#same energy as that mitski can i try again try again try again art. to me.

[feralgirlfeelings]

★ what kind of music each love & deepspace boy would listen to! ★

hcs of zayne, rafayel, and xavier's music taste ♫꒰･◡･๑꒱

pairing: lnds boys x reader

warnings: none

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zayne:

he listens to classical music 90% of the time. it's not because he particularly likes it, but he just got used it after listening to classical music to focus while studying 12 hours a day as a med student. now, in pavlovian fashion, he'll play it while performing surgeries to really get him in the zone. the other 10% is, surprisingly, cutesy kpop girl group songs. think "russian roulette" by red velvet, "magnetic" by illit, and "only" by leehi. he doesn't go out of his way to find these songs, but he'll hear them in passing and get one stuck in his head. he's one of those people that'll get hooked and listen to a song over and over again, especially while he's working out or when he needs an energy boost. he's embarrassed about it, so he'll try to hide it from you, only listening to music with his earbuds in. but there's been times where you catch him:

"zayne, i didn't know you were into red velvet," you stifle a giggle. you hold his phone up to him, the song "russian roulette" on the lock screen. he crosses his arms, ears turning pink, "what's so funny about that? ...it's catchy." "nothing! i just didn't expect that from you," you laugh. you hand him his phone back, "i can teach you the dance, i know it by heart," you tease. "hmm," he raises an eyebrow, an amused look on his face. "i'd like to see that."

xavier:

he likes a few different genres of music, but he tends to like classic rock and alternative the most. some of his favourite songs are "little dark age" by mgmt, "eyes without a face" by billy idol, and "let it happen" by tame impala. he doesn't like to explore new music often and will usually just stick to what he already likes. he'll often blast music through his through his earbuds when he's fighting wanderers alone or when he's trying to stay awake. he's had a lot of time on earth, so his taste spans a lot of different music eras. there's been a few times when he's complained about how he "just doesn't get music nowadays." sometimes he'll show you a super old song and be surprised that you've never heard of it before:

xavier hands you an earbud, the other one in his ear. he shows you a song on his phone that you don't recognize. after a few seconds of listening, you shake your head, "i don't know this one." "really?" xavier looks at you shocked. "this song was huge in the 80s." you hand him back his earbud, "see that's why i don't know it, i'm not 40," you tease. "they just don't make music like this anymore," he sighs. you laugh, "xavier, that makes you sounds so old!' he smiles back at you, "i think those songs are just timeless."

rafayel:

he's into artsy stuff. he's one of those people who listens to a song or album multiples times to dissect and analyze every part of it, appreciating it as an art form. some of his favourite songs include "my love mine all mine" and "washing machine heart" by mitski, as well as "movement" by hozier. he plays music while working on paintings, because apparently, "listening to complex music helps with the artistic process." he also experiences sound-to-colour synesthesia, which explains why the music helps him paint. he has a really pretty singing voice and will often hum or sing his favourite songs, but will get shy when you ask him to sing for you. despite his usual pretentious music taste, he'll occasionally get hooked on some generic top 40s song, like something by drake.

rafayel had been humming the same song over and over again while working on a painting of you. you couldn't help but close your eyes and focus on the melody, "what song is that?" you ask. he pauses from humming, his concentration on his painting unwavering, "my love mine all mine by mitski." "it's nice, i've never heard of it before," you reply. "i'm not surprised, i have spectacular taste, you know," he boasts. you stare at him blankly, "wasn't your top song last year passionfruit?" holding back a laugh. his ears and cheeks turn bright red, "those are never accurate anyways."

[hayleyarts]

Broken Without You (Jasper Hale x OC) | chapter 3

Author’s note: I’m not as proud of this part as I should be, but I’m still trying to develop some plot and character dynamics. there’s no warnings for this one, maybe some language, that’s about it. 

Previous part

Summary: Eleanor Rae visits with an old friend and contemplates her overthinking. She thinks that perhaps she simply needs to find her own safe place to calm down when life gets a little too much to handle. 

Word count: 1626

Track 03 - Nobody by Mitski 

It didn’t take long for me to arrive to the old diner downtown; I could probably drive there in my sleep. I was a frequent customer of the family owned establishment because my mom usually worked night shifts meaning I had to fend for myself for dinner. They were nice enough to let me work for a meal – doing odd jobs like dishwashing or taking out the garbage. Luckily for me, they’ve gotten to the point where they feed me for free. 

As I enter the diner, the little bell signals my arrival. Seth looks up from his spot behind the counter with the pot of coffee, greeting me with a smile, “Hey Ellie. You’re early?”

“Yeah you know, no rest for the wicked.” I smile at him. Seth Clearwater is probably the only person I’ve ever considered my friend; which I suppose is a little depressing considering that he’s almost seven years older than me and should clearly be in university instead of working at a restaurant. 

“Should I tell Cecil that you ditched?” He raises a brow quizzically at me.

“I’d rather you didn’t.” I narrow my eyes, sitting at the bar stool across from him. Seth was a lot different compared to everyone else in this town, but different in a good way. I’ve known him forever because his sister used to babysit me when I was younger. This is when my mom first started working the night shifts, and she was desperate to find someone to watch over me for cheap. Leah was more than willing to look after me whenever my mom was working; anything to get away from all her cousins who seemed to drive her crazy. I always got along with Seth, but something happened when he was sixteen; he started acting strange. I tried to ask his parents about it, but they couldn’t really say much to a nine-year-old without confusing them. He was gone all the time, and soon so was Leah; the Clearwater parents taking over the babysitting until I was old enough to look after myself. Finally, after what felt like forever, Seth finally started to spend time with me again, though he was still not the same Seth that I hung out with before. 

Seth started being really interested in my life and actually caring about me. When Maya and I had our falling out, he was the one who comforted me the whole time; threatening to beat the shit out of her friends. I always thought he was kidding, but I think he was being completely serious.

“Did something happen?” He wipes off the counter huffing a loose strand of hair out his face.

I roll my eyes, pulling the extra hair tie off my wrist and handing it to him. He smiles, taking it and quickly pulling his hair up in a ponytail. “Do you consider me a nobody?”

He raises a brow, “No? Who said you were?”

I huff, “Well no one, but it feels like everyone at school treats me like I’m invisible.”

Seth frowns, furrowing his brows, “Well you know how people are when it comes to gossip and not knowing how to move on from things,” He glances down at the counter, his knuckles clenching against the marble countertop, “You’re not a nobody and whatever people say about you is bullshit.”

“You really think people are still talking about the whole thing with my dad?” I rest my forehead down on the counter.

“I hope not, but you know how people are.” He sighs, wiping around where my head is before placing a clean mug down and pouring the black coffee in it. 

“Do you know the Cullen’s?” I glance up at him. His reaction was strange, he blinked and looked away quickly. His brows furrowed slightly before glancing back at me with a small smile. 

“Yeah, they’re family friends, why?”

I shrug, “They’re all dicks and they think they’re top shit because they drive fancy cars and are drop dead gorgeous.” I mumble quickly. 

“Okay, what did they do?” He chuckles, “They’re not all dicks. Maybe just Rosalie.”

I huff, sitting up and sipping the coffee, “They were gossiping and laughing at me at lunch today.”

“Are you sure?” Seth raises a brow, “Did you hear them say anything about you? Did you hear them laughing at you in particular?” I think about his question. I mean, technically no, I didn’t hear them talk about me in particular. They seemed to be just enjoying their lunch break. But if they weren’t talking about me, why did Jasper pay so much attention to me while they were talking? Did he know I was admiring him during history class and then again as they were entering the cafeteria? Did he care? Was that his way of showing how I was making him uncomfortable, by making me uncomfortable? 

“Well, no…” I shrug, glancing up at him. 

“Besides, maybe they just want to get to know you?” He raises a brow, “They’re good people so I wouldn’t doubt it.”

“How are you guys family friends? You’re like a million years older than them.” I furrow my brows.

Seth eyes me for a second, as if he was thinking about a response, “Carlisle and my dad were good friends.” I could tell he was lying, but I also didn’t want to question him about it considering his father passed away when he was seventeen. But there was something about his answer that didn’t sound too genuine. 

“Makes sense.” I nod, looking around the diner. It looked about how you imagine a small restaurant. After Sue bought it and fixed it up, she added some cultural art pieces on the walls of the Quileute tribe, bringing some life into the old building. The tables were completely redone with dark varnish and the seats all replaced. Seth ended up taking over when his mother got sick, trying to keep the restaurant alive. 

“Do you want me to get you something to eat?” Seth breaks my thoughts, “Did you have lunch?” 

I sigh softly, “Yeah I ate, don’t worry.” I take another long sip of the coffee before standing and stretching my back, “I’m probably going to go home.”

“Okay, well text if you need anything. I can bring you supper tonight if you need.” Seth smiles that boyish smile that he seemed to never grow out of. 

“I should be okay, but I’ll keep that in mind.” I make my way to the door. 

“Don’t make it a habit to skip Ellie.” 

I roll my eyes, flipping him off as I leave the restaurant, calling out, “Thanks Mom.” I laugh along with his faint chuckling, returning to my worn-down Jeep and hopping inside. I start the engine and pull out of the lot for the restaurant. The drive through town is depressing, the scenery all the same. The buildings all consisting of old brick and wood that has been falling apart for years. It’s when you leave the town’s boundaries, that’s when you’re faced with beauty that is the forests surrounding Forks, Washington. As I drive through the trees, I roll my windows down along with shutting off the radio; wanting to be completely emersed in the sounds of nature. 

As I approach the turn off for my house, I decide last minute to skip it; continuing my drive deeper into the forest. It got to the point where paved road turned to gravel and then the road stopped altogether. I pull over, shut off my Jeep and hop out. While surveying the scenery around me, I notice a few deer off in the distance. I’ve never been this far out in before; usually I take my usual scenic drive home and that was it. Something was telling me to come out here, and I’m not sure why, but I wanted to hike deeper in. I tighten my ponytail and begin my hike on the path between the trees. 

I definitely didn’t have the right choice of shoes for a hike; wearing converse I’ve had for years. I try to take a step over a tree root, almost losing my footing all together. It was nice, however, being able to be alone in silence. While other high schoolers are out partying, I’d rather be here, in the silence of nature. It was freeing being alone. I’ve always wondered if I disappeared in the woods for a few days if anyone would notice. Within town, I’m invisible, but here among the moss-covered trees, I feel important. 

I smile as I approach a clearing in the trees, and I’m met with the most beautiful field of daises. It felt like a completely different world; the sun shining on the greenest grass and butterflies fluttering from flower to flower. This isn’t the rainy world I was used to. I run through the flowers to the middle of the clearing, plopping down on the slightly damp grass. I lay back, watching the clouds float by. 

“Wow…” I mumble to myself as I take a deep breath, relaxing back into the soft grass. This place seemed to radiate in an energy I’ve never experienced. Everything seemed happy and calm and there weren’t any worries. Why was I drawn here? Did the universe know about my stress and anxiety and wanted to calm me down? I’ve always believed everyone has their own place in the world, and I just haven’t found mine yet. Maybe my place is this meadow in the middle of my small rainy world. As I lay in the sunlight, all my worries disappear. There are no ex-friends, no gossiping strangers, and no Cullen’s. It’s just me and the meadow; a nobody in a field of daisies.

[popmusicu]

Music Recommendation: Mitski

Today I want to recommend an artist who I think does not have the recognition she deserves: Mitski Miyawaki. She is a Japanese-American indie musician and has been active since 2012, serving as the opening act for bands and musicians such as Pixies and Lorde.

Mitski's music recalls something of the 90s vibe, very powerful and emo, as if it framed us in an eternal adolescence, but in a more intimate and mature way, while reinventing his musical proposals.

Her first studio album Lush, transits between lo-fi, folktronics and chamber pop. This album was Mitski's debut, although it was released while he was still studying at college. This work was recognized mainly for its poetry-laden lyrics. From this album I recommend Eric, a song full of seduction and eroticism, but at the same time loaded with a very sinister atmosphere.

Eric: https://www.youtube.com/watch?v=kRPI6JSCOK0

Her second work, Retired from Sad, New Career in Business, was also done while she was still in college, serving as her degree project. 

This album is more experimental, and mixes a student orchestra with electric sounds and not so conventional elements. The album features a music video for each of its 9 songs, with an intertwined story forming a kind of movie. While the videos are quite “amateur” and student-level, it is interesting to see the evolution between this and his previous album, noting a great exploration not only in music but also in Mitski's writing. From this album I recommend Goodbye, My Danish Sweetheart.

Goodbye, My Danish Sweetheart: https://www.youtube.com/watch?v=ohxu-pA7o64

  Her third studio album, and my favorite, is Bury Me At Makeout Creek. It is named after the phrase that Milhouse, from The Simpsons, says after being run over by a truck. This album is perhaps the most "conventional" in his career, but at the same time one of the best, surprising with indie-rock and punk-rock full of energy, guitars and basses with dirty sounds and lyrics full of fury, love and frustration. With this album Mitski begins to gain more notoriety within the industry, being recognized mainly for the lyrics of her songs (For this album Mitski wrote all the songs completely alone).

From this album I recommend First Love / Late Spring. Starting as a complete harmony, it evolves with distorted and aggressive electric sounds and guitars, with lyrics that could be cloying at first, but ends up being completely heartbreaking, like a last love poem.

First Love / Late Spring.: https://www.youtube.com/watch?v=WCphVz0ZGns

I also recommend Francis Forever, my favorite Mitski song. With a fairly simple structure, the bass line guides Mitski's voice that becomes more and more energetic, who seems to make a statement not so much for someone, but for herself: “I don´t need the world to see, that I've been the best I can be ”.

Francis Forever: https://www.youtube.com/watch?v=UMJm_97QXHA

His fourth album Puberty 2 continues with a formula similar to the previous one, exploring indie-rock and punk-rock again. Again she receives the favor of the critic, and her great emotional capacity to write poetic and profound lyrics on topics as diverse as depression, alienation, anxiety and also racial identity is highlighted. This album has a much more hopeful and cheerful sound despite the themes that its lyrics deal with, because it also tries to reflect the internal conflicts about how to overcome oneself and be at peace with oneself, despite all the obstacles that we may encounter.

From this album I recommend Thursday Girl. It is a song with an extremely simple structure, but through repetition and as if it were a prayer, along with the harmony between an electric guitar and synthesizer sounds, Mitski manages to engross the listener and immerse her in a state of reflection.

Thursday Girl: https://www.youtube.com/watch?v=LpH31xY6Mx4

Finally, in 2018 she releases her latest studio album (so far) titled Be The Cowboy. In this album she incorporates elements from all her past works, returning to her songs the more orchestral sounds and pianos, but maintaining her already emblematic distorted electric guitar. In addition, it includes elements of art-pop, funk, disco, synth pop, country rock, euro disco, among others. It is a much more conceptual album compared to the previous one that was extremely personal, and manages to impose itself as Mitski's most successful to date, positioning itself on the charts of the best albums of that year, reaching No. 11 in Billboard’s Top 50, No. 14 in the New York Times Top 50 and No. 2 in Rolling Stone's Top 28.

From this album I recommend Nobody. With a disco style, Mitski tells us about loneliness and love, but with a melody that inevitably keeps us from being depressed, and motivates us to think about our relationships with others.

Nobody: https://www.youtube.com/watch?v=qooWnw5rEcI

“Venus, planet of love,

was destroyed by global warming.

Did its people want too much too?” 

  I look forward to her new album, and I also recommend for those who do not know her to give it a try, as she really is a talented artist who still has a lot to offer.

 -Rodrigo Silva

[obtusemedia]

The best songs of the 2010s: #75-51

#75: “The Only Thing” by Sufjan Stevens (2015)

It was tough to pick a single song from Sufjan Stevens’ masterpiece, Carrie and Lowell, for this list. The album, about his dead mother, is consistently beautiful and tragic throughout.

But “The Only Thing” has the most devastating line of the whole album, and possibly the whole decade, delivered in a wobbly falsetto: “Should I tear my eyes out now?/Everything I see returns to you somehow.” Case closed. Now please excuse me while I cry for the rest of the day.

#74: “Best Song Ever” by One Direction (2013)

If you can’t appreciate this slice of pop-rock perfection that shamelessly rips off The Who, I’m not sure we can be friends.

“Best Song Ever” still sounds as the pinnacle of One Direction’s career, with its fizzy arena-rock chorus and adorable lyrics about that one special night with a mysterious woman, never to be seen again. The Millennial Whoops are plentiful, and they are irresistible.

Yes, “Best Song Ever” is a corny boy band song. But A) it’s the best possible version of a corny boy band song. And B) boy bands are wonderful. Just embrace the cheese.

(Also, One Direction was the greatest boy band of all time. Don’t fight me on this.)

#73: “Pray For Rain” by Pure Bathing Culture (2015)

Portland shoegaze duo Pure Bathing Culture delivered the closest approximation to a prime Cocteau Twins single since the early ‘90s.

It’s got the icy synths and shoegaze guitars to throw any listener into a hypnotic groove. The secret ingredient that makes “Pray For Rain” stand out, however, is the thumping, snare-heavy beat that invokes both military drum lines and trip-hop. It adds a propulsion to the otherwise dreamy track, creating a dissonant yet incredible experience.

#72: “Not” by Big Thief (2019)

Unlike the hushed folksy whispers of Big Thief’s first 2019 album, “Not” is a furious, noisy firebomb of an indie rock jam. Lead singer Adrianne Lenker’s warble is pushed to its limits, as her vocals crack and strain while the song’s tension (and noise level) slowly ratchets up in the song’s first half. 

Then, the pent-up energy is finally released for an explosive, discordant two-and-a-half minute guitar solo. It’s pure chaos and anger distilled into one instrument, and the greatest moment so far of Big Thief’s promising career.

#71: “Dog Years” by Maggie Rogers (2016)

The strength of Maryland indie-pop prodigy Maggie Rogers’ first few singles is how in tune with nature she sounded. I’ve dubbed it “REI-pop.”

And none of her songs are more reminiscent of a high-end outdoors store than “Dog Years” — and yes, that’s a compliment. “Dog Years” incorporates noises like wind chimes and owl hoots to its soulful synthpop production for a unique flavor. Rogers delivers on the vocal end with a stunning performance reminiscent of blue-eyed soul greats like Daryl Hall.

It’s a bummer that mainstream indie pop nowadays is going to mostly sound like Jeep ads. But “Dog Years” proves great art can still be created in that avenue.

#70: “The House That Heaven Built” by Japandroids (2012)

With “The House That Heaven Built,” Vancouver, BC indie rockers Japandroids made a perfect road trip anthem. The chugging guitars shoot to the sky, the drumming is furious, and the fist-pumping “OH OH OHs” are plentiful.

“House” is like a Bruce Springsteen collaboration with The Replacements: righteous fury backed by raucous, bar-friendly punk-rock. When lead singer/guitarist Brian King informs the listener that if “Anything try to slow you down/Tell em all to go to hell,” it’s something anyone can feel in their bones.

#69: “Adorn” by Miguel (2012)

“Adorn” is dangerously smooth. The chillwave-meets-80s-R&B production gets you halfway there, but Miguel’s buttery vocals are the main attraction here. From his endearing ad-libs (“whoap!”) to his effortless vocal runs on the gorgeous melody, he sounds like a seasoned pro.

I’m going to give y’all a hot take — “Adorn” is the Millennial “Sexual Healing.” It strikes that same nocturnal, sexy flair, and Miguel is working it just as hard as Marvin Gaye did. It’s too bad Miguel never was quite able to make something quite as impressive as “Adorn” again, but that single (and its accompanying, phenomenal Kaleidoscope Dream record) will cement him as a ‘10s R&B icon.

#68: “The World’s Best American Band” by White Reaper (2017)

White Reaper never claimed to be the world’s best band. Nope — they want to be the world’s best American band. So it’s only fitting that Louisville’s finest dirtbags cooked up a warm slice of some of the greasiest, sleaziest and most proudly stupid capital-R RAWK in years.

This is the kind of music Van Halen would’ve made if they were a low-rent Millennial indie band. This is the kind of music Gardner Minshew probably listens to. And it’s glorious.

#67: “I Just Had Sex” by The Lonely Island feat. Akon (2010)

This list isn’t really trying to measure importance or anything like that. It’s basically just the songs that made me the happiest this decade. And there are few songs that make me smile as much as The Lonely Island’s pathetically hilarious “I Just Had Sex.”

There’s so many golden moments here, from “I called my parents right after I was done!” to “The best 30 seconds of my life!” and “I think she might have been a racist?” The comedy trio was really on their A-game.

But what makes “I Just Had Sex” more than just a goof is that it’s also catchy as hell. That Akon chorus is legitimately one of the best pop hooks of the decade. What made The Lonely Island so brilliant in their turn-of-the-decade peak is their ability to make songs that often surpassed the actual pop hits they emulated, while not sacrificing hilarious lyrics.

(Also, shoutout to “Jack Sparrow” and the legitimately impressive baseball-themed “Let’s Bash,” both of which could’ve also snuck onto this list.)

#66: “Oh My Darling Don’t Cry” by Run The Jewels (2014)

Sometimes, you turn to hip-hop for inspiring messages and thoughtful, provocative lyrics (something Run The Jewels has certainly delivered on with tracks like “Early”).

But sometimes you just want an aggro banger that makes you want to smash through a brick wall like the Kool-Aid Man. That’s what “Oh My Darling Don’t Cry” brings to the table, thanks to its heavy helping of fuck-everyone defiance and El-P’s trademark apocalyptic, frantic production.

#65: “Your Best American Girl” by Mitski (2016)

In her signature song, “Your Best American Girl,” Mitski took the thrashing ‘90s guitars and epic chorus of Smashing Pumpkins’ “Today” and turned it into a conversation about race, insecurity and love.

Mitski, who is Japanese-American, vividly describes the angst of trying to fit the lily-white image of the “American Girl” for a boy. The song begins with insecurity — “Your mother wouldn’t approve of how my mother raised me/But I do, I think I do” — and then flips that statement into a proud stand for her roots: “But I do, I finally do.” It’s a powerful declaration, fitting of one of the decade’s most powerful rock anthems.

#64: “A Real Hero” by College and Electric Youth (2010)

Consider this spot a placeholder for all the best songs from the 2010′s best soundtrack: “Drive.”

Out of that soundtrack’s three stand-out singles, “A Real Hero” is the best by a hair. College’s slick, pulsing production is a perfect contrast to Bronwyn Griffin’s whispered, ghostly vocals. It’s the perfect love theme for an aggressively hipster-y movie where Ryan Gosling plays a dude in a gold satin jacket, drives around L.A. silently, and crushes a guy’s head in an elevator.

But shout out to the other two classics on Drive, “Nightcall” and “Under Your Spell,” which are also musts while driving around at night feeling moody.

#63: “Birthday Song” by 2 Chainz feat. Kanye West (2012)

“Birthday Song” is gloriously stupid. It’s the kind of song you laugh at the first time you hear it, but after a few more listens, you’re rapping along with 2 Chainz and Kanye.

And it’s hard not to rap along when there’s this many quotable lines: “SHE GOT A BIG BOOTY SO I CALL HER BIG BOOTY.” “I’M IN THE KITCHEN. YAMS EVERYWHERE!!” “Last birthday, she got you a new sweater/Put it on, give her a kiss, and tell her, ‘DO BETTER.’” And of course, the most iconic line of them all: “All I want for my birthday is a big booty hoe.”

“Birthday Song” is so ridiculous that it’s only a couple jokes removed from a Lonely Island single. And that’s what makes it so fun.

#62: “Every Day’s the Weekend” by Alex Lahey (2017)

Aussie indie rocker Alex Lahey made the best Blink-182 song of the decade with “Every Day’s the Weekend.” It’s got a soaring chorus with the all-important “WHOA OHs,” a chugging guitar riff, and it’s catchy as hell.

Just toss in a lackadaisical attitude and a “I Gotta Feeling”-style days-of-the-week chant and you’ve got a pop-punk classic.

#61: “Take a Walk” by Passion Pit (2012)

While MGMT burned their cultural capital by making zoinked-out psych rock (which was pretty solid!), their peers Passion Pit doubled down on their signature synthpop sound in the early ‘10s. Their 2012 album, Gossamer, is one of the all-time great albums with a happy, bouncy sound but crushingly dark lyrics. So naturally, its first single is a perky pop tune about financial struggles!

“Take a Walk” is so catchy and uplifting musically — just try getting that iconic synth riff out of your head — that Michael Angelakos’ lyrics about the Great Recession seem out of place at first. But it gels anyways. The uplifting music just emphasizes the dire situation Angelakos and his then-wife found themselves in, and it makes the soaring synth riff read as more melancholy than optimistic.

#60: “Gretel” by (Sandy) Alex G (2019)

"Gretel” is like an indie-folk song that went to the Upside Down. All the requisite parts are there — gently strummed guitar, lyrics with a man-of-the-people feel, humbly Middle American vocals — but it feels warped and twisted.

The easiest way to describe it is like if a typical folk-pop song CD was left in the sun for a solid week or so, allowing it to melt. And then you tried listening to it. It would sound positively spooky. Yet through the oddball production and eerie vibe, Alex G’s defiant chorus still shines through. A statement like “Good people gotta fight to exist” somehow sounds more powerful in a bizzaro song like this.

#59: “Downtown” by Macklemore & Ryan Lewis feat. Eric Nally, Grandmaster Kaz, Melle Mel and Kool Moe Dee (2015)

Macklemore might have been the 2010′s most unfairly hated artist. Yes, he’s corny. Yes, Kendrick should’ve won those Grammys instead. But the dude was fun, inventive and a unique voice in hip-hop at the time.

“Downtown” is a prime example of Mack’s talent. Or at least, his knack for assembling a fantastic supporting crew. Old-school rappers Grandmaster Kaz, Melle Mel and Kool Moe Dee deliver some forceful interludes, and Eric Nally and his wildman vocals give “Downtown” a killer, Queen-esque chorus. And of course, producer Ryan Lewis helps sell the song, with a constantly-switching beat that ranges from ‘70s funk to bombastic arena rock. Even Seattle legend Ken Griffey Jr. makes a cameo in the Spokane-filmed video!

In a late-’10s hip-hop scene filled with mopey sad white boys like Post Malone and NF, Macklemore’s goofy vibe and dad jokes are sorely missed.

#58: “Flesh Without Blood” by Grimes (2015)

In a decade filled with wonderful alt-pop weirdos, Grimes might have been the weirdest. One of her standout songs, “Kill v. Maim,” is about Michael Corleone from The Godfather Pt. II, but if he was a time-traveling, gender-switching vampire (yes, really).

“Flesh Without Blood” is comparatively normcore, but it’s still Grimes’ best slice of bonkers pop magic. Written from the perspective of a fan angry that she sold out, the track rides a surf-rock guitar groove into the oblivion. Grimes’ squeaky vocals are almost taunting in tone, but the hooks are so massive and the production is so fresh that I doubt listeners mind.

#57: “Slide” by Calvin Harris feat. Frank Ocean and Migos (2017)

Arguably the biggest name in cheeseball EDM took a shockingly sharp pivot into silky-smooth funk with “Slide.” And it worked! It worked weirdly well!

Of course, it helps that Calvin Harris has always had impeccable taste in guest vocalists, from Florence Welch to Haim. And by snagging once-in-a-generation talent Frank Ocean (and the fun, if not legendary, Migos) for “Slide,” he possibly pulled his greatest coup yet.

...well actually, no. His best song will always be the gloriously trashy and very British “Dance Wiv Me” with grime legend Dizzee Rascal. But the slick tropical grooves of “Slide” are a worthy contender.

#56: “I Belong in Your Arms” by Chairlift (2012)

I could’ve sworn this was in an old John Hughes movie. The wintry synths and retro-chic vibe of “I Belong in Your Arms” certainly would’ve fit snugly into the Pretty In Pink soundtrack, but no — Chairlift’s best single came out this decade.

“I Belong in Your Arms” is stunning in its atmospheric beauty. Singer Caroline Polachek’s vocals are almost Elizabeth Fraser-esque, drifting over the waves of keyboards while still packing a heavy punch on the chorus. And the song’s burst of energy doesn’t feel like a temporary sugar rush — it feels like the real thing.

#55: “Make Me Feel” by Janelle Monaé (2018)

“Make Me Feel” is unabashedly a Prince homage. And if anyone in modern music could successfully replicate the Purple One, it’s Janelle Monaé.

The genre-blurring, impossibly funky “Make Me Feel” immediately grabbed me upon release, with its sharp guitar edges, soft-loud-soft production and sticky hook. But Monaé’s vocal performance is what truly makes the track pop. She clearly had the time of her life here, switching on a dime from smooth and sultry to giddy yelps. If there’s a perfect Janelle Monaé song cooked up in a lab somewhere, it’s probably nearly identical to this.

#54: “Some Nights” by fun. (2012)

Jack Antonoff has always excelled as the second-fiddle. Whether that’s in being the less-famous person in his former relationship with Lena Dunham or being the behind-the-scenes production wizard for megastars like Taylor Swift and Lorde, he works best in the shadows (despite his solo side band, Bleachers, being pretty damn good).

And of course, the project that first brought Antonoff into the mainstream was his band fun., in which he was the lead guitarist and a songwriter. At the time when the band hit their brief apex in 2012, it seemed like frontman Nate Ruess, with his vocal acrobatics and theatrical style, would be most primed for solo fame, but that fizzled.

Eight years later, “Some Nights” stands as a testament that Antonoff (and the other two guys in fun.) can write an incredible arena rock anthem just as easily as a synthpop banger. The song turns a quarter-life crisis into a soaring epic that sounds like a glorious U2-Queen hybrid, with a drumline added on top. Despite cribbing its chorus from Simon and Garfunkel, “Some Nights” still holds its power.

#53: “The Less I Know The Better” by Tame Impala (2015)

There’s one thing that instantly hooks you into Tame Impala’s Instagram-filtered indie pop masterpiece: that bassline. It carries the whole song on its back.

Not to say the rest of “The Less I Know The Better” isn’t good — Kevin Parker’s jealousy-tinged lyrics are fairly relatable, the twinkling synths are nice, the melody is appropriately yearning. But that slap bass ropes all those elements together into a legitimately funky rock tune. If Tame Impala’s mediocre new singles had that bass, maybe they’d be less forgettable.

#52: “Shake It Out” by Florence + The Machine (2011)

Florence Welch might be the decade’s most underrated vocalist. Her voice has the power of a Mack truck, yet she can still convey subtlety when needed.

“Shake It Out” is not one of those subtle moments. It is arena-pop filtered through gospel; a song that sounds like it was meant for a cathedral. Welch describes battling her personal demons like they were literal demons. Couple her wailing with layers upon layers of organs and massive drums imported from the “In The Air Tonight” solo, and you’ve got a song too big to fail.

#51: “Young Blood” by The Naked and Famous (2010)

I really, really wanted to include more tunes from the golden era of radio-friendly indie pop, circa 2008-2012. But a lot of the best stuff — MGMT, Yeah Yeah Yeahs, Phoenix — fell in the previous decade. And others are more nostalgic faves for me than actually great songs (sorry, Grouplove and Matt & Kim).

But The Naked and Famous absolutely still hold up. “Young Blood” still has the insanely high-pitched vocals and twinkly synths of that era, but the New Zealanders throw some distorted ‘90s guitars to create a unique sound. It’s like the Weezer writing a Passion Pit song (but way better than that would imply). Lead singer Alisa Xayalith’s piercing voice is an instrument all of its own, soaring across the synthesizers and guitars like a bolt of neon light.

“Young Blood” might be an early ‘10s time-capsule, but it has hooks for days and a somehow-still-fresh groove.

[themousai]

Gig Review: Laneway - Albert Park [28/01/2019]

MISS JUNE After waking up to a torrential downpour of rain in the morning, it’s an absolute relief to make our way through the Laneway gates while the sun blisters on ahead. Feeling a little disorientated, we’re immediately intrigued by the crowd gathering at the end of Princes Street to watch Miss June. The first time I ever caught these guys was in 2015, they were playing a tiny stage at the Darkroom in Christchurch, and I was instantly captivated by their onstage energy. Frontwoman Annabel Liddell’s energy is second to none - and it’s incredible watching a band that’s just as into it as she is. That whole show is magnified, watching them tear up the massive stage they’re playing on now. I even heard someone remark that it was really cool that June had a band playing with her. 

Mandie Hailwood

IMUGI 이무기

Starting the day off right, we head towards the Dr. Martens stage where Imugi  이무기 ‘s dreamy synth pop echoes from the speakers. Dazy crowd goers relax on the grass while eager fans groove right up by the stage. Imugi 이무기’s music transition us all into a blissful dream state. I begin to be entranced by the music production from Carl and the smooth vocals from Yery. The 2 even backed up by some beautiful dancers who add incredible dimension to one of the new Imugi 이무기 tracks ‘Greensmoke’.  The dancers flow with the music so well making me wish I had a hidden dancing talent. Along with being musically gifted, the duo have a way with words. Yery gets vulnerable and supportive as she mentions “This one’s for you, it’s been a really hard life but... it’s okay because you’re here now!” she goes on to say, “love yourself, fuck everybody else! Be yourself because that is revolutionary in itself” I really appreciate the honesty and love during moments like this. You could feel the positive vibe throughout the crowd. It was magnetic! Church & AP hit up the stage shortly after, impressing us all with their energetic stage presence bouncing off the speakers. At this stage, the relaxed fans had made their way down from the grass to be front and center stage. It was impressive to see a huge crowd mid day during a heat wave. I can’t wait to see what’s next for Imugi  이무기! If you're into synth pop, spoken word or honest music, definitely check out Imugi’s links below! 

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Helena Barnett

DAFFODILS

We make our way down Alfred Street to the Thunderdome stage next, eager to find a spot up close for Daffodils, a local Auckland indie pop band that have recently taken the scene by storm. The crowd is already full of glitter covered faces, and they all cheer as Daffodils take to the stage. Starting off with their latest single 'A Leo Underwater' - the crowd is singing and dancing along immediately. It's evident that the band love being on stage, as front man Theo gushes that they're all so honored to be here - a thought echo'd by the massive grins on the rest of the bands faces. After a few more dance anthems, they slow it down a little, and introduce their song 'We Only Laugh When It Hurts' - which is an absolute favourite of mine - and the crowd watches on absolutely mesmerized. They finish off their set with 'Two Angels', and we jump back into the middle of the crowd to have one last dance. We had a little chat with the band pre-Laneway, which you can read here!

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Mandie Hailwood

BENE

Bene’s smooth raspy vocals pulled an insane crowd that almost filled the entirety of Alfred Street as the third act on the Thunderdome Stage. Her vocals, the temperature and body heat was all on fire as we made our way through the crowd to be closer to the stage. Bene was rocking a stunning mellow yellow maxi skirt that was a perfect reflection of her contagiously positive personality. Her alternative pop got us all grooving, especially during crowd favourites, ‘Tough Guy’ & ‘Soaked’.  It was so lovely seeing Bene rock the stage, hearing the crowd sing her lyrics back was definitely on a completely different level in comparison to her previous smaller gigs! Everyone was feeling the music and seemed so blissed out. It was a bit of a mission getting out of the crowd but it was definitely worth it! We did an interview with Bene earlier in the month, if you want to get to know her better feel free to check it out here!

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Helena Barnett

MITSKI

I went to Laneway solely based on the hope of seeing three particular artists. One of which pulled out, the second was Mitski. I’ve been a fan of her for longer than I can recall, even to the point where my flatmate and I named our cat after her. Backstories aside her set was as to be expected - INCREDIBLE. She is a performer who’s energy never dulls right down to the last bow. Every moment she holds with you feels special, personal. One could say watching Mitski is like watching an art performance only you know what’s going on. She radiates such strong composition and ability within herself that every second she doesn’t move even tells a story about her. She’s sharing herself with the audience and it feels raw, vulnerable and beautiful. Her voice not only is incomparable live to recording, but some could also say it’s better. Seeing truly is believing with Mitski.

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Bridie Thomson

THE DEAD C

Taking a break from the crowds, we find ourselves a nice tree by the Dr. Martens Stage to take shelter under and just soak up some music. Noise band The Dead C are known for their onstage improvisation - no show is ever the same, and so they're a brilliant choice to just lay back and re-charge too. Full of heavily distorted instruments, i'm left in a state somewhere between awe and bliss as it all washes over the crowd. Though I can't help but feel a little amused at the fact that their backdrop is just a whole lot of safety notices for the Festival. Stay hydrated!

Spotify

Mandie Hailwood

REX ORANGE COUNTY

Secondly on my list was Rex Orange County. He rose to fame after recording with Tyler, the Creator and is now every indie kids favorite. With melodic, happy tunes that touch on relatable topics for any young person while making you want to sing along as loud as you can. There’s no denying the talent of Rex and his band. Their experience with their instruments alone is impressive. Alex’s (“Rex”) stage presence isn’t show-y off-y or over the top. He’s just there to say hi and play you some nice songs. Rex Orange County is 2019’s answer to alternative music, mixing almost every genre under the sun. He brings you something everyone can appreciate.

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Bridie Thomson

JORJA SMITH

Jorja Smith is a goddess. I could leave it at that. It was at the part of the day where the sun wasn’t quite down but everyone was getting pretty exhausted. Friends and I pitched a spot under a tree and watched her on the big screen, the stage just out of focus. Not only does her voice provide smooth, relaxing ease into the evening of a long day but her band was equally as impressive. Instrumentals molding between songs, Jorja Smith knows how to stun a crowd.

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Bridie Thomson

COURTNEY BARNETT

A massive crowd surrounds the Princes Street Stage as Courtney Barnett gets the crowd moving with her rock infused folk pop. It is the perfect atmosphere as the sun is setting and the night is starting to wind down. We were all probably tired as hell from the sun and a few people may have had too many drinks but the vibe of Courtney’s music picked us all back up. With her insane guitar shredding and incredible vocals, it was the perfect balance that woke us up and got us grooving again. We were all stoked to hear some of Courtney's classics as you could hear the lyrics being passionately shouted from the crowd. As soon as the popular hits like ‘Avant Gardener’ , ‘Depreston’  and ‘Pedestrian at Best’ begin, everyone starts to sing. It was like a drunken choir which still managed to sound pretty damn good honestly. Courtney Barnett has been to multiple Laneway Fesival’s and has played a few of her own shows here in Auckland but she never disappoints. She has a rock star vibe and wholesome heart, addressing issues like mental health, positivity and politics which complimented a few other artists at this years Laneway Festival. 

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Helena Barnett

DENZEL CURRY

Denzel Curry was one of the last performers before the closing acts. Hands down he has some of the best visuals I had seen all day. If you weren’t watching him bounce from one side of the stage to the other, watching the screen behind him was just as crazy. His show goes in chapters, providing a lighter, Dragon Ball Z inspired setting up for the first chapter before the last chapter that shows darker imagery. Zombies, limbs, images of Denzel at his most hype provide a great backdrop to the set ending with ‘Ultimate’, the song that launched the rapper in to light. 

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Bridie Thomson

FLORENCE & THE MACHINE

Last on my list is Florence & The Machine. I've been waiting years to tick Florence off my bucket list, but this is the first time that the stars have aligned. Timed to start at exactly the same time as the sunset, Florence floated on stage in a delicate sheer Victorian era gown. She twists and twirls her way through each song, remarking that she loves New Zealand, "it feels very feminine, very safe." Florence commands the energy in the atmosphere, encouraging us to send our most negative feelings upwards as we dance. "This is going to make you feel vulnerable," she says, "But put your phones away, put your fucking phones away!" Trying to translate the energy of Princes St full of people dancing along with strangers to Florence into words is difficult. 

Florence asks us one last request during her encore, if we will be her "Auckland Choir" - and everyone is happy to take part as she finishes the night with 'Shake It Out'.

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Mandie Hailwood

Photography courtesy of David Watson Review by Bridie Thomson, Helena Barnett, and Mandie Hailwood