#he says something equally insane in Kyoto too

[quil12]

You know, I've never really shipped them, but like... how is the game expecting me to take this???

[linkspooky]

Blood is Thicker

Jujutsu Kaisen Chapter 102 Shibuya Incident, Part 20 Analysis Jujutsu Kaisen is a manga that balances character development and thesmes with the fights. There are sometimes entire chapters built around one idea. Last week’s chapter was one such chapter as both fights that between Choso and Yuji, and Mei Mei and Getou centered around the theme of sibling relationships. 

Choso and Mei Mei are the literal definition of opposites. One male, one female. One is a curse human hybrid, the other a Jujutsu Sorcerer who exercises curses. One inherited a powerful curse technique from the Kamo Bloodline (blood manipulation) the other had to become strong through creative use of her traditionally weak curse technique. However, what makes them the most different is the way they approach their relationships with their siblings. 

Choso is genuinely saddened and vengeful over the death of his brothers, reacting to it the way any human might.While Mei Mei does the complete opposite, she tells her brother to die for her sake in the same chapter. Choso’s entire existence is dedicated to finding the rest of his brothers, and Mei Mei uses her brother as live bait to win against an enemy. There’s a lot we can learn from these two characters just from the way they treat their brothers. 

1. Choso the Human Curse

At the end of the Origin of Obedience Arc, Yuji and Nobara have a moral debate on whether they should feel any different about needing to kill the hybrids as opposed to exercising a curse. As despite the fact that they had to defend themselves and didn’t have much of a choice, they still killed something capable of crying for his brother who died in front of him the same way any human would. 

Curses are born from negative human emotions, but Choso and his brothers quite literally were born into this world with a mother the same way most humans were. Hanami was born out of a desire to save nature from human pollution. Mahito was born of the fear of other humans. However, during the origin of obedience arcs it’s not specified just what negative grudge gave rise to the curse spirits of the three brothers.

However there is important symbolism with them. One, they are represented by aborted fetuses (because that’s what they literally are) so symbolically they are children who were never given the chance to be born. Or even children who should never have been born. They were born into this world from a mother, and yet because they’re just the creation of some mad sorcerer’s whims they were never meant to exist. 

The only tangible thing the brothers have known for hundreds of years is each other. Which means the only motivation they really have is the connection they share with one another. 

Choso even says so outright. They don’t really believe the same thing that Jogo, Mahito and the rest of the curses believe that curses have the right to exist as the true humans, but a world where curses are in control without jujutsu sorcerers is a world where they’re allowed to exist. They don’t have to be sealed away as fetsuses whose only awareness is a psychic link with one another. 

So if you think about it that way, the goal of all three of the curse wombs is to be born. While their relationship mirrors that of human siblings, because all they’ve ever really had is contact with one another their relationship is closer than human siblings to ever are. They consider themselves three parts of the same body. Each member of the siblings would do anything for other two, because all of them are three equals, three parts of the same whole. They don’t even see each other as separate people, not really. 

These insane levels of devotion are why instead of retreating to live another day, both brothers fight until they die for the sake of completing the objective Choso gave them. They don’t really distinguish themselves as individuals so even if both of them died, and Choso lived on, then Choso would be living on for the both of them. 

 The irony of the three curse womb brothers is that despite them being freaks of nature, half human hybrid, they have the most human and relatable motivations of the curses so far. So much so it even gives Yuuji pause. Choso is trying to avenge his brothers, and then free the rest of his remaining six brothers from their seal so they can live. 

Choso’s entire character is designed around family ties and connection. The Kyoto student he foils and shares the exact same jujutsu technique and association with the Kamo clan with, also has a motivation that revolves around his attachment to his mothers. Choso manipualtes blood, blood ties are the symbol for family. 

Choso generally acts stoic and aloof compared to the other curses, and yet he’s also the curse to display the most raw human emotion so far. 

Choso is represented by ties, connections, restrictions and most of all the loyalty he feels towards his family. Choso is also the most powerful of the three and sees it as his job to protect / avenge them above all else. His duty is always towards his family. 

2. Mei Mei

Mei Mei is not a character we know a lot about yet, but there are two interesting facts established about her right from her introduction. If Choso is someone too connected to his own siblings, then Mei Mei lives disconnected from anyone around her. She even says herself she doesn’t understand any connections that aren’t based on money. 

The second hints at how ruthless she is. She seems to have noticed what was going on in Kyoto High School’s attempt to kill Yuji, but when confonted by Gojou she plays clueless and refuses to take either side. 

Mei Mei is then someone established to be always on her own side. That doesn’t mean she’s necessarily a bad person. Gojou himself is a character who has very selfish motivations, but he’s also an extremely moral person who always uses his tremendous strength for others rather than for himself. Her neutrality is in fact good in some ways, because she doesn’t seem to be alligned with the corrupt side of the Jujutsu world obsessed with family ties and tradition. The second thing to notice about Mei Mei is that she seems to value strength the same way that Gojou does. She doesn’t care about the Zenin family’s politics and only sees Maki for her strength. 

In Hidden Inventory, Gojou also identifies Mei Mei as someone strong who would never cry unlike Utahime. So, regardless of where Mei Mei’s loyalties lie she has a mindset very similiar to Gojou’s. She prioritizes herself and her own strength above everything else. However, she does get along with Utahime just fine, so it’s not like she’s incapable of making friends or caring about them as far as we’ve seen. 

Mei Mei is introduced in the Shibuya arc with her younger brother, Ui Ui. This is where her foiling becomes clear, Ui Ui says quite frnakly that Ui Ui doesn’t really love her family, that she cares more about work than anything else. The two of them are opposites, if Choso will always choose his brothers over everything else, then Mei Mei will always choose himself. 

Mei Mei’s fights later in the arc have been slowly revealing more about her character. That unlike Choso who was born with an incredibly strong and violent cursed technique, Mei Mei was born with one that you’d consider to be weak at first brush. 

Mei Mei’s Gojou-like fixation on strength most likely comes from having to survive in the world of Jujutsu Sorcery with a traditionally weak technique, especially since a lot of sorcerers value having a strong technique over everything else. 

Mei Mei also refers to herself as having almost given up after being crushed by her failure to improve herself after that, and is claims she herself had to go back and try something different in order to become a strong as she did today. 

At that point Mei Mei’s relationship with her brother becomes incredibly suspicious. Remember, Nanami said just a few chapters ago that it’s dangerous to drag children into combat. Ui Ui looks barely older than thirteen if that, and yet he’s acting like a miniature adult. Not only that but Ui Ui is completely obsessed with his sister. 

His entire sense of self worth is modeled around being useful to her. This is just speculation at this point entirely, but there’s a case for family members being used and abused in the Jujutsu World before this. Toji was going to sell his own son to the Zenin clan for money. Mechamaru’s parents kept their incredibly ill son in a tank and forced him to become a jujutsu sorcerer because his potential was so high. 

In the same chapter that Choso is mourning the deaths of his siblings, Mei Mei callously asks Ui Ui to die for her. She uses her own brother and his loyalty to her as the second half of her cursed technique, to use simple domains to cancel out domains. 

Once again this is just speculation but, considering Ui Ui’s unnatural devotion to his sister, the fact that he’s so young, and also the fact that Mei Mei once fell into despair over her inability to advance her own jujutsu technique could Mei Mei have purposefully raised her own younger brother as a weapon to be a part of her technique? Almost everything we’ve been shown so far indicates a really unhealthy and one sided relationship between the two siblings at least. 

It could be that Mei Mei is so convinced of her own strength that she doesn’t really see herself as putting her brother’s life at risk. Gojou pulls a similiar move in volume zero. He sends his students specifically into life threatening danger without supervision as a part of his plan. He didn’t necessarily intend any harm, he was just so confident in the fact that he was right he didn’t really see it as needlessly risking the live’s of children the same way Nanami would.

Nanami’s viewpoint that children shouldn’t be actively exposed to danger that’s out of their depth is being shown, more and more often to be a rarity in the jujutsu world. This is of course the same world that gave Yuji, Megumi and Nobara an incredibly dangerous mission just for the sake of killing Yuji not caring that there would be two other casualties. 

So even if Mei Mei doesn’t really specifically mean any harm to Ui Ui, she’s still being reckless with his life, in a way that contrasts how protective Choso and his brothers were of each other. In both cases the siblings are unnaturally close, but Choso considered him and the others all a part of the same person, all of them were equal, while Ui Ui seems to exist as an accessory to Mei Mei. 

That’s the contrast presented for us this chapter. An inhuman freak of nature curse spirit like Choso genuinely valued the life of his younger brothers in a really human way. While the human Jujutsu Sorcerer is cold and detached, using her younger brother as some kind of tool to benefit her. Choso who can’t get over the deaths of his two brothers, and Mei Mei who risks the life of her younger brother like it’s nothing to save herself. 

[obtusemedia]

Top 25 songs of 2020: Honorable mentions

2020 was not a good year in many respects. But despite the world collapsing around us, there was a shocking amount of great new music.

Some of 2020′s best songs were a good fit for this terrifying year — we’ll get to those ones much, much later in the countdown. But 2020 also gave us gorgeous folk ballads, euphoric dance music and infectiously fun pop and hip-hop that had nothing to do with COVID-19 or any other awful aspects of the year.

Before we get to the proper list, here are 15 nearly-as-good songs that juuuust missed the cut, listed in alphabetical order by the artist’s name.

“Shimmy” by Aminé

Oregon’s most prominent rapper — okay, fine, Oregon’s only prominent rapper — came out of the gates blazing this year with “Shimmy.” 

Aminé may have heavily sampled Ol’ Dirty Bastard’s classic “Shimmy Shimmy Ya” on his second album’s leadoff single, but he replaces ODB’s chaotic vibes with a cold, snarling precision. He almost evokes Pusha T in his gleeful takedown of his rivals over the ice-cold beat. Pair this banger with one of the year’s best music videos, and there’s no doubt it would sneak onto this list.

“Dakiti” by Bad Bunny and Jhay Cortez

I am all about this nocturnal, new wave-y style of reggaeton. The melody is catchy as hell, yet the production has a sinister, chilly vibe that wouldn’t sound out of place on an Italians Do It Better complication. 

Megastar Bad Bunny’s husky vocals and Jhay Cortez’s more nasally voice make for a fun contrast as they trade verses. It’s a winning and charismatic combination!

“Boomer” by Bartees Strange

When you hear the phrase “rap-rock,” you’re likely shuddering at the thought of Limp Bizkit. But that style can work, as promising new artist Bartees Strange — stage name of D.C. alt-rocker Bartees Leon Cox — proves on “Boomer.”

Cox spices up a solid mall-punk banger with some rap verses. And unlike the Fred Dursts of the world, he can actually, you know, rap. 

But it’s the song’s explosive chorus, where Cox unleashes his howling vocals over charging guitars, where “Boomer” goes from an interesting song to a great one. If there’s any justice, he’ll be rising up the indie ranks very soon.

“Kyoto” by Phoebe Bridgers

I think I might be the only music nerd who didn’t adore Phoebe Bridgers’ new album, Punisher. For me, her mix of hushed, mostly-sincere singer-songwriter ballads with snarky lyrics just came off as tonally awkward. Her quips about Scientology and outlet malls in otherwise-sad ballads left a sour note for me.

But Bridgers’ unique songwriting style shines most on the few uptempo songs on Punisher, particularly “Kyoto.” Her goofy non sequiturs fit much better in a driving, anthemic song. And I’m immediately primed to enjoy any tune with a strong resemblance to Sufjan Stevens’ “Chicago.”

“Dynamite” by BTS

I’m not sure what it says about me that I didn’t learn to love BTS, the insanely-beloved South Korean boy band, until they finally recorded a song in English. 

It’s not that I dislike their earlier, Korean-language stuff — “Boy With Luv” in particular is a banger. And BTS’ English-language lyrics on “Dynamite” don’t really have any meaning (they’re basically just a bunch of random catchphrases jammed together ... but they do sound good).

But there’s something immediate and pristine about “Dynamite” that makes it impossible to not adore. It’s a little too cleanly produced to be on the level of the Bruno Mars hits BTS were clearly aping, but the sense of fun is infectious. At the very least, it’s on equal footing with Taio Cruz’s classic of the same name.

“Comeback” by Carly Rae Jepsen feat. Bleachers

Carly Rae Jepsen can knock out wistful synthpop nuggets like this in her sleep. So can Jack Antonoff, who produced the track and provides some backing vocals. 

But just because this isn’t anything new for the duo doesn’t mean the winning formula’s gone stale. “Comeback” is a worthy addition to both of their catalogues.

“Hollywood” by Car Seat Headrest

I can’t, in good conscience, put this song in the top 25. It’s an intentionally abrasive misfire from the Seattle indie rockers, who’ve done much better. Complaining about the vapidness and sleaziness of Hollywood is an overplayed topic, and letting side members of the band rap some of the verses (in goofy voices, no less) was maybe not the best call.

...but at the same time, there’s something to this objectively bad song that I keep returning to. Maybe it’s the embarrassing bluntness of the lyrics. Maybe it’s the forceful guitar riff. Maybe it’s because the aggro, visceral nature of “Hollywood” makes it a perfect workout song. Maybe it’s the goodwill left over from Car Seat Headrest’s last two albums, which were both stone-cold indie rock classics. I’m not sure! 

But even though I know it’s not a good enough song to make the proper list, I can’t lie to myself and leave it out of the honorable mentions. It’s a banger in spite of itself.

“24 Hours” by Georgia

"24 Hours” is the best possible version of a left-of-center synthpop club banger. 

What makes it great — the pulsating energy, Georgia’s yearning vocals, the “whoo!” vocal samples — are obvious on immediate listen. But perhaps what makes “24 Hours” worthy of this list is its replay factor. It came out in January, and it still sounds great 11 months later.

“1985″ by Freddie Gibbs and The Alchemist (song starts at 1:35)

We already knew — thanks to his two collaborative albums with Madlib — that Freddie Gibbs’ gruff flow sounds incredible over dusty samples. So why not team up with another producer who does something similar?

“1985″ is a prime example of knowing one’s strengths. The Alchemist’s production is stunningly gorgeous in his typical style, with a soaring guitar solo and a shuffling, dreamy beat. Gibbs pounces on it with the same ferocious street-life verses he’s been spitting for years. I’m glad to see Gibbs has figured out exactly which production sounds best for him to make Tiger King jokes and tell coke-dealing stories.

“Say Something” by Kylie Minogue

Aussie icon Kylie Minogue has been at it for 33 years at this point, reminding us every decade or so exactly why she’s stuck around.

“Say Something” is one of those reminder tracks — a burbling, irresistible, futuristic-yet-retro disco banger. The production is stellar, from the clanging guitar riff to the bouncy synth bass, and Minogue has a winking confidence on the track like she’s been doing this for decades (which, of course, she has). It’s exactly what you want out of a bubblegum pop jam.

“Right Round The Clock” by Sorry

With their very-British boy-girl dueling vocals, new London indie rock outfit Sorry definitely have more of a whiff of The xx. But instead of hyper-minimalist, whispered tunes, “Right Round The Clock” has a thundering, droll swagger that grabs you by the throat when the chorus comes slamming in.

The thumping, piano-based sound of “Clock” has a bit of a jazzy flair, thanks to the flecks of sax that pop in here and there. And Sorry interpolates Tears For Fears’ classic “Mad World” in a gloriously tongue-in-cheek way on the chorus (at the very least, it’s far superior to that awful gloom-and-doom Donnie Darko cover).

“Brooklyn Bridge To Chorus” by The Strokes

In a year FILLED with improbable comebacks from ‘00s and ‘90s artists (we’ll get some of to them in the top 25!), The Strokes may have been the least likely. The early ‘00s indie rock standard-bearers had been in sharp decline for nearly 15 years before their new album, The New Abnormal, dropped and the group returned to form.

“Brooklyn Bridge To Chorus” is a prime example of The Strokes’ invigorating comeback. It’s a killer new-wave jam that could’ve been been written by The Cars, with its jittery keyboards and impossibly catchy chorus. And of course, The Strokes’ most valuable asset — lead singer Julian Casablancas’ impossibly cool vocals — is here in full force. 

It’s not quite Is This It, but “Brooklyn Bridge To Chorus” is still The Strokes’ best song in 14 years.

“Spotlight” by Jessie Ware

After a career making increasingly dull ballads, “Spotlight,” and Ware’s new What’s Your Pleasure? album, is a refreshing change of pace into sleek dance-pop. 

I don’t know if “classy” has ever been used to describe disco, but that’s the best way to describe “Spotlight.” It’s undoubtably a dancefloor filler, with a funky groove and ‘70s string stabs, but there’s also a stateliness to it. It could fit equally well at Studio 54 as it would at a black-tie affair. I credit Ware with that, using her breathy vocals and charisma to strong effect here.

“Lilacs” by Waxahatchee

Any time you can write a song that sounds like an outtake from Tom Petty’s Wildflowers, I’m on board. 

That’s a bit of a reductive way to describe “Lilacs” — Katie Crutchfield’s vocals are much more fiery, for starters. But there’s something nostalgic and welcoming about this southern-fried folk-rock song with oblique lyrics and catchy hooks for days.

“Mood” by 24kGoldn feat. iann dior

Much of this new wave of emo-influenced rap isn’t really my thing. Maybe I’ve grown out of super-angsty and blunt songs about depression? Although I still love Smashing Pumpkins, so maybe that’s not the case. I can’t really answer why I don’t adore Juice WRLD or Lil Peep like so many others seem to.

But “Mood” — an unabashed sell-out, watered-down version of that sound – immediately clicked for me. I know 24kGoldn is trend-riding here, and that this is essentially a wildly shallow pop song. BUT! It’s a really catchy wildly shallow pop song! With bouncy pop-punk production that sounds like trap-ified Blink-182! (okay, it’s much better than that sounds, but you get the point)

I allow myself a guilty pleasure or two on my lists. “Mood” is one of those guilty pleasures this year. As the kids (presumably still?) say, it’s a vibe.

[randomguywithwords]

As The Dust Settles: Chapter 7 (Dabiten Slowburn)

Recap from Chapter 6: 

“Find out what you can on that girl, Apocrypha.” 

...

“I don’t really owe you anything do I?” Hawks winked. 

“What do you want?” Dabi growled. 

“Nothing for now, but you’ll owe me. That’s all.” 

“Fine.” 

-------

Their meetings of the PLF were shifted to Re-destro’s mansion, a labyrinth of identical corridors, lavish rooms that stank of wealth built upon foundations and corporations that concealed this singular secret of their true loyalties. Said loyalties, once pledged to Destro, then to his son, were now transferred onto Tomura Shigaraki. 

The young man sat at the head of the council table. The table was in a semicircular shape, with the lieutenants taking a seat each. These meetings, a daily routine, were something Dabi didn’t enjoy. 

And with the agenda of this one, he was about to enjoy them far less. 

“I’m pairing you guys up. Each pair will lead a squadron of their own. I don’t care what you guys do to them. Just make sure that when I assign your squad something, it gets done. Got it?” After waiting for a general murmur of assent, Shigaraki passed a sheet of paper to Mr Compress, who stood up to read the pairings. 

“Re-destro and me, Trumpet and Twice, Skeptic and Spinner, Dabi and Apocrypha —“ 

Goddammit. Dabi shot the girl a look, who had been looking at the table the whole time. Even as her name was called, she hadn’t looked up, her eyes frozen to the grey marble. 

“Toga, you’re with me.” Compress looked up from the paper. Toga stuck her tongue out. “Fine.”

“Thanks, Compress.” Shigaraki said. The performer nodded and sat back down. “So, we’re done with everything, yeah? City’s repaired, the media’s finally shut their mouths and stopped annoying us, all that garbage. Good…” 

“Let’s talk destruction.” Shigaraki’s statement was met with silence. Dabi felt the tension in the room spike. He was curious to hear what the leader of the PLF had to say on his ambition.

“Re-destro, I’ve looked at your plans. I gotta say, I’m impressed. I like the idea.”

“Thank you, great leader,” Re-destro replied, smiling widely, perhaps out of a fear that still manifested even as they were technically on the same side. Dabi hid a grin of his own.

“What’s the idea?” Toga asked. “I wanna know.”

Shigaraki picked up a piece of paper on the desk. “Basically, they want to slowly get people on their side, by spreading their message. It’ll be non-violent, at first,” Shigaraki emphasised the last two words, “But once it reaches a lot of people, they’ll start their attacks.”

Licking his lips, he continued, “Attack the major cities with the members, cause chaos, cause destruction. Show them the strength of the average citizen, how even they can overpower heroes. Broadcast this country-wide. Re-destro and his political parties will swoop in and take charge, offering assistance, offering anarchy – within their control. This’ll create a divide between the hero society and the Liberation Front. Slowly, with more attacks and threats, more and more will join our side. Until Japan is ours.”

“Wow.” Toga breathed, grinning. The feeling was mutual with Dabi. He was impressed too. 

“But,” Tomura put the paper down, “I’m not patient enough to wait. I like the idea of getting them to our side via desperation, not genuine belief in the ideals. So here’s my change.”

“Start small, going for the small towns and villages around Deika City. Take over Kyoto first. From there, the rest of Japan. Destroy society and everything within it.”

“That’s great and all,” Dabi interjected, drawing a look from Shigaraki, “But isn’t this a little rushed?” 

“Yeah, I was getting to that,” Shigraki droned with mild annoyance, waving a hand dismissively at Dabi, who retorted with kicking his legs on the table. “We’re going to lay low for a week, scrub whatever’s left of the media off our backs, don’t draw anymore attention. Use that time to get your squads in order. By next Friday, we’re starting.”

Shigaraki spun in his chair. “That’s all I have for you guys. Dismissed.” 

People got up and began to leave, Dabi with them, until he heard Tomura call, “Dabi. Here.”

The fire-user turned back to see Shigaraki pointing at the empty space in front of his chair. He stalked up to the boy. “What is it?”

“I didn’t toss you and Apocrypha together by throwing darts. I need you to get your shit together. This...whatever it is between you two, stop it.”

“No idea what you mean,” Dabi said. 

“I saw you two fight last night from the tower. It wasn’t exactly subtle. So yeah, end this little fight of yours.”

“I am trying to end it. That bitch is insane, constantly blabbering about her precious ‘meta-ability’ and her army. She’s trying to kill me because she thinks Re-destro’s orders are still in effect, so I’m going to kill her first.” 

“You kill her, I kill you.” Dabi froze for a moment under the red glare of Shigaraki’s cold irises, and the threat that came from his mouth. “No one’s going to murder anyone within the League – Liberation Front, whatever. I’m not having my lieutenants start a civil war under my nose, not when we have this much going for us.”

His ears burning, Dabi shook off the instance of trepidation that he felt from Shigaraki, and answered back hotly, “She’s not one to listen to reason. Have you tried talking to her? She’s mental.” 

“I don’t have time to deal with this bullshit. I’ll do something if things get out of hand. Otherwise, you’re solving this on your own. That’s final.”

“Hey.” Dabi took a step forward. “You have a lot of nerve, y’know? You go through some epiphany shit and now you think you’re the next boss. We ain’t chums, but I ain’t your servant either. I have my own things to look out for too.”

“Oh yeah?” Shigaraki got to his feet, meeting Dabi’s stare with equal intensity. “What ‘own things’? Come to think of it, I still don’t know who you are, just your name, quirk, and what you’ve done. To me, you’re the same as any random soldier in the Front, especially Apocrypha.”

“Don’t compare me to her!” Dabi hissed, brandishing a spark of fire. 

“I’m sure as hell going to if it riles you up so much.” Shigaraki knocked aside Dabi’s raised arm with a backhand. “I let you go your own way because I don’t believe in ordering you guys around, but now that I’m leading more than a small group, I’m changing my style. You’re settling things with Apocrypha, got it?”

The two stared at each other with cold fury for a second, before Dabi spat, “Fine.” and spun on his heel to exit the room. 

––––––

Managed to write this out. I’ll see what more I can do with the little time I have. Sorry Kanra and others for making you guys wait so long. This probably isn’t the chapter you guys wanted, but I have to push the plot along instead of stagnating on the relationship between the two MCs.

[chorusfm]

The Top Albums of 2018 (So Far)

I think I say this every year but fuck it – the music 2018 has blessed us with in its first six months has been extraordinary. With all the insane shit happening around us and to us in this day and age, it feels like music is the only sane thing we have. So below we have our top 20 favorite releases of the year thus far. If you can’t find something to love on this list then you just aren’t trying hard enough – this is an eclectic list that encompasses multiple genres and styles. I can’t wait to see what the next six months brings to our ears. Note: You can share your own list in our music forum. The Top Albums of 2018 (So Far) 1. Brian Fallon – Sleepwalkers Brian Fallon came up in the New Jersey punk scene writing nostalgic rock songs about ferris wheels and that old house in Asbury Park and sleeping on the beach. He did it all so damn well that his band, The Gaslight Anthem, famously earned the Springsteen seal of approval. Fallon is a Jersey boy through and through, which makes the idea of his new departure of a solo record—an organ-led, British-invasion-influenced solo record recorded in New Orleans—so fascinating. That he completely pulled it off, continuing his incredible hot streak of albums that began with 2008’s The ’59 Sound, proves that Brian Fallon is among America’s greatest living songwriters. Following his solo debut, 2016’s great if slightly by-the-numbers Painkillers, Sleepwalkers feels far more confident and mature, as Brian Fallon stretches his skillset into a dozen interesting new territories. The NOLA flavor shows up when Fallon experiments with sultry new rhythms in “Come Wander With Me” and the horn-driven title track. “Forget Me Not” references the Beatles in the bridge to signal to listeners that, yes, this is a ‘60s pop song. There is a sizable dose of Pearl Jam in the grungy guitar tones on “My Name Is The Night (Color Me Black),” and there is just enough Barry Manilow flavor in stadium-sized ballad “Etta James,” which sounds like if “Mandy” were performed by a guy with neck tattoos. Still, despite the rampant experimentation, Sleepwalkers is as cohesive a record as we’ve come to expect from Fallon over the past decade, making it one of the most exciting moments in his impressive discography and one of 2018’s most well-crafted records. [JB] 2. The Wonder Years – Sister Cities “I feel like if you’ve been following The Wonder Years, this is where it’s been going,” frontman Dan Campbell states in the teaser trailer for Sister Cities, and he’s spot on. This is the band’s most dynamic album yet, which says a lot considering how much the band has grown with every release. “Raining in Kyoto”, one of the heavier songs the band has written, introduces the central theme of the record, which is that no matter how far apart we may be physically, we’re all connected by our shared humanity: “an older man stood close by and smiled at me / I rung the bell like he did, I told you I’m sorry / a makeshift funeral, I tried setting you free.” On the other side of the world during his grandfather’s funeral, Campbell found solace in a place that didn’t share a spoken language, but a language of grief and love. The album’s closer, “The Ocean Grew Hands to Hold Me,” is The Wonder Years at their most vulnerable: “when I was in shambles / when I got too weak / the ocean grew hands to hold me.” The song, and the album as a whole, is about darkness and loss, but it’s also triumphant. It’s about realizing that our individual struggles are our collective struggles. At our lowest points, our humanity—the ocean—lifts us up and carries us home. [SS] 3. Kacey Musgraves – Golden Hour While Kacy Musgraves is a country artist, it’s hard to characterize Golden Hour as a strictly country album. She’s been bending the genre since her release of Same Trailer Different Park in 2013. Honestly, it doesn’t matter to me what genre Golden Hour is placed into because it’s just a good album. Some song on the record (“Slow Burn,” namely) require warming up to them before you can enjoy them in the full context of the album, but I didn’t mind giving this a few spins before it sank in. “High Horse” is a catchy tune and it’s not the only one on the record. With each song, you get the sense that Kacey just wants to do her own thing without focusing on what it’s going to be labeled as. Her personality shines through and that’s what makes this album a fun one to listen to. [DC] 4. Spanish Love Songs – Schmaltz Spanish Love Songs are a band that play a particular brand of denim-jacket-punk that feels informed in equal parts by Against Me!…As The Eternal Cowboy and “The Authority Song” by John Mellancamp. Many of their songs contain lyrics where lead vocalist Dylan Slocum fears out loud that he will be killed in an act of random gun violence. This is to say that Spanish Love Songs are an American rock band. Schmaltz is greater than the sum of its parts. At first take, Spanish Love Songs sound a lot like The Menzingers, but that comparison is far too simple to leave unexamined. Compared to the Americana-influenced punk bands that preceded them, Spanish Love Songs’ choruses are more immediate with a notable to well-crafted vocal melodies and the inclusion of synthesizers to punch up the pop elements. The vocals are more frantic and anxious, as Slocum agonizes about the intersection of the aging process, the death of loved ones, and the definite timeline of his own life. Sure, the music Spanish Love Songs make may sound familiar, but the band have nailed the execution to the extent that Schmaltz is handily one of 2018’s most exciting releases from a new band. [JB] 5. Now, Now – Saved Every once in a while the perfect album seems to come along at the perfect time for me. I hear it, it just clicks, and it becomes not only my soundtrack for a few weeks, but my soundtrack for the year. Right now, that’s been the newest album from Now, Now. I find myself returning to Saved when I’m looking for a pick-me-up, when I’m looking to get into my feels on a late night, and when I’m just trying to zone out after a long day at work. The kind of album that just feels perfectly made for where I’m at and what I’m looking for from a record right now. I’m a sucker for pop-music that retains a strong emotional resonance. For music that is full of huge choruses and melodies while maintaining an emotional core. By and large, I think that’s the thread that’s followed me through my entire musical journey. It’s what really draws me to music in the first place. As we reflect on the albums that have made the first part of the year so special for us, I think about what’s going to stay with me through the rest of the year as well. I’ll be playing “SGL” while the sun’s out all summer, listening to “Knowme” as the leafs start to change colors, and have “P0WDER” on repeat in my headphones by the fire this winter. It’s an album for all seasons, for all moods, and it’s been my runaway favorite of the year so far. [JT] 6. Pianos Become The Teeth – Wait For Love After spending the last three Pianos Become The Teeth records recounting the life, love, pain, and loss of his father from multiple sclerosis, the band’s latest album Wait For Love features frontman Kyle Durfey exploring his own fatherhood, as he got married and had a child after finding some sort of closure on 2014’s Keep You. Wait For Love isn’t a happy record nor a sad record – it’s a realistic one that beautifully and painfully captures all the intoxicating highs and devastating lows of being a husband and father. The record is as emotionally complex as you’d expect from a Pianos record, but Durfey’s melodies have never been more powerful, surrounded by the band’s increased gracefulness in their musicianship and enhanced by David Haik’s pulsating and brilliant drumming. From the initial euphoric wave of “Fake Lighting” to the gorgeously intense closer “Blue,” Wait For Love is bursting with some of 2018’s most heartfelt, vulnerable tracks as Pianos Become The Teeth earnestly march into the next exhilarating phase of their career. (DB) 7. Pusha T – DAYTONA It’s been a long season for hip-hop, filled with new releases and controversy in equal measure. While many have taken Kanye West to task for his inane infatuation with Trump and a number of right-wing pundits, there was a certain curiousness ascribed to the announcement of his ambitious Wyoming Sessions. West set out to release five G.O.O.D Music albums within a month, and while ye may be polarizing enough to finally keep some listeners from buying into the producer’s schtick, the first release of these sessions, Pusha T’s DAYTONA, may be the best of the bunch. DAYTONA is as close as it gets to an instant classic, and the publicity surrounding the release, for better or worse, fuels that fact. In some ways, DAYTONA is exactly what we’ve come to expect from Pusha T – that is, luxury drug raps – but in another way, the album pushes new boundaries for the rapper. From the melodicism of opening single “If You Know You Know” to the stunning guitar samples on “The Games We Play” and “Santeria,” King Push manages to mix more braggadocio and quotables in just seven tracks than most rappers are capable of in an hour-plus. [AM] 8. Hop Along – Bark Your Head Off, Dog There is no voice in modern rock and roll as unique and indescribable as Hop Along’s Frances Quinlan. A constant see-saw between something beautiful and ugly, she undertakes a variety of different approaches, as if her voice is assuming a different character each time. And it’s so very apparent on the band’s incredible third album, Bark Your Head Off, Dog – a record that encapsulates a catharsis in the most imperfect yet perfect ways. Tracks like “How You Got Your Limp” and “Not Abel” prove that you don’t need to be abrasive to be impactful, each song channeling the tender yet spastic density of the band’s music. Bark Your Head Off, Dog may be the most visceral record of 2018, innately sticking with you long after the final track has finished playing. [DB] 9. Father John Misty – God’s Favorite Customer Josh Tillman is one of the most divisive voices in indie-rock, for reasons that are clear, but also somewhat silly. It seems many can’t stand the performer’s growing penchant for satire and theatrics, and if that’s the case, many will rejoice upon hearing his shortest and least ironic offering under the moniker yet. Taking sonic cues from his entire discography, God’s Favorite Customer is a piano record, a comparatively minimalist affair that often bursts into lavish compositions that would make a Beatle blush. Rooted in heartbreak and isolation, Gods Favorite Customer offers the unique songwriting chops fans have come to love as well as an unbridled and often bleak look at this particular songwriter’s process. An album of pleas, Tillman chastises himself on “Just Dumb Enough to Try” (“But I’m just dumb enough to try/To keep you in my life/For a little while longer”), but also switches places with his partner on standouts “Please Don’t Die” (“And honey, I’m worried ’bout you/Put yourself in my shoes/You’re all that I have/So please don’t die, wherever you are tonight”) and “The Songwriter.” Saving its least performative bits for the B-side, God’s Favorite Customer is the unfortunately common high point of an artist’s career mirroring a low point in their personal life. [AM] 10. Jeff Rosenstock – POST- If Jeff Rosenstock’s We Cool? is about the internally-directed disquiet that comes when an anxious person starts noticing the aging process, and if WORRY. is about the externally-directed disquiet that comes when an anxious person decides to get married and settle down in a troubled political climate, POST- is about that same anxious person trying their absolute hardest to keep it together in the era of Donald Trump. While POST- doesn’t shake up the WORRY. sound all that much (discounting some experimentation with longer song structures in the opening and closing tracks), Rosenstock has clearly gone through significant changes since Inauguration Day. Specifically, he’s writing from a much lower place. While Jeff postured himself as the flag-bearer in the movement against all that is fucked up in the world on WORRY., POST- finds the singer full of anxiety and paranoia with nothing but questions to offer. Did my friends and neighbors vote for him? How can I speak out against this? Is there really any point in doing so? Can I start a new life in Australia or something? And while “Let Them Win” doesn’t begin to start answering these questions, it does present the only possible conclusion, the only mantra that feels within reach: no matter how bad things get, we’re not gonna let them win. [JB] 11. Fall Out Boy – MANIA If you could put me in a time machine that looks like a DeLorean and shoot me back to the release of Fall Out Boy’s Take This To Your Grave, and let me tell myself that in 15 years the band would still be going strong, and, in fact, may have just released their best album? I’d probably believe time-traveling-Jason. I’ve always believed that this band is special and it’s thrilling for me to watch their career unfold. The constant has been the band’s ability to write very good songs. They’ve walked through a variety of different genres and branched out their sound, but I’d argue that the the underlying “Fall Out Boy-ness” has always remained. (Uh, ditto for people arguing about them on my forums.) MANIA has quickly grown to be one of my favorite Fall Out Boy albums. I’m drawn to this brash confidence I can feel in the songs. It’s got a pulsing soul that reverberates through a razor-tight 36 minutes. Between foot-stomping choruses and soul-baring ballads, it’s the amount of pure fun that I find in the album I’m drawn most to. In a world that feels more hellish each day, there’s a comfort to this record. I’m not surprised this band is still cranking out great songs all these years later, but I’m always pleasantly surprised when I not only find something to like, but something I genuinely want to listen to. Well done you little pleasing purple record you. [JT] 12. Lord Huron – Vide Noir Lord Huron, the indie rock group from Los Angeles, have had quite a few years to grow into their trademark sound of atmospheric landscapes and wandering journeys. Vide Noir, the third studio album and their first on a major label, was mixed by Dave Fridmann (Tame Impala, The Flaming Lips) and self-produced by front-man Ben Schneider, in which he has crafted his early career masterpiece. Schneider recently credited this album to a new habit of taking nighttime drives around LA and the “search for meaning amidst the cold indifference of the universe,” according to his recent social media posts. This album in particular speaks to the late night journeys that Schneider had become accustomed to and takes the listener on a rewarding path of self discovery. Lord Huron are at their most comfortable when they experiment with these sonic landscapes and there’s plenty of this apparent on this LP. [AG] 13. Caitlyn Smith – Starfire Some artists just have those voices that you can’t deny. You might not usually listen to the genre they hail from, and you might not even love the songs, but you can hear them sing and understand why people love their music. Adele is one of those artists. Chris Stapleton is one of those artists. Jeff Buckley, when he was alive, was one of those artists. And Caitlyn Smith is one of those artists, too. For my money, Smith’s debut, titled Starfire, is one of the two or three most well-sung LPs of the decade so far. I’m guessing that one listen to the theatrical tour-de-force “East Side Restaurant” will be enough to tell you why. While Smith’s voice is the centerpiece, though, Starfire is what it is because of the songwriting. Smith has been waiting for this moment for a long time, releasing a series of EPs and writing songs for everyone from Garth Brooks to Dolly Parton to Meghan Trainor and John Legend. Starfire encapsulates that long-haul story into a record about chasing a dream until it breaks your heart—and then chasing it even harder. Songs like “Don’t Give up on My Love” and “This Town Is Killing Me” ache with the sting of everything you sacrifice when you gamble your life on a fool’s hope of music industry success. “They buried my granddad without me/’Cause I was out on the road at some one-off show in Tupelo/And I can’t take that one back,” Smith sings in the latter. Starfire is an album built on a lot of miles, a lot of lonely nights in shitty motel rooms, and a lot of blood, sweat, and tears. You can hear every ounce of what the journey cost in the songs, so when Smith belts something like the rafter-shaking key change at the climax of “Tacoma,” it feels like nothing less than a triumph of the human spirit. [CM] 14. Camp Cope – How To Socialise and Make Friends There’s a renaissance of primal, emotionally-charged punk rock coming out of Melbourne, Australia right now (roo-rock?) and the all-female Camp Cope is leading the charge. Lead singer Georgia Maq started as a solo artist, but added Kelso Hellmrich and Sarah Thompson to great effect on their second studio album, How to Socialize & Make Friends, a loose reference to the classic Dan Carnegie self-help book published in the 30’s. Maq is equal parts sincere, sarcastic, bitter, and brazen singing about gender politics (“And all my success has got nothing to do with me/Yeah, tell me again how there just aren’t that many girls in the music scene”) and just surviving in a world not built for sensitive people (“But sometimes it’s hard to go outside/And I’ve been driving way too much/I’ve been too lazy to fix my bike”). Her beautiful banshee scream is reminiscent of Hop Along’s Frances Quinlan’s, but nothing about Camp Cope is purely derivative. Now in their prime as a band, they have created a place for themselves all their own. [DK] 15. Underoath – Erase Me The first time I heard “rase Me, I was let down—but somehow totally vibing with album standout “No Frame.” And then I listened again. And again. The songs started wiggling their way into my head. And then I listened again. The next thing I knew, I was belting every song for weeks on end. I’d trusted Underoath for fifteen years, and they delivered again, despite my initial reaction. Listening to an album “freed from religion” was listening to the catharsis of a man not afraid to address God from a place of vulnerability and honesty unafraid of how he was perceived in the asking, conquering the addiction demons of his past, and coming to a new sense of identity—all while exploring new avenues of sound for the band. Some defined these new sounds as selling out—and while I would’ve preferred more “Hold Your Breath”-type songs to “Rapture”-type songs—I’m all for bands writing what they want to write. This will never be remembered as their greatest album, but with enough time, it becomes an intensely personal album if you let it. The soaring chorus of “In Motion” or the absolutely crushing bridge of “ihateit” spoke directly to my life experiences. Spencer sang words echoing the thoughts I’ve kept on scraps of paper only I see. When I come to music, I just like to be seen. Thirteen years after “Young and Aspiring” changed my life, Underoath still makes music that sees me. And I still see them. I’m so happy for the continued success and happiness they’ve found along the way. Erase Me is an album about the journey, and I’m already excited for what the destination of a next album promises. [GL] 16. Soccer Mommy – Clean Perhaps no other artist understands coming of age in the 2010s the way Soccer Mommy’s Sophie Allison does. Her first proper full-length, Clean, displays her knack for chronicling the uncertainties of young love, feeling misunderstood, and avoiding one’s parents in a way that feels far more mature than the subject matter would suggest. Take “Flaw”’s honest retelling of a relationship gone sour, culminating in the self-aware line: “I choose to blame it all on you, ‘cause I don’t like the truth.” Or listen to the rollicking, defiant single “Your Dog,” a screed against a controlling boyfriend that turns into a positive affirmation of her autonomy. It’ll be exciting to watch Allison grow, but for now, Clean is a hell of a first step. [ZD] 17. Animal Flag – Void Ripper Animal Flag’s latest full-length, Void Ripper, is aptly named. It’s the band’s darkest and heaviest release yet, and the music is every bit as crushing and apocalyptic as Matt Politoski’s lyrics behind it – lyrics like, “everyone I know will die” and “life is short, it always ends.” While Politoski’s lyrics are admittedly depressing, they’re also his most personal and thought-provoking yet. He and the rest of Animal Flag have torn through the void, and what they discovered on the other side was something beautiful. [ZD] 18. Frank Turner – Be More Kind Frank Turner is an Englishman, dutifully touring his way around the world and then back again, racking up a whopping 2,202 shows under his belt. So if anyone knows what might help our country right now, it’s probably the very world-weary Frank Turner. On Be More Kind he prescribes one part decency (“Be more kind, my friends/Try to be more kind”) , one part rage (“Let’s make America great again/By making racists ashamed again.”), and one part persistence (“Put on your brave face, honey, your brave face/It’s funny how fear can bring your focus in tight”). It’s a winning formula and the subject matter forces Turner to slow down in way he’s never done before. He leans in hard on the end-of-the-world theme with titles like “21st Century Survival Blues” and “Making America Great Again,” but mostly gone are the fast guitars and punk power chords, replaced instead with sensitive acoustic strumming and even, on standout track “Blackout”, a clubby dance beat. Turner crafts a surprisingly mellow, insightful album, one that feels, more than ever, like one he’s been wanting to make. And if takes an Englishman with four chords to save our country, well, we’ll take it any way we can get it. [DK] 19. The Republic of Wolves – Shrine After my first listen of Shrine I knew that this was a very special record. On their 3rd LP The Republic of Wolves return to their roots. This record delivers an album full of dynamic dark alt rock songs that are sure to fill a void for some. Lyrically, Shrine is a concept album that centers around Japanese folklore while still touching on relatable themes such as heartbreak (Birdless Cage) and spiritual conflict (Bask) . One of the album’s highlights is the centerpiece “Dialogues,” which takes the listener through a musical journey of both loud and soft dynamics, while also containing a call back a track on the bands first LP “Monologues.” The production on shrine is fantastic and contains some of the best guitar tones I’ve heard this year. This record delivers on many layers and is a must listen for fans of dynamic alternative rock. [Teebs41] 20. Turnstile – Time & Space If you’re looking for 2018’s most wild ride look no further than Turnstile’s Roadrunner Records debut, Time & Space. Blending the perfect mix of shout-along choruses, super groovy musicianship, and just the right amount of heavy to get the pit moving (thanks to Will Yip’s crisp production), the Baltimore quintet is the most exciting and unique band to emerge from the hardcore scene in years. “Generator” flows like an out-of-body experience, elevating above any and all distractions, while the fuzzy crunch of “Moon” features a guest turn from Sheer Mag’s Tina Halladay and the blistering “Right To Be” features added production from none other than Diplo. Clocking in with 13 tracks at just under a half hour, Time & Space proves that the tired ideas of what hardcore should be will not stop Turnstile from getting freaky and releasing one of the best albums of the year. [DB] Contributor Key * [CM]: Craig Manning * [JT]: Jason Tate * [AM]: Aaron Mook * [SS]: Scott Surette * [ZD]: Zac Djamoos * [DC]: Deanna Chapman * [DB]: Drew Beringer * [AG]: Adam Grundy * [GL]: Garrett Lemons * [JB]: John Bazley * [DK]: David Kallison Contributor Lists Jason Tate * Now, Now – Saved * Fickle Friends – You Are Someone Else * Fall Out Boy – Mania * Half Waif – Lavender * Brian Fallon – Sleepwalkers * Dessa – Chime * The Neighbourhood – The Neighbourhood * Kacey Musgraves – Golden Hour * Natalie Prass – The Future and the Past * Pennywise – Never Gonna Die * Janelle Monae – Dirty Computer * Soccer Mommy – Clean * Spanish Love Songs – Schmaltz * Nathan Gray – Feral Hymns * Illuminati Hotties – Kiss Yr Frenemies * The Republic of Wolves – Shrine * Lykke Li – So Sad So Sexy * The Longshot – Love is For Losers * Annie-Marie – Speak Your Mind * Tonight Alive – Underworld Drew Beringer * Father John Misty – God’s Favorite Customer * The Wonder Years – Sister Cities * Hop Along – Bark Your Head Off, Dog * Turnstile – Time & Space * Petal – Magic Gone * Self Defense Family – Have You Considered Punk Music * Beach House – 7 * Pianos Become The Teeth – Wait For Love * Sleep – The Sciences * Tiny Moving Parts – Swell * Jeff Rosenstock – POST- * Culture Abuse – Bay Dream * Rolling Blackouts C.F. – Hope Downs * Dance Gavin Dance – Artificial Selection * Wax Idols – Happy Ending * Now, Now – Saved * Hurry – Every Little Thought * Drowse – Cold Air * Wye Oak – The Louder I Call, The Faster It Runs * Anthony Green – Would You Still Be In Love Adam Grundy * Lord Huron – Vide Noir * Middle Kids – Lost Friends * The Aces – When my heart felt volcanic * CHVRCHES – Love is Dead * The Neighbourhood – S/T * Moon Taxi – Let the record play * Car Seat Headrest- Twin Fantasy * Kendrick Lamar/VA – Black panther soundtrack * Brian Fallon – Sleepwalkers * Senses Fail – If there is light… * Dashboard Confessional – Crooked Shadows * Nathaniel Rateliff & the Night sweats – Tearing at the Seams * Arctic Monkeys – Tranquility Base Hotel & Casino * The Voidz – Virtue * Underoath – Erase Me * Superorganism – S/T * Ben Howard – Noonday Dream * Pennywise – Never Gonna Die * Father John misty – Gods favorite customer * The Longshot – Love is for Losers Craig Manning * Caitlyn Smith – Starfire * Kacey Musgraves – Golden Hour * Tenille Townes – The Living Room Worktapes * Dawes – Passwords * Brian Fallon – Sleepwalkers * Donovan Woods – Both Ways * Field Report – Summertime Songs * Brothers Osborne – Port Saint Joe * Steve Moakler – Born Ready * Dierks Bentley – The Mountain * LANCO – Hallelujah Nights * Ashley Monroe – Sparrow * Brandi Carlile – By the Way, I Forgive You * Courtney Marie Andrews – May Your Kindness Remain * Parker Millsap – Other Arrangements * The Dangerous Summer – The Dangerous Summer * The Church Sisters – A Night at the Opry * Snow Patrol – Wildness * Ashley McBryde – Girl Going Nowhere * American Aquarium – Things Change Scott Surette * the wonder years — sister cities * the republic of wolves — shrine * pusha t — daytona * dance gavin dance — artificial selection * hop along — bark your head off, dog * jeff rosenstock — post- * pianos become the teeth — wait for love * turnstile — time and space * cardi b — invasion of privacy * soccer mommy — clean * jpegmafia — veteran * tiny moving parts — swell * the dangerous summer — the dangerous summer * senses fail — if there is a light, it will find you * pennywise — never gonna die Deanna Chapman * Kacey Musgraves – Golden Hour * Hidden Hospitals – Liars * Marian Hill – Unusual * Caitlyn Smith – Starfire * Brothers Osborne – Port Saint Joe * The XCERTS – Hold On To Your Heart * Brian Fallon – Sleepwalkers * Hurry – Every Little Thought * Elder Brother – Stay Inside * The Longshot – Love Is for Lovers Zac Djamoos * Spanish Love Songs – Schmaltz * The Wonder Years – Sister Cities * Soccer Mommy – Clean * Animal Flag – Void Ripper * Camp Cope – How to Socialise and Make Friends * Long Neck – Will This Do * awakebutstillinbed – what people call low self-esteem… * Pianos Become the Teeth – Wait for Love * illuminati Hotties – Kiss Yr Frenemies 1 * Mighty – Mighty * The Republic of Wolves – shrine * No Thank You – All It Takes to Ruin It All * Black Foxxes – Reidi 14. Runaway Brother – New Pocket * Speak Low If You Speak Love – Nearsighted * Jeff Rosenstock – Post- * Toy Cars – Paint Brain * Late Bloomer – Waiting * Barely Civil – We Can Live Here Forever * Casey – Where I Go When I Am Sleeping Aaron Mook * Caroline Rose – LONER * Porches – The House * Father John Misty – God’s Favorite Customer * The Sidekicks – Happiness Hours * Pusha T – DAYTONA * Beach House – 7 * American Pleasure Club – A Whole Fucking Lifetime of This * Donovan Wolfington – Waves * Kraus – Path * Mount Eerie – Now Only Chrisanne Grise * Brian Fallon – Sleepwalkers * Franz Ferdinand – Always Ascending * Lord Huron – Vide Noir * Florence and the Machine – High as Hope * Leon Bridges – Good Thing * David Byrne – American Utopia * Father John Misty – God’s Favorite Customer * Frank Turner – Be More Kind * The Longshot – Love is for Losers * Kate Nash – Yesterday Was Forever David Kallison * Camp Cope – How to Socialize and Make Friends * Brian Fallon – Sleepwalkers * Spanish Love Songs – Schmaltz * Sorority Noise – YNAAT * Frank Turner – Be More Kind * Hop Along – Bark Your Head Off, Dog * illuminati hotties – Kiss Yr Frenemies * Coach Phillips – Learning How To Swim EP * Pelafina – Sorry In Advance * Wonder Years – Sister Cities * Tiny Little Houses – Idiot Proverbs * The Penske File – Salvation * Childish Gambino – “This is America” single * Juice WRLD – Goodbye and Good Riddance * Pllush – Stranger to the Pain * Nahan Gray – Feral Hymns * Animal Flag – Void Ripper John Bazley * Spanish Love Songs – Schmaltz * The Wonder Years – Sister Cities * Staten – I don’t want to be alone anymore * Now, Now – Saved * Pusha T – Daytona * Brian Fallon – Sleepwalkers * Kevin Gates – Chained to the City EP * Kississippi – Sunset Blush * Janelle Monáe – Dirty Computer * Hop Along – Bark Your Head Off, Dog * The HIRS Collective – Friends. Lovers. Favorites. * Jeff Rosenstock – POST- * A Will Away – Hear Again EP * J Cole – KOD * Saba – Care For Me * Tiny Moving Parts – Swell * Courtney Barnett – Tell Me How You Really Feel * Cardi B – Invasion of Privacy * Animal Flag – Void Ripper * Zaytoven – Trap Holizay Garrett Lemons * Underoath – Erase Me * The Wonder Years – Sister Cities * Beyonce & Jay-Z — Love Is Everything * Jeff Rosenstock – POST- * The Weeknd – My Dear Melancholy * Cardi B – Invasion of Privacy * Frank Turner – Be More Kind * Shawn Mendes – Shawn Mendes * Dashboard Confessional – Crooked Shadows * Pianos Become The Teeth – Wait For Love * The Dangerous Summer – The Dangerous Summer * Senses Fail – If There Is A Light… * The Republic of Wolves – Shrine * Brian Fallon – Sleepwalkers * Kacey Musgraves – Golden Hour * Janelle Monae – Dirty Computer * Migos – Culture II * Now, Now – Saved * Justin Timberlake – Man of the Woods * Pusha T – Daytona Ryan Gardner * The Wonder Years – Sister Cities * Spanish Love Songs – Schmaltz * Kacey Musgraves – Golden Hour * Pianos Become The Teeth – Wait For Love * Now, Now – Saved * The Sidekicks – Happiness Hours * Brian Fallon – Sleepwalkers * The Dangerous Summer – The Dangerous Summer * Underoath – Erase Me * Turnstile – Time & Space * Soccer Mommy – Clean * Harms Way – Posthuman Tommy Monroe * Pusha T – Daytona * Anne-Marie – Speak Your Mind * Charlie Puth – Voicenotes * Cozz – Effected * First Aid Kit – Ruins * Vance Joy – Nation Of Two * Princess Nokia – A Girl Cried Red * Fall Out Boy – Mania * Camila Cabello – CAMILA * Jay Rock – Redemption * Beyoncé & Jay-Z – Everything Is Love * Janelle Monáe – Dirty Computer * Cardi B – Invasion Of Privacy * Royce da 5’9 – Book Of Ryan * Migos – culture 2 * J. Cole – KOD * The Dangerous Summer – The Dangerous Summer * Julie Bergan – Turn On The Lights * Kids See Ghosts – KIDS SEE GHOSTS * Kanye West – Ye Aj LaGambina * Now, Now – Saved * Pianos Become The Teeth – Wait for Love * Kacey Musgraves – Golden Hour * Animal Flag – Void Ripper * Hop Along – Bark Your Head Off, Dog * Brian Fallon – Sleepwalkers * Jeff Rosenstock – Post- * Tiny Moving Parts – Swell * Fall Out Boy – Mania * MGMT – Little Dark Age Eric Wilson * Kacey Musgraves – Golden Hour * Brian Fallon – Sleepwalkers * Mayday Parade – Sunnyland * Camila Cabello – Camila * Mike Shinoda – Post Traumatic * Fall Out Boy – MANIA * Mat Kearney – Crazytalk * Dashboard Confessional – Crooked Shadows * Tonight Alive – Underworld * State Champs – Living Proof --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/articles/the-top-albums-of-2018-so-far/