straight white teeth, but all I see is just more of the same thing,” The album, however, is anything but. With razor-edged turns of phrase, in-your-face punk attitude and catchy, curvilinear melodies, “LONER” certifies the Long Island songstress as a genuine pop maestro whose super-sly winks belie her 28 (!) years.

Listen on Spotify.

Honorable mentions:

Cassper Nyovest — Sweet and Short [UMG/Family Tree]

South African rapper Cassper Nyovest’s club-ready fourth studio album signals a return to his roots in kwaito (Afrikaans for “angry”), a heady mix of hip-hop and house music that originated in Johannesburg in the 1990s featuring slow tempos and African sounds, samples and slang that has grown into a potent youth culture. 

Listen on Spotify.

Peter Brötzmann and Heather Leigh — Sparrow Nights [Trost]

For their first studio album, Scotland-based improv pedal steel master Heather Leigh (whose excellent solo album “Throne” was also released this year) and German free jazz sax legend Peter Brötzmann show off the intimate, minimalist intensity they’ve developed over three years of collaboration. Probing and melancholic, “Sparrow Nights” is often rapturous, at times profound.

Listen on Spotify.

Tomáš Kačo — My Home [Independent]

On “For Chopin,” the opening track on his long-awaited debut album, 31-year-old virtuoso pianist and composer Tomáš Kačo takes the master’s lead, playing the famous Nocturne Op. 9 No. 2 (first published in 1832). But soon, the song diverges into his own expressive, jazzy strands to create not only an homage but an audacious musical conversation that stretches across the centuries. History plays a central role in “My Home,” which features some of the vibrant traditional gypsy music that Kačo’s father played for him when he was a just a young Romany pianist studying at the Academy of Performing Arts in Prague. A special treat: legendary bassist John Patitucci joins in for the duet “Marov.”

Listen on Spotify.

Scud + Nomex — Maschinebau EP (re-release) [Praxis]

In 1997, London techno-scuzz impresarios DJ Scud (founder of Ambush! Records) and Nomex (founder of Adverse Records) joined forces to launch the Maschinenbau label, releasing just two 7”s. Praxis had to good sense to re-release these deliriously filthy and abusive breakcore/industrial noise tracks just in time for the 21st-century robot invasion.

Listen on Bandcamp.

Ÿuma — Poussière d’ètoiles (“Stardust”) [Innacor]

In Poussière d’ètoiles (“Stardust”), Tunisian duo Ÿuma (singer Sabrine Jenhani and guitarist-singer Ramy Zoghlami) offer an intimate, minimalist blues-folk gem, sung in Arabic, that isn’t afraid to tangle with the difficult cultural politics of their homeland. In “Mestenni Ellil” (“I wait for the night”), they explore the desperation of two young lovers who can never be together due to the girl’s arranged marriage — a practice that is sadly legal and common in Tunisia.

Listen on Spotify.