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2018, A Year in Music

A year would not be complete without a list summarizing the sonic triumphs and escapades it saw birthed. Here are my thirty favorite albums from 2018. Enjoy.

30. Kurt Vile - Bottle It In

The singer-songwriter returned in 2018 with a follow up to his 2017 collaboration with Aussie rocker, Courtney Barnett. While I enjoyed Lotta Sea Lice plenty, I found its overarching themes to be a bit dry and the songwriting to be a bit lackluster from two experts such as Barnett and Vile. But Bottle It In is a return to form for the unique Vile. His drawl-y, laid back, groovy guitar cuts and folk-rooted storytelling is potent as ever. A truly beautiful entry into the artist’s discography, Bottle It In is a must-listen for any fan of folk rock and silky smooth songwriting.

Genre: Folk rock / singer-songwriter

Standouts: “Loading Zones,” “Yeah Bones,” “One Trick Ponies”

29. Neko Case - Hell-On

Neko Case’s storied career as an artist finds itself here, with 2018′s Hell-On. The album is a reflection on all that Case has experienced thus far, and its delivery is both introspective and cinematic. There are songs here that feel like a stream of consciousness, and others are a bit more straight forward. Still, it demands the attention of the listener, for there are things to pick up on with each listen. What Case, and Hell-On, deliver on the most is catchy and fun ballads that have run through my head like an infectious earworm since its release. “Last Lion of Albion,” “Bad Luck,” and “Curse of the I-5 Corridor,” are standouts in particular.

Genre: Singer-songwriter / folk pop / country pop

Standouts: “Last Lion of Albion,” “Bad Luck,” “Curse of the I-5 Corridor”

28. Car Seat Headrest - Twin Fantasy

I was, admittedly, not the biggest fan of Will Toledo and his project Car Seat Headrest when I first listened to Teens of Denial. I found his songwriting to be a bit uni-dimensional at times, and the sonic palette to a bit bland. But after re-visiting his works repeatedly, I’ve become a bigger stan of Toledo’s. It’s undeniable that his knack for melodies is unrivaled. And I’ve come to appreciate his songwriting more and more with each successive listen. His re-release of the cult Bandcamp hit, Twin Fantasy, is a true success though. The refurbished instrumentation and production is a welcome facelift to this Bandcamp classic. And the bodacious and bright new mixing brings new life into Toledo’s work. The support he has received from Matador Records has resulted in an improvement on all fronts, from the record’s origins. It’s a beautiful, and perhaps nostalgic for some, release from Will.

Genre: Indie rock / singer-songwriter

Standouts: “Bodys,” “Stop Smoking (We Love You),” “Sober to Death”

27. Vince Staples - FM!

It was released on 2 November 2018 but it feels like something straight out of the humid heat of July. Another entry into the short and succinct album list of 2018, FM! is short-lived at only 22 minutes. But the album has plenty to offer. Seamlessly flowing from track to track, Vince’s latest endeavor plays out more like a in-studio performance for a radio show (as can be heard by the short radio-esque skits played as outros and intros). The songs are braggadocious. Vince raps over silky smooth west coast hip-hop-inspired beats and punches with flows to match.

Genre: West coast hip-hop

Standouts: “Feels Like Summer,” “Outside!” “Don’t Get Chipped,” “FUN!”

26. Florence + the Machine - High As Hope

Florence Welch is a symbol of freedom for me. Her unrivaled passion for her craft, her presence on the stage evokes images of royalty, and her unimpeachable strength make her one of my favorite vocalists of all time. Her voice fills rooms, stadiums, and the ears of millions. A perfect example of this potency is 2015′s How Big, How Blue, How Beautiful; an album that was cinematic, wide in scope and sound, and an important leap for Florence’s artistic career. But this year’s High As Hope is much more intimate. One could even call it a step backwards for Florence, but I would respectfully disagree with this statement. For me, High As Hope is a logical step forward for Florence. Following a loud and explosive release in 2015, a cathartic climax I’m sure, it makes sense to hear Florence make her descent down an intimate and minimal road. And down this road we see Florence explore and make available her struggles with loneliness, depression, and a myriad of other demons. She trades the titanic orchestral sets for pianos, sparse percussion, and cuts through these thin veils with her meteoric voice. But at the end of the day (and the record), there is an air of hope. Hope drives this record, and it’s what drives Florence, and that is more than enough for me.

Genre: Chamber pop / art pop

Standouts: “Sky Full Of Song,” “Hunger,” “June,” “No Choir”

25. Mount Eerie - Now Only

Phil Elverum has endured more than one can even begin to dream of. 2017 saw Elverum face the loss of his wife, it saw him begin to face single fatherhood. From that turmoil came A Crow Looked At Me, a beautifully tragic album that gave us a close up look at Elverum’s grief and loss. That album was succinct, precise, and to the point. Now Only is much more a stream of consciousness, a rambling of sorts, and it plays out much like Elverum is writing an epilogue to A Crow in real time. The song structures are varied, and some draw on into the ten minute range. It takes effort to really let this album sink in and marinate, and once it does it pays dividends.

Genre: Singer-songwriter / indie folk

Standouts: “Tintin in Tibet,” “Distortion,” “Crow, Pt. 2″

24. U.S. Girls - In a Poem Unlimited

In a Poem Unlimited is a beautiful art pop record, filled with enveloping and gorgeous layers of instrumentation. It’s refined, it’s sharp, and its sound is unlike anything this year has seen. Art pop, folk pop, disco, soul, synth pop, and baroque pop are all genres that blend together and come through in U.S. Girl’s most refined piece yet. And if there’s anything that sticks out especially, it’s the record’s production. It is just so polished. Of course Meghan’s vocals are as cutting as ever, but it is the record’s beautiful construction that keeps me coming back to this one. Songs like “Velvet 4 Sale,” and “L-Over” are particular highlights for me. I recommend this to anyone who wants a diverse sounding record, or a record to just fall into.

Genre: Art pop / synth pop / psych pop

Standouts: “Velvet 4 Sale,” “Rosebud,” “L-Over,” “M.A.H.”

23. Jonny Greenwood - You Were Never Really Here (Original Motion Picture Soundtrack)

Radiohead lead guitarist Jonny Greenwood first grabbed my attention, when it came to his work aside from Radiohead, with his score for Paul Thomas Anderson’s Phantom Thread last year. Gorgeous string arrangements and orchestral builds are swapped out for synthesizers and heavy percussive elements on this latest soundscape however. And while I loved Greenwood’s work with PTA, this latest project sees Greenwood using these tools expertly. His soundtrack is one of the best of this year, and it adds to the immersive world that Lynne Ramsay built in You Were Never Really Here. Dissonant and sharp guitars, thunderous and warping synths pierce your ears and create a sense of unease, matched when experienced while watching the film. And while some scores and/or soundtracks fail to stand on their own without their cinematic partners, Greenwood’s work here is more than enough on its own.

Genre: Film soundtrack / experimental

Standouts: “Tree Synthesizers,” “Sandy’s Necklace,” “Dark Streets (Reprise)”

22. Kali Uchis - Isolation

Colombian soul singer Kali Uchis made her full-length debut this year with Isolation. A diverse roster came together to collaborate on this project; the likes of Steve Lacy, Boosty Collins, Damon Albarn, Thundercat, and Tame Impala’s Kevin Parker appear on this record in some shape or form, and those are but a few to name. This amalgamation of artists and minds makes for a sonically diverse record, one that spans genres and emotions. And through it all Kali Uchis shines through as an up-and-coming talent. Still, there is plenty of room to grow, as the lyricism and songwriting on some tracks falls a bit flatter than others. But overall this record is so unique it stands above its contemporaries.

Genre: Neo-soul / contemporary R&B

Standouts: “Just A Stranger,” “In My Dreams,” “Feel Like A Fool”

21. Sons of Kemet - Your Queen Is a Reptile

London jazz unit, Sons of Kemet, delivered a revolutionary jazz record this year. Politically-fueled, unapologetically cultural, it is based in African music and African history yet brimming with ingenuity. Thunderous horns, bombastic drums and chaotic wind sections grow and pulse through this record. Broken up are these progressions by spoken word passages, which add depth and prose to the record. Your Queen Is a Reptile is surely a classic, and a definite listen for any jazz enthusiast.

Genre: Afro-jazz

Standouts: “My Queen Is Ada Eastman,” “My Queen Is Harriet Tubman,” “My Queen Is Angela Davis”

20. MGMT - Little Dark Age

Perhaps best known for their indie breakout hit Oracular Spectacular, with late-2000s anthems like “Kids,” “Time To Pretend,” and “Electric Feel,” MGMT was considered by some destined to fail to meet their success of 2007. Little Dark Age dispels these notions, with dark and gloomy pop cuts as well as a purposefully occult themes. MGMT never wanted to make mainstream pop music, and released Oracular Spectacular as an odd protest to such desires observed in their fans. This devotion to the subversions of mainstream pop followed them through their discography post-Oracular, but hits its peak here with Little Dark Age.

Genre: Gothic pop / synth pop / psych pop

Standouts: “Little Dark Age,” “When You Die,” “Me and Michael,” “She Works Out Too Much”

19. Adrianne Lenker - Abysskiss

Big Thief’s frontwoman, Adrianne Lenker, adds to her solo career with Abysskiss. Recorded within the approximate span of a week, the record has an air of urgency but is patient in its delivery. Lenker is reserved, yet determined in her delivery. The album is much like tramping on a trail or wandering through a city unknown. It winds, it hypnotizes. I found myself ensnared by Lenker’s finger-picking and her hauntingly beautiful voice. Fans of Big Thief will love this solo effort by Lenker, and I hope many others can find and appreciate its beauty in minimalism.

Genre: Folk / singer-songwriter

Standouts: “terminal paradise,” “womb,” “cradle”

18. Young Fathers - Cocoa Sugar

Scottish trio Young Fathers came out swinging with Cocoa Sugar. Blending a multitude of genres, Young Fathers have released their sharpest record to date. Its inclusion of neo-soul, conscious hip-hop, gospel, electronica, and R&B make for a sonic experience rivaled by few. The album builds and builds this chaotic wall of sound, finally reaching its release with tracks like “In My View,” and “Lord.” But the album is a engaging listen throughout.

Genre: Indietronica / neo-soul / art pop / experimental hip-hop / gospel

Standouts: “Fee Fi,” “In My View,” “Lord,” “Border Girl”

17. JPEGMAFIA - Veteran

DAMN PEGGY! 19 tracks. 47 minutes. This album slaps. Baltimore rapper/producer, JPEGMAFIA, has come out with one of the most experimental and abrasive rap albums of the century. Using sounds unnatural and inorganic to human ears, Peggy is creating songs unlike any of his contemporaries. It is difficult to put into words just how experimental and “out there” this album is. His songwriting is excellently woven into these instrumentals and samples, making for catchy cuts and oddly comedic one-liners. There is a real texture to these songs, and the dynamic swells of sound make for a transcendent and mind-numbing experience. Veteran isn’t just one of the most creative rap albums I’ve ever heard, it’s perhaps one of the best rap albums I’ve ever heard.

Genre: Experimental hip-hop

Standouts: “1539 N. Calvert,” “Thug Tears,” “Baby I’m Bleeding

16. Jon Hopkins - Singularity

In the same realm of immersive listens, I don’t think there is one album this year that can reach the same heights (both literally and figuratively) as Singularity. This album feels like the genesis of a brand new world, like the exploration of the unknown reaches past our galaxy. It’s an odyssey of sound, an insurmountable summit of synthesizers, strings, percussion and much, much more. The album opens with the title track, “Singularity,” which sets the stage for what the album is meant to accomplish. The winding synths and electric drum beats create an atmosphere similar to the cold and unforgiving nature of space. Seamlessly, the album bursts into the song “Emerald Rush,” which slows things down at first, allows the listener to breath and grab hold of their whereabouts. But this feeling of ease and calm is sliced by the thunderous and monolithic bass-heavy bursts at around the 1:33 mark. From there on out the song becomes a tribal experience. The drum beats creating an almost religious evocation, of a religion foreign to Earth. “Neon Pattern Drum,” continues this ethereal theme and the song is a sonic representation of its title. Once again, tribal synths and drums entrap the listener, banishing them to a realm of neon and galactic enterprise. Jon Hopkins has created something truly special with Singularity. Its atmosphere and reach are indescribable.

Genre: Ambient / tech house / IDM

Standouts: “Singularity,” “Emerald Rush,” “Neon Pattern Drum,” “Feel First Life,” “C O S M”

15. Julia Holter - Aviary

While JPEGMAFIA may have released the most experimental hip-hop album of 2018, I firmly believe that Julia Holter released the most experimental and dense album of 2018. Emphasis on “dense.” Let me repeat. This. Album. Is. Dense. Blending more genres than I can even think of, Aviary is layered and complex. Much like a tasting menu at a prestigious restaurant, Holter’s work demands patience and attention. But if you put in the time - for Pete’s sake this album is an hour and 30 minutes long - you will be rewarded. Holter crafts a universe of her own, and only she knows (or maybe doesn’t) how to traverse it, we are but left to helplessly follow in the hopes of finding our eventual way. And that’s what makes this album one of this year’s best. Julia doesn’t compromise here, and has the courage to craft an expansive and broad experience. In a year where succinct and short albums seemed to grab hold (e.g. Be the Cowboy), Aviary separates itself as a cacophonous cloud of grand and classical influences. Holter’s talents as a composer and multi-instrumentalist are present throughout the journey as well; she’s able to create a scape of her own, but one that reminds me of a futuristic world, one akin to that of the world of Blade Runner. The mixing draws up sour string arrangements and heavenly synths, her howling voice and earth-shattering basslines to great effect. She even sings in multiple languages, including: English, French and Latin. It’s mysterious. It’s frustrating. It’s painfully poetic. It’s a juggernaut of an album. But it is unapologetically beautiful in its own right.

Genre: Idk... to many (art pop / classical / avante garde)

Standouts: “I Shall Love 2,” “Colligere,” “Les Jeux to You,” “Words I Heard”

14. Big Red Machine - Big Red Machine

The works of Justin Vernon and Aaron Dessner are enough draw the attention of many indieheads. From Vernon’s ventures as Bon Iver and Volcano Choir, and Dessner being a member of the acclaimed rock outfit, The National, there are enough accolades between the two of them that any sort of joining of forces would result in a sure fire classic. And that’s exactly what Big Red Machine is, in the most un-classic way possible. Songs from the record have been floating around the Internet for some time now, with Vernon and Dessner playing some songs live at festivals like Eaux Claires. But it wasn’t until this year we formally received notice that a record would be surfacing. The self-titled debut is much more akin to the sound of 22, A Million or Sleep Well Beast. Fans of traditional National, or older Bon Iver, may be disappointed to find the album relies on synths and motherboards instead of solely guitars, drum and bass. But behind all of the bleeps and bloops are notes of the artists’ original sounds. “I Won’t Run From It,” sound like it could have appeared on Bon Iver, Bon Iver, and “Forest Green,” could have easily been on High Violet if Vernon’s vocals were traded in for Berninger’s. Big Red Machine is a leap forward for the two artists, and it marks a pivotal point in their careers, one should not miss out on this project.

Genre: Folktronica / indie rock

Standouts: “Forest Green,” “I Won’t Run From It,” “Hymnostic”

13. St. Vincent - MassEducation

A complete re-imagining of her own Masseduction, Anne Clark is always at the forefront of the music sphere. She’s an elite guitarist, a visionary songwriter, and a fashion icon on top of all that. To re-record, re-imagine, and re-produce your own album is already a bold task, but for Anne it must have just been a logical step forward for her. Where Masseduction was experimental, sour, and sharp-edged, full of futuristic progressions and dystopian engagements, MassEducation is not. It is slow, intimate, subdued and minimal. Featuring mainly piano and acoustic arrangements, Anne has created a beautifully classic sound.

Genre: Singer-songwriter / acoustic

Standouts: “Slow Disco,” “Smoking Section,” “Los Ageless,” “New York,” “Pills”

12. Ought - Room Inside the World

Montreal post-punk outfit, Ought, add to the post-punk front this year with Room Inside the World. An album that’s groovy and hypnotic, Ought have improved upon their works of past with this entry. Lead vocalist, Tim Darcy, has a unique voice that cuts through the colorful palette of guitars, keys, bass, and percussion. The record chugs along with a deliberate nonchalant vibe, up until the release during the album’s midway point in “Desire.” A strong contender for song of the year, “Desire” marks a pivotal point in the album. It takes the build up of the previous four tracks, and adds to it with its own two minute and forty second build up, crescendoing to a beautiful arrangement of Darcy’s own voice backed by an array of singers. Room Inside the World is a passionate piece, one that is even better when experienced live. A solid post-punk entry deserving of every listen.

Genre: Post-punk / art rock

Standouts: “Desire,” “Disgraced In America,” “Into the Sea,” “These 3 Things”

11. Against All Logic - 2012-2017

Nicolas Jaar’s debut project on the Other People label is a beautiful house record. Seriously, this album is a broad soundscape, utilizing horns, deep and guttural synth blares, percussive snaps, soul and R&B samples, and disco and funk flavors. The songs fade in and fade out beautifully, creating a sonic cityscape and sweaty, club atmosphere. Jaar opens with the stunning “This Old House Is All I Have,” a jammy and soulful house cut. Tracks like “Cityfade,” and “Some Kind of Game,” blend funk and disco seamlessly with the digital character of boiler room house. Where Hopkins uses Singularity to imagine a space-filled void, wrapping the listener in stars, comets and cosmic gas, Jaar opts for a more down-to-earth approach. Synthesizing an urban, concrete-jungle type of space, Jaar masterfully pulls the listener into the middle of New York streets, Berlin clubs, and French dance houses.

Genre: House / boiler room house

Standouts: “This Old House I Have,” “Cityfade,” “Rave on U,” “Some Kind of Game”

10. Father John Misty - God’s Favorite Customer

Father John Misty’s Pure Comedy (2017) was one of my favorite albums last year. No album so poignantly critiqued the state of affairs the country sees itself in, what the world sees itself in. No album so vividly expressed the frustration, sadness, hopelessness, and abandon that many of us - including myself - have felt since that fateful election of November 2016. But what strikes me so powerfully now, is the knowledge that J. Tillman wrote Pure Comedy well before the 2016 election cycle. Certainly, it was not difficult for anyone to picture the road we as a country were headed down, but for Tillman to so succinctly capture those emotions before we felt them, that is something truly special.

Gone were the intimate and personal ballads found on Fear Fun or I Love You, Honeybear. Pure Comedy opted for a more meta-analysis type of song structure, critiquing society as a whole and all the populations that inhabit it. It chose to express a different type of love, a love for mankind as a whole. It had a much broader array of instrumentation as well; strings, horns, orchestral units all culminated to form a cinematic, almost theatrical sound. These elements made for an expansive and full-breadthed listen. So when it was announced that Tillman would follow up this masterpiece of a project immediately in 2018 with God’s Favorite Customer, I was intrigued to see where he would take us.

Back are the familiar song structures and instrumental arrangements found in I Love You, Honeybear and Fear Fun, back is the personal and introspective songwriting. It is (in a sense) a return to form for Tillman, or rather, Father John Misty as a character. But now, there is a sense of discomfort and dismay in Misty’s voice and delivery. It is an exploration of turmoil and it is unfamiliar to us, since Misty often comes off as confident and saturated with cynicism. This darker road we’re led down opens us to the struggles of an artist trapped behind a character. While Tillman may not consider his moniker a trap all of the time, the lifestyle his art brings has certainly caused him his fair share of hardships. And it is this honesty that is so potent to me. A beautiful, beautiful addition to an already superb discography.

Many disregard Misty because of the veil he portrays so often. A veil of cynicism, pretentiousness and superiority. But what I think many fail to realize and account for is that the veil is just that: a veil. Any character or performance can run the well dry, but I believe Misty is only reaching his peak at this moment. What keeps me invested is knowing that behind that cynicism, Josh Tillman is a deeply caring, professional and upstanding artist. His continued philanthropy is a testament to this love. And perhaps that is why God’s Favorite Customer struck such a strong chord in me. Hearing that this man has faced some of his darkest times, and yet still finds the strength and courage to help others, it is inspiring. So while you are free to judge Father John Misty the character, I think Josh Tillman deserves more than a fair shake for having helped so many of us during such dark times.

Genre: Singer-songwriter / chamber pop / piano rock

Standouts: “Hangout at the Gallows,” “Mr. Tillman,” “Please Don’t Die,” “We’re Only People (And There’s Not Much Anyone Can Do About That)”

9. Mid-Air Thief - Crumbling

This album and artist are shrouded in mystery, as far as I can tell. There is not much I can find on Mid-Air Thief and his work that isn’t written in Korean. Regardless, one thing remains clear, Crumbling is perhaps the most gorgeously textured album I’ve ever heard. It mixes elements of folk, synth pop, glitch pop, and bedroom pop to create a warm and inviting sound unique to itself. At times the album sounds like something one would hear during a Studio Ghibli film, and at others it sounds like the soundtrack to a crisp autumn afternoon. Crumbling is bubbly, sincere and vulnerable. It sounds like looking through old photo albums, it sounds like walking through the park on a warm summer day, it sounds like sharing a meal with those you love. There’s no other projects I can really compare this album to for you, and ultimately I think that’s a good thing. You just have to listen to this one for yourself to truly understand what I am talking about.

Genre: Synth folk / synth pop / glitch folk

Standouts: I mean, the whole album... but “Why?” “Gameun Deut,” “Curve and Light,” and “Crumbling Together,” for sure.

8. Amen Dunes - Freedom

Much like hallucinating on psychedelics or living through a fever dream, Freedom is a euphoric and shimmery listen. The off-kilter structure of many songs, the groovy basslines and percussion, topped off by Damon McMahon’s sensual voice sends the listener into a trance. The album builds and builds, creating an ethereal sonic atmosphere, wrapping the listener like a ghostly blanket. It draws the listener in and traps them in a haze of memory, emotion and soul.

Genre: Psychedelic folk / folk rock

Standouts: “Blue Rose,” “Time,” “Miki Dora,” “Believe,” “Dracula,” “Freedom”

7. Parquet Courts - Wide Awake!

Politically-charged, funk-woven rock anthems are certainly not a dime a dozen. Smart, catchy post-punk cuts are not easy to execute, especially when trying to interject political themes and commentary on sociopolitical issues. But Parquet Courts, a Brooklyn-based indie rock collective, have certainly accomplished the seemingly impossible with Wide Awake! Providing perspective on violence, agency in the modern age, disparities in our modern economy. The lyrical focus on this album is superb, and there is a clear attention to the writing here. But the instrumentation is equally illustrative. Slick guitar riffs, funky bass lines, snappy percussion, and a myriad of effects keep the songs flowing with character. There’s also an amazing fusion of many genres. Funk, soul, garage rock, post-punk, and jangle pop can all be heard in some form or another on this record. No song sounds like its predecessor or successor, making Wide Awake! one of this year’s best.

Genre: Post-punk / indie rock

Standouts: “Violence,” “Mardi Gras Beads,” “Almost Had To Start A Fight/In and Out of Patience,” “Freebird II,” “Wide Awake,” “Tenderness”

6. Janelle Monae - Dirty Computer

Janelle Monae is an artist unlike any other. A musician, a model, an actor, a producer, and rapper, Monae’s talents and passions have combined to create unstoppable works. From her previous LPs, to her accolades for roles in films such as Moonlight, I was very much anticipating this latest release. It seems Monae is at her most adventurous right now, venturing out into modes and endeavors few other artists would dare explore. And she does so with such poise and strength on Dirty Computer. It is much more poppy and glossy than her previous works, but it is also conceptual and forward-thinking to a high degree. Exploring sexuality, love, individualism, and pride in all forms, the album is an exquisite listen. Songs like, “Screwed” and “Make Me Feel,” are overtly sexual, but backed by tangible passion and pride. Monae’s obvious inspiration from Prince is found on these songs as well, adding to the lust and mystery. The tracks “Django Jane,” and “Pynk” are infectious and inspiring anthems, preaching love for one’s self and hearkening to the struggles of being a minority in a tumultuous America. These are not the only songs with such impacts however. The entire project is a prideful piece of art, worthy of all the accolades it has received.

Genre: Contemporary R&B / synth funk / art pop

Standouts: “Screwed,” “Django Jane,” “Make Me Feel,” “Pynk,” “I Got The Juice,” “I Like That”

5. Mitski - Be The Cowboy

At her roots, Mitski is very much a punk icon. And what is more punk than the subversion of classic musical standards? Mitski opts for a much more brief and precise project with Be The Cowboy. At 14 songs and 32 minutes, it’s an album that sucks you in and spits you out in the matter of mere minutes. Songs average on the 2:30 length, leaving just enough to make you feel full but certainly not enough to leave you satisfied. And that intentional briefness is what kept me coming back to this album. The emotional climaxes that build are abruptly cut off, and I’m left feeling empty and yearning for more. The swells of love and loss keep you afloat for just a moment, only to drag you down and leave you gasping for breath. “Geyser,” opens the album, creating a sense of empowerment and vision. But I soon realized that Mitski is battling herself in this album. She is struggling to move on from the past, but more than certain that she has the power to do so. That’s what I think “Be the cowboy,” means. At least to a degree. That idea of capturing the symbolism and presence of the old gunslingers of the west. That idea of being strong willed and free flows throughout the project. Mitski is no longer apologizing for herself. She channels that energy of the cowboy and has created an album that speaks to the strength within us all.

Genre: Indie rock / art pop

Standouts: “Geyser,” “Old Friend,” “A Pearl,” “Lonesome Love,” “Me and My Husband,” “Nobody,” “Two Slow Dancers”

4. Lucy Dacus - Historian

Virginia native, Lucy Dacus, has had quite the year. From releasing her sophomore full length record, to joining forces with her contemporaries Phoebe Bridgers and Julien Baker, 2018 has proved to be a pivotal moment in the singer-songwriters career. And I couldn’t think of an artist more deserving of such success and praise. Dacus is so humble and soft spoken, it is a revelation when she belts out on tracks like “Night Shift.” Her presence on stage and on her latest album evoke such emotion and personality, making Historian one of my favorite albums of the decade. From a distance, many could label Dacus as your run-of-the-mill indie singer-songwriter. But from the moment the album kicks off, you realize this is something else entire. “Night Shift,” is a perfect example of Dacus’ mature writing and song structuring, with the songs building with emotion and boiling over after a certain point. Dacus’ soft voice becomes increasingly more powerful as songs go on, and fill the room with energy and emotion.

Delving into self love, loss and facing the inevitability of time, Dacus finds herself facing mortality and wisdom at the same time. There is a sense of growth on this album, especially when compared to her debut album. The crunchy guitar lines, the smooth drums and bass, emboldened by Dacus’ one of a kind voice hypnotize the listener. Songs vary in length beautifully as well. Dacus can easily write catchy singles like “Addictions,” but she is more than capable of (and perhaps better suited for) writing expansive and fluctuating ballads that creep towards the six, seven minute mark. Overall, there is a real comfort to this record, and an unparalleled presence that is sure to stand the test of time.

Genre: Indie rock / singer-songwriter

Standouts: “Night Shift,” “Addictions,” “The Shell,” “Nonbeliever,” “Yours & Mine,” “Timefighter,” “Next of Kin”

3. Haley Heynderickx - I Need To Start A Garden

Much like a garden, music is delicate and requires the utmost care to thrive and intrigue. If cared for properly though, the fruits of your labor will be bountiful. Portland-born singer-songwriter Haley Heynderickx understands this dilemma and explores its effects and roots on her debut album, I Need To Start A Garden.

Prior to her full-length debut, Heynderickx had released an EP in 2016 titled, Fish Eyes. The four song venture was bright with intimacy and care. It was like a collection of cacti and succulents, rough around the edges yet beautiful beyond compare. Featuring muted guitar tones, subtle ventures into nature and love, and not much else, the EP was a highlight for me in 2016. Haley’s voice is so pure and emotive, it’s evident her own stories are folded into the weaves of her music.

This is why I was so excited for her full length record this year. When the folk sphere has been dominated by acts such as Fleet Foxes, Bon Iver, and other giants for so long,it is refreshing to hear a new voice in the crowd.

I Need To Start A Garden opens with the somber, “No Face,” a song about self-reflection and self-doubt. And while accompanying tracks like “Show You a Body,” and “Worth It” carry heavy ethos and mystery, Haley isn’t afraid to mix in humor and on-the-nose self-deprecation. “The Bug Collector,” “Untitled God Song,” and “Oom Sha La La” mix up the pace and taste of the LP, trading subtle guitar lines for bright electric rhythms. Haley’s word play and writing talents are evident across the record, but I think these three tracks really display her knack for balancing her lyrics and her esteemed wordsmith-ing.

Much like a garden, music requires the maker to understand the mercurial nature of the process. It doesn’t just happen overnight. No artist better understands these frustrations than Haley. I Need To Start A Garden represents its namesake; its beauty hides behind a veil of minimalism, and its strengths are at times mistaken for faults. Haley’s folk roots give this album space and air to breath, and her ability to tell enchanting stories brings this album to life. If I Need To Start A Garden is any indication, Heynderickx will be back with perennial success.

Genre: Folk / singer-songwriter

Standouts: “No Face,” “The Bug Collector,” “Jo,” “Worth It,” “Untitled God Song,” “Oom Sha La La”

2. Boygenius - Boygenius EP

First and foremost, I understand that this collection of songs is technically an EP, not an LP. But I could not make a year-end list documenting all of the projects that I found transformative without including the Boygenius EP. Six intimate and simple songs, written and recorded in the span of a few weeks, including three of the most inspiring and talented individuals in music right now: Julien Baker, Phoebe Bridgers and Lucy Dacus. The sheer brilliance of this EP is in its simplicity, as well as its spontaneity and the comfort it so easily provides.

The joining of these three musicians and songwriters has been labeled as indie music’s next ‘supergroup,’ and it is difficult to refute such a label when their debut project and respective tour made such a lasting impact on my life, and I’m sure the lives of many others. When it was announced that Bridgers, Dacus and Baker were collaborating on a project together, I had no idea that the fruits of their labor would arrive within the year. But I am oh so glad it did. These artists are not unfamiliar to me, nor are they to each other. Bridgers and Baker have toured together in the past, and Lucy joined forces with Baker for some shows this year as well. However, I had no idea what any sort of project from these three would sound like, let alone how it would impact me.

Julien Baker, Phoebe Bridgers and Lucy Dacus all have such unique sounds and distinct approaches to music. Baker is often associated with minimalistic arrangements; her debut solo LP featured only her voice, a guitar, a looping rig, and a piano. While her arrangements have grown and been fleshed out a bit more on her sophomore release, her style is consistent. Focusing on emotional releases through the exploration of here darkest times, Baker builds her songs to cathartic releases. Dacus is similar, but often chooses to flesh out her storytelling a bit more, and opts for a fuller instrumentation (e.g. bass, drums, and a second guitar). Her songs drift and sway, hypnotizing the listener until her progressions ultimately erupt. Bridgers is perhaps the most varied in her sound. Using a baritone guitar, an acoustic, slide guitars, drums, bass and synths. Her debut album was a joy to listen to because it flipped conventional indie rock and indie folk on its head. It didn’t revolutionize the sound per se, but her songwriting and humor shine through like few other indie folk records do.

These elements from each artist come together beautifully on the EP. The way each artist is able to harmonize with each other, work off each other and build the others up is incredible. Some songs highlight a different artist in some way. “Me & My Dog,” is a ballad featuring Phoebe on lead vocals and guitar, “Stay Down,” is forwarded by Baker and “Bite The Hand” kicks the EP off with Lucy’s velvety and somber singing. But there are also cuts that serve as vehicles for the three artists’ talents to merge and blossom. “Souvenir,” and “Ketchum, ID” in particular include exquisite harmonies between the three artists and verses are traded back and forth among the singers. This sharing of material not only allows the listener to experience each artist individually, but in a way it is the sonic embodiment of what this EP is all about. It’s about sharing, loving yourself and each other, and not being afraid to find comfort in the shared anxieties that life throws at you.

Genre: Indie rock / indie folk / singer-songwriter

Standouts: The entire EP

1. IDLES - Joy as an Act of Resistance

I’ve discussed how volatile and fickle heavily-political projects can be in this day and age. It is easy for the project to drown itself in self-righteousness or to lose itself in its own tone deafness. Political narratives in music can also become jumbled and indigestible if done poorly. But this is not the case for Bristol punk outfit, IDLES, and their sophomore record here, Joy as an Act of Resistance.

Tackling UK-centric issues such as the Tory Party’s gaining grip on the nation as well as the recent Brexit controversies, Joy is very much rooted in the chaos and turmoil facing the UK today. However, the album’s messages can find relevance in the United States as well as a myriad of other countries. “Colossus,” the album’s opener, tackles toxic masculinity and its effects on the male mentality. “Never Fight A Man With A Perm,” continues this commentary with sour guitar licks and thunderous drums. Joe Talbot’s - the lead singer of IDLES - shout-like singing cuts through the mix to create a sense of urgency and resistance.

“I’m Scum” slows the record down a bit with rhythmic drums and subdued (for IDLES) instrumentation. It delves into the political and sociopolitical challenges that Britain is currently facing with its continued rise of the right wing party. Lines like, “I don’t care about the next James Bond. He kills for country, Queen and God. We don’t need another murderous toff,” and “This snowflake’s an avalanche,” deliver heavy social punches in such a vivid tone.

Joy’s political tone only continues to grow with “Danny Nedelko,” a ballad of sorts, praising immigrants and all the brilliance and love they bring to their newfound homes (where ever that may be). The song’s namesake is Talbot’s real-life best friend, Danny Nedelko, a Ukrainian immigrant to the United Kingdom. The track speaks on how every day immigrants bring immense value to their communities with lines like, “My blood brother is Malala. A Polish butcher, he’s Mo Farah.” Including the names of famous immigrants to the UK highlights just how one-sided and clouded many citizens’ views on immigrants are.

The album chugs along at breakneck pace, until “June,” the deeply emotional ode to Talbot’s daughter whose untimely passing proved to be a pivotal emotional moment in Talbot’s life. One that sprouted the genesis of this album, and one that will surely be held close for his entire lifetime.

Joy is a straightforward post-punk album with apt commentary that is applicable to any corner of the earth. But what makes this album my album of the year is its delivery of such commentary. Behind the chugging bass lines, the sharp and sour guitar lines, the pounding drums, and Talbot’s gruff voice is a message of love for one another. This juxtaposition only grows in effect with each repeated listen. From the outside looking in, it’s a rough-around-the-edges and jagged punk record. But once you peer deeper into the substance, it’s truly a representation of its title, a reaffirmation that joy is the simplest - and perhaps the most effective - form of resistance to those who work to spread hate and unrest.

Genre: Post-punk / art punk / hardcore punk

Standouts: “Colossus,” “Never Fight A Man With A Perm,” “Danny Nedelko,” “I’m Scum,” “June,” “Rottweiler,” “Television”

#aoty list #aoty #music review #music journalism #idles #father john misty #boygenius #phoebe bridgers #julien baker #mitski

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andrewrosswatson1987 · 5 years

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REVISIT: RADIOHEAD DEBUTED WITH THE PABLO HONEY ALBUM THIS DAY IN 1993

Radiohead released their first album, Pablo Honey, which first came out today (February 22) in 1993, released via labels, Parlophone/Capitol. In late 1991, after a chance meeting between bassist, Colin Greenwood, and EMI A&R representative, Keith Wozencroft, at Colin's work, On A Friday signed a six-album recording contract with EMI. At the label's behest, the band changed their name to Radiohead. This was taken from the song, “Radio Head”, on True Stories (1986) by Talking Heads. Fast forward to the Radiohead guys releasing their debut EP next year in 1992. Three of the four songs, “Prove Yourself”, “You” and “Thinking About You”, on Drill made their way as reworked versions onto their debut album, Pablo Honey. The latter, of course, synonymous with 1992 debut single, “Creep”. Even then, it wasn’t a commercial success until rereleased the following year, in 1993. It incorporates “The Air That I Breathe” (1972), by The Hollies, with members, Albert Hammond and Mike Hazlewood, credited accordingly. In later years, the band got fed up with the song and eschewed performing it live for some time. Rumour states that lead guitarist and keyboardist, Jonny Greenwood (elder brother is Colin Greenwood), and his famous guitar crunches in the chorus were supposedly an attempt to ruin the song, as he did not like it. Producer, Paul Kolderie, also stated that, “Jonny played the piano at the end of the song and it was gorgeous”. The piano was mixed in at the wrong time, the band decided to keep the take regardless. “Creep” had been played frequently on Israeli radio by influential DJ, Yoav Kutner, and, after the song became a hit in Isreal, Radiohead were invited to Tel Aviv for their first gig overseas. San Francisco alternative radio station, KITS, added “Creep” to its playlist, along with other West Coast stations of the United States. By the time of their first North American tour in June 1993, the music video for “Creep” was heavily rotated on MTV. The album's title comes from a prank call skit by American comedy act, The Jerky Boys, in which the prank caller says to his victim, “Pablo, honey? Please come to Florida!” Singles for this album were “Creep”, “Anyone Can Play Guitar” and “Stop Whispering”. Listeners really get a sense of their sound in “You”. This chimes in with melancholy, then driving guitar strides with purpose. Awesome. It then broods with sparse guitar with striving bass and moody drum. Clattering chords threaten the relative peace. “It’s like the world is gonna end so soon” capturing this tumultuous feeling; knowing you’re neither here nor there, kind of thing. The guitar chords crunch, fighting with the more delicate, dainty playing. “Creep” is simply sadness and the atmosphere of that sadness. “You float like a feather, in a beautiful world” befitting of such instrumentation. Then chord cuts swathes through this dwelling in one’s own sadness. “I want you to notice when I’m not around” like a self-destructive tendency if you don’t catch her eye, in some way. Lead vocalist and main songwriter, Thom Yorke, really wails in a kind of musical way, a beautiful cry for attention. “I don’t belong here” the closing realisation. “How Do You?” has an almost bratty punk feel to it; but quite likeable and charming, too. The guitar melody gives it a musicality, almost to polish it up a bit. It then ends in disgrace, piano defiled. The librarian gets pedantic in “Stop Whispering”. This sounds as it should, pensive in seeming deep thought. “There’s nothing to say, and there’s nothing to do” at odds with the persistence of the drums, ticking like the sands of time. Like someone clockwatching you. Halfway and layers build as thought processes seemingly complicate. Earnest guitar exploratory like coming upon new ground. At least in the mind, anyway. The escape of imagination? Things get frenetic, like these thoughts gathering pace, racing thoughts. Guitar barely pausing for breath, ending in punky shambles. “Thinking About You” is immediate yet acoustic. The vocals pleasant and clean. “Been thinking about you, and there’s no rest” like pouring over someone’s minutiae. “I’ve been thinking about you, so how can you sleep?/These people aren’t your friends, they’re paid to kiss your feet” another example of thinking about you and declaring he knows you best. It ends almost as quickly as it began. The punk aesthetic of “Anyone Can Play Guitar” has noodling that definitely showcases that anyone can play guitar. The song proper is a bit dumb of guitar, too, but with quite a sophisticated bassline underlying all. The chorus is surprisingly rousing, given what precedes. “I wanna, wanna be Jim Morrison” like having musical ambition, wanting fortune and fame, but kind of outstripping your abilities. Hence the song title, you could say. “Ripcord” veers from quiet pondering and triumphant volume, quite quickly and expertly. Halfway is some searing guitar, nothing on a technical level but full of power and intensity. It’s a ripping piece of rock music, immediate yet memorable. “Vegetable” is deceptive, the calm laid to waste with satisfying electric guitar. The solo’s as much emotive as it’s primal and incorrect. You’re urged to “Prove Yourself”, which’s wistful with, “Can’t afford to breathe in this town” like a real inferiority complex. The thick guitar slides ebullient, a real joy despite all that besets. Hammering drum and thoughtful bass gives way to Yorke with guitar at the top of his voice. The downbeat in places “I Can’t” is quite anthemic, the perfect mix of dynamics ranging from introspective and quiet to extroverted and with much verve. “Even though I might, even though I try I can't” is then followed by bass laying the framework for introverted to extroverted. “Lurgee” has a down in the dumps feel, “I feel better, now you’re gone”. This, perhaps, some sort of comfort in sadness. Certainly the instrumentation doesn’t seem as thankful as Yorke does in said lyric. Maybe the wounds take time to heal, and he won’t truly be thankful until it all sinks in. The album closes in a melodramatic respect in “Blow Out”. This one’s quite atmospheric, a romantic kind of lilt to it. This gives way to a wall of guitar chord that just washes over you. “Everything I touch, turns to stone” is greeted with relative silence, then a cacophony of guitar hitting in sync with drum offers drama, a loud kind of grandeur. This races like a heart thumping almost out the chest. It comes to a screeching end, buzz saw guitar ringing out into the ethereal. All the tracks on Pablo Honey worthy highlights are “You”, “Creep”, “Anyone Can Play Guitar”, “Ripcord”, “Vegetable”, “Prove Yourself”, “I Can’t”, “Lurgee” and “Blow Out”. Personally, the fact this is three quarters of the twelve track total is something special. Furthermore, this is far from the most highly regarded album they’ve done so the fact this’s a classic speaks volumes of their subsequent material. Radiohead, at this point, had really not messed about with this, their debut album. Yes, the success this album brought was a protracted process but they hardly needed subsequent releases to get the formula right. Next, 1995’s The Bends, was arguably better but the fact this’s a classic’s no mean feat. Nine brilliant tracks out of a twelve total isn’t much to rail against. Radiohead’s Pablo Honey can be bought on iTunes, here.

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junker-town · 4 years

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Super Bowl commercials, ranked

Screenshot: Cheetos

You’ll cry, you’ll laugh, you’ll yawn.

The Super Bowl is here, which means we have the most-watched TV program of the year. With all those viewers comes an exorbitant advertising cost, up to a record $5.6 million for a 30-second ad.

Spending all that money brings with it a ton of eyeballs, and brands try to make it worth it with their most ambitious spots. This year’s Super Bowl commercials run the gamut, from tear-jerkingly sweet to face-punchingly infuriating. Here’s a look at the most memorable — good, bad, and in between.

The home runs, best of the best

Loretta (Google)

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Several of the commercials on Super Bowl Sunday have an A-list cast, with our most recognized stars trying to get us to buy something. But sometimes, the most simple approach can be beautiful.

I first saw this commercial as a pre-roll ad before a different YouTube video. It was so beautifully haunting that I couldn’t bring myself to click “skip ad” once the obligatory five seconds lapsed. Each piano key strike was foreboding, but I couldn’t click away from this poor old man, simultaneously attempting to fend off memory loss and trying to remember his dead wife. A valiant fight against the ravages of time but one we are all destined to lose.

Because I use humor — or “humor” if you prefer — to cope while processing actual human emotion, the main thing going through my mind as tears streamed down my face was that Google should have titled this commercial “Get Back Loretta,” but probably didn’t want to pay exorbitant license fees for Beatles music.

The very Good Dog (WeatherTech)

This ad is tearjerking in a different, more uplifting way. This is a commercial for WeatherTech, but not really about their company at all. WeatherTech CEO David MacNeil used his 30-second spot to thank the University of Wisconsin School of Veterinary Medicine for saving his dog Scout, who suffered from cancer of the blood cell walls. The commercial promotes a WeatherTech website for donations to help the school, and if that isn’t uplifting enough just look at this sweet, beautiful dog:

Photo: WeatherTech on YouTube

Groundhog Day (Jeep)

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It just feels good to see Phil Connors and Ned Ryerson again, and both look 27 years older. There was no The Irishman-style CGI de-aging here. The added weight of all those years make the dread on Connors’ (Bill Murray’s) face that much more real, when he wakes up at the beginning of the commercial. But his day becomes less hellish once he spots a new Jeep, then proceeds to steal along with Punxsutawney Phil for a joy ride.

This is only the second Super Bowl to fall on February 2, so perfect timing to resurrect the classic film. The other Groundhog Day Super Bowl was in 2014, when a defense with Richard Sherman obliterated one of the most dynamic offenses the NFL has ever seen. Hmmm.

Getting the message across

Katie Sowers (Microsoft)

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This is a longer version of an ad that has been running throughout the NFL playoffs, expanded for the Super Bowl — a national introduction to Katie Sowers, the offensive assistant coach for the 49ers, and her road to coaching. Sowers is the first female coach and the first openly gay coach in Super Bowl history.

“People tell me that people aren’t ready to have a woman lead, but these guys have been learning from women their whole lives. Moms, grandmas, teachers. We have all these assumptions about what women do, and what men do,” Sowers says. “I’m not trying to be the best female coach. I’m trying to be the best coach.”

The message is as clear as it is inspirational. Solid work all around.

The Secret Kicker

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This features an anonymous placekicker nailing a field goal, but once the helmet comes off to reveal it was Carli Lloyd (joined in the commercial by her USWNT teammate Crystal Dunn), the crowd is at first shocked, then applauds her successful kick. The slogan “Let’s kick inequality” is strong, and it dawned on me — of all the commercials, this has maybe the best chance of coming true. Lloyd clearly has the leg, nailing a 55-yarder during an Eagles' practice in the 2019 preseason. It’s not that farfetched that a soccer star could eventually make it in the NFL. Or maybe once Lloyd is done with soccer she can shift to basketball instead.

Make Space for Women (Olay)

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This has the best tagline from any of these commercials — “When we make space for women, we make space for everyone” — and the ad features a real astronaut (Nicole Stott) among the all-female cast. The empowering commercial also touts a #MakeSpaceForWomen hashtag, with Olay donating up to $500,000 to Girls Who Code.

Bizarre, but good

Rick & Morty (Pringles)

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I love the manic energy here. Though this is an ad for Pringles, it might as well be a commercial for "Rick & Morty." If the show is anything close to this chaotic, I’m in.

An SNL skit, but funnier

Sam Elliott reciting "Old Town Road" (Doritos)

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The regular commercial was fine, featuring a dance-off between Lil Nas X and Sam Elliott, plus haunting mustache CGI work. But for me, the better ad is the one above.

Hearing Sam Elliott read the phone book would be a treat, but hearing him act out lyrics to Old Town Road by Lil Nas X is a delight. The way the others in the bar react to Elliott’s character makes it clear he’s a man to be respected. I can’t help but wonder if this is simply world building, creating a backstory to the character of Wade Garrett so we can finally get that Road House prequel we’ve been clamoring for for decades.

Smaht Pahk (Hyundai)

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In theory, this ad should not work as well as it does. The three lead actors — Chris Evans, Rachel Dratch, and John Krasinski — are all from the area, so it adds some authenticity to their exaggerated Boston accents. The commitment to the bit is very strong (I counted 15 times the word park — or rather “pahk” — was used), and that’s what sells it for me. The only better use for a Boston accent in a commercial would have been if Chipotle bought time to apologize for child labah violations.

Plus, this kind of car commercial is a welcome reprieve from the usual type we get during football season, with folks buying giant-bow-adorned cars for their spouse.

Can’t Touch This (Cheetos popcorn)

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You had me at M.C. Hammer. That could have been the entire commercial — it basically was, with the main character getting out of various tasks because of the orange Cheetos dust on his fingers — and I would have been fine. But what sold it for me was after the trust fall, the poor guy who fell to the ground, not caught by the orange-fingered culprit, expertly delivers, “Why?” I don’t know why it made me laugh, but it did.

I can’t unsee this

The Shining remake (Mountain Dew Zero Sugar)

Had Bryan Cranston retired after Malcom in the Middle he still would have been revered for playing one of the most memorable and hilarious television dads in history. But Breaking Bad will lead his obituary, and for good reason. Cranston is a wonderfully gifted actor, and his channeling Jack Nicholson in a remake of The Shining for this commercial — the slogan is “as good as the original, maybe better?” — is quite good. But I will not be able to shake this image out of my head for some time:

Screenshot: Mountain Dew on YouTube

The Doppelgänger

This isn’t a commercial at all, but rather a tweeted tease from Honda before the game. I couldn’t help but notice the Helpful Honda guy looks a hell of a lot like Brutus.

Photo: Honda on Twitter

Photo by Justin Casterline/Getty Images

Snoozefest

Typical Americans (Budweiser)

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I appreciate the sarcastic irony of the ad, using footage of good deeds and various accomplishments, with bonus points for using USWNT Instagram stories from the post-World Cup celebration (but they should have found a way to work in “You’re welcome for this content, bitch!”). But still, this commercial falls flat. It’s probably the best of the boring subgroup here for at least having the decency to avoid jamming some shitty Lee Greenwood song into our ears.

Sonic the Hedgehog

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This is a combination commercial and trailer for the upcoming "Sonic" movie, but is probably the most sports-relevant of the ads so far. Michael Thomas of the Saints, Christian McCaffrey of the Panthers, Olympic sprinter Allyson Felix, and NASCAR driver Kyle Busch are known for speed in their respective sports, but all sing the praises of the movie's main character, Sonic the Hedgehog. The inclusion of said athletes does nothing to save this commercial from being boring, however.

By the way, I hope there eventually is a sequel to this "Sonic" movie, just so it can have the tagline “The Sega Continues.”

Jimmy Works It Out (Michelob Ultra)

youtube

There are a ton of people who find Jimmy Fallon funny, so this is probably fine for them. This has everything a Super Bowl commercial is supposed to have: elaborate production, cameos from athletes and stars. But I can’t shake the fact that Jimmy Fallon tries too hard; the payoff just isn’t there for me. Maybe I still see him as the guy who laughed through every "SNL" sketch he was ever in.

Ostensibly this is an ad for Michelob Ultra, but it might as well be vanilla beer to match the bland Fallon.

Please, God, go away

Gabe Gabriel is my mortal enemy. He is unavoidable on Super Bowl Sunday, so stay safe out there everybody.

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the-green-haired-fellow · 7 years

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Jerome X reader Oh no

I held the pregnancy shakily in my hand alone in the abandoned apartment building we were pushed into by the most recent cop invasion. Leaving us stuck in the very very very very very bad part of Gotham. It was positive. I hadn’t had my period in almost three months now which sounds ridiculous but I dismissed it as the side effects of not eating, there was never any food here. I shivered looking out the nonexistent windows letting in sharp hot sunbeams. He was going to kill me he hated children with a sickening passion. He couldn’t even handle the baby that was crying when he took me (In disguise) to the ice cream parlor for my birthday. He stuck a gun to the mothers head saying with a peachy smile. “I wonder what baby brain ice cream would taste like hmm?” The mother began to scream and we had to run out of there before the cops showed up.

I walked around the floor we lived on along with his many Followers/ servants? I didn’t know what they were. The floor was covered in sleeping bags, bottles and soiled clothes. I bit my finger nail, smiling, thinking of all the times Jerome and I had gotten a little to into each other and Jerome would drag me into a separate room hissing at the other guys “If anyone looks they die” that had an old dusty mattress in the center of the floor. Images of our nights together sent my head into a whirl. The feeling the rush of his pale skin against mine, his rough breathing while he stared protectively into my eyes holding me tightly until we both... exploded. I shook the thoughts away reminding those were the nights that got me into the trouble I am now. I sat down on the beaten floor going through my options. I could tell him and based on his reaction either stay with him and raise the little brat or bail if he has a negative reaction to the news.. which could end up me being dead. I rubbed my little bump of a tummy gulping like the did in the cartoons. I would want my little to at least have a chance in the world. Should I just disappear?

I scrunched my eyebrows knowing he would find my regardless of how far I ran. Also it would be a bummer growing up without a father, at least that’s how my experience of being a bastard felt. Knowing my decision I headed to the opening in the wall that led to the stairs which would take me to the basement where Jerome was lurking. With the pregnancy test tight in my hand I made my way down the stairs. The stairs were cold and damp with bits of broken glass I dodged carefully not wanting to catch the diseases many of these men were carrying. Not Jerome of course he was clean. I blushed again thinking of him smiling his all american but still kind of creepy smile while he draped his arm around my shoulder watching his latest plan of chaos unfold. I hoped this didn’t affect little times like that.

The basement was completely silent when I came down the stairs. All the men had their hands up besides the ones with machine as well as shotguns in their hands Jerome was at the front of all of them with a unfamiliar looking cop in a choke hold, his pistol pressed up against her head. “Jerome let the officer down.” Jim said over the loud speaker. “Or what Jimbo? Are you going to open fire? Noo Hmm let’s see here...”Jerome pretended to think of all the options the cops didn’t have. “Oh that’s right. You’re sitting ducks! What can you do!?” He began laughing even though what he said wasn’t as brilliant as some of his other stuff. I laughed at how cute he was with his wild red hair, beaming green eyes. He was so charming when the police and him were at a stand-off. I twirled the pregnancy test in my hand until suddenly I was pulled away from the group by a strong pair of arms. I screamed at the top of my lungs feeling the familiar chest plate of the GPD’s swat team “Let go of me you pig!” I was taken into a dark room of some sort then when the light reconnected with my eyes I was on the cops side of the stand-off. “ Oh her? take her Jimbo I’m through with her” Jerome said weakly as if it was a poorly executed joke while he craned his head like he didn’t believe what he saw. “You bastard!” I cried at him beginning thrashing up against the police officers until I broke free of his grasp. My body hit the ground and I began to scramble getting up to my feet I tried to make my way to Jerome.

His face was horrified for a reason I couldn’t fathom until I felt myself hit the ground again feeling warm electricity pulse through my body. I tensed up a blood curdling scream until a police officer killed the charge and took out the metal prongs out of my back. A pair of gloved hands carried me back until I was stood up a cop on each side of me. Everything in my body felt shattered, I couldn’t speak of fight all I could do was lay there limply hearing the poisonious words Jerome said. Jerome’s face curled into a snarl as he took out his pocket knife “Drop the knife!” Harvey yelled. As if given permission Jerome slit the offiers throat then holding it to prevent her form bleeding out. All the police officers readied their weapons waiting, hoping for the que so they could blow my angel away. Jerome shook his finger at them smiling furiously at them. “Oh she’s not dead yet ladies and gentlemen.” He suddenly turned to the men behind him yelling. “Bring out the rest my good men!” Out of the darkness three of Jerome’s men brought out three more cops. Jim cussed glaring back at me seeing the pregnancy test still in my hand, he tapped Harvey’s shoulder most likely sharing the news. “Now boys like me!” Jerome said snapping Jim’s attention away. Jerome displayed how the slit the officers throat. The men did so. The officers choked moaning loudly. “Now hold it right by the jugular wouldn’t want these good whole hearted men to die... yet.” He laughed looking directly into my eyes. His face softened which Harvey noticed.

“Harvey don’t” Jim said in an attempt to stop him The big man waltzed over to me ripping both my arms out of the cops hands. “Hey Jerome!” He yelled dragging my a crossed the ground. “See this? You’re going to be a father” He yanked the pregnancy test and waved it through the air then took out his stun gun and jammed it into my stomach. I screamed “No please stop!”. Jerome froze in a vulnerable but was able to mask it when Harvey stopped him little show “My little friend here can stop that.” I dropped to the ground curling up in a ball. “congratulations Harv. Boys give this expecting father a clap.” They all did laughing at the situation not seeing Jerome’s hateful glare. Amoungst the applause Jerome began to stab the officer in the throat over and over again until she flopped down into a puddle of her own blood. “What are you going to name it Harv?”

Jerome casually walked over the the next officer relieving the thug of his duty stabbing the officer in the throat until he fell just as the female police officer did. Jim stepped forward next to Harvey a pained look on his face. “Harvey that’s enough” He growled “Two cops are dead because of you little skit.” Harvey nodded stepped back distraught. “Jerome” Jim addressed him kneeling down besides me gently touching my shoulder. I shook in pain like a pathetic rat dog under his touch. “Are you okay y/n? he asked. I nodded yes “You need to go to the hospital. The shock from the stun gun may have caused serious damage to the baby.” Jerome cleared him throat getting Jim’s attention. “Not on my watch Jimbo” he smiled “Here’s the deal, oh holy one. You give me...” he looked at me concerned but quickly hanged his face when he looked at Jim. “Her and I will give you your precious little boy here” Jerome grabbed the police officers cheeks getting blood on his hands. He wiped it on the dusty ground below waiting or Jim to answer. Jim’s eyes wandered around the clear blue sky for awhile until he turned walking back to the squad car to discuss his options leaving me a pile of pain on the ground. Jerome knowing the police officers attention was averted ushered me to crawl over to him, his face strained with stress. My vision was blurry as I looked him over trying to find the strength to get up in his features I didn’t find it there I found it in thinking of my little’s life it would be born in a hospital then quickly afterwards I would be taken back to Arkham while m little was bounced from home to home. Slowly I made my way unsteadily to my feet creeping towards Jerome. “Hey somebody stop her!” my body froze at Harvey’s voice. My eyes looked to Jerome who was not tin the same spot as before but in front of me pulling me back behind the bleeding police officer.”Jerome?” I said gazing up at his smiling face like it was the first time we had ever met. I thought of that moment as his voice echoed in the background “All right boys kill him and let’s scoot!”

We had met in Arkham when I was first admitted for murdering my alcoholic father. Barbara who had a cell right next to mine took it upon herself to give me a tour of the hospitals facilities, even though at the time we were only allowed to go to the rec. room. One the door was unlocked by the guard she skipped in smiling “Hello all this is my new best friend Y/N isn’t she cute?” She grabbed my hand and led me to the long white table at the back of the room, all eyes were on me at this point making me feel like a caged animal seated at the table she led me to was a fat man with frizzy hair, a skinny nervous looking fellow, a ravishing red head who peered at me never breaking his star and a man I would later know as “Greenwood” who grumbled in his seat. “Oh yes she is” he licked his lips at me. I scowled at him looking back at Barbara who was talking to the ginger. His green eyes were locked on me as she spoke. Interrupting her he spoke “What’s your friends name again?” Barbara looked offended but carried on “Her name is Y/N?’ Jerome smiled sticking out his hand. “I’m Jerome the only man here worth your time” He got up snaking to my side. “Why you here sugar lips?” Softly I touched my finger to my bottom lip wondering if I has something on my face, I didn’t. He smiled seeming to be excited by my actions. “I killed my dad.” I said softly He cradled his head in my right hand raising his eyebrows. “Just your dad?” I nodded “Why?” he said suddenly scooting up so close to me. My breathing quickened becoming nervous at his intensity. II think someone noticed this saying ‘Jerome cut it out’ but I was absorbed in his green eyes causing the grey dull room and all of it’s noise to fade away. “I-I he was a drunk’ I said feeling the release of saying the words that had caused me so much dismay. “And the town bicycle. He loved all women and their sexual assets.. Including me.. he was foul.” My heart quickened as my face blushed with anger. Jerome looked at me, his face softened. Leaning forward he kissed my forehead saying. “Stick with me and nothing bad will happen to you again.” My eyes looked in his eyes, they were wild with some unidentifiable emotion my body moved itself forward placing my lips on his. I could feel him breathe in deeply with.. shock? His heart quickening with every movement..

Now I’m pregnant with his child being carried through dark tunnels until we would reach the other side of the building were multiple stolen cars were parked to take us to the back-up hide-out. A mansion of one of the henchman’s grandparents he so thoughtfully slaughtered. Jerome was laughing hysterically in between words. My mind was foggy crossing between sleep and dream. I saw the sight as we entered through the doors feeling the hot city air hit my face. Jerome set me down on one of the cars looking into my face kissing me suddenly like we hadn’t seen each other in years. His hands dragged themselves through my hair feeling as much as he could before pulling away. “What a trip” he said sadly looking down at my stomach “ I just found out today” I said quickly hoping he wasn’t going to kill me. He nodded slowly looking out at the men that were loading up weapon and such into the vehicles. He cleared his throat “It’s okay” he said uncomfortably then lifted me setting me down in the passengers seat of the car I had been sitting on. He lingered hovering over me in the car kissing my lips. For a minute we sat like that barely moving until he pulled away shutting the door. “Let’s get this show on the road!” He yelled cheerfully to the other guys. I watched him as he said this looking taking in his handsome qualities but quickly away when he opened the driver door. He hopped in smiling widely at me his eyes lit with new life. “Let’s go baby” I smiled back.

Thanks for reading all more to come! Same Bat-Time Same Bat-Channel!

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