#may or may not be influenced by the new hozier album

[danidoesathing]

what if added. another motif

[deadcactuswalking]

REVIEWING THE CHARTS: 13/07/2024 (Eminem/Big Sean/BabyTron, Quavo/Lana Del Rey)

Sabrina may have outperformed Sabrina recently but thankfully, Sabrina has taken the throne off of Sabrina for a sixth week at #1 for Sabrina above Sabrina’s last hit, dropping to #2 thanks to a boost above Sabrina for Sabrina, leaving Sabrina below Sabrina. “Espresso” is at #1 and welcome back to REVIEWING THE CHARTS!

content warning: language, Eminem discourse

Rundown

And as always, we start our episode with the notable dropouts, songs exiting the UK top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we bid adieu to… okay, sorry, “Gata Only” by FloyyMenor and Cris Mj went from #76 to #75 to #76 in a three-week span as if they know the arbitrary restrictions I place on this series and want to pressure me into changing them. If that’s the case, what’s “read the FAQ” in Spanish? Besides that, we say farewell to a mix of older tracks and stuffed EDM collabs, as our full lists consists of: “places to be” by Fred again.., Anderson .Paak and CHIKA (which of course deserved more than five weeks), “Addicted” by Zerb, the Chainsmokers and Ink, “Yellow” by Coldplay, “Without Me” by Eminem and finally, “Prada” by casso, RAYE and D-Block Europe, which feels like it’s been here forever.

As for our returns, we see the Euros boost another football anthem back on the charts, namely the #8-peaking “Sweet Caroline” by Neil Diamond. On the two non-consecutive weeks this song peaked, Mungo Jerry and T. Rex were #1 and that should give you enough context that I really don’t need to tell you it was 1971. Alongside it, “3 Lions” is up to #20 and “Mr. Brightside” is at #58 thanks to the band playing football matches at their shows in the lead-up to this track, but once again, I’ve talked about these football songs a while back. I can’t remember the episode but you can probably take an educated guess based on whatever football tournament was happening.

When it comes to notable gains, it’s a bit of an easier job, as there’s some straightforward pick-ups for “You & Me” by Disclosure featuring Eliza Doolittle at #66, “Miles on It” by Marshmello and Kane Brown at #60, “Evergreen” by Richy Mitch & the Coal Miners at #48, “Move” by Adam Port, Stryv and Malachiii at #46, Zach Bryan’s “Pink Skies” returning to the top 40 at #40 thanks to his new album but more on that later, “Kisses” by BL3SS, CamrinWatsin and bbyclose at #26, “Too Sweet” by Hozier at #13 and Kendrick Lamar returning to the top 10 at #9 with “Not Like Us”.

As for our top five, well, for our first full tracking week under a Labour government since 2010, we already know where Starmer’s cabinet stands on pop stars, with Chappell Roan’s “Good Luck, Babe!” at #5 swapping places with “BIRDS OF A FEATHER” by Billie Eilish at #4. One thing hasn’t changed, though, and that’s drinking habits, as Shaboozey’s “A Bar Song (Tipsy)” is steady at #3, and then of course, Sabrina: “Please Please Please” at #2 and “Espresso” at #1. Now for what should be an interesting and definitely varied set of new tracks.

New Entries

#73 - “28” - Zach Bryan

Produced by Zach Bryan

As I expected, I loved Zach Bryan’s newest album, The Great American Bar Scene, which released on July 4th - fittingly - and I delivered some longer thoughts in my listening log on RateYourMusic. The account name’s exclusivelytopostown if you wish to read any more, but to sum it up, it’s definitely more of a folk and heartland rock-influenced album, going from sounding like Springsteen to well, containing the Boss himself, and it fittingly has a more observational, on-the-road feel to it as we travel across America with Zach Bryan delivering relevant anecdotes surrounding his life that seem more distant than the self-titled. It’s still personal, it’s still got a warm, organic production, but there’s an undeniable swell to it all that makes the humble road trip feel a lot grander. I prefer the self-titled in terms of having more memorable, distinct songs but this is an excellent record in itself. Thankfully, one of my favourites was “28”, his only debut as the album bows in at #16 on the UK albums chart.

There are many topics that Bryan will delve into across the record but this one, in comparison, feels like a pretty straightforward love ballad, and a very sweet one at that. Bryan tells us stories about how he went to see her family on his 28th birthday and that was the first time his left felt full and that he was truly loved on his own birthday, having a family and home that he’s been searching for his entire life, caught in a place between home and somewhere distant and unfamiliar, but now he’s fell into what might be a new home for him, and the song celebrates how real that relationship feels. This is developed on in the second verse where Bryan finds himself in a very familiar lyrical space: the dive bar’s crowded with rich people, not at all like it was when he was younger, but the smoke seeping out is still the same, he’s still playing the guitar he was gifted at 14, and being with his new partner takes him back to that space he’s so familiar with. It’s a beautiful sentiment that the homes he created from a passage of specific, frequently recurring memories have been brought back to him by the way he feels with his partner. The organic recording with some distant guitar and an overwhelming bed of strings turns an intimate set of recollections to an honest-to-God ceremony and that little lyric change from “where your old man stayed” to “where your whole heart stayed” places a really neat little bow on everything. It may not be the deepest or most powerful cuts on the latest record, but it’s one that feels so universal without sacrificing the important details that make him such a loveable songwriter. It’s one of my favourite songs of the year, and the whole album’s worth checking out too.

#71 - “I Love You, I’m Sorry” - Gracie Abrams

Produced by Gracie Abrams and Aaron Dessner

Now we’re back in some territory that I’m less familiar with and also less appreciative to see on the charts, TayLorde Rodrigo… I mean, Gracie Abrams, daughter of J.J. This is another album cut from her breakout record that hit #1 a few weeks ago, with this being a sequel to another breakup track she released in 2020. I know I’ve often made comical comparisons to other artists when discussing Abrams’ particularly derivative style but I really liked “Risk” which is similarly plainly obvious on who it takes influence with so it really isn’t just that, and there’s some promise to that: it’s similarly structured to her “I miss you, I’m sorry” whilst taking a more wistful approach, a couple years later, on the breakup and acknowledging the weirdness of still being familiar to someone you slammed the door on despite loving, and being thankful that the ex-partner still keeps in touch, albeit the connection is dwindling. I was actually somewhat liking it, even if it borderlines on easy listening, until the bridge which seems to deflect some blame onto this partner for no reason in a really immature moment that feels out of place, and also has some really obvious takes from the Taylor department (no pun intended), even down to inflections and vocal delivery. The songwriting becomes basic and childish for what seems like a lashing out moment but doesn’t really need to serve that purpose in any way. The song is about frustration but a frustration that quietly bubbles down through life, why have that moment so far into the song? It just doesn’t work for me narratively even if the idea isn’t bad, and Dessner’s utterly unremarkable instrumental backing isn’t helping matters. It’s still okay, but with some very obvious flaws I can’t really get over.

#69 - “Bring Me Joy” - Rudimental and Karen Harding

Produced by Rudimental, Billen Ted and Slim Typical

I question who in Rudimental even contributes to these songs anymore. There are two other credited acts as producers here, and they are both DJ-producer duos who can do a perfectly good job by themselves or even together, but then add Rudimental, who are a trio and get top billing, and you’re telling me nine people produced this. You could argue that maybe one of them did and Rudimental is just the more recognisable name, but all three of the members are credited as writers, alongside salute who, if you don’t know, is also a DJ and producer, meaning 10 were involved in creating this song with Durham singer Karen Harding, who last appeared on the chart in 2015. Her debut single and biggest hit, “Say Something”, actually peaked at #7. The #1 was “Uptown Funk!”, of course. Maybe this new track will revive her hit-making career and you know what’s bizarre? How I can more obviously tell salute did work on this than any of the credited producers. Sure, it’s a drum and bass track, but it’s got a choir vocal, a gentler swell of pianos and the lead vocal filtered as an intro, it sounds more like it’s introducing a salute song than Rudimental’s until we get into the weirdly-mixed lead vocal and very unsubtle stutter that spirals into a frankly wank drum and bass loop. The song basically starts on 11 with all the details thanks to the nine people on the DAW, so any attempt at genuine bombast or relief in the drop feels like bashing in some horns to an already full orchestra. In fact, for what should be a rote, inoffensive track from an easily ignorable vocalist and completely competent producer teams, it’s surprisingly annoying with just how overly produced it is. The egregious implementation of that distorted male vocal clip is out of place, the effects added to Harding’s voice are grating and at times seemingly arbitrary, it’s just all a bit gross. I really like this genre and a lot of the time, will defend more mediocre drum and bass tunes because the drum patterns make me happy or the drop is exciting, but not even I can find much joy in this, which should be saying something.

#64 - “Apple” - Charli xcx

Produced by Charli xcx, A.G. Cook, George Daniel and Lotus IV

Once again, we go back to Charli’s BRAT, an album with more mainstream influence and longevity than I expected, as we get what is now our sixth debut from the record across multiple weeks. I believe this is what the gays call "being the moment." Charli has described this song as focusing on her very complicated relationship with her parents, using the “apple doesn’t fall far from the tree” saying as its main conceit and going for a perhaps more familiar synthpop backing whilst filtering her vocals out to muffle her voice slightly, as if she’s becoming separate from her family as she finds escapism by travelling away from a family she’s constantly comparing herself to. The apple could “turn yellow or green”, accentuating both how unpredictable growing up could be and how that connection could either still work into old age or rot over time, with the third verse having her dissect the apple, splitting what traits of her that she doesn’t appreciate between her parents. It’s a clever and really open concept for the song, and whilst I’m a sucker for honest detail, the analogy is more telling depending on how you interpret it than perhaps a more down to reality vent about what is probably a feeling that couldn’t be understood by an audience that’s not specifically her. With this, I still feel the escapism of the airport but also the disappointment when that turns into a stuttering, dark clog instead of a beautiful swell in that bridge where she promises, of course, that she’s going to “drive all night”, aimlessly, realising that even if she makes her branch of the tree, she can’t escape from her family as it’s part of her. It’s not my favourite mix on the album, it can feel a bit flat and rushed sometimes, but the instrumental outro with the mantra of “do you” really places into perspective her question of asking where you even go to feel like you’re not alone, because forming a yes-or-no question out of that forces you, and her, to reckon with the idea that you don’t actually go anywhere. You’re still you, and your experiences don’t take you elsewhere, they add patches of detail to your own person. And if I’m getting philosophical, that means the song’s good or I’m insane. Probably both, and I don’t need to tell you this, but it’s definitely worth checking out even if it’s not the most sonically distinct piece on the album - for a more revealing track, it doesn’t need to be.

#62 - “Lies Lies Lies” - Morgan Wallen

Produced by Joey Moi

Well, well, look who else released country music on the 4th of July, with a special live YouTube performance video to boot which I didn’t mention in the review but is also how “28” was premiered. Even for Morgan Wallen here, the songwriting is a bit dire, which is a shame because there’s a darker hinge to the guitars here that should lead to the forestry atmosphere the smokier sound and the cool whistling should succeed at conveying. Yet the chorus is so basic and pissy, as is the rest of this breakup song, delivered in a way that doesn’t justify any of the bitterness in the lyrics or the darker sound. He kind of just delivers it like “Last Night”, which also had its toxic relationship - where the woman is mostly blamed, but at least in this one he ended things (despite his persistence that he must be the one to do so). The difference is that “Last Night” is almost sing-songy, it’s a pop song more than anything and embraces it by going for trap drums and plastic silliness instead of going deeper into country cred for what is little more than an aesthetic for something that doesn’t pull on many of its songwriting tropes. It just ends up sounding ugly and flat for no purpose when a perfectly serviceable Maroon 5 song is hidden under there, and ends up looking pretty bad for Morgan Wallen. If your country song released on a patriotic day as what should surely be a gift for your fans given its lack of connection to an existing album and no reason to start another cycle is this ashamed of being a pop song, ridden in so much interpersonal hatred that’s still vague enough to consider itself universal, largely because you didn’t write one word of it, I would be reconsidering why I made country music in the first place. Or maybe that’s just how you celebrate the founding of your great country: singing about your ex-girlfriend’s lies and deceit, alcohol addiction and hating yourself. Hell, is that saying more about Morgan or the States?

#59 - “you look like you love me” - Ella Langley featuring Riley Green

Produced by Will Bundy

Thankfully, for a week weirdly full of country songs for the UK charts, we actually have more good than bad, with - interestingly - two relative newcomers in Ella Langley, who released her first record in 2023, and Riley Green who has had much success as a writer (hence his credit on this song) but not as much in his solo career until 2019 onwards. This duet tells the story of a lonely Ella Langley meeting passionately with a lover at a bar: “you look like you love me” seems like a very forward line for a one-night stand so whilst the life after this hook-up isn’t referenced and their drunkenness is emphasised throughout, there’s definitely still some reminiscing about this rendezvous. Langley uses a conversational delivery in the verses that feels very much like a traditional story-telling country songs, the kind that my dad used to like, but returns to an undeniable sing-a-long hook every time and it just feels like magic. Despite what could be a pretty chintzy instrumental considering the piano and acoustic pick-up but it just immerses you further in the story, with the awkward dead spaces in Riley Green’s verse that make it clear this isn’t as smooth of a hook-up as she remembers, the emphasis on little clothing details like boots and Green’s cowboy hat, the fact that she goes “alright now!” before the hoedown instrumental break, it’s all quite comical in its own cutesy way that I find really endearing. Vintage, sure, and perhaps a story that’s less believable to have happened in this day and age, but it doesn’t need to be to still be a fun little story delivered really excellently. I will say that Langley is clearly much more of a presence but thematically that makes a lot of sense, and it is refreshing to see a woman be the most prominent element of the highest debuting country song this week (outside of, well, we’ll get to it), that has a separate woman credited as a co-writer. It’s a cute, heartwarming little song that I think even those who write off country music on the charts will enjoy a fair bit.

#56 - “Pink Lemonade (Str8 Reload)” - LeoStayTrill and Mr. Reload It

Produced by Xeretto and VG$ Midnight

Whilst this is “Pink Lemonade (Str8 Reload)” by LeoStayTrill and Mr. Reload It. LeoStayTrill is a rapper from South London whilst Mr. Reload It is… not the producer or vocalist so who is Mr. Reload It? It took me little time to gather through social media that Mr. Reload It, real name Alex, is a content creator on TikTok who runs a show called Str8 Reload wherein rappers come in and freestyle, and the song had already finished without me realising I was really playing it by the time I had written all that out. LeoStayTrill appears to be a content creator on his own, and I skimmed through his TikToks that have nothing to do with the song but are featured with the sound in the background and hashtags proclaiming it’s the song of the summer. He appears to be a young guy still in education - sixth form maybe? - so I can’t really heavily criticise what is a pretty generic Tion Wayne-esque drill song with bad mixing, nothing flexes and a type beat as the instrumental. I was scanning through so many of his TikToks finding some extra context for his viral hit, but it seems like just shilling for it consistently will give you enough plays with a big following, and there are definitely some very catchy parts of his verses - ironically, all outside of the chorus - that I can understand the virality. One interesting thing I picked up on was that he was defiantly explaining to his followers a word that they had gotten wrong when reciting the lyrics, and jokingly claimed that he wished to delete the song because of this mondegreen until he brought out the original project file for the song to prove this. Nearly every single one of his TikToks had this song or its shitty Jersey club remix in the background, it was maddening. Wish you the best, man.

#32 - “Tough” - Quavo and Lana Del Rey

Produced by Cirkut and watt

If anyone was going to team these two disparate artists up, it was probably Andrew Watt, though the two appear to be friendly which makes sense given Lana’s affinity for hip hop, which is seldom implemented in her music but I enjoy when it is as it ends up surprisingly smooth, especially in cloud rap and trap territory. “Summer Bummer” with A$AP Rocky and Playboi Carti is one of my favourites from her. The conceit of this collab is somewhat comical: a country-influenced song where they both try and prove themselves as “tough” in different ways, with Lana using western cowboy imagery and Quavo harkening back to his days living impoverished in Atlanta, but together, they’re beautiful. It’s very cliché and silly but I can actually connect with that as just a matter of setting the stage for this upcoming Lana country album: suspension of disbelief is important in both country and rap, and especially pop, so I like when artists play around with unfitting narratives. Lana’s vocals are in their typical wispy rasp over the twiddling folksy guitars but Quavo comes in referencing the trap beat that drives into the song he just hopped on, and whilst I did laugh the first time, he adds a bit more emotive rasp to his voice that really works, especially in balance with the more melodic flows he’s able to temper the aggressive delivery with. I also like his informing of the posturing with what he’s genuinely been through, and those two different ideas of what “tough” is between them makes their surprisingly well-done harmonising very compelling. In fact, Lana adds more to Quavo’s posturing in her verse with Huncho himself prompting her lyrics in a cute back-and-forth that makes me believe these guys are actually dating, even though if that was the case, there may not be a mutual depth to how they feel about each other here. That bridge still has a lot of great swell and deviates from what could easily be a tedious novelty if not split apart by a gorgeous interlude that sounds perfect for walking down the aisle. I’m very surprised by the chemistry here, but the dialogue in the outro, whilst obviously corny, sounds like movie dialogue from a dated film, and the way you hear him pasing her the lighter and doing a typical Migos ad-lib injects a lot of Quavo’s personality into a Lana-led song. One of my favourite details is the crack in Lana’s voice where she admits for as much as Lana appreciates the grit and roughness of Mr. Quavious thanks to his upbringing, it’s that same upbringing that makes him tell her some truths a woman like Lana may not want to hear, and I find that a really subtle but effective way of painting the lovestruck soulmates with troubling, nuanced dots. I figured something like this, especially with Quavo releasing more singles than months of the year currently, would be a rushed, comical slap-dash collab but there is a lot more thought into this duet than I expected from even Lana who never really shined outside of her introspection that much. Brilliant song.

#29 - “Tobey” - Eminem featuring Big Sean and BabyTron

Produced by marvy ayy, John Nocito, Carlton McDowell, Daniyel, Eminem and Cole Bennett

As I said with the Zach Bryan review, full thoughts on the latest Eminem comeback, The Death of Slim Shady (Coup de Grace) are on my RateYourMusic page, and thankfully, this song kind of has no relevance to the existing plotline of that album. It’s always an unnecessary stress when a song hits the top 75 and I have to either explain away the conceits of a narrative- or theme-based record that I already wrote some thoughts down on, or end up diving in headfirst to a song from an album I haven’t gotten around to hearing so I can review the one song, but ending up a bit headless thanks to my lack of context. This is a weird case because it’s a pre-album single that was released in the midweek and despite the album having a clear plot and theme you can see even in its lead single, this song has nothing to do with it and this time, it’s on purpose? “Tobey” is one of a few songs on the back-end that show Eminem is still hungry without the Slim Shady persona, and this particular track is him stepping bar-for-bar with a newer cat in Big Sean and so new a cat he may as well be a kitty, BabyTron, of the Detroit ShittyBoyz scam-rap collective, known for his semi-witty punchlines and tight flows. That works a lot better for me when he has an actual groove, especially the constant punchiness of a Detroit trap track but here, we have a beat that I thought was interesting at first and becomes increasingly odd. It makes sense to me for a beat to have no steady percussion line and instead be full of cinematic strings and thwooping, bass-heavy movie trailer sounds - it’s Eminem, after all, I guess he’s catching up to his Christian stan NF - but it just never drops after all the build-up, and that piano line that is also very explicitly Detroit is a tedious loop that never changes but feeds tension into the beat without ever finding build-up, despite obvious lay-ups for that to happen. The verses transition not through smooth sequencing of instruments but through a cloudy void of blurry sound effects, as if the song was made for the music video and nothing else. There’s electric guitars added into the mix because, it’s either Em himself or his main man Luis Resto who are obsessed with adding those to the back of the beat for no reason, there are hi-hats during BabyTron’s verse that just skitter out of existence, and a mix of guitars with cavernous drums and warping synths during the latter two verses from Sean and Em that just drown out the two rappers without ever landing them on a true groove, which only really Eminem can play with in an interesting way. I know it’s Eminem so the beat should not be the focus but this is a bizarre, borderline just experimental beat that sounds kind of terrible most of the time but has so many fascinating bad decisions and moving parts that it’s hard to ignore.

Now for the rappers themselves, as you’d probably expect me to discuss more given again, it’s Eminem, he’s the only person with an interesting concept or flow here. He’s bitter and desperate to prove he’s in top fives - not that he should care but I’m not angry that he does, he’s a lyrical rapper from the 90s, caring about being the best is kind of his job - but unlike Kamikaze, he’s not lashing out at his own fans, he’s lashing out at so-called critics, including Melle Mel, who he very reasonably stamps out for the reason that whilst people prompted him not to respond to the man because he’s a pioneer - a grandmaster, if you will - of the genre, Eminem’s cemented his place just as much as he has and it would be a fair competition between legends. A weird beat always brings out awkward deliveries in Em, and he’s surprisingly not going for the easier, fast-paced deadpan talking both BabyTron and to a lesser extent, Sean, go for here, instead being all over the beat like he has eight legs spread out saying a different bar. It’s a cool approach that means he’s not always perfectly on beat but the beat’s weird, so let him be too, I actually find it much more compelling than BabyTron, who sounds like a bored child lost in the supermarket, even if there are some quotable lines and Detroit references that add a little more spice. Big Sean is selling his anger and hunger much more convincingly, even when faced against this Lovecraftian monster of a beat, and whilst I’m not necessarily invested in Sean because… of course not, his bars hit, his rhyme schemes are solid and he sounds on point the whole time, it’s a focused verse that really balances out Em’s verse. BabyTron is completely lost to that dynamic so the fact that he originated the main conceit of the song, the utterly stupid idea that since Tobey Maguire became Spider-Man after being bitten by a spider, BabyTron and Big Sean must have been bitten by a goats because they’re GOATs, and Eminem must have been the goat / GOAT that bit them. Yeah, there’s a reason why the song’s namesake didn’t deserve being brought up until the last minute. I know this was a hefty review for a pretty middling debut that won’t last, but this really feels like a can of worms hidden on the back-half of an album completely irrelevant to it, even though it was already released as a single and music video. Fascinating little track, honestly. I’m kind of glad we end the week with that nonsense.

Conclusion

Well, it was a big debut week for country or country-adjacent tracks, and this rings well in our conclusion, as Best of the Week obviously goes to Zach Bryan for “28” whilst we have surprisingly close Honourable Mentions for the two duets: “you look like you love me” by Ella Langley and Riley Green and “Tough” with Quavo and Lana Del Rey. As for the worst, that also represents country as Morgan Wallen takes it handedly for the regretful “Lies Lies Lies”, whilst I suppose “Bring Me Joy” by Rudimental and Karen Harding ends up as the Dishonourable Mention. Whatever happens next week, apart from Eminem, I hope there’s not too much to write about because it’ll be a busy Friday for me. Knowing the charts, I won’t get that peace and Peppa fucking Pig will debut a couple songs. Regardless, thank you for reading, long live Cola Boyy, and I’ll see you next week.

[greywindys]

I wonder if it wouldn’t be better for Gorillaz to just focus entirely on either music or animation, or just one big project/MV incorporating both rather than all the aspects the project is bogged down by? It’s not like there is a point in the virtual band facade anymore, they may as well be regular cartoon characters or mascots in their own world at this point.

IMO, they just need to take longer breaks and be okay with that, let Jamon save up money at their own pace with their own side projects/touring etc, and return to Gorillaz when they're ready and they have a fully planned and developed concept. It is still possible. Off the top of my head, Tool fans wait for years (I think the last wait was like a decade) for a new album without abandoning the band, Rage Against the Machine fans waited for them to tour again, House of the Dragon fans are waiting two years for a new season, ASoIaF fans have been waiting since 2013, Hozier and Florence and the Machine fans wait, anime fans wait a year to a year and a half for new seasons.

Of course, it's not always ideal, and some waits are ridiculously long, but my point is that fans can wait. When we care about something, we put in the effort. Yes, it's harder these days with artists and streaming services racing to stay in the headlines, but it's something we're capable of, and sometimes actually boosts popularity. Gorillaz, iirc, was at its PEAK in visibility when they first returned. People were SO happy, and it's because it wasn't oversaturated at that point, and it meant something to the fandom. I wish they would feel comfortable waiting some years. Some fans may move on, but there will still be a lot of us who are still here along with new fans. And overall, we need to normalize waiting. The best art is created when the creator goes at their pace and tells the story they want to tell, outside of brand influence.

[fyeahhozier]

The Irishman is deeper and darker than he's maybe been given credit for... but the geniality and swoon factor remain high.

Variety: Hozier Proves He’s a Career Artist in Gratifying Greek Show

At Hozier’s sold-out show at L.A.’s Greek Friday night, one of the first things you couldn’t help noticing on stage —because it’s still an anomaly — was that his eight-piece lineup was half-male, half-female. Knowing his penchant for socially conscious songs, his decrial of “the anthems of rape culture” in his lyrics, and a general female-friendliness to his appeal, it’s easy to figure this gender parity is a conscious one and think: That is soooo Hozier. Which it is … and so effective, too, like just about every choice he’s made so far in his short, charmed career. On the most practical level, if you can bring in that much female harmony while also getting ace players in the bargain, why wouldn’t you? But it also makes for a good visual emblem of some of the other dual energies Hozier is playing with in his music: darkness and enlightenment; romantic hero and cad; raw blues dude and slick pop hero. He’s got a lot more going on than just being an earnest do-gooder. (Although he does do good, earnestly.)

During Friday’s hour-and-three-quarters set, Hozier focused largely on material from this year’s sophomore album, “Wasteland, Baby!,” which sounded good enough on record but almost uniformly improved in the live experience. Sometimes the upgrade came from making full use of the multi-instrumentalists on hand. The first album’s “Angel of Small Death and the Codeine Scene” now had Hozier on guitar facing off against violinist Emily Kohavi, trading solos — and if it’s hard to hear an electric guitar/fiddle duel without automatically thinking “The Devil Went Down to Georgia,” it was one of many welcome moments making use of the MVP skills of Kohavi, the newest addition to the band. Other times, the improvements on the album versions just had to do with Hozier allowing himself louder and gutsier guitar tones. He’s a bit like Prince, in that way — someone you’d happily listen to playing a very nasty-sounding six-string all night, although he has so many other stylistic fish to fry, which in this case means a still slightly greater emphasis on acoustic finger-picking.

For somebody who made his name on as forlorn but powerful an anthem as his 2014 breakout smash “Take Me to Church,” and who can milk that melodrama for all it’s worth, Hozier has a lot of other modes he can default to. He treads very lightly into the area of soul with songs like “Almost (Sweet Music),” the lyrics of which consist of either name-checking or alluding to some of the great jazz vocal classics of the 20th century, in an idiom that’s not so much jazzy itself as folk-R&B. You could almost cite it as the subtle kind of Memphis-swing thing Justin Timberlake should aspire to, if the tricky polyrhythm and oddly chopped up meters Hozier adds as wrinkles weren’t so un-replicable. Bringing up Stevie Wonder’s “Living for the City” as the night’s sole cover also established that early ‘70s era and sound as an influences he’d like to make perfectly clear. At the other extreme, this son of a blues musician can hard back to those roots so well, in noisy numbers like “Moment’s Silence (Common Tongue)” and the brand new “Jack Boot Jump,” that he could give the Black Keys a run for their money.

“Jack Boot Jump,” which is scheduled to go on an EP of completely fresh material that Hozier said he plans to put out before Christmas, was possibly the highlight of the night, even though — or because — it stripped his excellent band down to just him and longtime drummer Rory Doyle. Having earlier played the current album’s “Nina Cried Power,” which is maybe more of a tribute to other historic protest songs than one of its own, Hozier gave a lengthy introduction to “Jack Boot” indicating that he’s aware of the traps that come with the territory. “I do have some reservations about the words ‘protest song’ and ‘protest music,’” he admitted. “But if you’re familiar with an artist called Woody Guthrie, he wrote the evergreen anthem ‘Tear the Fascists’ down. I was kind of looking into songs in that sort of tradition, that singing out, and I was worried that this is 2019; it’s a very unsubtle way to approach songwriting.” But, he added, “it was a funny few weeks, with 70 people shot in Hong Kong and arrests obviously in Moscow; Chile now at the moment also. And I was thinking, forget about subtle art — what is not subtle is this murder of protesters, and what is not subtle is the jack boot coming down in Orwell’s picture of the future: ‘If you want to imagine the future, imagine a jack boot stomping on a human face forever,’ that chilling quote from ‘1984.’ Anyway, I was just thinking, yeah, f— it, it’s not subtle, but let’s do it.” His electric guitar proceeded to be a machine that kills fascists, and also just slayed as maybe the most rock ‘n’ roll thing he’s written. (Evidence of the new song on the web is scant, or should be, anyway, since he begged the audience “in good faith” not to film it.)

If there’s a knock people have on Hozier, it tends to be the sincerity thing. He’s a nice guy who’s finishing first, which doesn’t necessarily help him become an indie-rock darling or Pitchfork favorite. (Predictably, “Wasteland, Baby!” got a 4.8 rating there — that’s out of 10, not 5.) At the Greek, there was an almost wholesome feeling that would’ve been an immediate turnoff to anyone who insists on having their rock rough, starting with his graciousness in repeatedly naming the band members and repeatedly thanking his opening act (Madison Ryann Ward, a fetchingly husky-voiced Oklahoman filling in on this part of the tour for a laryngitis-stricken Freya Ridings). That extended to a sense of uplift in many of the songs that doesn’t always match the themes of the material. But then, there was the impossible good cheer and attractiveness of the young players, to match Hozier’s own; this is a group where everyone looks as if they could be in Taylor Swift’s band or actually looks like Taylor Swift. The swoon factor in Hozier’s appeal is undeniably high, and it’s safe to say no one left Griffith Park less smitten.

But ladies (and gentlemen), do be aware that Hozier has some dark-side moments that can almost make Leonard Cohen look like Stephen Bishop. The only time he really overtly accentuated that in concert was in introducing and playing the new album’s “No Plan,” a love song that is also an amiable statement of atheism in which Hozier reminds his beloved that the universe is going to collapse upon itself someday. This may be rather like the gambit in which the ‘50s boy gets the girl to make out with him in a fallout shelter, but in any case, Hozier didn’t stint on the end-of-all-things aspect of it, even putting up on screen behind the band a statement from astrophysicist Dr. Katie Mack pointing out humankind’s and the galaxy’s ultimate fate. (“Honestly I never really imagined I’d end up being name-checked in a song for talking about how the universe is eventually going to fade out and die so this is all very exciting for me,” Mack tweeted in replay earlier in the year.) Suffice it to say that with that soulful a vintage ‘70s groove and that fuzz-tastic a guitar line, many babies will be conceived to the tune of “No Plan,” whether it foresees generational lines ending in a godless black hole or not.

Other Hozier songs reveal darker gets more estimable the more you dig into it. With its bird talk, “Shrike” sounds sweet enough, till you realize that a shrike is a kind of bird that impales its prey on thorns, which does add a rather bloody metaphoric undertone to what sounds like a reasonably pacifist breakup song. “Dinner & Diatribes,” meanwhile, is just deeply horny, not thorny. The most brooding song of the set, “Talk,” has verses where Hozier sings in lofty, literary terms about the romantic myth of Orpheus and Eurydice, only to reveal in the chorus that he’s talking to this woman in such high-minded terms because he just wants to charm her into the sack. As a piece of writing, it’s hilarious, establishing a devilish side of Hozier it’s good to hear. As a piece of performance, it’s just sexy.

But as enriching as it is to realize Hozier has a healthy sense of humor in his writing, bad-boy wit is never going to be what you’re going to come away from a Hozier album or show with. The main part of Friday’s concert ended, as expected, with “Take Me to Church,” his outraged take on abuse and homophobia in the scandalized Catholic church — which just happens to be easily taken as a lusty hymn to sexuality. Following that, the large band returned to a stage that had now been decked out in some kind of ivy, as Hozier talked about his love for the late Irish poet Seamus Heaney (whose last words he has tattooed on his arm) and, “since I’ve come this far,” went ahead and recited his poem “Mint,” sharing his hero’s affection for the plant and its “tenacity for life.”

Tenacity is likely to be a buzzword, too, for Hozier, given his leaps and gains as a writer-performer and seeming level head atop his tree-top shoulders. Taller still of voice, musical dexterity and good will — and still just 29 —  he’s somebody the swooners and even some cynics should feel good about settling in with for a very long Irish ride.

[thetapespodcast]

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[LISTEN] Detour 02: Aloud on “Sprezzatura”

This episode was recorded and edited before the events of George Floyd’s murder and the ensuing protest movements all across the nation. As Black women, we have a lot to say about it. All of it. Stay tuned for a special two-part episode where we lay it all out there – about oppression, why Black Lives Matter, and how protest music is inspired by, inspires, and preserves The Fight – coming soon. In the meantime, here’s how we are getting involved so you can, too. 

In this episode: we’re talking with our good friends Jen and Henry, who are married and both front the amazing, Boston-raised rock band Aloud.

They just released their fifth studio album, Sprezzatura, and we’ll be listening to some tracks off the new release, plus talking about the making of the album and what it’s like to promote yourself as a rock band during a pandemic.

In our next episode: Get lost with us on a spiritual detour through the tunes on “Driving Through The Back Woods – Hour of Power” where we will revel in the Word, and continue to tell the story of The Tapes.

The upcoming two-part episode will explore the undeniable roots of the American musical landscape in the black experience planted by black creators, innovators, and activists. We will discuss the role of activist artists, especially those white artists who may be established allies like Hozier, or not. 

We ask: “What do those that benefit from the historical contribution and influence of black people on popular music owe to us?” And we answer: “They owe nothing less than to pay forward what they have reaped from their success, especially from the wallets of black fans.” We feel little else would do in the fight to save black lives.

Please join us on the first Monday of July, as we hash out this very complicated issue in our own voices.

Subscribe, Rate and Review on: Apple Podcasts, Google Podcasts, or wherever you get your podcasts so you don’t miss an episode every first Monday of the month.

[taste-in-music]

Check these artists out!

Yo here are some more recommendations for people that I think are really talented and make awesome music, along with my bumbling descriptions in attempt to communicate my appreciation for them. Enjoy!

Ariel Beesley: A model and singer from Los Angeles, California, Ariel Beelsey has been hailed as “the Blondie of our era.” Citing Blondie, The Cure, and New Order as her influences, Beesley blends the nostalgic, glitter flinging party vibes of 80s synth pop with a more modern feel. Her voice has a rich lower register that reminds me a bit of Annie Lennox and Marina Diamandis. 

My top tracks: Slower Than Usual (certified bop, I’ve had it on repeat for weeks,) Love Me Better

Frills: As mentioned in their Spotify bio, this duo was “ raised in New Zealand, live in Brooklyn.” With an airy, whimsical indie pop sound, their music is bound to make you feel both carefree and chill. Their sound reminds me a bit of Foster The People with a splash of Peach Pit. 

My top tracks: Drunk Girls, Drunk Boys (so so much fun to listen to,) My Love

Slayyyter: Hailing from St. Louis, Missouri, Slayyyter  is showing up to be one of the most promising new voices in pop music, having been recognized by the likes of Charli XCX. Blending glossy dance pop beats with a do-it-yourself aesthetic, Slayyyter’s styles is a little bit sweet, a little bit electronic, and endlessly enjoyable. 

My top tracks: Mine, (it’s so fucking catchy, I can’t even,) BFF ft. Ayesha Erotica

Robinson: This fresh face in the pop scene only has a handful of songs, but all of them are gems brimming with energy. Songs like Medicine and Nothing to Regret combine earnest lyrics with soaring hooks that’ll stick in your mind for days. I’m hoping for more releases and mainstream traction for her in the future, because she holds a ton of promise. 

My top tracks: Medicine, Karma

Hatchie: If you’ve been craving an eighties throwback as of late, then I can’t recommend Hatchie enough. With a dreamy voice and atmospheric soundscapes dappled with nostalgic melodies, there hasn’t been a singer I’ve been hooked on quicker than her. Pitchfork deemed her the “dream-pop idol of tomorrow” and there’s certainly a reason why. 

My top tracks: Stay With Me (I’ve literally been so unhealthily obsessed with this song,) Sugar & Spice

Erthlings: I’ve got a new badass girl group in my sights! This group has apparently been together since the members were friends in elementary school, and now they’re only sixteen and already making waves in the indie pop scene. They may only have two songs to their name, but they’re certainly a group to watch for in the future

My top tracks: Bridges, Cuts & Bruises

Stella Donnelly: A Welsh-Australian musician hailing from Perth, Stella Donnelly mixes sharp, smart lyrics with a range of indie rock styles. With a charming voice and beyond-her-years intellect, she may be a new voice in the music scene, but has certainly made her mark, whether that be with her first EP for her debut album Beware of the Dogs.

My top tracks: Old Man, (the fuck-the-patriarchy bop you’ve been needing in your life,) Die

BETWEEN FRIENDS: Formerly HEIRS, this trio consisting of brother and sister Brandon and Savannah Hudson alongside drummer Brennan Benko have perfected taking the atmosphere of summer and distilling it into chill indie pop. They only have a handful of songs released, hopefully many more to be released in the future. 

My top tracks: affection, (I’m obsessed with this song lmao,) better friends

Tōth: If you’ve ever heard of the art-pop/indie group Rubblebucket, then you might be familiar with band member Alex Toth, who now has as a career making music on his own. Keeping with the quirky alternative style of Rubblebucket and mixing in a heaping helping of folk-driven elements, his solo work is more down to earth and just as wonderful. I can see fans of Hozier or Vance Joy really digging his sound. 

My top tracks: Copilot, When I Awoke

Gus Dapperton: Make sure to check this guy’s work out before his album drops on April 19th! Aside from making quirky and catchy alternative anti-pop music, he’s just a really cool and creative guy. His music videos are awesome and his voice is super unique, ranging from a nasally falsetto to raspy in mere seconds. 

My top tracks: Word Class Cinema, Fill Me Up Anthem

[sinceileftyoublog]

Newport Folk Festival: 7/26-7/28

Brandi Carlile and Dolly Parton sing “I Will Always Love You”

BY MICHAEL KINGSBAKER

Another Newport Folk Festival has come and gone, and yes, it still is the greatest music festival in the world, and it is still my favorite weekend of the year. This year, for the first time in its 60-year history, the festival had an all female-led Saturday night headliner, arguably had its two biggest appearances to date, covered an entire masterpiece album, premiered the biggest female country supergroup ever, and finally found the heir apparent to Pete Seeger on what would be his 100th birth year.

After Pete Seeger passed away in 2014, a gaping hole was left at the Newport Folk Festival. Seeger had been around the festival since its inception, and while festival producer Jay Sweet has captained the ship incredibly since taking over in 2008, the question has remained: Who would hold the seat that Seeger did for years? The musical ambassador of the people and of the music of the Newport Folk Festival? That question was answered loud and clear this year, as Brandi Carlile cemented her rightful seat. Last year was a precursor, when she performed from her Grammy Award-winning album By the Way, I Forgive You and guest performed with Mumford and Sons and during the Change is Gonna Come set. This year, she got handed the keys to the car and packed a Saturday night headlining slot full of talent from the past and present, culminating in a 5-song set from none other than Dolly Parton. Now, Jay Sweet has pulled some pretty big acts during his 12 years on the festival, but he didn’t pull Dolly--Brandi did! She also premiered her new country super group The Highwomen, an all-female answer to The Highwaymen. The former’s reworking of the latter’s namesake song absolutely took my breath away (and was just released), and then Carlile closed out her weekend singing Pete Seeger's classic song "If I Had a Hammer" with Alynda Segarra from Hurray For The Riff Raff.

Overall, this year’s festival was fiercely female, showcasing talents from multiple generations from Parton and Judy Collins, Sheryl Crow, and Linda Perry to Carlile, Rhiannon Giddens, Maggie Rogers, and Yola. The collaboration sets, which really gained steam with the Dylan 65' Revisited set 3 years ago, continued this year and actually tripled, with the Saturday night All-Female Collaboration, along with a last minute addition of a complete cover of Graham Nash's "Song for Beginners" led by Kyle Craft with an all-star cast of Newport favorites. Finally, on Sunday, Pete Seeger was celebrated with set entitled "If I Had a Song" where audiences were given song books with which to sing along. It opened with Jim James singing “The Rainbow Connection” with perhaps the second biggest star to ever appear at the Newport Folk Festival in Kermit the Frog. I was also pleased to see that Our Native Daughters were asked to participate in the Seeger Celebration, singing the Seeger tune "If You Miss Me at The Back of The Bus" and joining Mavis Staples and Hozier for "Keep Your Eyes on The Prize". Two years ago, for the SPEAK OUT set at Newport (intended to be a platform for artists to speak out about issues of our times), I was critical of the set’s lack of diversity. I noted that both Rhiannon Giddens and Alynda Segarra gave the most topical and stirring performances of that festival but were absent at that finale. Well, this year, they both hit the stage and had their voices heard with songs of protest to make up for lost time.

It's good to know this incredible festival is in good hands and has its ears open. I'm already looking forward to next July. Until then, here's a few photos to pass the time.

Newport is always a place to make discoveries. Saturday morning, the audience was woken up to the raucous duo of Illiterate Light.

Liz Cooper & The Stampede bent over backwards (literally) to electrify the audience at the Quad on Friday with their psychedelic soundscape.

Recent Tony Award winner Anais Mitchell and The Milk Carton Kids at The Harbor Stage, singing Graham Nash's "Simple Man" as part of the Songs for Beginners set.

After a last minute dropout from Noname due to illness, Festival producer Jay Sweet was left with a hole at the Harbor Stage on Saturday. After tweeting about the brilliance of Graham Nash's album Songs for Beginners and the responses it garnered, an idea sparked. A supergroup of Newport faithful led by Kyle Craft, including Hiss Golden Messenger, Lake Street Dive, Amy Ray, The Tallest Man on Earth, and more played the album from start to end. I think we may have just started a new Newport tradition--might I suggest Neil Young's Harvest next year?

Lukas Nelson and The Promise of The Real rocked the Quad Stage on Friday, closing the set with a rendition of Neil Young's "Rockin’ in the Free World" but slowed things down with reminders to Turn Off the News (Build a Garden), and song about an ex named Georgia that made performing with his father singing "Georgia On My Mind" every night a little tricky.

British singer-songwriter Yola was everywhere at the Newport Folk Festival, performing her own set at the Harbor stage as well as at the Quad with both The Highwomen and Dawes. Here, she takes the stage at the Fort during The Collaboration with the First Ladies of Bluegrass covering The Eurythmics’ "Sisters Are Doin’ It For Themselves".

After appearing last year as a guest to Mumford & Sons and others, this year, Maggie Rogers got the Fort stage all to herself to dance in and out of her sound equipment and share her debut album Heard It in a Past Life with Newport.

Every year, there's an act that brings Quad to its feet and doesn't let them sit back down. This year, Jupiter & Okwess invited everyone to fill in the fire lanes, and a 45-minute dance party ensued, capping off with a collaboration with the Preservation Hall Jazz Band.

Phosporescent returned to the Quad stage with hypnotic grooves and chill vibes, keeping all the heads bobbing inside the old fort.

I'm With Her returned, bringing their sweet blend of harmonies bridging old-time music to the present, including covers of The Vampire Weekend and Joni Mitchell.

This year was all about the women, and the fellas came to support. Jason Isbell, who generally headlines festivals like these, wasn't even given a microphone. Here, Amanda Shires (who happens to be his wife) allows him to share a few thoughts as they introduced a song they co-wrote, "If She Ever Leaves Me", dubbed the first gay country song, which was sung moments later by Brandi Carlile.

Each year, the festival producer comes out to the early birds waiting for the gates to open to welcome them back and remind them to BE PRESENT, BE KIND, BE OPEN, and BE TOGETHER. There isn't a place in the world that's easier to do those four things.

It's always fun to see what surprise guests will show up to the festival that aren't officially listed. This year’s guests included Jim James, Kermit The Frog, Dolly Parton, James Taylor...you know that this list might end up being bigger than the actual lineup. Here's surprise guest Tallest Man on Earth, who joined both the Songs for Beginners set as well as The Cooks in the Kitchen.

Hozier returned for his 3rd appearance, singing a duet with Mavis Staples for their song "Nina Cried Power". He also gave over the stage to Brandi Carlile during his set for her to sing her hit “The Joke”. Here, he joins with Lake Street Dive for a cover of Sly & The Family Stone’s "Everyday People".

Jade Bird had her own solo set at The Fort stage but joined in on The Collaboration, seen here singing "What's Up" with Linda Perry and Brandi Carlile.

Phil Cook has become a regular staple at the festival. His love and respect for the musicians and the music played at the festival has endeared himself to both fans and musicians alike. For his set, Cooks in the Kitchen, Phil, who always seems up for a collaboration, was joined by his brother Brad as well as Tallest Man on The Earth’s Kristian Matsson, Amy Ray of The Indigo Girls, and Anais Mitchell.

Molly Tuttle, who had her own set with guitarist Billy Strings, joined The First Ladies of Bluegrass, Courtney Marie Andrews, and others for a cover of “Big Yellow Taxi” at the Collaboration Set Saturday.

Just a man, his guitar, and a huge open stage. Jeff Tweedy charmed the audience at the Fort on Saturday claiming he wanted to "hug you with his sad shit."

Rhiannon Giddens returned to the Newport Folk Festival with the most powerful and gut-wrenching set of the festival, joined by Amythyst Kiah, Leyla McCalla, and Allison Russell to form the group Our Native Daughters, singing songs addressing American historical issues that have influenced the identity of black women. This marked only their 6th live performance, performing in Connecticut a week earlier for the first time. Emotions were overflowing both on stage and in the audience, as each artist (each of whom played multiple instruments) took turns singing songs of sorrow, hope, anger, and joy. It was an experience like no other at the festival.

Linda Perry leading a sing along of "What's Up" at The Collaboration, asking the audience to sing so high, "I wanna touch the fucking stars!" Later, she was on Facebook Live for the introduction of Dolly Parton.

There was a bit of a 90's renaissance at this year’s festival with appearances from Amy Ray, Linda Perry, and former Sleater-Kinney drummer Janet Weiss. Sheryl Crow, who had her own set at the Fort on Friday and later joined The Highwomen that day at the Quad, got in on the fun at The Collaboration on Saturday, performing "If It Makes You Happy" with Maren Morris and "Strong Enough" with Maggie Rogers and Yola.

Newport always does a great job of honoring those who led the way. This year, we saw Judy Collins hit many stages and share stories about a young Bob Dylan writing “Mr. Tambourine Man” on her porch, as well as recalling Stephen Stills singing her "Suite: Judy Blue Eyes", to which she replied "It's a good song, but it won't get me back." Here, she shares the story of a friend discovering Joni Mitchell and bringing her "Both Sides Now", which was sung moments later with Brandi Carlile.

Couples take in the If I Had A Song set at sunset on Sunday, which included a duet from Kermit the Frog and Jim James as well as a serenade to Judy Collins from Robin Pecknold (Fleet Foxes), Eric D. Johnson (Fruit Bats), and James Mercer (The Shins), singing “Suite: Judy Blue Eyes”.

Newport Folk Festival marked the inaugural performance of The Highwomen. Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby, here joined by Yola, opened their set to a powerful reworking of “The Highwaymen”, made famous by Willie Nelson, Kris Kristofferson, Waylon Jennings, and Johnny Cash. The Highwomen’s version, written by Carlile, Shires, and Jimmy Webb (the original songwriter) honors the stories of courageous female revolutionaries and includes an additional 5th verse:

  "We are The Highwomen / Singing stories still untold / We carry the sons, you can only hold / We are the daughters of the silent generations / You sent our hearts to die alone in foreign nations / It may return to us as tiny drops of rain / But we will still remain.”

A stage full of Newport Folk ladies, including Brandi Carlile, Rachael Price, Maggie Rogers, and Sheryl Crow, bow down to the one and only Dolly Parton. I've seen Roger Waters, Jack White, My Morning Jacket, Jackson Browne, Beck, Levon Helm, and Mumford & Sons headline the Festival. This was the biggest of all the Saturday night headliners.

[luvneedsnosyt]

My Favorite Albums of 2019

Here is my list of my personal top albums of 2019 You can find my separate list for top EPs of 2019 here.

My Previous monthly lists from 2019: January, February, March, April, May, June, July, August, September, October, November, December

My list last year for my top albums of 2018 can be found here.

*Indicates someone I saw live in 2019

Honorable Mentions:

Anderson .Paak - Ventura Genre: Hip Hop / R&B/ Soul

Recorded at the same time as last year’s Oxnard, Ventura is the more tender and unassuming brother of the two. Despite the vulnerability this seems to be Anderson’s more comfortable persona. Focusing on love and feelings and other mushy stuff. The experimenting on this album between R&B, jazz, electronic music creates a glossy and elaborate form of hip hop. At times Anderson’s versatility can get a bit in the way on long form projects, here that creativity is perhaps the most channeled of his career.

Proof: Reachin’ 2 Much (Feat. Lelah Hathaway) / Chosen One (Feat. Sonyae)

Anna of the North - Dream Girl Genre: Synth-Pop

The tender and delicate music of Oslo singer Anna of the North is back following up her touching 2017 debut album. Anna’s music is not totally unassuming but is very subtle and reserved. You can take a moment to stop and feel the soothing vibes or you can pass it by and not notice. The synth based production is meant to provide a basis to get hips moving but also not to reach out and demand your attention in a needy way. Anna’s vocals are always warm and bouncy even when singing about sad subject matters.

Proof: My Love / Playing Games

Billie Eilish - WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Genre: Synth-Pop

I stumbled on Billie Eilish’s “ocean eyes” single early on and instantly became a fan of her dark and brooding sound. It reminded me of the first time I heard The Weeknd. Even being an early subscriber it did surprise me a bit the vice grip the 18 year old would put on 2019. I knew she would find an audience with the undeniable talent for songwriting and impacting voice beyond her years. I did not foresee this low lit and frankly weird music hitting the mainstream with such a force, but I sure am glad it did. This is where I would say I can’t wait to see how she follows up this monster of debut album, but honestly she deserves to revel in the influence it is having and enjoy this moment. She will be around for however long she wishes to in the industry; that I am certain of.

Proof: bad guy / you should see me in a crown

BJ The Chicago Kid - 1123 Genre: R&B / Soul

It was a long time coming for hook provider BJ The Chicago Kid’s 2016 debut album In My Mind. He showed he can carry a solo project just fine. Now in 2019 he’s back for his victory lap with another soulful and sexy album that follows up his debut quite nicely. BJ is a bit of a throw back to the late 90’s/early 2000’s soul music which is right up my alley so you already know I ride for it with no qualms.

Proof: Rather Be With You / Reach (Feat. Afrojack)

Bon Iver - i,i Genre: Indie Pop / Folk

Justin Vernon’s band Bon Iver has created quite a robust cult following that’s very impressive off of four albums spanning over 12 years and in non-uniform song structures and themes. i,i might be the band’s most straightforward record, but that doesn’t mean there’s any downgrade in creativity and innovation. As always the case with Bon Iver albums your senses are confronted with multiple instruments and production tools used in traditional ways and used in ways you wouldn’t think of. Grooves are created then shifted and the only real constant is you don’t know what direction the music will go next. But that’s part of the joy and you know Justin Vernon is a trustworthy navigator on this expansive journey.

Proof: Hey, Ma / U (Man Like)

Bring Me the Horizon - amo Genre: Rock / Alternative

On their sixth album, the English rock group took experimentation and expansion seriously broadening their rock sound to new horizons (ok, that was bad). amo isn’t as much a departure for the alt-Metal group but more increasing their pallet to include more cross genre influences dipping into punk, pop, electronic and hip hop. There’s definitely risk with lofty exploration so suddenly in a band’s discography but BMTH pull it off rather elegantly here creating a unique blend that sounds a bit like a harder hitting Muse record. I am one to applaud audacious creative efforts to expand on ones sound if the motives seem pure; even when those attempts don’t quite work (Mumford & Sons - Babel, Jack White - Boarding House Reach, Coldplay - Everyday Life this year for instance). When they do stick the landing you can bet I am in awe.

Proof: in the dark / medicine

Circa Waves - What’s It Like Over There? Genre: Alternative / Rock

I will admit the English band hasn’t really been on my radar before this album, so I can’t ascribe how this album is different than their previous two albums (from what I've read it is very different though). What I do know if this is some of the best rock music to come out of 2019 in a year that wasn’t too kind to the genre. There are many emotional moments of this record that really bring levity to the glossy and cinematic music backdrops. There are two albums already announced in early 2020 from the group; they are definitely on my radar now.

Proof: Sorry, I’m Yours / Be Somebody Good

Chance The Rapper - Big Day Genre: Hip Hop / R&B

With how long he’s been around and how many Mixtapes and side projects Chance has dropped it’s pretty surprising this is his first ever official LP. When you wait that long and build (to his credit) the anticipation he has, a lot of weight gets put on that first album; unfortunately I feel that weight affected the product and swallowed it up a bit once released. Chance, I think, felt a responsibility to speak to his vast diversity we’ve seen over the years in sounds and flows. That resulted in a bit of a bloated and disjointed project. Something Chance projects always seem to have is a continuity despite their variety that seems to be absent here. Once the short coming are acknowledged there is some really great songs here with few missteps (although there are a few). Some more quality control, restraint and a concept to follow there are the makings of a possible top 10 of the year album here. My favorite moments are the nostalgic and 90’s R&B influences moments that sprinkle the album, a whole project with those as more a driving force could really be something special.

Proof: All Day Long (Feat. John Legend) / Zanies and Fools (Feat. Darius Scott & Nicki Minaj)

Dabin* - Wild Youth // Wild Youth (The Remixes) Genre: Electronic / Future Bass / Dance

Toronto multi-instrumentalist and electronic DJ Dabin returns with a sophomore album of more emotional and evocative electronic soundscapes. The melodic album flows smoothly through inspirational tracks of finding oneself coming to a climactic crescendo with the cinematic closer “Alive”. 

Proof: In Flames (Feat. Lexi Norton) / Alive (Feat. RUNN) // Part-Time Lover (Crystal Skies Remix) Feat. Claire Ridgely / Alive (Trvecta Remix) Feat. RUNN

Dermot Kennedy* - Without Fear Genre: Pop / Soul

Irish singer Dermot Kennedy’s voice comes in like a freight train straight for your ear drum. He sings with such evocative passion and force it is quite a sound to behold. That’s not to say Without Fear is all potent bellowing. Dermot on his soulful debut here has plenty of softer, tender moments as well.

Proof: Moment’s Passed / Redemption

Foals - Part 2: Everything Not Saved Will Be Lost Genre: Rock / Alternative

The second part of the English Rock bands 2-part album project this year is the louder and more aggressive sibling. The music is a bit less glossy and more gritty then it predecessor but still is quite refined in its ferociousness. I do prefer the more melodic first offering of the two but that doesn’t need to take away from how exhilarating this album is as well. 

Proof: The Runner / Neptune

GoldLink - Diaspora Genre: Hip Hop / R&B

With his second album, DMV rapper GoldLink dove deeper into his African roots with increased Afro-inspired production and themes. Diaspora is a fusion dish of of East coast Hip Hop base, with 90’s R&B notes, a sprinkle of Jazz, a dash of DC house and intermixing of traditional African qualities. It’s quite a vibrant and varied plateful!

Proof: Zulu Screams (Feat. Feat. Maleek Berry & Babi Bourelly) / More (Feat. Lola Rae)

Goldroom - Plunge /\ Surface Genre: Electronic / House / Dance

Returning from a brief hiatus after his debut album, 2016’s West of the West, Goldroom sneaked in at the end of November with one of the years most fun house records. The wait was definitely worth it for Goldroom fans. Plunge /\ Surface has a sense of wonder, discovery and joy that I think was quite well timed.

Proof: Do You Feel It Now (Feat. Love & Alexa) / Just Like A Dream (Feat. Nikki Segal)

Georgia Maq - Pleaser Genre: Synth-Pop / Alternative

My late addition to my already completed list is this surprising and electrifying debut solo project from the lead singer of Melbourne punk/Alternative group Camp Cope. Just slipping in with an early release right before my cut off date (for my own sanity). This album is nothing like the sound of her band though. Instead Georgia Maq looked to artists like Robyn, LCD Soundsystem and Cut Copy for her solo venture with some delightfully delicious 80′s synth vibes. Pleaser is dark and atmospheric but not devoid of brittle emotion and angst. 

Proof: Pleaser / Big Embarrassing Heart

Hozier* - Wasteland, Baby! Genre: Indie Pop / Soul / Folk

Years later, when looking back on Hozier’s career, we may look back at this album as a sort of turning point. The Irish singer through early EP’s and his debut album has always had a powerful form of soulful Folk music that moves people to many emotional states. But on this sophomore album Hozier seemed to figure something out. Incorporating a Motown feel into his music has unleashed it and his strong voice to a new level. Wasteland, Baby! Is a sentimental excursion through love, empowerment and hope.

Proof: Movement / Would That I

James Blake - Assume Form Genre: Progressive Pop / Electronic / Indie Pop

English producer and singer James Blake returns with his artful progressive form of pop music that only he can produce. Assume Form continues in his tradition of bending song structure and genres to his will to create powerful evocative landscapes to explore. The experimental artist keeps finding ways to push the boundaries while still making beautiful lush music to get lost in.

Proof: Barefoot in the Park (Feat. ROSALÍA) / Where’s The Catch? (Feat. Andre 3000)

Kevin Abstract - ARIZONA BABY Genre: Hip Hop

BROCKHAMPTON founding member drops off his third solo album which is a tender and impacting affair through the life of a figure in hip hop with a lot of hate sent to him, but a lot of love to send out. The openly gay rapper using this as a form of empowerment to let others who may be struggling know they have the power within themselves to make their life something of fulfillment.

Proof: Joyride / Mississippi

Kim Petras - TURN OFF THE LIGHT [Mixtape] Genre: Synth-Pop / House / Dance

Only a few months after dropping her debut album the new, exciting singer wants to keep us all guessing and elaborated on her Halloween EP from last year with this full mixtape. Her debut album is more Synth-Pop with some targeted EDM moments. This is a burst of haunting house music meant to get your heart rate pulsating and feet moving.

Proof: There Will Be Blood / Close Your Eyes

Mabel - High Expectations Genre: R&B / neo-Soul

British female R&B artists are having quite a moment right now. With the success of Jorja Smith, Ella Mai and RAYE last year to Sinead Harnett, Mahalia (it was seriously hard to take her off my list) and Mabel this year. Mabel has already had some hits from her 2017 mixtape Ivy to Roses, so this debute is quite a confident strut with tales of love, love lost and overcoming. The glossy production establishes a bouncy, beach vibe, probably influenced from her origins on the Mediterranean coast of Spain. Her stellar song writing is really what takes the attention throughout as every track has an ability to establish a connection with the listener quite effortlessly. 

Proof: Don’t Call Me Up / Mad Love

Maverick Sabre - When I Wake Up Genre: Pop / Soul

English/Irish singer Maverick Sabre returns with his third album that’s a unique and soulful jaunt. The 29 year old’s deep voice has a commanding and captivating effect on the listener throughout. The somewhat minimalist backing lets the potent voice and piercing song lyrics be the emotional driving force to great effect.

Proof: Slow Down (Feat. Jorja Smith) / Weakness

Rapsody - Eve Genre: Hip Hop

For her third album, Grammy nominated rapper Rapsody drops off quite a Tour de force of inspiration and empowerment. Every track is named after a black female icon that has influenced Rapsody. The North Carolina rapper’s lyrics flow and dense lyrics are top notch as always. The production has an increased levity to match the themes. Rapsody has gotten where she is from sheer will and strength within, now she's looking outward to inspirations to find her next step up the ladder.

Proof: Nina / Iman (Feat. SiR & JID)

The List:

Last One Out: Kim Petras - Clarity Genre: Synth-Pop / Electronic

The debut album from German singer Kim Petras was a long time coming and the build up was quite a slow burn. Since 2017 the 27 year old singer started one by one dropping pretty exciting one-off singles (none of which show up here). To our surprise her first official project was a surprised-dropped Halloween themed EP in 2018 (that, as seen in my Honorable Mentions above, was released this year as a full mixtape). Finally in early 2019 we get Kim’s first full length album and the wait was well worth it. Clarity is an electric and glossy affair of lust, self love and female empowerment. Kim is on quite a tear right now from this to her features on other artists projects that I don’t see slowing down anytime soon.

Proof: Icy / Got My Number / Do Me / Another One

35. 88rising - Head in the Clouds II Genre: R&B / Hip Hop

LA based collective 88rising began as mostly Asian-American rap artists. As they went in a more serious direction with their music and label they began acquiring production and R&B talent that has elevated the output to something to really admire. In the early stages I was a bit dismissive of the artists but the last three years I have increasingly been won over. With the success of Joji’s 2018 solo album the collective chose to lean heavier into the electro-R&B sound on their second compilation album that is paying great dividends here. Head in the Clouds II is filled with spacey tender songs that inspire and captivate. The lessons and progressions everyone in the collective are making adds to my excitement with each release. 

Proof: Joji & GENERATIONS from EXILE TRIBE - Need Your Love / Jackson Wang & Higher Brother’s - Tequila Sunrise (Feat. AUGUST 08 & GoldLink) / RHYME SO - Just Used Music Again / NIKI - La La Lost You

34. Karen O* & Danger Mouse - Lux Prima Genre: Alternative / Indie Rock

Two of today’s icons collide on this collaboration album that probably should have happened years ago. Yeah Yeah Yeahs front singer Karen O has influenced so many of today’s alternative artists (especially women led ones), and it’s always a solid veteran karaoke bar move to put in “MAPS”. Meanwhile Danger Mouse has been a go-to producer in both hip hop and alternative and formed a few emblematic pairings on albums with MF Doom (as Danger Mask), CeeLo (as Gnarles Barkley) and James Mercer of The Shins (as Broken Bells). Together Karen and DM are a perfect pair. Karen is as potent as ever singing over a lush and intricate backdrops by the paws of Danger Mouse. 

Proof: Lux Prima / Turn the Light / Woman / Redeemer

33. Little Simz - GREY Area Genre: Hip Hop

London rapper comes in swinging with her powerful third full length album. Her flow is so measured and confident and firing on all cylinders here with no wasted syllables or breaths on any verse along the project. The song subject matters dive into some pretty personal and touching territory letting the listener into some intimate thoughts. At 25, we are witnessing an artist really come into their own and it is an inspirational and beautiful thing.

Proof: Offense / Boss / Venom / Pressure (Feat. Little Dragon)

32. Shura* - forevher Genre: Synth-Pop

For her second album, Shura used the same 80’s nostalgic electronic pallet of her debut but this time a bit more slowed tempo with a layer of added sensuality. While her marvelous 2016 debut, Nothing’s Real, focused on the angst of growing into young adulthood, finding ones self and feeling comfortable in your own skin (as she initially struggled coming out publicly as a lesbian artist). On forevher, Shura focuses more intimately on her own relationship. Many of the songs being inspired by precise moments in the relationship with her current girlfriend, there is a noticeable narrowing of the scope. The result is an incredibly tender offering that allows us a glimpse into the UK Singer’s warm heart. 

Proof: religion (u can lay your hands on me) / the stage / flyin’ / forever

31. A R I Z O N A - ASYLUM Genre: Synth-Pop

The New Jersey electro-pop band A R I Z O N A follows up their 2017 debut album nicely here. Maintaining their knack for writing catchy as hell hooks along enticing dance inducing electronic production. With features on both Don Diablo’s 2018 album Future and Avicii’s posthumous release, TIM, this year, the band’s notoriety seems to be on a steady incline. 

Proof: Nostalgic / Find Someone / Freaking Out / Still Alive

30. VÉRITÉ - new skin Genre: Pop

Brooklyn based singer VÉRITÉ returns with her sophomore album aimed right for all of your feels at once. VÉRITÉ’s sound is understated and delicate, yet packed with raw and identifiable emotions. There is a progression as well from Somewhere in Between with a noticeable bit more comfort in moments where she can let loose. new skin, doesn’t reach out and scream for your attention, but it is a rewarding and sentimental ride for those that give it.

Proof: good for it / body in my bed / think of me / gone

29. Vampire Weekend - Father of the Bride Genre: Indie Rock / Alternative

Ezra Koenig and Vampire Weekend took their sweet time for their fifth album. Six years to be exact from 2013’s Modern Vampires of the City. Also in that time founding member Rostam left the group as a full time member (though still contributing to this album on a few songs). The time lapse and shifting of collaborators led to their most sprawling and experimental album to date. There are some swings that don’t quite connect but for the most part this is an exhilarating and unpredictable exploration by the band that is definitely worth the journey. 

Proof: Harmony Hall / This Life / How Long? / Sympathy

28. LÉON - LÉON Genre: Pop / Soul

When I saw this was Swedish singer LÉON’s debut I had to google to make sure. It’s been awhile since LÉON first popped on my radar with her beautiful and sultry tunes, but those have been from three EPs. The wait was well worth it for this angelic record of pleasant pop bops, one after another. These tracks make themselves right at home in your subconscious; taking their shoes off and checking what’s in your fridge. LÉON’s voice itself has a gentle nature to it coupled with a raspy, sensuality that is enduring and soothing. 

Proof: Lost Time / Falling / Hope Is A Heartache / You and I

27. MUNA - Save The World Genre: Synth-Pop

No sophomore slump for the American trio, MUNA here. Save The World is quite a refreshing progression from their tender 2017 debut. There’s a little more of a free feeling on this album that comes with increased confidence in their craft. The tracks are all incredibly catchy and easily stick with you well after first listen. “Stayway” is the shining jewel on the album and one of my most favorite tracks of 2019. 

Proof: Number One Fan / Stayaway / Never / Hands Off

26. Foals - Part 1: Everything Not Saved Will Be Lost / Part 1: Everything Not Saved Will Be Lost (Remixes) Genre: Rock / Alternative

The 1st part of English rock band’s 2-album project comes in like a Indy Car full speed for subconcious. The unique melding if Synth based beats and guitar driven grooves creates an enticing energetic sound you can get lost in. Part 2 was a big more reaching and aggressive, where Part 1 had more of a basis track to track that I felt made it the stronger outputting of the two. 

Proof: Exits / White Onions / In Degrees / On The Luna // In Degrees (Purple Disco Machine Remix) / Syrups (Vincent Taurelle Remix) / Exits (Lawrence Hart and Little Clubs Remix) / Exits (George FitzGerald Remix)

25. Denzel Curry - ZUU Genre: Hip Hop

Denzel Curry has always had promise to me with his frantic delivery. There were meaningful lyrics there and more focused passion than most of his peers his age in hip hop. The trick was channeling that boiling emotion for the rapper, that he struggled with early. Last year’s TA13OO was the first hint the 24 year old was starting to get this balance in his music. Only ten months later we see a fully formed Denzel with the directed missile that is ZUU. There aren’t many wasted moments here as Denzel focuses on what he needs to say and the most effective way to say it. All the while also making track after track meant to be played at the loudest decibel possible; that all smack the concrete with aggression and no remorse. 

Proof: ZUU / RICKY / BIRDZ (Feat. Rick Ross) / CAROLMART (Feat. Ice Billion Berg)

24. Tei Shi - La Linda Genre: R&B / Soul

For those of us following Tei Shi’s career since her early EP days there is a definite increase in her confidence as an artist on this sophomore album. The Argentina-born Colombian artist’s beautiful melodies flow at their own pace with a delicate precision and grace. Tei Shi’s low lit sounds lives in a mellow and assured range making the pockets where she lifts her voice that much more impacting. There’s both a layer of innocence and care as well as a level of empowerment and self-assured sex appeal in her vocals that are impossible to not get enthralled with.

Proof: Alone in the Universe / Even If It Hurts (Feat. Blood Orange) / When He’s Done / A Kiss Goodbye

23. Sigrid - Sucker Punch Genre: Pop

23 year old Norwegian singer Sigrid burst on the scene with her successful debut EP in 2017, and it’s been an effective upward trajectory since. Another EP came out in 2018 before this marvelous debut album. Sucker Punch packs quite a punch of delightfully infectious and identifiable jams. There is an ease to the charismatic mood of this album that shows how genuine Sigrid is with every song written. This young singer has some definite longevity ahead of her in the pop world.

Proof: Basic / Strangers / Don’t Feel Like Crying / Don’t Kill My Vibe

22. Charli XCX - Charli Genre: Synth-Pop / Electronic

After her sophomore album, 2014’s Sucker, English singer Charli XCX stated she felt a bit restricted in her solo career and decided to break out of the standard production method. A whole album was made but leaked online and Charli decided to scrap the project and began tinkering with her music more. During this period first came the 2016 collaboration EP with the producer SOPHIE, Vroom Vroom. Then in 2017 came two mixtapes. It was these two mixtapes Charli started realizing how she can warp and bend music to her will. Her production became more of a unique melding of dancey Synth-Pop with abrasive Electronic sounds. Her hooks were still top notch but the song structure began to become more of a free flowing organism then a structured framework. Taking what she learned from SOPHIE, and the two mixtapes into her third album, Charli is a project of abundance and unfiltered passion. The feelings are real and human but are focused into a diamond and refracted out into numerous directions. The description sounds chaotic but there still is a very controlled nature to the chaos of this vibrant pop. Charli has found a way to manipulate pop music to contort like a complicated yoga stance. She's Neo from The Matrix. I suggest just plugging in and letting the complex machine she built take you away.

Proof: Gone (w/ Christine and the Queens) / Blame It On Your Love (Feat. Lizzo) / Silver Cross / February 2017 (Feat. Clairo & Yaeji)

21. Bishop Briggs - CHAMPION Genre: R&B / Pop / Soul

Less than 18 months after her roaring debut album, British singer Bishop Briggs is back with her sophomore effort. CHAMPION is a bit more subdued than last year’s Church of Scars, but still the centerpiece is the powerful vocals. My only critique is that I feel the short timeline of this project when I listen. I don’t know the reason for such a short turn around, but some of the songs don’t feel as fleshed out as its predecessor that was years in the making. Despite that critique, this is still a beautiful and authoritative collection of power ballads meant to inspire and embolden.

Proof: CAN YOU HEAR ME NOW? / CHAMPION (Feat. Tom Morello)  / LONELY / WILD

20. Lizzo - Cuz I Love You Genre: R&B / Hip Hop

Detroit singer/rapper Lizzo has been around a few years now, but her third album was definitely her break out to insurmountable success and admiration. Songs like “Coconut Oil”, “Good As Hell” and “Water Me” (added on the deluxe version of this album) would get some attention, especially after featured on television shows. But in 2019 the stars aligned for Lizzo’s take over. Despite the increase in notoriety (to now include the backlash from people tired of her) let’s not overshadow that this music and its message is worthy of the attention. Lizzo’s dramatic and vibrant mixture of R&B, Hip Hop, Soul, Jazz, Funk and Gospel wrapped in a fast paced train with the breaks cut is quite the exhilarating experience. This coupled with her unapologetic message of self love and respect created quite the energetic Molotov cocktail for her to throw in our ears and get our bodies up and moving. Those that may be tired of her, well either learn to ignore or deal with it, because Lizzo is not going anywhere anytime soon.

Proof: Cuz I Love You / Jerome / Tempo (Feat. Missy Elliott) / Water Me

19. Tory Lanez - Chixtape 5 [Mixtape] Genre: R&B / Hip Hop

Having now established himself in the industry with three albums. Tory decided to take a trip back to his beginnings with this album/mixtape drop. Early in his career, Tory had four Chixtape mixtapes that were all influenced by the late 90’s/early 2000’s R&B Tory was raised on. For the fifth entry, and first since he has become established, Tory took this to a whole new level not only directly sampling classics from that timeline but also featuring the artists themselves. The result is a blast of nostalgia and sexy-ass grooves that I dare your hips to stay still the whole hour. I haven’t heard a lot of Tory’s early catalog but since his debut album this is solidly my favorite project by the Canadian Singer. The nostalgia is a bit of a crutch but that doesn’t make this project any less successful or enjoyable. I am squarely in the wheelhouse of who this is made for so there is a bias here but this was probably my most fun first listening experience of the year. 

Proof: The Trade (Feat. Jagged Edge & Jermaine Dupri) / Beauty in the Benz (Feat. Snoop Dogg) / Still Waiting (Feat. Trey Songz) / If You Gotta… (Feat. Fabolous)

18. Mark Ronson - Late Night Feelings Genre: R&B / Pop

2015’s Uptown Special with the mega-hit “Uptown Funk” was a whirlwind for Mark Ronson’s career as a solo artist. Already a prolific producer behind the boards of some of the most important albums over the last 15 years, Ronson’s solo career has been a bit under the radar until 2015. Which is why the about-face from glitz and abundance to a tender collection of songs about heartbreak is a bit of a surprise. But not a surprise I am mad about. The infectious, dancey funk we know from Ronson is still very much present on Late Night Feelings, but wrapped in a blanket of anguish only broken love can bring. Despite it’s more subtle and depressing themes, Ronson has stated this is the solo album he has spent the most time creating and that level of care is very apparent. 

Proof: Late Night Feelings (Feat Lykke Li) / Find U Again (Feat. Camila Cabello) / Pieces Of Us (Feat. King Princess) / Why Hide (Feat. Diana Gordon)

17. Lana Del Rey - Norman Fucking Rockwell! Genre: Pop / Soul

My long time admiration for Lana’s artistry and craft are well documented on here. Happening on her homemade “Video Games” video on YouTube was one of the catalysts to creating this blog. A memory I will always cherish is seeing her in 2011 at the Troubadour in Hollywood when she only had about 6 songs on YouTube to sing. Now, six albums later her music still is some of the most moving and affecting out there for me. Norman Fucking Rockwell! Is probably Lana’s most consistent and assured record since Ultraviolence. Lyrics wise this may be her most crisp ever. 

Proof: Venice Bitch / Fuck it I love you / The greatest / Hope is a dangerous thing for a woman like me to have - but I have it

16. Seven Lions* - Ophelia Volume 1 Genre: Electronic / Trance / Dance

Prolific electronic producer Seven Lions has long been one of my favorite artists. 2018 and 2019 have been excitingly very busy years for the Californian DJ/Producer. Starting his own label Ophelia Records in 2018, 7L has used it as an opportunity to seek out great up and coming electronic artists like Crystal Skies, Jason Ross, MitiS, Trivecta, Wooli and others as well as collaborate with other greats in the game such as Above and Beyond, Dabin, SLANDER, NGHTMRE and Gryffin. Ophelia Volume 1 is a collection of many of the singles released by 7L over the last two years and is quite the gripping burst of excitement and emotions. This compilation album shows off what is 7L’s best musical attributes. His diversity in sound, effortlessly switching between many subgenres, including Trance, Future Bass, Dubstep, Drum and Bass, from song to song, sometimes making a switch within a single song. The other aspect is 7L’s deliberate and effective use of dead space to create a moment of floating before a bellowing drops knocks your ass back down to earth. His pockets of tranquility make these tracks more living and breathing forms of passion and sentiment than normally associated with the mechanical genre.

Proof: Start Again (Feat. Fiora) / Ocean (w/ Jason Foss Feat. Jonathan Mendelsohn) / First Time (w/ SLANDER & Dabin Feat. Dylan Matthew) / Dreamin’ (Feat. Fiora) // Bonus: See The End (w/ Above & Beyond Feat. Opposite The Other)

15. Gallant - Sweet Insomnia Genre: alt-R&B / Soul

The soulful and sultry vocals of Gallant return with another steamy alt-R&B soiree. The overall vibe is a bit more mellow than his thunderous 2016 debut Ology. The main driving force is still the forceful emotion driven vocals from the American singer. R&B has been a genre pulled into various directions over the last 8 or so years, sometimes for good, sometimes at it’s detriment. Gallant and his potent falsetto is a nostalgic artist in 2019 pointing to the late 90’s, early 2000’s neo-soul movement. Fans of artists like Musiq Soulchild, Maxwell, Raheem Devaughn and of course D’Angelo will get some warm feelings from Gallant’s seductive grooves. 

Proof: Crimes / Hurt / Compromise (Feat. Sabrina Claudio) / Céline

14. G Flip - About Us Genre: Pop

Melbourne multi-instrumentalist and singer Georgia Flipo, or G-Flip, introduces herself with this tender and moving debut. About Us is sort of an autobiographical story about Georgia and her girlfriend over a five year span that includes a break up and eventually make up. Georgia’s vocals are both commanding and approachable. The song writing is effortlessly relatable and potent in the life of love. Georgia would write most of the instrument riffs and have others play it during recording but the most unsung hero is her command of the instrument she first learn and played herself; the drums. The emotional impact and intensity of these songs all get magnified in the later stages when Georgia grabs the sticks and begins going to town. About Us is both a subtle piece of pop yet also a cinematic and emotionally captivating one. 

Proof: Lover / I Am Not Afraid / Morning / About You

13. Becky Hill - Get To Know Genre: Synth-Pop / Electronic / Dance

After being a semi-finalist on The Voice UK, the potent and soulful vocals of UK singer Becky Hill has become a go-to feature in the European house world. Becky’s commanding voice is a perfect compliment to house production to not be overpowered and bring a level of vivacity and vitality to the composition. Get To Know is a compilation of those features and one-off singles from the last three years to get more people familiar with Becky as she takes more creative control of her solo career. I’m expecting much more to come from the singer in 2020; so keep an eye and both ears out.

Proof: I Could Get Used To This (w/ Weiss) / Piece of Me (w/ MK) / Sunrise in the East / False Alarm (w/ Matoma)

12. BANKS - III Genre: alt-R&B / Pop

On her third album, singer BANKS is showing off an impressive increase in prowess and courage in her music. Although, I still really enjoyed BANKS sophomore album The Altar, there were some growing pains visible in it. III on the other hand comes out much more competent, coherent and confident. The noticeable addition of Hudson Mohawke’s production and influence is one of the most noticeable additions. His powerful distorted synthed-out drums gives quite a thunderous backdrop for BANKS sultry vocals to sway back and forth through. The song writing has notably continued to get even better for someone that already had quite the skill at. I’ve followed BANKS since she only had a couple songs out on SoundCloud and the journey has been quite a rewarding one for us fans. 

Proof: Gimme / Look What You’re Doing To Me (Feat. Francis & The Lights) / Propaganda / The Fall

11. Gryffin* - Gravity Genre: Electronic / Dance

Success has come rapidly for Gryffin, releasing his first original song only four years ago. Despite that short time, there is a level of sophistication to Gryffin’s blending of house and pop music that feels like the work of a veteran. It helps he has really filled up his phone contacts with some of today’s top Electronic producers and rising pop singers to collaborate with. Gryffin’s debut is quite a reflective and illuminating galaxy of deep emotions and expression. Every song on Gravity has identifiable passion and sentiments while enclosed in a glitzy exterior; feelings with strobe lights. It’s been over two years since the first song from this album “Nobody Compares to You” was released showing Gryffin has the ability to make us really feel emotions while also bust out dancing. Now if you excuse me, I'm going to go have a good cry in the club.

Proof: All You Need To Know (w/ SLANDER Feat. Calle Lehmann) / Baggage (w/ Gorgon City & AlunaGeorge) / Hurt People (w/ Aloe Blacc) / Nothing Compares To You (Feat. Katie Pearlman)

10. Maggie Rogers - Heard It In A Past Life Genre: Pop

A chance encounter with Pharrell that went viral was what started Maggie’s career, but she took her time with this debut to make sure that one video wasn’t all that defines it. Heard It In A Past Life is a subtle flex of the new singer’s musical dexterity. On the surface the tracks all flow at a mellow cohesive pace. Maggie’s soft and sensual vocals are the first thing you appreciate when listening. When you give a little deeper of a dive you realize the strong themes Maggie is conveying as well as a sophisticated diversity in her sound that’s more than originally meets the ear.

Proof: Give A Little / The Knife / Alaska / Say It / On + Off // Bonus: Love You For A Long Time

9. Nick Murphy - Run Fast Sleep Naked Genre: Indie Pop / Electronic

On his second release (first full length album) since changing his name from Chet Faker to his real name Nick Murphy, the Australian artist has some new tricks up his sleeve. Run Fast Sleep Naked is a more expansive sound then his Chet Faker beginnings and we are all quite rewarded by it. The subtle Synth-Indie pop melding is still present. But there always was a form of restraint in his early work that Nick has seemed to let go more of here allowing his emotion to burst out at key moments a bit unfiltered and untethered. 

Proof: Harry Takes Drugs On The Weekend / Sanity / Yeah I Care / Never No / Dangerous

8. Madeon - Good Faith Genre: Electronic / Synth-Pop / Dance

2019 has been an interesting year of growth for EDM. With artists like Big Wild, ILLENIUM, Goldroom, GRiZ, Flux Pavilion and others showing some added depth, discovery and diversity in their sounds. That is continued here with Madeon’s four years in the making follow up to his 2015 debut album Adventure. His first album was quite a glorious introduction but very steeped in the bold and at times lumbering mechanical nature of Electronic music, but with this follow up there is a dramatic divergence. Good Faith is quite a romp through R&B, Gospel and Funk influenced synth wonderlands meant to inspire souls and entice movement. The French producer created a lush world to wonder around, despite being Electronic music, that is devoid of any plasticity for organic and visual expression. The closing two minutes are completely devoid of vocals, yet still packs a powerful emotional punch, leaving you wanting to instantly hit replay.

Proof: Dreams Dreams Dreams / All My Friends / Nirvana / No Fear No More / Borealis

7. Tyler, The Creator - IGOR Genre: alt-R&B / Hip Hop

After a frustrating start to his career I saw some of the promise in Tyler, The Creator come to life on his 2015 third album Cherry Bomb. By 2017 Tyler had found his sweet spot with the marvelous Flower Boy. Being someone always eager to learn and grow on his craft, Tyler didn’t remain in that sweet spot, instead abruptly left it in his rearview mirror for his follow up in the daring IGOR. Long gone are the low-fi, abrasive hip hop vernacular of Bastard, Goblin and Wolf here. Instead, Tyler created a unique and colliding world of R&B, Hip Hop, Funk and Synth-Pop. Further showing his evolution Tyler tells a heartfelt story across the album of a man, Tyler, dating another man, who’s also dating his ex-girlfriend. When Tyler tells his feelings for his lover,  which results in him starting to drift back to his ex-girlfriend, leading to heartbreak for Tyler. The character Igor represents the negative tendencies of Tyler, as his heart is broken and begins to take over throughout the album’s duration. Coming out the other side the album ends with sadness, but still with a level of hope that I’m sure anybody can relate to who’s had their heart broken.

Proof: IGOR’S THEME (Feat. Lil Uzi Vert) / EARFQUAKE (Feat. Playboy Carti & Charli Wilson) / I THINK (Feat. Solange & Ryan Betty) / A BOY IS A GUN* / WHAT’S GOOD (Feat. Slowthai)

6. SebastiAn - Thirst Genre: Electronic / Synth-Pop

8 years after his debut album, the French producer is ready to step out from the background again with this thrilling collection of bold electronic pop. Known best to the general for working with Frank Ocean on his Endless album (and being the voice on “Facebook Story” on Blonde), SebastiAn has also worked extensively with Daft Punk, Kavinsky, Charlotte Gainsbourg, Beastie Boys, Block Party and others over the years. Thirst is a wild ride in a dark dystopian pop landscape that has a tough exterior but a tender interior. The features from pop and R&B are expertly placed among the distorted and thunderous production. The industrial feel may seem a bit artificial at first, but there is an organic heartbeat under the mechanical exoskeleton worth exploring.

Proof: Doorman (Feat. Syd) / Better Now (Feat. Mayer Hawthorne) / Pleasant (Feat. Charlotte Gainsbourg) / Sober (Feat. Bakar) / Run for Me (Feat. Gallant)

5. Khalid - Free Spirit Genre: Pop / R&B / Soul

I gushed on both my last two year lists about Khalid with his debut album and last year’s EP; all that is still very much relevant in 2019. Khalid is one of today’s top young talents. His evocative voice can fit into so many different environments. Straight Pop, R&B, Hip Hop, Country, EDM, Rock, Khalid’s voice is quite the emotive chameleon. His own albums are a bit more straightforward pop and R&B that with every release keeps getting more polished and evolved with his songwriting. Already at 21 the singer has become a go-to for album features and movie soundtracks; I don’t expect this to change for quite some time.

Proof: Better / Talk / Right Back / Outta My Head (w/ John Mayer) / Twenty One

4. Big Wild - Superdream Genre: Synth-Pop / Electronic / Dance

To many fans of the EDM scene Big Wild has been well known before his debut album dropped. The producer was one the first signees to ODESZA’s label after dropping multiple great remixes. His debut EP last year only increased his notoriety. What we didn’t know if he had a different plan for his sound that would be introduced to the world on this sneaky debut full length. Superdream still has plenty of his EDM beginnings throughout but interwoven in a much more complex package then we anticipated. Notes of 70’s/80’s pop to 90’s R&B make a surprisingly profound presence dancing through the intersecting synths and drums. Big Wild sings more than he ever has in a soft hushed tone that glides his bold production so smoothly. The Electronic genre is in the middle of quite a renaissance currently and yet more creative artists like Big Wild keep showing up and taking the sound to new directions we haven’t seen before.

Proof: Joypunks / 6’s to 9’s (Feat. Rationale) / No Words / Maker / She Makes Magic

3. ILLENIUM* - ASCEND Genre: Electronic / Future Bass / Dance

Denver DJ ILLENIUM found quite a sweet spot on his 2017 sophomore album, Awake, with his euphoric electronic music. Anybody who claims EDM is all plasticity without emotion that other music genres can evoke, I dare you to listen to Awake and not feel the raw human emotion bursting with every dramatic drop. However, Nicolas Miller was not complacent and has expanded his sound in 2019. Taking some inspiration no doubt from the late great Avicii, there’s plenty of experimenting with genres both externally and internally to the EDM landscape. With great ease, effort care and skill the tracks maneuver from Pop/Future Bass to House to Trance, to R&B to Country/Rock to Dubstep. The emotions continue to be the driver with tracks about love, heartbreak, feeling lost and even Miller’s opening up about his past issues with drug abuse. The Jon Bellion assisted “Good Things Fall Apart” and Chainsmokers partnered “Takeaway” are the tracks most people go in knowing, but powerful tracks like the lightning bolt opener “Hold On” to the Rock/Dubstep powerhouse of “Pray” to the R&B Ear drum slapper that's “Gorgeous” steal the listeners attention through this whirlwind of melodic feels.

Proof: Hold On (w/ Georgia Ku) / Good Things Fall Apart (w/ Jon Bellion) / Pray (Feat. Kameron Alexander) / Gorgeous (w/ Bipolar Sunshine & Blanke) / Lonely (w/ Chandler Leighton) // Bonus: Ekali & ILLENIUM - Hard To Say Goodbye (Feat. Chloe Angelides)

2. Nilüfer Yanya* - Miss Universe Genre: Indie Rock / Alternative / R&B

It could be too easy to take Nilüfer Yanya’s sensual music for granted, but those that pay close attention are very much rewarded. Her subtle and mellow melodies can slip into the background but by the time her infectious choruses hit you may find your shoulders swaying and feet tapping without thinking about it. The UK Born new artist has such an effortless feel to her genre melding sound of soul and indie pop. Her unique, raspy voice among the groovy, plucky guitar riffs has an ability to relay emotions while also keeping a veil of mystery. Miss Universe is probably 2019’s most consistent record, no song is out of place in this whole strong debut album. 

Proof: In Your Head / Paralysed / Angels / Tears / Heavyweight Champion of the Year

1. Labrinth - Imagination & the Misfit Kid Genre: Pop / alt-R&B

Sometimes it takes some time to find your comfortably and inspiration. English singer Labrinth’s debut album was released over seven years ago. In the time since the powerful voice, proficient productions or potent pen of the singer would pop up here and there with one-off singles, song features ("Losers” with The Weeknd off Beauty Behind The Madness was one great one), production or writer credits. 2019 though was quite the change in pace. The marathon of a year started with forming the supergroup and dropping the debut album of LSD with Sia and Diplo. Labrinth then was the lead composer on the music score for one of the year's best new shows on HBO’s “Euphoria”. This all was cultivated with this magnificent and expressive sophomore effort. Imagination & the Misfit Kid is a layered project of the many influences Labrinth has picked up over his lifetime packaged together in something innovative yet also familiar. On the surface the music is pretty crowd pleasing pop but when dissected more there's rich notes of music genres colliding including R&B, Gospel, Blues, UK Hip Hop and Electronic ingredients. The production is its own cunning beast, at times it is muted and let’s the great voice of Labrinth take the reins, only to come thundering in to smack you in the temple. There’s an obvious cinematic theme carried through in the songs that is driven home with the song titles and short skits. Labrinth is tapping into your ears while making a visual art piece. One you’re meant to close your eyes and let the melodies and lyrics help you visualize. “Can’t tell me the world don’t mind, a miracle.”

Proof: Miracle / Dotted Line / All For Us (w/ Zendaya) / Something’s Got To Give / Where The Wild Things Are / Oblivion (Feat. Sia) // Bonus: Don’t Fence Me In

Others:

Good: Aaron Aye - F.E.A.R., Ada Lea - what we say in private, Africa Express - EGOL, AJ Tracey - AJ Tracey, AKON - Akonda, The Alchemist - Yacht Rock 2, Aldous Harding - Designer, Alex Cameron - Miami Memory, Algee Smith - atl, Alice Merton - Mint, Allen Stone - Building Balance, Allie X - Super Sunset (Analog), The Amazons - Future Dust, Andrew Combs - Ideal Man, Angel Olsen - All Mirrors, Angie Stone - Full Circle, Ann Marie - Pretty Psycho, Anna Wise - As If It Were Forever, Ardalan - Mr. Good, Ari Lennox - Shea Butter Baby, Ariana Grande - thank u, next, Armin van Buuren - Balance, A$AP Ferg - Floor Seats, Asiahn - Love Train 2, Audien - Escapism, AURORA - A Different Kind of Human, avery r. young - tubman., Avicii - TIM, A1 - Turbulence, Baby Rose - To Myself, Bad Bunny - X 100PRE, Barrie - Happy to Be Here, Bastille - Doom Days, Bat For Lashes - Lost Girls, Bazzi - Soul Searching, Beast Coast - Escape from New York, Beck - Hyperspace, Becky G. - MALA SANTA, Beirut - Gallipoli, Berhana - HAN, Better Oblivion Community Center - Better Oblivion Community Center, Betty Who - Betty, Beyoncé - The Lion King: The Gift [Music Inspired by the Motion Picture], Big K.R.I.T. - K.R.I.T. IZ HERE, Big K.R.I.T. - TDT, Big Thief - Two Hands, Big Thief - U.F.O.F., Black Belt Eagle Scout - At The Party With My Brown Friends, The Black Keys - “Let’s Rock”, Black Milk - DiVE, bLAck pARty - Endless Summer, blackbear - ANONYMOUS, Blaq Tuxedo - Blaq Tuxedo, Blaqk Audio - Only Things We Love, Blasterjaxx - Perspective, Bleached - Don’t You Think You’ve Had Enough?, Blood Orange - Angel’s Pulse [Mixtape], Blu & Oh No - A Long Red Hot Los Angeles Summer Night, Boogie - Everything’s for Sale, Boy Harsher - Careful, Boy Harsher - Country Girl Uncut, Boy Scouts - Free Company, Brittany Howard - Jaime, BROCKHAMPTON - GINGER, Broods - Don’t Feed The Pop Monster, Brother Ali - Secrets & Escape, Bun B & Statik Selektah - TrillStatik [Mixtape], Burna Boy - African Giant, Busy Signal - Parts of the Puzzle, Caamp - By and By, Cage The Elephant - Social Cues, Camila Cabello - Romance, Carly Rae Jepsen - Dedicated, Caroline Polacheck - PANG, Casey Veggies - Organic, Casey Veggies & Rockie Fresh - Fresh Veggies [Mixtape], Cashmere Cat - PRINCESS CATGIRL, Cassius - Dreems, Catching Flies - Silver Linings, Cehryl - Slow Motion, The Chainsmokers - World War Joy, Charly Bliss - Young Enough, Chase & Status - RTRN II JUNGLE, Chelsea Wolfe - Birth of Violence, The Chemical Brothers - No Geography, Cherry Glazer - Stuffed & Ready, Childish Major - Dirt Road Diamond, Chinatown Slalom - Who Wants To Be A Millionaire?, Choosey & Exile - Black Beans, Chris Brown - Indigo, Chris Lorenzo - Late Checkout, Chris Staples - Holy Moly, Chromatics - Closer To Grey, Ciara - Beauty Marks, Cigarettes After Sex - Cry, City and Colour - A Pill for Loneliness, Citizen Cope - Heroin and Helicopters, Clairmont The Second - The Second’s Do You Drive?, Clairo - Immunity, clipping. - There Existed an Addiction to Blood, Cold War Kids - New Age Norms 1, Coldplay - Everyday Life, Collie Buddz - Hybrid, Common - Let Love, Cross Record - Cross Record, Crumb - Jinx, Crystal Fighters - Gaia & Friends, Cuco - Para Mi, Curren$y & Statik Selektah - Gran Turismo, CZARFACE & Ghostface Killa - Czarface Meets Ghostface, DaBaby - KIRK, Damar Jackson - U2, Dame D.O.L.L.A. - Big D.O.L.L.A., Danny Brown - uknowhatimsaying¿, Dave East - Survival, David B - BLEU, Dawn Richard - New Breed, Deadmau5 - here’s the drop, Deadmau5 - Polar (Music from the Netflix Film), Deaton Chris Anthony - BO Y, Deerhunter - Why Hasn’t Everything Already Disappeared?, Delta Heavy - Only In My Dreams, Dermot Kennedy* - Dermot Kennedy, Devin Morrison - Bussin’, DIIV - Deceiver, Dillon Francis - Magic Is Real [Mixtape], Dizzy Fae - NO GMO [Mixtape], DJ Khaled - Father of Asahd, DJ Shadow - Our Pathetic Age, DJ Snake - Carte Blanche, Doja Cat - Hot Pink, Dope Lemon - Smooth Big Cat, Dounia - THE SCANDAL, Drake - Care Package, Drax Project - Drax Project, Dreamville & J. Cole - Return of the Dreamers III, Dreezy - Big Dreez, DROELOE* - A Promise Is Made, The Drums - Brutalism, DUCKWRTH - THE FALLING MAN, Earl Sweatshirt - FEET OF CLAY, EARTHGANG - Mirrorland, Ed Sheeran - No. 6 Collaborations Project, Electric Guest - KIN, Electric Youth - Memory Emotion, ELHAE - Trouble In Paradise, Elle Varner - Ellevation, Emeli Sandé - REAL LIFE, Emmavie - Honeymoon, Emily Wells - The World Is Too ___ For You, Eric Bellinger - Cuffing Season 3, Eric Bellinger - Saved by the Bellinger [Mixtape], Eric Bellinger - The Rebirth 2, E-40 - Practice Makes Paper, Fabolous - Summertime Shoot 3: Coldest Summer Ever [Mixtape], The Faint - Egowerk, Fantasia - Sketchbook, FEELS - Post Earth, FIDLAR - Almost Free, Fitz & The Tantrums - All The Feels, FKA twigs - MAGDALENE, The Flaming Lips - The King’s Mouth: Music and Songs, Flume - Hi This Is Flume [Mixtape], Flying Lotus - Flamagra, Frances Cone - Late Riser, Frankie Cosmos - Close It Quietly, Freddie Gibbs & Madlib - Bandana, FRENSHIP* - Vacation, Freya Ridings - Freya Ridings, Friendly Fires - Inflorescent, Froth - Duress, The Game - Born 2 Rap, Gang Starr - One of the Best Yet, GASHI - GASHI, Gary Clark Jr. - This Land, Gena Rose Bruce - Can’t Make You Love Me, Gesaffelstein - Hyperion, The Get Up Kids - Problems, Giggs - BIG BAD…, girlpool - What Chaos Is Imaginary, The Glorious Sons - A War on Everything, gnash - we, Goo Goo Dolls - Miracle Pill, grandson - a modern tragedy vol. 3, GRiZ - Ride Waves, GTA - La Nueva Clásica (Remixes), Gus Dapperton - Where Polly People Go to Read, HÆLOS - Any Random Kindness, half●alive - Now, Not Yet, , Hatchie - Keepsake, Hayden James - Between Us, Hayden James - Between Us (Remixes), The Head and the Heart - Living Mirage, Headie One - Music x Road [Mixtape], Helado Negro - This Is How You Smile, Hermitude - Pollyanarchy, Hibou - Haive, Higher Brothers - Five Stars, Hobo Johnson - The Fall of Hobo Johnson, Holly Herndon - PROTO, Hoodie Allen - Whatever USA, Hot Chip - A Bath Full of Ecstasy, Ida Mae - Chasing Light, IDER - Emotional Education, IDK - Is He Real?, Iggy Azalea - In My Defense, India.Arie - Worthy, Ingrid Michaelson - Stranger Songs, Injury Reserve - Injury Reserve, Intellexual - Intellexual, Isaac Dunbar - balloons don’t float here, Isabella - 12 Angels, J Balvin & Bad Bunny - OASIS, Jack & Jack - A Good Friend Is Nice, JackLNDN - Thoughts, Jacob Latimore - Connection2, Jacquees - King of R&B, Jacques Greene - Dawn Chorus, Jade Bird - Jade Bird, Jai Wolf - The Cure To Loneliness, Jamie Cullum - Taller, James Blunt - Once Upon A Mind, Jamila Woods - LEGACY! LEGACY!, The Japanese House - Good At Falling, Jax Jones - Snacks, Jay Som - Anak Ko, Jayda G - Significant Changes, Jaden - ERYS, JAY1 - One Wave, Jenny Hval - The Practice of Love, Jenny Lewis - On The Line, J-E-T-S - Zoospa, Jidenna - 85 to Africa, Joell Ortiz - Monday, Johnny Gill - Game Changer II, JOHNNYSWIM - Moonlight, JOHKOY - 404, Jonas Brothers - Happiness Begins, Jordan Rakei - Origin, Joseph - Good Luck, Kid, Josephine Wiggs - We Fall, JPEGMAFIA - All My Heroes Are Cornballs, The Juan MacLean - The Brighter Light, Judah & The Lion - Pep Talks, Juice WRLD - Death Race for Love, Julian - Sydney, Juls - Colour, KAINA - Next to the Sun, Kanye West - JESUS IS KING, Karnaval Blues - You Come With the Rain, Kash Doll - Stacked, Kaskade - Redux 003, KÁRYYN - The Quanta Series, Kayzo - Unleashed, Keane - Cause and Effect, Kelsey Lu - Blood, Kemba - Gilda, Kembe X - I Was Depressed Until I Made This, Kerli - Shadow Works, Kevin Gates - I’m Him, Kevin George - My Darlings a Demon, Kevin Morby - Oh My God, K.Flay - Solutions, Kindness* - Something Like a War, King Princess - Cheap Queen, Kishi Bashi - Omoiyari, Ladytron - Ladytron, Lafawndah - Ancestor Boy, Larry June - Out the Trunk [Mixtape], The Lemonheads - Varshons 2, Lexie Liu - 2030, Liam Gallagher - Why Me? Why Not, LICK - Dark Vibe Order, Lil Skies - Shelby, Lissie - When I’m Alone: The Piano Retrospective, Little Brother - May The Lord Watch, Local Natives - Violet Street, Logic - Confessions of a Dangerous Mind, Lolo Zouaï - High Highs to Low Lows, Lost Frequencies - Alive and Feeling Fine, Louis Futon - Way Back When, Loyle Carner - Not Waving, But Drowning, LSD - Labrinth, Sia & Diplo Presents… LSD, Lucky Daye - Painted, Lucy Rose - No Words Left, Luh Kel - Mixed Emotions, The Lumineers - III, LV - Xcited, Lyfe Jennings - 777, Mac Ayers - Juicebox, Mac DeMarco - Here Comes the Cowboy, Mahalia - Love and Compromise, Malibu Ken (Aesop Rock & TOBACCO) - Malibu Ken, Manatee Commune* - PDA, Mansionair - Shadowboxer, Marc E. Bassy - PMD, Maren Morris - GIRL, Maribou State - Kingdoms in Color Remixed, Marika Hackman - Any Human Friend, MARINA - LOVE + FEAR, MarMar Oso - Oso Different, Marshmello - Joytime III, Matt Maeson - Bank on the Funeral, MED & Guilty Simpson - Child of the Jungle, Meg Mac - Hope, Megan Thee Stallion - Fever, Melii - phAses, Men I Trust - Oncle Jazz, Mereba - The Jungle Is The Only Way Out, Mermaidens - Look Me in the Eye, Michael Kiwanuka - KIWANUKA, MIKA  - My Name Is Michael Holbrook, MIKE - Tears of Joy, Mike Posner - Keep Going [Mixtape], Mike Posner - A Real Good Kid, Milky Chance - Mind the Moon, Mr. Carmack - Demolish [Mixtape], Mr. Carmack - Viista, Mr Hudson - WHEN THE MACHINE STOP, Mndsgn - Snaxx, Moksi - The Return of House Music, Montell Jordan - Masterpiece, Moon Boots - Bimini Road, Moon Duo - Stars Are the Light, Moonchild - Little Ghost, Murs & 9th Wonder - Brighter Daze, Murs, 9th Wonder & The Soul Collective - The Iliad is Dead and the Odyssey is Over, Mustard - Perfect Ten, Nao Yoshioka - Undeniable, Nas - The Lost Tapes 2, Nathan Bajar - playroom, The National - I Am Easy to Find, Necking - Cut Your Teeth, The New Pornographers - In the Morse Code of Brake Lights, NF - The Search, Nick Catchdubs - Ufo, Nicole Bus - Kairos, Nina Nesbitt - The Sun Will Come Up, The Seasons Will Change, Noah Kahan - Busyhead, Norah Jones - Begin Again, Obie Trice - The Fifth, Octavian - Endorphins, Of Monsters and Men - FEVER DREAM, Offset -  Father of Four, Oliver Dion - Exposed, Olivia O’Brien - Was It Even Real?, Panda Bear - Buoys, Patoranking - Wilmer, Pete Tong & HERO - Chilled Classics, Pete Yorn - Caretakers, Petit Biscuit* - We Were Young (The Playlist), P!nk - Hurts 2B Human, Pixies - Beneath the Eyrie, PJ Morton - PAUL, Plaid - Polymer, P-LO - SHINE, PnB Rock - TrapStar Turnt PopStar, Pond - Tasmania, Post Malone - Hollywood’s Bleeding, Priests - The Seduction of Kansas, Prince - Originals, PUP - Morbid Stuff, Quelled Chris - Guns, R.LUM.R. - Surfacing, Ra Ra Riot - Superbloom, The Raconteurs - Help Us Stranger, Raphael Saadiq - Jimmy Lee, Ras Kass - Soul on Ice 2, Rat Boy - International Unknown, Raveena - Lucid, Reese LaFlare - Final Fantasy, The Regrettes - How Do You Love?, Reptaliens - VALIS, Rex Orange County - Pony, Rich Brian - The Sailor, Rich The Kid - The World Is Yours 2, Rico Nasty & Kenny Beats - Anger Management, Rhi - The Pale Queen, Rhye - Spirit, Rockie Fresh - Destination, Rudimental - Test Our Differences, RÜFÜS DU SOL - Solace Remixes, RY X - Unfurl, Sabrina Carpenter - Singular Act II, SAFE - STAY, Said The Whale - Cascadia, SAINt JHN - Ghetto Lenny’s Love Songs, St. Lucia - Remixed, Sammie - Everlasting, Sampa The Great - The Return, San Fermin - The Cormorant I, (Sandy) Alex G - House of Sugar, Santana - Africa Speaks, Santi - Mandy & The Jungle, Sara Bareilles - Amidst the Chaos, SASAMI - SASAMI, ScHoolboy Q - CrasH Talk, Seasons - American Authors, Set It Off - Midnight, Set Mo - Surrender, Shafiq Husayn - The Loop, Shari Marie - Reflection LP, Sharon Van Etten - Remind Me Tomorrow, Sheer Mag - A Distant Call, Shlohmo - The End, Shy Girls - Bird on the Wing, Silversun Pickups - Widow’s Weeds, Sinead Harnett - Lessons in Love, SiR - Chasing Summer, sir Was - Holding On To A Dream, Skepta - Ignorance Is Bliss, The Script - Sunset & Full Moons, Sleater-Kinney - The Center Won’t Hold, Sleeping With Sirens - How It Feels to Be Lost, slowthai - Nothing Great About Britain, Slum Village - The Source, Smif-N-Wessun - The All, Snail Mail - Habit, Snake City - Hurts, SNBRN - Solé, Snoh Aalgra - Ugh, those feels again, Snoop Dogg - I Wanna Thank Me, Snow Patrol - Reworked, SOAK - Grim Town, SOB X RBE & Hit-Boy - Family Not a Group, Solange - When I Get Home, Somos - Prison On A Hill, SonReal - The Aaron LP, StayLoose - The City, Stef Chura - Midnight, Steve Lacy - Apollo XXI, Stirgull Simpson - SOUND & FURY, Styles P - S.P. The Goat: Ghost of All Time, Sudan Archives - Athena, Sui Zhen - Losing Linda, Summer Walker - Over It, SYML - SYML, The Tallest Man On Earth - I Love You, Talos - Far Out Dust, Tank - ELEVATION, Tank and the Bangas - Green Balloon, Tayla Parx - We Need To Talk, Taylor Swift - Lover, Tech N9ne - N9na, Tegan and Sara - Hey, I’m Just Like You, TENDER - Fear of Falling Asleep, Terri Lyne Carrington & Social Science - Waiting Game, Terror Jr - Unfortunately, Terror Jr, Tiësto - Together, Tinashe - Songs For You, Tink - Voicemails, The-Dream - Menage a Trois: Sextape Vol. 1,2&3, Thees Handz (The Grouch & Murs) - Thees Handz, Thom Yorke - ANIMA, T-Pain - 1UP, TOBi - STILL, Tom Walker - What A Time To Be Alive, Tora - Can’t Buy the Mood, Toro y Moi - Outer Peace, Tory Lanez - International Fargo [Mixtape], Tourist - Wild, Tove Lo - Sunshine Kitty, Trae tha Truth - Exhale, Travis Thompson - Reckless Endangerment, Trevor Jackson - Rough Draft 2, Trina - The One, Tritonal - U & Me, Tropical Fuck Storm - Braindrops, Tuxedo - Tuxedo III, Two Door Cinema Club - False Alarm, Tycho - Weather, Tyla Yaweh - Heart Full of Rage, Vagabon - Vagabon, Vancouver Sleep Clinic - Onward to Zion, Various Artists - DEATH STRANDING: Timefall (Original Music from the World of Death Stranding), Various Artists - For The Throne (Music Inspired by the HBO Series Game of Thrones), Various Artists - Music Inspired by the Film Roma, Various Artists - 13 Reasons Why (Season 3) [Music Inspired by the Netflix Series], Velvet Negroni - NEON BROWN, Wale - Wow... That’s Crazy, Walk Off The Earth - HERE WE GO!, Wallows - Nothing Happens, Walshy Fire - Walshy Fire Presents: ABENG, Wand - Laughing Matter, Weezer - Weezer (The Teal Album), Weyes Blood - Titanic Rising, Wilco - Ode to Joy, Wild Belle - Everybody One of a Kind, William Black* - Pages, Willow - Willow, Whitney - Forever Turned Around, Wretch 32 - Upon Reflection, X Ambassadors - ORION, Xavier Omär & Sango - Moments Spent Loving You, YACHT - Chain Tipping, YBN Cordae - The Lost Boy, Yeasayer - Erotic Reruns, Yeek - IDK WHERE, YG - 4REAL 4REAL, Yhung T.O. - On My Momma 2, Yuna - Rouge, Zilo - Gorgeous, Zo! - FourFront, 2 Chainz - Rap or Go to the League, 93PUNX - 93PUNX, !!! - Wallop

Meh: A Boogie wit da Hoodie - Hoodie SZN, Above & Beyond - Flow State, The Avett Brothers - Closer Than Together, Belle & Sebatian - Days of the Bangold, Berner - El Chivo, Birdman & Juvenile - Just Another Gangsta, Blank Mass - Animated Violence Mild, Calboy - Wildboy, Casanova - Behind These Scars, Conway The Machine - Look What I Became, Cousin Stizz - Trying to Find My Next Thrill, DREAMERS - LAUNCH FLY LAND, DJ Muggs & Mach - Hommy: Tuez-Les Tous, Future - Future Hndrexx Presents: The WZRD, G&D - Black Love & War, Ghostface Killah - Ghostface Killahs, Gucci Mane - Delusions of Grandeur, HTRK - Venus in Leo, Jezzy - TM104: The Legend of the Snowman, Kenny Garrett - Hoax, Lighthouse Family - Blue Sky in Your Head, Lil Peep - EVERYBODY’S EVERYTHING, Lillie Mae - Other Girls, Logic - Supermarket, Lower Dens - The Competition, Machine Gun Kelly - Hotel Diablo, Night Lovell - GOODNIGHT LOVELL, Pi’erre Bourne & Cardo Got Wings - Pi’erre & Cardo’s WIld Adventure [Mixtape], Quality Control - Control The Streets Volume 2, Rick Ross - Port of Miami 2, Rod Wave - PTSD, Shy Glizzy - Covered N Blood, Spellling - Mazy Fly, Tee Grizzley - Scriptures, Twin Peaks - Lookout Low, Tyga - Legendary, Wifisfuneral - Ethernet 2, Wiz Khalifa & Curren$y - 2009, 03 Greedo - Still Summer in the Projects

Naw: Black midi - Schlagenheim, KEY! - SO EMOTIONAL, Microwave - Death is a Warm Blanket, Nef The Pharaoh - Mushrooms & Coloring Books, Scarlxrd - INFINITY, Ugly God - Bumps & Bruises, Weezer - Weezer (The Black Album), Westside Gunn - Flygod is an Awesome God, Yung Gravy - Sensational, Zheani - The Line Censored

[francesderwent]

reputation - first impressions review

…ready for it? weirdly I’m super into it???? the pre-chorus is good, the chorus is outstandingly good, and it builds perfectly!  but mainly I love it because it’s like a dark version of Enchanted or Everything Has Changed, and I love Taylor’s “dark” songs (Haunted, I Know Places, etc), and her love-at-first-sight songs are my favorite of her “light” songs!!! so the fact that this is about that unshakeable certainty that something is going to materialize, but with the feeling added of standing on a precipice…or maybe you are the precipice, or he is??  or both? it’s perfect.  wait I’ve got it, it’s like Enchanted and I Knew You Were Trouble COMBINED, and as such it is brilliant.

End Game   the lyrics in Taylor’s verse are fun, and I love Ed, but the song is yawn. also it gets stuck in my head any time someone mentions the avengers movie, which is constantly, and that’s definitely making me resentful.

I Did Something Bad this song makes me wanna dance slutty, and I love it.  the production is exactly what it should be, the verses, the pre-chorus, and the chorus are all perfect, and her voice sounds amazing.  plus thelonelybrilliance said I was this song back in the day and so I am legally obligated to adore it. catch me singing this every time I pre-meditatedly break my school’s dress code.  go ahead and liGHT ME UP

Don’t Blame Me I don’t hate it, but the rhythm is kind of boring?  also it sounds like a Hozier song for some reason and that’s not an overlap I was expecting or which I know what to do with.

Delicate I love the content of the song – she’s really captured something about the beautiful gossamer-fragile early stages of a relationship – but I don’t love the production of it, I liked the acoustic performance at the Time 100 thing so much better.  and especially I think I’m biased against it because I hate the thumbnail on the video.  Taylor’s feet don’t point or turn out properly in the split, and it deeply bothers the former dancer in me.  I DO really like the bridge on this song, which I think may be the only song on the album whose bridge is absolutely transcendent in that classic Taylor way.

Look What You Made Me Do the most frustrating song ever, spiritual successor to “Bad Blood” which greatly surpasses it in every possible underwhelming way.  starts amazingly strong with the creepy fairytale instrumental, the verses are solid and Taylor’s voice sounds glorious in them, the pre-chorus GOES OFF, and then the chorus suuuuuucks.  I feel like she should have switched the bridge and the chorus somehow??  the sing-songy “I don’t trust nobody and nobody trusts me” has the same vibe as the weird chanty chorus, but without, y’know, being super annoying and dull.

So It Goes… the rhythm in the chorus is, again, unfortunately, kind of boring. it doesn’t really get good until the last thirty seconds when the different vocalizing all overlaps and she switches into her higher register, but it does get really good for those last thirty seconds, like, I get chills kind of good. it does make me wanna listen to the True Blood theme song, which is the same vibe but southern gothic.

Gorgeous I have never been more devastatingly called out by a line than I was by “you should take it as a compliment that I got drunk and made fun of the way you talk”, except that I literally do that constantly, while sober. and also except for the fact of “you should take it as a compliment that I’m talking to everyone here but you”, which called me out Even Worse.

Getaway Car this is the most Taylor Swift song on this album in that it creates a whole story within a self-enclosed universe, which somehow, by virtue of being self-enclosed, becomes open to everyone’s identifying with it.  it’s a brilliant metaphor, and the bridge is killer.

King of My Heart if I don’t have this song play as I enter my wedding reception, it’ll be because my future husband asked me not to, very persuasively.  ALL AT ONCE THIS IS ENOUGH

Dancing with Our Hands Tied I really thought “I loved you in spite of deep fears that the world would divide us” was just one of those things that tumblr says, probably from a fanfiction or riverdale or something, but it’s from this song. huh.  it really is the OTP song, I can think of like five couples off the top of my head that it applies to.

Dress I was listening to the album while making dinner and had to skip this song partway through because it was going to scandalize my roommates, and so I listened to it on the metro instead, and it’s shockingly incredibly sweet????  the whole thing is about how much she has let this man into her heart, how much she’s let him become a part of her identity, all the way down, so that even her dress – something that we all associate with Taylor being Taylor – is actually about him.  at the same time, I feel like this song retroactively validates my being uncomfortable with the breathy vocalizing in Wildest Dreams.

This is Why We Can’t Have Nice Things now this is Taylor Swift spite.  juuust harsh enough, capable of laughing at itself, and fun.  kudos to Taylor for rhyming “mama” and “drama”. masterful.

Call It What You Want this song sounds like Ed Sheeran??????? the syncopation?? is classic Ed Sheeran and I love how much he’s influenced her style!!!!! FRIENDSHIP *ahem* anyway, the bridge is real good.

New Year’s Day I listened to this song months ago, actually, and I am completely emotionally overwhelmed by this being the closing song on the album.  “Clean” and “Begin Again” are both about moving on, leaving behind the one thing that defined that phase of life for you.  “Long Live” is about something that she can trust to be with her through changing phases, but specifically something non-romantic.  Fearless literally ends with a song called “Change”.  but with New Year’s Day, it’s not about an ending, it’s about the determination that even if we don’t know where we’re going next, it’s going to be together, because I’m going to stay.  this era doesn’t end with “well, I made some memories, found some moments to hold onto, but something else is coming around the bend”.  it ends with I will hold onto you.  in the midst of everything, where you’d least expect it, the thing she gets to take away with her at the end of the day is a love she can count on.    

[sincerelybluevase]

Didn't think all questions from 'Asks' could be proposed, so there you go: all the questions (1 to 96) or as much as you can!

Well thank you, nonny! I shall put these under a cut. 

(1) Do You Sleep With Your Closet Doors Open Or Closed? Closed, because you never know what might be in there!

(2) Do You Have Freckles? I wish I did, but alas! My sisters do have them so jealous much. 

(3) Can You Whistle? I can, but I can’t carry a tune I’m afraid. 

(4) Last Song You Listened To. Almost by Hozier. 

(5) What Is Your Favourite Colour? It’s a tie between blue and red. 

(6) Relationship Status. Taken, and happily so!

(7) What Is The Temperature Right Now? 16 degrees Celsius, so that’s about 61 F.

(8) Did You Wake Up Cranky? I woke up from a nightmare, so it wasn’t really the best sort of waking. That said, I’m not cranky per se, just a bit sleepy still.

(9) How Many Followers? 438

(10) Zodiac Sign. Aquarius

(11) What Is Your Eye Colour? Blue!

(12) Take A Vitamin Daily? Not daily; I take vitamin D tablets you have to take every few days. Before I used to take a different vitamin D tablet daily, though!

(13) Do You Sing In The Shower? No but I do talk to myself haha. 

(14) What Books Are You Reading? The Fellowship of the Ring by J.R.R. Tolkien for a course at university, and Beyond Black by Hilary Mantel for fun. 

(15) Grab The Book Nearest To You, Turn To Page 64, Give Me Line 14. I don’t think you have to worry about Bilbo. 

(16) Favourite Anime? Hm, probably Howl’s Moving Castle. 

(17) Last Person You Cried In Front Of? I’m trying to remember when I last cried. Either in front of my gf, or in front of my sisters. 

(18) Do You Collect Anything? Books and crystal skulls!

(19) What Did You Have For Lunch? Nothing yet, because it is still morning. 

(20) Do You Dance In The Car? Our car isn’t big enough for that haha. 

(21) Favourite Animal? I think I would have to choose otters. 

(22) Do You Watch The Olympics? I watch parts of it.

(23) What Time Do You Usually Go To Bed? Well, I usually go up at 9.30, but that doesn’t mean I’m actually aiming for sleep at that point, haha. 

(24) Are You Wearing Makeup Right Now? I’m allergic to make up, so no.

(25) Do You Prefer To Swim In A Pool Or The Ocean? Neither, because I hate swimming. 

(26) Favourite Tumblr Blog? How could I ever choose?

(27) Bottled Water Or Tap Water? I live in the Netherlands, which has the cleanest tap water in the world. Therefore, drinking bottled water is almost criminal. 

(28) What Makes You Happy? Many things! My gf, my sisters, my dog, good books, writing, playing the piano, petrichor, warmth, hot tea...

(29) Post A Gif Of What You’re Currently Feeling Right Now.

(30) Do You Study Better With Or Without Music? It depends on what I am studying, truth be told. I do both, though I always use instrumental music. 

(31) Dogs Or Cats? Both. 

(32) If You Were A Crayon What Colour Would You Be? I don’t know. Probably a pastel blue, maybe orange?

(33) PlayStation Or Xbox. Sadly, I have had neither. 

(34) Would You Swim In The Lake Or Ocean? Not if I can help it. 

(35) Do You Believe In Magic? Define magic. 

(36) What Colour Shirt Are You Wearing? I’m wearing a dress. It’s denim, therefore blue. 

(37) Can You Curl Your Tongue? I can!

(38) Do You Save Money Or Spend It? I’d like to say both, but I mainly spend it. 

(39) Is There Anything Pink Within 10 Feet Of You? Yes; my phone case. 

(40) Do You Have Any Obsessions Right Now? I wouldn’t call it an obsession, but I have been listening to Lana Del Rey’s new album on repeat, and I’ve found myself craving gothic books.

(41) Have You Ever Caught A Butterfly? I haven’t. 

(42) Are You Easily Influenced By Other People? No. 

(43) Do You Have Strange Dreams? All the freaking time!

(44) Do You Like Going On Airplanes? No; the air is super dry, the seats are cramped and uncomfortable, the food too little and not very good. I do like I’m going somewhere, though. 

(45) Name One Movie That Made You Cry. The only thing that comes to mind right now is Shrek the Fourth, which is somewhat embarrassing, but really I cry easily with films.

(46) Peanuts Or Sunflower Seeds? Sunflower seeds, though both are lovely when salted. 

(47) If I Handed You A Concert Ticket Right Now, Who Would You Want The Performer To Be? Hozier. 

(48) Are You A Picky Eater? I can’t eat gluten and I’m also lactose intolerant, so in that sense I am picky. If it boils down to what I actually like, I’m not. 

(49) Are You A Heavy Sleeper? Not at all. 

(50) Do You Fear Thunder / Lightning? Nope!

(51) Do You Like To Read / Write? Yes and yes!

(52) Do You Like Your Music Loud? No because I am perpetually afraid I will damage my ears and go deaf. 

(53) Would You Rather Carve Pumpkins Or Wrap Presents? I have only ever carved a pumpkin once, so I am going to go with that because it is so new. 

(54) Put Your Music On Shuffle, What Is The First Song That Came Up? Mrs de Winter bin ich! From the German musical adaption of Daphne du Maurier’s Rebecca.

(55) What Season Are You In Right Now? (Weather) Transitioning from summer to autumn. 

(56)What Are You Craving Right Now? Some free time so I can finish my first draft and finish the book I’m reading. 

(57) Post A Screenshot Of Your Tumblr Feed. No.

(58) What Is Your Gender? Female.

(59) Coffee Or Tea? Tea.

(60) Do You Have Any Homework Right Now? If So, What Is It About? I’m doing an English literature master, so I have homework all the time! I have to write a little essay about the letters of Margaret Cavendish, read LOTR, and choose a topic for an essay for my course on British and Irish fantasy novels.

(61) What Is Your Sexuality? Lesbian.

(62) Do You Make Your Bed In The Morning? Yes.

(63) Favourite Pokemon? Bulbosaur.

(64) Favourite Social Media? Tumblr.

(65) What’s Your Opinion On Instagram Stories? They can be fun!

(66) Do You Get Homesick? As a rule, no, but it depends on where I am and most of all with whom.

(67) Are You A Virgin? What a personal question!

(68) What Shampoo And Conditioner Are You Using Right Now? I don’t use conditioner, but I am using a shampoo bar by Lush which I don’t remember the name of, but it is for blondes and has chamomille and smells like lemon. 

(69) If You Were Far From Home And Needed To Sleep For The Night, Would You Choose To Rent A Crappy Motel Room For $60 Or Sleep In Your Car For Free? What an American question! It is not really something I will have to deal with, living in the Netherlands. Still, if it came to it I suppose my car is less dirty than a crappy motel room.

(70) Are Both Of Your Blood Parents Still In Your Life? Yes.

(71)  Whats The Next Movie You Want To See In Theaters? Portrait of a Lady on Fire.

(72) Do You Miss Your Ex? I don’t have one. 

(73) What Is Your Favourite Quote Right Now? I don’t really have one. 

(74) What Eye Colour Do You Find Sexiest? That fully depends on the person those eyes belong to. As a general rule, brown eyes.

(75) Did You Like Swinging As A Child? Do You Still Get Excited When You See A Swing Set? I do, and yes!

(76) What Was The Last Thing You Ate? I’m eating a sandwich as we eat. 

(77) What Games Do You Have On Your Phone? Microsoft’s solitaire collection. 

(78) Would You Give A Homeless Person CPR If They Were Dying? Why Or Why Not? I can’t give CPR, but if i could, I would, because I damn well hope someone would give me CPR if I was in that situation. 

(79) Been On The Computer For 5 Hours Straight? Yes.

(80) Stalked Someone On A Social Network? No.

(81) Do You Like Meeting New People? Again, depends on the context. 

(82) Do You Wear Rings? If You Do, Take A Picture Of Them. I wear one on each thumb and one on my right middle finger. Can’t take a picture ATM

(83) Do You Sleep With Your Bedroom Door Open Or Closed? Closed.

(84) What Are Three Things You Did Today? Brushed my teeth, made breakfast, talked to my gf. It’s 7.45 in the morning, guys.

(85) What Do You Wear To Bed? Nothing. 

(86) List All Of Your Different Beauty Products You Have Right Now. I have face moisturiser and that is it guys.

(87) Are You A Day Or Night Person? A day person.

(88) List All Of Your Video Games On Your Phone, Console Etc. Candy crush friends, and Microsoft solitaire collection.

(89) Tell Me About A Dream That You Had And When It Happened. Well this morning I had a nightmare where I had to perform an exorcism on a loved one, and it didn’t work. Come to think of it, I did try to bless them with ‘the father, the mother, and the holy ghost,’ so that may have had something to do with it not working. 

(90) Favourite Soda Drink? Fanta or 7-up.

(91) What Sounds Are Your Favourite? My gf laughing, rain on leaves (I am not that much of a rain person though), birds. 

(92) Do You Wear Jeans Or Sweats More? Sweats are more comfy, Jeans look better. 

(93) How Do You Look Right Now? Tired. 

(94) Name Something That Relaxes You. Music. 

(95) What Tattoo Do You Want? I don’t want one. I am too fickle; I’d grow bored of it after a while.

(96) Favourite YouTuber? I don’t have one favourite since I use youtube for different things. 

[devaneiossuspensos]

On Andrew and devotion II

Since Hozier’s sophomore album “Wasteland, Baby!” has been released on March 1st and has fortunately provided us with more material to dive into (also considering the songs present only in his “Nina Cried Power EP”), I felt it imperative to elaborate further on the connections I catch in his work regarding love, sex and a sense of devotion and salvation. This time with actual examples! It’s always a pleasure for me to write with him in mind, considering how deeply and fondly his songs touch me. 

Bear in mind that everything I say both here and in my previous post are thoughts that rely on my own understanding of the lyrics and the stories they tell, as well as Hozier’s personal ideas during the process of writing them, with which I tend to agree. However, they don’t exclude any other possible interpretation of the words! One of the things I love the most on Andrew’s lyrical prowess is his ability to write lines with multiple layers. :)

Trying to follow the same rationale I used previously and the importance Andrew gives to love and sex as parts of the human experience, I think I should begin with the songs from his first album. To mention at least the ones where I sense these feelings more prominently (but of course they spread in different amounts and ways throughout his entire discography).

I agree with him and, starting from “Jackie and Wilson”, I see a lyrical persona looking at someone and projecting its longings into that person. Someone it would have adventures with, that would be accepting, caring, welcoming, that could save it from itself. And since the world is a place it feels itself outcast from in some way, they would abandon all the rest and feed only off the love they had for each other, and that’s okay. The catch here is that this persona does not take the first step to tackle the dreamed lover, and the possibility of it ever becoming true vanishes when they leave... Until the next one walks into the bar and the cycle of one-sided devotion starts over.

In “Someone New” I sense a naive, lonely heart that falls in love way too easily. It craves beauty and love and excitement and attention. It sees those aspects in everything and everyone. The catch might be that it doesn’t really experience real, durable feelings, but rather the fast flame imagination and desire easily provide, but take away with the same hand. It tries to fool itself into not needing something solid, when it’s what everyone deserves, and therefore plays with its own life and the lives of others through moments of shallow idealization and infatuation.

In “From Eden”, it was quite interesting to hear Andrew say he imagined it from the perspective of the Devil... Anyway, considering the Devil talking, it could be him looking at someone that is pure (or that he considers pure) and loving them, wanting to be close to them, because they remind him of who he once was. I can also read it as a persona finding what at least on the surface seems to be a kindred spirit - someone it could convince to share the light and dark both carry within.

As for “Take me to church”, I feel it as one of those songs where the mix of devotion and salvation seems evident - not that the others don’t have it as well. The persona here, in my eyes, aims to live as a free spirit and does not accept the way certain institutions use their influence to interfere in the relationship of two people (i.e. the Catholic Church). Therefore, it would rather renounce what they say is faith and pure and correct and redirect it all towards its lover, embracing everything good and bad that may come from it. Which explains the imagery of sacrifice to a divinity that is also incredibly human.

Moving to “Work Song” (one of my personal favourites), it seems to me that this persona feels saved because it was taken under the lover’s wing after some sort of terrible mistake was made - no questions asked, nothing requested in return. Nothing but a kind heart and a pair of kind eyes that saw beauty where the narrator thought there was none left. So as they fall in love over time, the narrator is compelled to express its gratitude with burning passion and unconditional love that could perhaps overcome even the inevitability of death.

In “To Be Alone”, I see not only one, but two damaged people relying on each other not to succumb to a trying world in trying times. Basking in intimacy, in spending time together. The lover might be even more damaged than the persona telling the story, but it doesn’t really matter - this is not a competition. They are not trying to fix each other. If all they can do is offer each other’s time and love and dedication in the form of presence, that’s what shall be done. Even if it doesn’t sound like much and just not to get even more hurt.

Through the fantastic “Cherry Wine” again I sense the draw to someone who seems fascinating, and whose pull is so strong the lyrical persona cannot help but still wholeheartedly devote itself to that person, even with the cheating and physical/psychological abuse it suffers and tries to ignore and cover up with pretty words. It just cannot find a way out of that because it is unable to find a reason why it should. It ignores everything bad for a love that is actually only one-sided. Sadly a reality to many a people out there.

The persona in “Like Real People Do” seems rather surprised to see this person digging a grave open at the wee hours, but at the same time is thankful that it is being done. I’m not sure if the persona is indeed the digger’s deceased lover and is falling in love with them again or if the random hole this person was digging ended up revealing a hollow grave, but anyway, there’s no way the next door “regular” person would go to such extents if the first option is the case. By asking a kiss from its digger/saviour, the narrator longs for love and everything else a normal, real person, deserves to have. The kiss is what finally gonna breathe life into what once was empty and dead. In my mind this final bit can perhaps also explain the song for anyone who doesn’t fancy the morbid Romantic imagery Andrew chose...

In “In A Week” Andrew describes what for me from one angle is an elaborate metaphor of two lovers basking in the moment they share and how it could be compared to a peaceful death. From another angle, my brain agrees with Andy and processes these two people having this moment in the woods and wondering what would happen if they died there. Going further and thinking of them as already dead, as corpses decomposing, they don’t seem to mind death and the natural, yet gruesome images it brings forth, because they are together, and it’s okay. Not even the very end could set them apart.

Well, I guess that’s what I could think of regarding the first album... See you all in the next post (because of course I’m gonna be talking about the new songs). Congratulations and thank you very much if you took the time to read it all! :]

[deadcactuswalking]

REVIEWING THE CHARTS: 20/04/2024 (Sabrina Carpenter, Dua Lipa, Perrie Edwards)

Hozier sticks to a second week at #1 on the UK Singles Chart with “Too Sweet” and welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with our notable dropouts, songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we actually have a bit of a massacre so we must bid adieu to: “7 Minute Drill” by J. Cole (that one we literally say farewell to, it’s been deleted), “Cinderella” by Future and Metro Boomin featuring Travis Scott, “Make You Mine” by Madison Beer, “CARNIVAL” by Hitler and Goebbels featuring Rich the Kid and Playboi Carti, “Made for Me” by Muni Long, “bye” and “yes, and?” by Ariana Grande, “Would You (go to bed with me?)” by Campbell and Alcemist, assisted by a remix with Caity Baser, “Baby Shark” by Pinkfong, yes, really, “Anti-Hero” by Taylor Swift and finally, even though we all know it’ll be back, “Mr. Brightside” by The Killers.

It actually turns out that the most interesting stories here outside of the top 10 and new tracks… are the returning entries, because there are quite a few, they’re quite high and also quite - at least tangentially - related to a cultural event. Firstly, we have the release of a biopic revolving around the late singer Amy Winehouse who has captivated audiences long after death and the recent release of Back to Black, as well as its soundtrack, mostly a compilation of Winehouse’s songs and her influences, has propelled the studio album of the same name to #22 on the album chart whilst giving some of her legacy catalogue a solid boost. The song of the same name, “Back to Black”, had several initial runs from 2007 to 2008, peaking at “only” #25, but returned with stride after her passing to find a new peak of #8 in 2011. At #1 that week was “She Makes Me Wanna” by JLS featuring Dev. The charts don’t always reflect what music actually stands the test of time, let’s just say that. Today, it’s at #51. An even more storied chart run comes in at #44 with “Valerie” by Mark Ronson featuring Amy Winehouse. Ronson’s version largely eclipsed the original Zutons version released the year before. The Liverpool indie rock outfit peaked at #9 with their version, whilst Nelly Furtado’s “Maneater” topped the charts, but by the time Ronson and Winehouse came along, the chart was instead reigned by Sugababes with “About You Now”, which halted “Valerie” from hitting #1. Similarly to “Back to Black”, it did return to the chart after her passing though not very high, so I assume that it must have some degree of prominence in the biopic, I’ve yet to see it.

As for our two other re-entries, they somehow have even more chart history dragged into them, so bear with me. Paul Simon wrote “The Sound of Silence” and recorded the track as a member of Simon & Garfunkel in 1964, and despite this being the most prominent and successful version, hitting #1 Stateside, it somehow never once appeared on the UK Singles Chart in any form until long after, specifically in 1966 when an Irish pop group The Bachelors covered it, basically taking any steam off of the original by peaking at #3. The Spencer Davis Group’s “Somebody Help Me” was #1 at the time. It wouldn’t appear on the charts again until damn near half a century later in 2012, when viral acoustic singer Kina Grannis took it to #93. However, and I really wish I couldn’t say this, the most successful cover may be from nu metal band Disturbed, who reached mainstream success worldwide by covering the track in 2016, by then it had been thoroughly memed to death as well as being a long-term pop staple, yet it still worked. Their mediocre version peaked at #29 and now it’s back at #47 because of an inexplicable, practically unlistenable house remix by Australian DJ CYRIL that Paul Simon could probably sue for murder. I didn’t like the Disturbed version, but this is a new level of groanworthy.

As for our final re-entry, we should look towards the album charts, wherein Oasis’ 1994 debut Definitely Maybe is actually down a full positions, lower than other Oasis albums. The irony in that is that it’s the iconic Britpop band’s 20th anniversary this past week, with them releasing special physical editions of their debut single “Supersonic” to mark the occasion. It never really peaked that high to begin with, only at #31, but it did stick around and return for several runs for basically most of the 1990s, only to return once again this week as our highest re-entry at #42.

The gains are a lot less interesting but there are still a handful of notable boosts, namely “Jump” by Tyla, Gunna and Skillibeng up to #38, “Good Luck, Babe!” by Chappell Roan at #33, “I Don’t Wanna Wait” by David Guetta and OneRepublic at #25 (Jesus Christ), and finally, “Hell n Back” by Bakar nearing its old peak at #21.

This week, our top five on the UK Singles Chart consists of: “TEXAS HOLD ‘EM” by Beyoncé holding at #5, “Lose Control” by Teddy Swims floating at #4, “i like the way you kiss me” by Artemas smooching its way up to #3, Benjamin of Boontown is at #2 with “Beautiful Things” and of course, Hozier still at #1. Now, there’s actually quite a lot to discuss in our new entries, despite the fact that Taylor is still a week away yet, in fact this might end up the more interesting week because no-one is dropping the same day as her. So let’s review them, shall we?

New Entries

#49 - “We Still Don’t Trust You” - Future and Metro Boomin featuring The Weeknd

Produced by Metro Boomin, Peter Lee Johnson and MIKE DEAN

Yup, all of our new entries are within the top 50 this week, and most of them well into the highest reaches of the chart. Given Taylor only has three songs coming next week, I’m pretty excited for a from-the-top shake-up that won’t be immediately torn down… at least until the temporary Eurovision blockade, but we’ll deal with that when it comes to it. For now, I had only heard one of the songs debuting this week before today, and it was this one, the intro and title track to the second of the Future-Metro collaboration tapes, which debuted at #11 on the albums chart this week. Not every track hits on this second album, but if you remember what I thought about the first album, you’d recall I preferred the hazier, more melodically-focused pop-trap that was prevalent through the middle section, and this new record is essentially an extended version of just that with a triumphant victory lap full of bangers on the back-half bonus disc to balance things out. Future is a lot more emotive, Metro is delivering beautiful cloudy soundscapes, and the hooks are catchier than ever, though it’s not nearly as immediate so I understand that it performed less successfully even if it is a damn shame. It also means we only have the first track here, which is barely even a song ultimately, more so an extended, hallucinatory introduction blending punchy synthpop drums with garbled psuedo-hooks about freaky girls from Future, a looming falsetto from The Weeknd over a borderline nu-disco groove and semi-verses that don’t really form into a complete song. In the album context, this is a brilliant introduction to where the album will take you: a late-night drive taking your mind off “the hoes” so to speak. As a charting single by itself, it’s honestly just weird. Other than being the intro to an album most people I imagine didn’t finish all the way through, I don’t understand why “All to Myself” didn’t take this one’s place. I guess it didn’t have the video treatment but regardless, weird single to push, even if it’s a great moment.

#46 - “KiKi (What Would Drizzy Say?)” - D-Block Europe

Produced by Eight8, Harry Beech and Ari Beats

Well, Drake’s in the news thanks to all the dissing back and forth so being the young brilliant entrepreneurs they are, DBE pushed out a song with him in the title, in a vague reference to Drake’s own “What Would Pluto Do” but a much less vague, openly cheap interpolation of Drake’s “In My Feelings”, and the chart history did not stop with our re-entries as if there’s a coherent theme with some of these new tracks, it’s egregious referencing. “In My Feelings” samples a plethora of tracks in the first place, but none as explicitly as DBE have riffed from it here. The original spent four weeks at #1, but I don’t see Young Adz’s nasal auto-croon rendition getting any higher than #46. I actually feel kind of relieved with this because this is back to the stupid, barely functioning DBE of old (and by old, I mean the late 2010s), with a terrible bass mastering job, overly loud flutes that nearly drown out Adz himself attempting to sing his way out of his lack of content, in the same melody as Drake’s chorus until he just starts talking instead midway through. Some of the 2020s improvements are actually present here though; Youthful Advertisements has much tighter rhyme schemes once he actually starts rapping, and they aren’t as audibly out of tune or beat with everything else as they probably would be if they tried this out when the original was big. He also puts a shell in his back like he’s a turtle, tells the girl to close her mouth and leads into Dirtbike Lb’s small contribution, a brief, half-dead and wordy verse that still washes Adz: this is what I’ve come to expect from the duo. There’s not much of an attempt at wordplay but cool turns of phrase that kind of imply he thinks Hermés is the name of the crocodile they killed to make the bag and not just the brand name… they’re good enough. This is good fun.

#41 - “A Bar Song (Tipsy)” - Shaboozey

Produced by Nevin and Sean Cook

Okay, if we’re going to sample egregiously, this is how we do it: not trying to play it off as a completely new song but not serving in the exact same lane and purpose as the original. Instead, let’s make unabashed re-recordings and reimaginings that don’t necessarily modernise or improve the song, and don’t set out to, instead crafting a different experience from the same fundamentals. Now I don’t like the original 2004 track “Tipsy” by J-Kwon mostly because of, well, J-Kwon being useless, but there’s a great hook to it, especially the radio edit, and the beat making up nearly entirely of weird sound effects over a distorted clap sample is pretty clever. The original “Tipsy” peaked at #4 for two weeks, whilst “Lola’s Theme” by the Shapeshifters was #1, and later The Streets’ “Dry Your Eyes”. Shaboozey, a singer featured on Beyoncé’s latest pivot, has taken advantage of that extra traction to completely reimagine the chorus of “Tipsy” and its general conceit of having fun at a gathering to take your mind off problems, especially with girls… but there’s a lot of depth added through the extra populist twist thanks to the financial troubles referenced in the verses, and some particularly really smart intricacies like turning the counting gimmick into counting the rounds of drinks at the bar. He recontextualises a basically meaningless gimmick into something that is a lot more resonant, and that’s really special. Sonically, it feels like a bit more organic stomp-clap soarer, and isn’t really all that special, but the inspired interpolation of “Tipsy”, alongside some great strings in the post-chorus, makes this what it is, and it doesn’t run out of tricks. The shift to a rap flow in the second verse to continue the momentum is brilliant, the spoken backing vocals amidst the multi-tracked crowd hook, which I almost wish was even louder, is a fun idea… and that’s before that final chorus where it breaks down and becomes a true drink-a-long. Sure, this may be a reimagined version of a song I don’t like really at all, but it goes far beyond just that and creates a new experience not just as a cover but as a separate entity entirely that embraces and benefits from its referencing. This is how you do sampling in pop, it’s excellent. I hope this is a smash.

#35 - “These Words” - Badger and Natasha Bedingfield

Produced by Badger

Alright, once again, we have a sample, this time with Natasha Bedingfield’s “These Words”, that other song you might remember from the album that parents “Unwritten”. What you may not remember is that whilst this hasn’t had nearly as much longevity as the title track, it actually peaked much higher, debuting at #1 and topping the charts for two weeks in 2004. This is in spite of it being complete garbage. I like meta narratives in pop music when done well and outside of its camp, it can be genuinely difficult to get through the jerky, dated production and somewhat embarrassing performance, especially lyrically, from Bedingfield. I understand the appeal, and the writing isn’t really a deal-breaker usually, but it’s especially striking to me when the actual music behind her quest to find the best words for her love song… just plainly sucks. Come 2024 and enter UK garage producer Badger, who remixes the track, crediting Bedingfield on streaming but for whatever reason not on the Official Charts page, and I have to say, completely stripping this catchy hook outside of its tedious context is another inspired reimagining, mostly because it turns the “I love you, I love you” refrain into a muffled, glitchy funfest over some of the most detailed, hyperactive 2-step drums I’ve heard on the charts in a while, alongside a hazier synthscape that really shines against the rawer vocal from Bedingfield. Once again, modern artists turn a song from the 2000s I never really liked into a completely different experience, in this case completely removing you from Bedingfield’s narrative to fully envelop you in the euphoric end goal she hints towards in the original. Hope this takes off too.

#31 - “Tell Ur Girlfriend” - Lay Bankz

Produced by Johnny Goldstein

Speaking of taking off, it seems we finally have the inevitable breakout single for Lay Bankz. I’ve been paying attention to her casual flexing and dismissal of pretty much anything else over firy, fast-paced Philly club bangers for a while now, probably since I discovered “Na Na Na”, and it did seem like TikTok would grant her an easy hit any moment now. She finally got it with “Tell Ur Girlfriend” and here, if you don’t remember the specific production elements of its original material, you might not recognise this has yet another interpolation. I wasn’t a fan of Ginuwine’s 1996 track “Pony” for a long time because I felt its dissonance harmed its ability to be a sex jam but… let’s be real, rarely do sex jams actually succeed without being in some way disruptive due to awkward lyrics or stagnant beats. Once I learned to shut up and appreciate Timbaland’s vocoder burping that calls itself a bassline, all was right in my world. It peaked at #16 over here in 1997 and did have a shelf life extending to an EDM remix peaking at #39 in 2015. Bankz and Goldstein don’t really make much use of “Pony”’s fundamentals rhythm or melody-wise, outside of that out of place vocoder burp that is repurposed as a measure-demarcating stab over a comically jerky, sing-songy synth that slows down the pace enough for a 2-step-influenced 2000s throwback, Destiny’s Child-esque, not to rap but closer to R&B. Bankz surprises me to a degree with just how effortlessly she swaps between faster jabs to the smooth choruses, and it almost makes me forget that this is a song about mutual cheating. Does it justify that? No. And who cares? They’re having toxic fun over the Ginuwine “Pony” vocal burp and some of the ugliest synths to hit the top 40 in years, this is not morally righteous in any regard. It’s just pure, sweaty, regretful fun and does not waste any of its two-minute runtime trying to justify itself, and given this whole song is a sarcastic power move about how they should probably tell their partners they’re sleeping with each other, I don’t think she cares in the slightest.

#10 - “Forget About Us” - Perrie

Produced by Steve Solomon and Andrew Goldstein

Okay, the samplefest ended up going pretty fantastically, so I have some hopes for the trio of pop girlies we have lined up all debuting in the top 10, starting with the solo debut from Perrie Edwards of the former girl group Little Mix. She’s always been one of the most prominent vocal talents in the group, so regardless of if the song actually works, there’s going to be power here, and that’s guaranteed, even with an Ed Sheeran writing credit and a compressed to Hell and back mix. In this soarer, Perrie’s ex has become a successful singer after the breakup and Perrie is begging for them to never forget about what they lost in the relationship, especially given how neither seem all that over this relationship and its fallout. There’s a propelling pop rock drive to this, even if the lack of electric grit may harm it a tad, not letting it get into truly bitter territory… which might actually be for the best. Ms. Edwards sounds great belting here but there is a level of restraint in all the acoustic swell that might sing closer to the desperate content, acknowledging the flaws in the relationship and that it is over, but that it should, please, stick to them as a memory. A less kind approach may have flattened its overall sincerity, so even if sonically, I’m not over the Moon about this, I can recognise that this is a tightly-written, excellently performed little pop rock jam that will serve as a good introduction to the solo career. I just want to hear where it goes next.

#9 - “Illusion” - Dua Lipa

Produced by Kevin Parker and Danny L Harle

Okay, Dua, let’s be straightforward. Mixing PC Music’s wildcard Danny L Harle with Tame Impala should lead to much more interesting music than what we’ve heard from Radical Optimism - a disgraceful album title - so far, and I won’t lie and say what has been put out post-”Houdini” hasn’t been somewhat disappointing. I was hoping that “Illusion” could take a bit of a different step, tap into some less recognisable territory for Dua, and whilst it may not have done that exactly, it’s definitely much more interesting. Harle and Parker go for a much tighter house groove here, with elevated pianos, chips of percussion that end up much more minimal under the looming vocal loops and progressive electronic synth beeping, maybe much less impactful than you’d expect. So where’s that in the content? Well, Dua sings about disappointment, playing off a façade placed up by this guy who’s just not impressing her at all, as she’s growing up from just being reckless with her lovers. It’s in the same vein as “Training Season” but with a more unique and honestly more fitting soundscape for that kind of romantic disillusionment, especially given a major conceit of the bridge is that she’s still going to dance all night with that illusion, she still gives in despite her best interests. It also has a ridiculous synth solo slabbed right in for no reason. Genius. Inspiring.

#6 - “Espresso” - Sabrina Carpenter

Produced by Julian Bunetta

I really have not been going into Sabrina Carpenter singles that chart with high expectations or really any expectation that I’ll enjoy it, and she keeps proving me wrong, but not in the way that say Dua just did. No, Ms. Carpenter shares more in common with D-Block Europe in that the appeal, at least for me, comes in the lack of subtlety and disregard for functioning outside of existing pop tropes, whilst still thoroughly embarrassing her public image, cycling around enough for me to be unironically on board. Like “Nonsense” was a plain rip-off that ended up surviving beyond the genuine article on comedy alone, and “Feather” is as light as possible, no pun intended, yet still pinches at you with its infestation of hooks, “Espresso” is emphatically stupid. “Switch it up like Nintendo”? “My give-a-fucks are on vacation”? “I know I Mountain Dew it for ya”? “MOUNTAIN DEW IT FOR YA”? It reminds me all too much of Selena Gomez’s nu-disco embarrassment “Love On”, but instead of selling the cringe with sheer forcefulness, which did surprisingly work for the incredibly limited vocalist Selena is, Sabrina plays the guitar licks and downright invasive pre-chorus synths off with utter, robotic dismissal. Sure, there’s vocal riffing and harmonising, but the main vocal line in the chorus is a multi-tracked, reverb-drenched, Melodyne-controlled nursery rhyme, and it doesn’t escape that lane for nearly all of its three minutes. There are spoken word interludes where she acknowledges the stupidity of the song and its content, but it’s always breezy and lacking in the cringe that would come with it if she cared much at all. The deadpan “Yes” ad-libs in the pre-chorus, and the detail put into the production, are what really sell this to me though. It’s orchestrated to make it seem like she doesn’t care, but there is an entire team twisting the knobs to turn that faux carelessness to a seamless radio edit… and well, they need a raise. She’s done it again. This is ridiculous.

Conclusion

She doesn’t get the Best of the Week though because that, far and above, goes to Shaboozey for “A Bar Song (Tipsy)”, and the Honourable Mention… well, I can’t give out a Worst of the Week at all here. Or even a Dishonourable Mention. Sure, Perrie’s song is a bit generic and maybe my enjoyment of the DBE track is purely for the comedy factor, but I still thoroughly enjoyed my time with them, so I’m just going to tie the Honourable Mention between “These Words” by Badger and well, “Espresso” by Sabrina Carpenter, which is shaping up to thankfully be huge. As for what’s on the horizon… Taylor Swift and Drake. It’s back to the big leagues in the next episode but for now, thank you for reading, long live Cola Boyy, and I’ll see you next week!

[avaliveradio]

Dan Hochman's 'Morphine' is about finding refuge in the arms of a past lover

This song is about finding refuge in the arms of a past lover.

I wrote this song reflecting on my travels, my then-recent move across the country, and the feeling of being drawn back to a former relationship even though I was "moving forward" in other areas of my life. 

The word "morphine" symbolizes the feelings of healing and relief that I found in this past love. The song was initially supposed to be included in my debut E.P "hearts alive"; however, I decided to team up with my good friends Ash Ruiz (formally of Menudo) & Jack Dugan, a local electronic musician. They helped me get clear on my vision, and my guitar and vocals added vocal harmonies, drums, synth to help make the song feel both more melodic and haunting. Interestingly enough, we even structured the song to have a peak, comedown, and fade out, mimicking the effects of a drug.

This music release is essential to me because I've been experimenting stylistically a lot lately. I feel that an artist must have range; I enjoyed the folk and soul backbone of my E.P Hearts Alive https://open.spotify.com/album/7EIPkAoUWFlWmqi27AgGKN?si=VQRAtpOnQKuo5U-KdfCOSA 

I've recently been dabbling in jazz, electronic, and blues a lot. When it comes to influences, there is a wide range of musicians, old and new, crucial in my development as an artist. Hozier, Damien Rice, James Blake, John Mayer, Stevie Ray Vaughan, Simon & Garfunkel, Gary Clark JR, Ben Howard & Bon Iver, and most recently Tom Misch & Mac Ayres.

The message of this song is that although the places that our lives take us can often be rugged and discouraging, we aren't ever truly alone. We can still find healing in connection with the ones we love.

Artist: Dan Hochman

New Release: Morphine

Genre: Singer-songwriter, Indie, Soul,

Sounds like: A few of the artists that I feel are most similar to my style are, Nathaniel Rateliff, Hozier, Ben Harper, Leif Vollebekk & Amos Lee.

Located in: Boulder, Colorado, United States

Right now we are...

My band and I have been up to some exciting things recently. We spent the last month playing various venues across Colorado and are set to play two notable venues in Denver in May. (May 9th at The Larimer Lounge and May 14th at Number 28) We're currently planning a tour through the south in late July, making stops in cities like Nashville, New Orleans, Austin, & More!

As a Boulder-based singer-songwriter, my style is a blend of rock, folk, blues, & soul. Music has always been a deep part of my soul. As a young boy, I listened to artists like Otis redding, Simon & Garfunkel, Marvin Gaye & Fleetwood Mack. To me, it felt inevitable that I would become intimately involved in the musical process, and that started with picking up the guitar at sixteen. At that age, I had a lot of blues and rock in my ears. Artists like Eric Clapton, Gary Clark Jr, Stevie Ray, & The Clash were constantly in the mix for me. However, I only started writing songs in my senior year of high school. I was in a band that stuck with me till my sophomore year of college.

It was at that point; I focused more on honing my craft as a guitarist. Eventually, I formed a trio here in boulder called "The lone bones" I played alongside my friends, Taylor Tuke, and Trace Jory, and when that band came to an end, I decided I was going take the reigns on songwriting and pursue my dream as a solo artist. To me, music is the closest thing I have to god, or some form of spirituality. It's pure. I make music to tell my story but also to connect with my audience. My goal is always to dig deep to tell a story that resonates with people no matter where they come from. I want my message to hit below the surface and be uplifting to others.

LINKS: 

Song link - https://open.spotify.com/track/7w0P6fsqwcslvvqP0hm5TE?si=GJr9GpWXSEySGOA-9NTxQQ Facebook page - https://www.facebook.com/danhochmanmusic Instagram page - https://www.instagram.com/dan.hochman

Featured on AVA Live Radio Curators Picks with Jacqueline Jax

Featured on These Playlists:

🔥Release Radar New Music Playlist https://open.spotify.com/playlist/2JOBcgSYgGmV2g27N1CUXx?si=PQFpAPUbQ0m4ByZEbtBtLg

🔥JAX DAILY Morning Coffee Playlist:

  https://open.spotify.com/playlist/7pEY8BiSj6sLLSHAoOo9k0?si=IrwIjmHVRN2vswRyw_P6gA

🔥Songwriter Gold https://open.spotify.com/playlist/68x51bTCMLuLi4o6vqwGfh?si=hXz5kG-rTN-bGkZBJuPm9g

🔥SUMMER SINGLES Fresh Indie Music Finds https://open.spotify.com/playlist/7oQCpI2xEN2RaGWLcRGQJX?si=o93Tf3RwSH2HLg4B57qAVw

🔥Stay Home Chill Zone Music Playlist https://open.spotify.com/playlist/6QXSxW0oyY53ymNs0uGuNr?si=oPS0sQ3dT82p8Dbc26RPHA

🔥Love Bug Playlist https://open.spotify.com/playlist/2PXBN32Bu4WQbSB2PajYqk?si=MaybEYH8QGu-bpFQwnvmTg

🔥Road Trip Best Indie Folk 2020 Music Playlist - Indie / Pop / Folk / Rock https://open.spotify.com/playlist/1PLd9drToDxT0rUcGWGpZ9?si=FvfbaXtcQ1-HJyHf3h59oA

[notmuchmedia-blog]

MAY 2018 PLAYLIST

LISTEN HERE

This months playlist is compiled of all of my recent go to songs with a plethora of different moods, atmospheres and decades.

First we start with the upbeat groovy songs, kicking it all off with Early Eyes’ ‘Take You’, a beach-rock tune accompanied by harsh kicking vocals alongside wavvy guitar riffs and lovely rolling drums.

Then we go into my new favourite recent releases, The Skinner Brothers’ ‘Watchu’, TOUCAN’s ‘We Fell For Miles’ and Short Weekends’ ‘Green Summer’. All of these songs were carefully selected for those upcoming sunny days with Fosters, mates and BBQ’s.

Watchu is a song that heavily seems to be inspired by The Streets with their talking verses and then followed by a Liam Gallagher-esque chorus riddled with odd little noises through the instrumental. This song could very easily become the English summer song of the year.

Then we have ‘We Fell For Miles’ by TOUCAN, a band compiled of singer-songwriter Conor Clancy and Martin Atkinson accompanied by a brass band from all over Ireland. Below is an interview I was lucky enough to have with Conor.

Are there any specific idols that really inspired the specific groovy sound you’re putting out? I think in terms of the songwriting anyway, I took influence from songwriters like Hozier, Ben Howard and Breakbot. That, mixed with a tendency towards  70's and 80's music like The Emotions, KC & The Sunshine Band, Curtis Mayfield, all that sort of brass heavy, feel good stuff is what drove the sound, but I don't think there's any specific idol that really inspired it. What drove you to choose We Fell For Miles to be the first song released for this EP? Well, partly because it's very representative of our sound as a whole. It's got a little spotlight on each part of the band and it all fits together and each element compliments the others. But I also always wanted the the brass hook at the start before the band comes in to be the first thing people ever hear from TOUCAN. Can we expect the same up-beat jazzy sound for the rest of the EP, or are there surprises that shake up the feel a bit?

For the most part yeah! There's a lot more where that came from for sure, but there's one track on the EP that's a little darker, a little slower, but still pretty groovy. 

If you could put your EP into three words, what would they be? Happy go lucky! I’ve never really heard a sound like this come out of Ireland! Were there any local influences? Nope! Not that I can think of anyway. I do really pay careful attention to lyricism, and I think I can attribute that partly to folk songwriting, but the sound of the band is very much influenced by music from outside of Ireland. What drove you to begin this project in the first place? We played a couple of gigs when we were in college, just because it was fun. The songs and the sound were good so we ran with it and now we're here!

And finally, can we expect anything else from you in the future after this EP? (I’m really hoping so!) Definitely. We'll see if we can get picked up by a label once the EP is out, we're hoping to do some big gigs at home and in the UK over the next year or so. And we'll be recording an album in that sort of timeframe too!

‘Green Summer’ is a staple indie-pop song by Short Weekends. Sounding quite different to their earlier songs, this tune is intricate, bouncy and a definite crowd pleaser. I’d 100% recommend it to anyone who likes bands such as Tame Impala and Vega Bay. One thing I always love to credit this band on is how much effort they have all put in to creating each and every song. Also synth, man! Bloody synth.

Then three songs that are great for car trips, but all with a very different feeling. HAIM’s ‘Don’t Save Me’, HONNE’s ‘Someone That Loves You’ and Amy Winehouse’s ‘Hey Little Rich Girl.’

These next two golden oldies will definitely bring out the inner dance-star in you -  Four Top’s ‘Can’t Help Myself’ and Fleetwood Mac’s ‘Everywhere.’

Then my five favourite modern love songs, Cosmo Pyke’s ‘Social Sites’, Frank Ocean’s ‘Ivy’ and Rex Orange County’s ‘Happiness’ - all of which are sure to give you those butterflies that remind you of the bright sun rays in the glistening eyes of your loved one.

Following on from that, we have Jake Bugg’s ‘How Soon The Dawn’ a slow paced song that brings you into a Sunday morning hazy daze, with the sun peeking in through the window, reflecting off the dust in the air. 

Finishing up on the love, we have Big Scary’s ‘The Opposite of Us’, a song that just makes me feel completely in love. The gorgeous instrumental is warm and inviting, allowing for passive listening, but once you REALLY listen, it grabs you. That feeling of being hopeful in life because of those, or someone, you love.

To wrap up the whole playlist, I CANNOT stray away from this ultimate feel good song, Lauryn Hill’s ‘Doo Wop (That Thing)’, a song throwing shade at just how dark both men and women can be, and how you need to look out for yourself.

Listen on SPOTIFY

[goldenmusicmoments]

Taylor Swift – Reputation:

1. ...Ready For It? – The beat grabs you from the get go and the moment Taylor’s vocals come in your jaw has dropped to the ground. The verses of the track are sung in a rap style which surely catches you off guard. However she takes it down a notch with the chorus that has this vast and magnificent vibe. A dreamy moment on a track that otherwise has your attention at alert. There is this futuristic aspect to the production which is highlighted just before the final chorus. This track serves as the perfect start to the record as it asks the audience whether they are ready to be taken on this new journey.

2. End Game (Ft. Future & Ed Sheeran) – This track is more of a chilled one that fully encapsulates you. Future’s verse is really clear when comparing to his usual mumble style, Ed Sheeran’s verse is on the track is definitely a highlight on the track and his flow is on point. Taylor also puts forward her verse in a rap style and the lyrics are slick providing one of the most grabbing lyrical moments on the album, ‘They told you I am crazy, I swear I don’t love the drama it loves me’. You can feel the hip-hop/r&b influence on this track and Taylor referencing Ed’s track ‘The A Team’ is an interesting touch.

3. I Did Something Bad – A badass track with an electrifying feel to it. It kind of holds that same feeling of thrill that you get whilst watching an action film. The dark aspect to the bridge is chilling and you really get to see a fierce side of Taylor. That ‘da da da’ part at the end of the chorus stems from a moment in a dream she had, reminiscent of how she got the idea for her song ‘All You Had To Do Was Stay’. The lyrics ‘They’re burning all the witches even if you aren’t one’ serve as one of the most intriguing lyrical moments on the album. It points to the fact that people will attack you even when you aren’t at fault and she no longer cares.

4. Don’t Blame Me – I don’t think we ever expected to get soul from Taylor, however on this track she proves that she can dip into any genre. This mesmerising track has this powerful feel to it that you feel pass through your soul. The big chorus fills the entire room and you feel a similar vibe to that which you get from the artist Hozier. This track talks about being addicted to someone, and the feeling you get whilst listening to the song in a way resonates with the feeling you get when you are captivated by someone. You get completely lost in the track.

5. Delicate – This track grabs your attention with its immediate start. Her using the vocoder really adds to the vulnerability of the lyric ‘My reputations never been worse, so you must like me for me’. That moment alone gave me chills, that feel of having everyone against you but then comes along that one person who instead of basing their views off of what is out there about you comes to know you for who you really are. Them being the light at the end of a dark tunnel. You can really get lost in this track with its calm and dreamy vibe. An emotional moment on the record that you may not catch onto immediately until you think about what it signifies lyrically. Might just be my most favourite track on the album.

6. Look What You Made Me Do – The transition from the previous track to this one is quite interesting. Going from something delicate (see what I did there) to something harsher. This really does depict a slicker version of Taylor. This track focuses on the aspect of trust broken and the aftermath of what that does to a person. There is a hypnotic aspect to the chorus and the line ‘The old Taylor can’t come to the phone right now, why? Cause she’s dead’ provides the track with its most iconic moment. This track seems to serve more as a statement.

7. So It Goes... – With this track you seem to get lost in it just as she seems to get lost in the person this song revolves around. There is something exhilarating about this track and it has this sense of euphoria to it. The verses provide you with a moment of calm before the fast chorus hits. This one you’ll enjoy most when you are driving. Intriguingly even though the chorus is hard hitting it still makes you feel calm in a weird way.

8. Gorgeous – The opening in which Ryan Reynold & Blake Lively’s daughter says ‘Gorgeous’ adds an interesting touch to the track. It’s an enjoyable track and the lyrical aspect of it is intriguing due to the prospective it’s written from. The production of the track is quirky due to the beat and the distorted ‘Gorgeous’ in the background is a pleasant touch.

9. Getaway Car – The immediate opening to the track represents what it’s like to be in a getaway car. There is a sense of urgency you get from both the beat and vocals. This song focuses on a relationship that was not meant to last long. Whilst listening to this song you seem to get lost in it and it fills the entire space you are in. The storytelling on the track gets your mind imagining the story play out.

10. King Of My Heart – This track is intended to represent three different phases of a relationship, she does it through having the verse, pre-chorus and chorus sound different to each other. However the track still works and the three segments combine to create such a magnificent track that has you fully drawn and captivated. The verses you seem to get lost in and when the pre-chorus kicks in your on alert. This track also provides you with a euphoric vibe and the chorus has this feeling of vastness.

11. Dancing With Our Hands Tied – A stunning track that you will not want to end, it draws you in from the start and keeps you lost in it till the very end. The sonic feel to the beat in the chorus is so electrifying and this track was made for the clubs. You envision a dim lit setting to accompany the sensual feel of the track that soars through your entire body. It revolves around an intimate connection between two people.

12. Dress – This 80s inspired track is one of the most sensual tracks Taylor Swift has ever put out. A lot of people were quite surprised to see this aspect of her that hasn’t been so prominent in her previous records. This also is one of the calmest moments on a majorly exhilarating album.

13. This Is Why We Can’t Have Nice Things – Here you see Taylor singing about people who reel you in and then break the trust you have given them. Leading people to closing themselves of from people and not opening up immediately in any relationship. It also talks about the people that are genuine and good. The bridge and her vocals during it for me are one of the highlights on the record.

14. Call It What You Want – This track is so mesmerising and beautiful both vocally and lyrically. It’s a dedication to that person that when she’s in their presence the negative things all fade away. It represents a journey from a low point to a high point and how being with this one person is what got her through it. You just want to put this song on full volume, turn of the lights and just immerse yourself in it. This track gets your emotions running.

15. New Year’s Day – A perfect way to end the album. It’s as if she is ending this chapter and is ready to start on this new chapter. The production gives you a sense of being present in that moment with her. A beautiful track with stunning lyrical moments like ‘Hold on to the memories, they will hold on to you’ & ‘Please don’t ever become a stranger who’s laugh I could recognise anywhere’. She had been saving these lyrics and this was the moment she felt they best fit.

[popstarryeyed]

My Top 15 Favorite Songs of 2017

this list is two things:

1. my attempt at being a ~music critic~

2. songs i want people to listen to, especially the top 5, most of which are by underrated artists

you can listen to them all on spotify here

15. New Rules - Dua Lipa

a simple, straightforward pop song, in all the best ways. one of the best hit songs of the year.

Wrote it down and read it out, hopin' it would save me (Too many times, too many times)

14. 100 Letters - Halsey halsey is a wildly inconsistent artist, but this song about getting free of a toxic lover, with its vivid details and glowing, hopeful music, won me over. 

But I don't let him touch me anymore I said, "I'm not something to butter up and taste when you get bored”

13. Don't Blame Me - Taylor Swift taylor swift pretending to be Hozier should really not work as well as it does. i'm not gonna complain, it's one of the highlights of a very inconsistent album. 

Something happened for the first time In the darkest little paradise

12. Dream - Bishop Briggs bishop briggs's powerful vocals are always impressive, especially paired with lyrics about wanting to be emotionally vulnerable.

I wanna tell you what my truth is But it's buried down inside

11. Feelings - Hayley Kiyoko it’s fun and relatable and gay, just what i love about her music.

I over-communicate and feel too much I just complicate it when I say too much

10. Sign of the Times - Harry Styles the last 1D album (Made in the A.M) was more rock influenced, and I hoped at least one of the members would go that direction for their solo career. Harry did and boy did he deliver. 

We never learn we've been here before Why are we always stuck and running from the bullets?

9. On+Off - Maggie Rogers it’s fitting to me that Maggie Rogers got big because Pharrell praised her production abilities - this song just sounds gorgeous.

Stay with me through all of time If I'm drenched in madness, tangled blues Won't you?

8. Cut to the Feeling - Carly Rae Jepsen pure pop perfection, exactly what Carly Rae excels at. 

Take me to emotion, I want to go all the way Show me devotion, and take me all the way

7. The Louvre - Lorde this song (and lyric) sums up the appeal of Melodrama for me, as it's an album about being 'too much' for a guy that uses pop music to express those over-the-top emotions. 

Megaphone to my chest Broadcast the boom boom boom boom and make 'em all dance to it

6. Change - Lana Del Rey a game-changing moment for Lana and her career, and also a soft and lovely song.

I've been thinkin' it's just someone else's job to care Who am I to wanna try? But - Change is a powerful thing, people are powerful beings Tryin' to find the power in me to be faithful

5. Let This Remain - Alana Henderson Alana Henderson was a member of Hozier’s backing band, and she has all of his morbid beauty, paired with haunting, folky cello and angelic vocals.

Let tonight be a stutter amidst the eloquence of days But you could be the only one I don’t regret - yet

4. Out of My Hands - Wyvern Lingo an absolutely scathing satire of a guy who is apathetic about politics, and also just a fantastic, catchy tune. can’t wait for their debut album in February!

I say look after our own Excepting junkies or scum And of course chancers and whores No I just won't answer the door

3. You Never Knew - Haim

this may be a breakup song, but it fills me with deep, profound joy. it sounds so glowing and golden. 

Go on and say it Was my love too much for you to take? I guess you never knew what was good for you  

2. Spaceship - Kesha 

this list would be incomplete without Kesha and I love space so here we go.

I knew from the start I don’t belong in these parts There's too much hate, there's too much hurt for this heart Lord knows this planet feels like a hopeless place Thank God I'm going back home to outer space

1. Nothing - Loah 

the best feminist song i have ever heard, profoundly beautiful and complex. makes me want to throw off years of historical oppression and rise as a powerful woman.

It was not right, now I could care less I am the incarnation of a subtle fight