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shemakesmusic-uk · 4 years ago

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This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to [email protected]. We look forward to hearing from you!

Adi Shaham

Adi Shaham is a musician and producer based in Tel Aviv. Adi creates danceable electro-pop protest music. In her songs she finds sophisticated ways to mainstream subversive observations about gender and power structures. Two years after her successful debut album Army of Witches, she’s releasing her second album Last on the Shore. With a more accessible, poppier sound, and an electronic, techno touch, the album delves into our complex relationship with money in a capitalist and ultra-competitive society. The album is self-produced by Shaham and was created, recorded and mixed at Penguin Studios TLV, owned and operated by Shaham and Yuval Rozin who mixed the album and also plays on all of the tracks. Shaham wrote the album over a period of two years, during which she attempted to live as a financially independent musician, without relying on her family or partner, in an insatiable, achievement obsessed city. Alongside this, Shaham further developed as a musical producer and began producing records for other musicians such as Tal Oren and Roy Zemach. Her production style is inspired by the electro pop style of artists like St. Vincent, Robyn, Susanne Sundfur and The Knife. The final result is a sexy, pointed album, full of catchy, danceable anthems with a lot to say. Latest cut ‘Visit to the Zoo’ was written to overcome heartbreak after ghosting. “I wrote the song after a guy I was dating disappeared on me,” says Adi. “In retrospect I realized the signs were there all along: he didn't want to meet in crowded places, bragged to his friends that he was dating the "Florentin musician" as if I was an exotic bird, and each meeting was rescheduled three times before it happened. It made me realize in relationships we sometimes use each other to fill a space, rather than treat each other like a whole person.” Listen below.

Stephanie Rezendes

Stephanie Rezendes is a 15 year old artist from Boston, MA. She writes and plays piano and records everything from her childhood bedroom. ‘Stranger in the Shelter’ is the first song on her 6 song EP that comes out April 16. “This is a song I wrote about myself when i was feeling sad,” Stephanie explains. “At the time i was listening to a lot of Phoebe Bridgers, so the whole vibe that goes along with this is inspired by her. I’ve never musically written a song like this, so I’m proud of the sound it has. I think this song sort of demonstrates where i am right now, and where I was creating this project. I wanted to add to that and explain why i didn’t want my songs to sound “professionally produced” on this EP. I feel like the way I wrote these songs are the way they’re meant to be heard. Its messy and raw but that’s kind of the point. I feel like it’s more personal to me and to everyone else listening that way.” Listen below.

Stephanie Rezendes · Stranger in the Shelter

Stefanie Parnell

Born and raised in Montreal, Quebec, Stefanie Parnell is an insightful, refined and melodically driven Canadian singer-songwriter. Parnell sings from a place where her deep-seated anxieties lie beneath the surface as she expresses her heartfelt experiences. Her music will leave you feeling comforted by the dissonant chords and melancholic lyrics. Have you ever felt like a nomad, a wandering soul in search of something you can’t quite identify? The new song she is sharing ‘If I Leave’, explores the feeling that something is missing despite being in a good situation. The lack of security can leave you constantly searching in life. "’If I Leave’ came to me when thinking back on my first serious relationship,” explains Stefanie. “After it ended, I was not ready to deal with any unresolved feelings until I sat down to write this song. Writing ‘If I Leave’ brought me the closure I needed. Although I loved the person I was with, I knew that, for whatever reason, what we were doing was not right for me. This song encompasses the raw emotion I was feeling at the time, but I am surprised to see its meaning evolve over the years. It grew from how I felt in one particular relationship to the realization of a common theme in all my relationships. Because of this, I have grown to fall in love with it again and again. ‘If I Leave’ goes out to anyone who is looking for comfort but also for those who are looking to get lost.” Listen below.

Stefanie Parnell · If I Leave

Ciara Watt

With her melodic, acoustic folk-pop, Scottish singer-songwriter Ciara Watt has combined her love of storytelling and rhyme with her talent for writing melodies and songs. At only nineteen years old, Ciara has supported bands such as The Snuts as part of their 2019 tour and has written countless songs to soundtrack her story so far. Over the last year, while continuing to study her degree in English Literature, Ciara has been busy writing and while locked down composed her latest single ‘Alone in the Dark’ which expresses how it can feel to never fit in anywhere except in your own head. She creates a visual landscape of her escapisms from the mundane which help to distract her from the unpleasant and uncomfortable situation she describes. With catchy, quirky and clever lyrics and folk-pop melodies, Ciara transports us to our own places of comfort when we are ‘Alone in the Dark’. Listen below.

Bad Bloom

New York-based rising duo Bad Bloom continues to make strides with the release of their new EP Leave.The fuzzy, ethereal collection of songs is released after the band’s strong debut in 2019, bringing a fresh spirit to the shoegaze/post punk/indie rock genre. The overall tone of the EP reflects the idea of escapism. “It’s been difficult to break away from the monotony of life, and with this album, we explore a world where we can abandon responsibility,” shares Kate Rogers. “It’s such anemotional balance knowing that the real world is where we should stay...but we wanted our listener to get lost in their own mind and explore a sense of wonder through the music.” In the summer of 2020, the tracks were recorded both in Brooklyn, NY and remotely in Rochester, NY during the lock-down. Spending three days in-studio and completing the tune via remote sessions, producer Michael Abiuso (Behind the Curtains Media) worked with Bad Bloom to create their second EP. Dreamy and emotional, stand out track 'Paperwork' reflects a moment when passion turns to anger...and then fades into apathy. It feels like a gentle rage, a fury, that can only be expressed with layers of noise and sound to drown everything out. I think we've all been there at some point in our lives - where it is hard to express how you feel and immersing yourself in turbulence....whatever that may be....is the only way out. Listen below.

#submission saturday #adi shaham #stephanie rezendes #stefanie parnell #ciara watt #bad bloom

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annnoel · 5 years ago

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Previous part: Wraiths CONTENT WARNING: This story contains murder, decapitation, alcohol and heavy language. Read at your own risk.

Muddy footprints were left in Rhippos wake as he stumbled into a small village, rain bathing the place in a thick mist. Despite the rain some were still wandering about the square, some getting supplies to help them weather the storm until it let up. Rhippo had no care for supplies or a place to stay, he just wanted to drown his sorrows and forget his friend. He stumbled onto a building and placed his hand against the wall, somewhat losing his grip from his rain soaked hands. Regaining his grip he leaned his back against the wall and fell to the floor, taking a swig from a wine bottled he had been carrying with him. Footsteps could be heard coming near him, eventually stopping beside him. "My, you're soaked head to toe! What happened to you?" Rhippo glanced to the side and saw a xweetok holding a lace umbrella leaning down to get a better look at him. Her body fur was a lilac purple while her hair and mane shimmered a dark violet, her eyes a vibrant pink that almost seemed to glow in the shadows. She wore a black dress with purple floral patters coming up from the bottom as if it was winding across her dress. Rhippo paid no mind to her and let out a heavy huff before turning away from her. "Are you doing alright? Do you need any sort of help with shelter or such?" She asked as she leaned down closer to Rhippo. "Go fuck yourself, I don't need any help." Rhippo let out before taking another swig from his wine bottle. "By Gods, such language! You shouldn't talk to someone who offered you help in such a way!" She stood herself back up and placed her hand on her breast, letting out a scoff. "I can talk to you however the fuck I want, like I give two shits about what people think about me." Rhippo peered into the bottle before tilting it, a single drop falling from the brim into his lap. Rhippo flung the bottle to the side, the sound of glass clanging as it ran over rocks and dirt. The xweetok furrowed her brow and pursed her lips, contemplating on how she could get him to talk about his situation. "Sounds like someone you knew betrayed your trust in a way." She said softly as she scratched at her face, implying how Rhippo had gotten the scar across his face. "Nobody betrayed my trust, I betrayed someone elses trust thanks to my desperation. I tried to help her, and now she wants nothing to do with me." Rhippo let our a heavy sigh before dropping his head into his legs. "How did you betray her trust?" Rhippo clenched his fists onto his knees and slowly raised his head up, glaring back at the xweetok. "You of all people should know why." Rhippo hissed. "I beg your pardon?" She asked as she backed up, clenching her umbrellas handle. "I know it's you wraith, your act is as unpolished as your looks." In a flash all her clothes fell to the floor, the umbrella splashing onto some wet rocks. The black mass manifested next to Rhippo, turning into the xweetok he met before. She held her face in her hands, the lower half of her legs raised in the air crossed. "Guess I'm a bit of an open book now aren't I?" Rhippo snarled at her. "What the fuck do you want with me?" "Oh, I always check back up on my clients to see how they're doing! I see in your case it didn't end too well." "Like HELL it did-" Rhippo slammed his hand down where her head was, but she wisped away before he could grab her. She manifested behind him and wrapped her arm around his neck. "You really thought you could get me like that? Oh that's so very cute." She rested her other arm on top of his head, pressing her cheek onto his. Rhippo clawed at her arm, but his claws just phased through her arm. "Also, I can tell you got yourself a wraith as well, I can feel them. Gave you a bit of a struggle now, didn't they?" She ran a finger on top of the scar covering his face. Rhippo yelled and stood up, getting the wraith to finally manifest off of him. "You need to just- get the hell away from me. You ruined my life enough, and I don't want you near me ever again!" Rhippos words slurred as they came out, barely just forming a coherent sentence in his anger. "Alright, I'll leave! I was just checking up on you," She winked as she backed herself up, "Maybe you can take this opportunity to restart your life, create a fresh start, make a new you! I feel it would do you some good." He lunged at her but she disappeared into the air before he could grab her, the last of the black wisps faded into the air as Rhippo looked down at his hands. He clenched his fists and yelled into the air before falling to his knees, wrapping his arms onto his head and letting out another desperate scream. He pushed his hair back as he stood himself back up, leaning against the wall as he regained his footing. He staggered back to the entrance of the forest, kicking the wine bottle away as he entered. Rhippo wandered through the woods, barely able to keep himself upright as he would catch himself on nearby trees. He stopped and leaned himself against a tree, his breath forming small clouds of mist in the rain while he panted. As he was about to get back up, he heard a voice in the distance. Listening in he could tell it was elderly, the tone shaky and struggling to get louder as it called for help. A krawk green in tone like Rhippo walked through the frame, holding a makeshift cane as he propped himself on the nearby trees, struggling to keep himself up. Maybe you can take this opportunity to restart your life, create a fresh start, make a new you! I feel it would do you some good. Make a new me Rhippo thought. Create a fresh start, start new. Restart your life, restart your life, restart your life... The voices of reason were drowned out as he wandered towards the elderly krawk, the thought of restarting his life repeating over and over in his mind. His chest and face started to burn intensely, his hands trembling as he wandered closer to the krawk. Rhippo placed his hand against a tree trunk and leaned against it, the krawk hearing him and turning back to Rhippo. "Oh, thank the Gods! C-can you show me where the nearest village is? I got a bit lost in these woods." The krawk trembled, clutching his cane to keep his balance. Rhippo just stared down the krawk, the way he looked reminding him so much of himself. Maybe this was another trick from the wraith? Maybe he's finally gone insane from his sadness? Or possibly drunken hallucinations manifesting in the foggy rain? It didn't matter to him, he wanted him gone. "Make a new me." Black snake like tendrils manifested from Rhippos back, pointed straight down onto the elderly krawk. The krawk gasped as he backed up, dropping his cane and leaning against a tree. "Make a new me!" Rhippo repeated, cackling madly as the snaky tendrils inched closer to the krawk. He tried to run, but all four tendrils shot down at him in a split second. A pained scream rang into the evening rain, birds flying off as it echoed through the forest. *~* Tendrils reached down and grabbed the top of the deceased krawks head, twisting it off as the sound of bones snapping and flesh tearing rang through his head. He removed anything inside the head he didn't want before sitting himself down, dropping the skull into his lap. He used his claws to rip off any skin and hair until nothing but the bone was left. As he brushed off any leftover blood, he placed the skull on top of his head. It was a bit big on him, but that didn't bother him. He sat as he felt the weight of the skull rest on his head, glancing back at the body as the tendrils came into frame. Black and pink wisps ran up the wraithy tendrils as pink spots scattered the top, forming where the rain came down onto them. Rhippo stared back down and played with his fingers, letting out a low cackle and slowly raising his voice until it rang out through the forest. "Make a new me!" Rhippo trembled out. He leaned forward and slammed his hands into the mud, cackling as streams of tears trickled down his face. "Make a new me!" He yelled out as his cackles rang through the misty rain. His cackling shifted to pained sobs as he folded into himself, wailing as he continually repeated the phrase over and over again. Make a new me. ---------------- DID Y'ALL WANNA KNOW HOW RHIPPO GOT HIS SKULL?? No??? WELL NOW YOU DO! I had been wanting to make a sequel to his last piece for a while now, but never knew how to approach it. I always knew it'd be him having some major depressimos and drunk but thats kinda all i knew i got some inspiration recently though from the most recent episode of primal (Plague of Madness) + In This Moments newest album. The two combined just gave me major creepy vibes and made me wanna write something creepy and unsettling, which resulted in this! Hopefully I get the idea i wanted across. Characters losing touch with reality for one reason or another can be hard to write because it can be hard making sense of their actions if not written properly. I MEAAANN TECHNICALLY if the character is losing touch with reality and going insane it doesn't need to make sense, but in this case where he isn't really going insane and is just very drunk and cant really form reasonable thoughts it was a bit harder. But again, hopefully i get what i wanted across!! I had to rewrite this a bunch and might still rewrite it again since some parts I felt weren't that well structured and feel very jarring. Either way, I still had SO much fun with this and i love the whole idea of the story. I already have some sequel stories i wanna make up for this. I never thought i'd hyperfixate on rhippo of all characters fjkghdkjfg

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twolovesjinyoung · 5 years ago

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JJ Project is the music duo of jyp entertainment though this group did not have a long life time, they are now apart of Got7. Verse 2# was the reunion album they made just for fans. After this album though sadly they decided to not resign their contract, having this be the last album JJ Project has made. IM Jaebeoms is the leader of Got7, and Park Jinyoung is one of the vocalist of Got7 But he is also an actor.

Now to get into the review

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Coming Home

~Instrumental

I really love how they chose to have live instruments for this song, it gives the whole song a different feeling. The bass part is very strong throughout the whole song, its very groovy and keeps you hooked. I liked how in the beginning it started off with a light waking up kinda tone and then the base kicks in when jaebum starts to sing. It’s a very simple method of writing but it works so well you wanna brake apart every part of the song

~Lyrics

The song is about a couple who haven’t seen each other in a while, hence why its called coming home. I think its very sweet, the verses talk about the struggle of waiting till the next day to see someone and how it feels like forever before you can see the one you love the most. My favorite line is

“Even if the night air is too cold

I thought of you who would wait outside

That’s how I endured and came this far

Now let’s never let go

The promise of seeing you when tomorrow comes

Becomes a lie

Just when I’m about to lose strength, I wake up

I wish I can escape from my dreams now”

It’s just a very cute song, its very simple but refreshing and impactful from what the norm is for kpop songs

~Album song placment

I think its perfect that they put is as the first song on the album considering that the second song “Tomorrow,Today” is the title song they flow into each other very nicely.

내일, 오늘 Tomorrow, Today

~instrumental

The song is also has live instruments in it too, its a very light hearted tone music wise. I feel like I’m going on a road trip lol. Theirs not much to say about the instruments though its a basic pop/rock groove music wise, but it suits the lyrics quite well.

~Lyrics

The lyrics in this song are actually very relatable and kinda heavy. They talk about the hard ships of growing up and choosing what to do in the future. Especially when your just leaving high school or college and you don’t know what the next step is. It’s kinda like how could I choose what to do with my whole life when I’ve experienced so little. A line in the song that really expresses that is,

“Why must I decide about tomorrow, today?

How should I know what tomorrow will bring?

My path and my dreams are fading

If I could turn back time and see my future

I would know which way to go

I would know where my path is”

Or this line

“Again today, there are questions I don’t know

I’m trying to answer but I’m not confident

Is it this way or that way?

I’m afraid of my decision

With an anxious heart heart heart heart

I’m standing in front of the next next next choice

Between paths that I’ve never gone on before

How can I find my way?

I’m afraid, day by day”

It’s very impactful though when Jinyoung sings “is it this way or that way” combined with the instrumental in the back. Honestly felt like crying its a great song.

~Album song placement

I think its a perfect title song sense its the second song on the album I’m happy put it as the second song because the flow from the first song to this lyric wise and instrumental wise is very prefect they did a really good job and I recommend everyone listen to this song with the lyrics.

On&On

~Instrumental

This song is very upbeat, just like the first song its very groovy but it doesn’t feel repetitive it suits the rest of the album very well. It has live instruments, the guitar in the beginning gives a very groovy vibe. I like the way its just Jinyoungs voice and a little bit of piano but the very strong guitar right off the bat. I love the clapping build up into the chorus when the main guitar melody comes back in its very powerfull. Overall the instrumental is beautiful.

~Lyrics

The lyrics for this song are low key very depressing haha, but its also very relatable. The song talks about society’s pressures on people to conform to the norms. They also talk about how people have their own standard for what they wanna achieve in their lives and others shouldn’t dictate what someone else does with their life. On of the lines that really sick out is this one

“I don’t know

If the path I’m on is the right one

I’ll find everything out at the end of it

When you get used to the dark,

You can start to see the path

There’s no answer but why are you making me

Look in the same place?”

But the song is very clever cause they say “On&On life goes on” like you gotta just do your own thing and not care what others are doing or what other people want you to do. Like the line says, “On&On life goes on, just put your glasses on” and I think its a very nice message

~Album song placment

I think it was perfect that they chose this to go after Tomorrow,Together because the themes are very simillar, like not knowing what to do with your life and its all scary and makes you anxious. But in the end you just gotta do what you gotta do and live your life the way you want.

Icarus

~Instramental

I love this song a lot honestly, I like how its just piano in the beginning and how it kinda feels like time stops before the chorus and then it gets very powerful after with Jaebeoms great voice. But after the chorus it goes back into soft piano and a little guitar it makes you feel like youre going through a lot of different emotions it’s beautiful. I also love the verse before the ending chorus how Jinyoung goes soft and the music gets softer, but you can feel the anger build up after towards the end again and the music getters lower again and then suddenly drops ending the song.

~Lyrics

The song is inspired by the Greek myth about Icarus. If you don’t know the story he was a boy who had wings made of wax who was locked up but one day he got out and flew towards the sun but because his wings were wax they melted and he died. This song shows a different persepective of the story which I love. Sense when you read the story for the first time they talk about how selfish he was. But in the song they sing that everyone kept telling him he couldn’t do it, and he wanted to try harder and harder to achieve what his main goal was. And also a lines I really love is this one

“Every time I get scared

For the people who believe in me

I will prove it

Every time I wanna close my eyes

I’ll picture me standing at the finish line”

And this line

“I’m not sure of this path

But I’ll fly, I’ll fly

I’ll follow the light and draw countless pictures

Even if I feel the limit”

~Album song placment

Honestly compared to the last three songs I think it’s refreshing brake from the rest of the music, it still feels the theme and tone of the album. But lyrically its nice to not have so much relatable life hardship songs overalll its very well placed.

Don’t Wanna Know

~Insturmental

The instrumental is very powerfull, they use electronic beats in this song. I don’t think that’s a bad thing though sense most of the songs on the album have been live instruments. I do have to say that the words that are being sang fit very well with the music because its a very powerful song lyrically. Otherwise theirs not much to say but its very beautiful, in its own way.

~lyrics

The song is about a break up, how its so hard to go one without their special person sense they’ve been toghter for so long.

They say

“I can’t acknowledge that you left

You still live in me

I know but I don’t wanna, I don’t wanna know

Not yet, please don’t leave me

Please don’t leave me no”

This is the chorus and he’s saying he understands the out come of the relationship, but he hurts so much that he doesn’t wanna know. He knows that he needs to move on but he doesn’t want them to leave him yet so he doesn’t wanna know and he wants them bad. It’s a basic breakup song sad slow song.

~Album song placment

It suits the theme of the album its kinda weird to be placed after Icarus lyrically but muscailly is very well placed. In comparison to Icarus sense the themes are so different lyrically is weird but if you don’t speak Korean it works well.

Find You

~Instrumental

The instrumental is so good in this song, the uplifting melody is really good, towards the end was the most beautiful part because that’s whe the lyrics became so sure of itself that they will get this person back and it’s honestly very beautiful. I love the ending so much because it shows how much they care about this person.

~Lyrics

This song is about trying to get back the person you let go and realizing how stupid you were for letting them down. It’s a very upfitng song ever good for the end of the album too. My favorites lyrics are

“When I look back at my days

There was never a day you weren’t there

Why did I take you for granted?

Every chance I get, I regret it

I know it’s me who let you go

I know it’s too late but just once more

Will you let me know where you are?

I’ll go run and find the times

When you were next to me”

I also love the lyrics

“I need you, I can’t breathe without you

Everything is meaningless

I’ll find you wherever you are, I’ll try

So we can smile like we did before”

The way Jaeboem sings this part gives me chills everytime he is so good.

~Album song placment

I think were they put this song us absolutely perfect I wouldn’t change a thing. It’s a really good album closer.

그날The Day

~Instrumental

I love love love the instrumental part in this song. The little bass riffs and the snaps and the guitar parts. Everything is so well put together. I also love the fact that Jinyoung said this is the type of music he likes to listen too. And I can really feel that in the song, its very jazzy and a nice clam song to listen to I love it so much.

~Lyrics

It’s kinda hard to pinpoint what this songs about but I’m pretty sure its about a past loved one or when he was younger. Theirs a lot of symbolism so its kinda hard to understand what he’s supposed to be talking about but I think Jinyoungs talking about his younger self. he tends to write songs like that a lot if its a solo thing nether the less the song is still really good and well put together. My favorite lyrics are

“If no one talks to me

Without a word

Without knowing, the only thing I look for

Is you

On top of this silent ocean

When the sun starts to set

On top of this difficultly set melody

I’m standing alone”

~album song placment

I think its perfect that its second to last sense its a solo song, compared to the rest of the album I think it works well Being at the end its like a special treat.

Fade Away

~instrumental

The instrumental is very R&B which is Jaebeoms style it suits the way he sings very well, he would know that though sense its his solo song. I love how it gives the song this kinda dark angry tone sense the songs about a break up. It also has this really nice distortion to it and it works very well with his voice

~Lyrics

The song is about an abusive partner. Someone who tells you they love but treats you with out care. And Jaeboem just talks about leaving this person and you can tell how upset and angry he is by the way he uses his voice and the lyrics its really good and interesting to read as well.

My favorite Lines are

“Just don’t blame it on me

It’s not my fault but ours

You only blame me, I tell you it’s not like that

But you cover your ears and you won’t listen”

I also love the lines

“I try to change myself for you

I try to hold it in

But you keep getting mad at me

Every chance you get, you doubt me

You trample on me till I disappear

I can’t do this no more”

~Album song placements

Contradicting to Jinyoungs slow song before Jaebeoms is more harsh and even though you can tell their styles and personality’s very well by each song it fits really well that jaebeoms song is after jinyoungs. Over all I thank it was best that Fade Away was the very last song on the album it wraps up the album very nicely, and it leaves you wanting to listen to the whole album over again.

Final Score

~Instrumental over all: 10/10

~Lyrics over all: 9.5/10

~Album song placment over all: 9.5/10

Overall score: 10/10

Last Opinions

I love this album a lot I’ve been listing to it for years now this is the first time I’ve analyzed it though. In all honesty some songs lacked some lyrical genius but its still nice to listen too and I will say that Don’t Wanna Know being after Icarus was weird but it’s something you can easily look over.

I still think this album deserves high praise though because it’s an album you can listen too without skipping a song, I could listen to it on repeat all day if i wanted it never gets old. Listening to any album without skipping songs is very important to me so the fact that I’ve never skipped a song from this album says a lot. Their for I recommend everyone at least listen to Verse2# once it’s really worth it. And thank you for taking your time to read this review.

#jj project #got7 jjp #jinyoung #got7 jaebeom #got7 jinyoung #kpop boy group #kpop #kpop review #music review

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wearemostly · 5 years ago

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It’s Time for Musical Musings, a.k.a. Mus(ic)ings

When I was 12, I sang in my school talent show. Although it was not an outright failure, the memory of my so-so voice projected through the auditorium haunts me to this day. I just wasn’t great. I had no business belting out “Love Story” in front of all my classmates. I’m no musical expert. I’m not even a musician. There was a brief stint with the violin in fifth grade—that ended after, I’d say, three months—then about a year or so with an electric guitar...that my brother now owns. Needless to say, musical talent is just not a part of my life.

But I love music so much. My education actually began when I stopped playing guitar and started listening. Sickened by the fact that I only listened to pop and a bit of Fall Out Boy (because, what else does a 12-year-old in 2009 listen to?), my now-guitar-playing brother took it upon himself to expand my taste in music. He started with something he liked—hardcore Led Zeppelin, which, sorry, just wasn’t the move at the time. But then he showed me The Beatles. And honestly, my life has never been the same.

I don’t need to wax poetic about how listening to the fab four opened my mind to literally all the incredible music that exists in this world. (But, seriously, it really did). The Beatles are a gateway band for so many people, and I’m more than happy to count myself in that population. Not only were they the uniting factor between me and not one, but two of my romantic relationships, but The Beatles also strengthened my connection to my brother and my father. Okay, so I guess I did need to wax poetic just a little bit.

After I listened and listened and listened, my brother and I journeyed to other bands, other albums, other genres. I didn’t completely abandon pop—a frequent source of eye-rolls for my brother—but I now knew that it wasn’t the end-all-be-all of music. Listen, I won’t pretend I didn’t go through the One Direction phase and scream my head off at my fair share of Taylor Swift concerts. I just did so while also adding a lot of indie rock to my iTunes library (RIP).

And then. Then there was Bob Dylan. When I started listening to Dylan in high school, it was like looking back on a past life, or experiencing some alternate existence I was always meant to have. The king of reinvention, Dylan’s extensive library provided songs for every emotion, be it happy, sad or in between. He made me want to wander Greenwich Village in 1960 with the artists and dreamers. I was on stage with him, going from acoustic to electric, being heckled by angry fans. There was, and still is, plenty I don’t understand—plenty I’m not supposed to—but I felt it all so strongly.

Blood on the Tracks, in particular, has always meant something more to me. Released in ‘75 as Dylan was dealing with marriage troubles, the album has a folksy, heart twisting vibe I just can’t quit. Although Dylan avoids saying the album’s about his estrangement from his wife—and although I’ve never dealt with something so romantically terrible—I am unavoidably drawn to the vivid stories of love and loss that wind through the tracks.

I’ve also gone through other phases with my music taste. For truly no reason at all, I was a very angry teenager. Honestly, I’m probably just an angry person, but nowadays that anger has just morphed to...weariness. In high school, though, I sought out harder, louder songs to wrap myself in these raging emotions. Teachers ruthlessly unfair? Blasting The Rolling Stones on the ride home will fix that. Boss at work sexist? Let’s see if some Arctic Monkeys will cure that.

Clearly, music has always been a source of escape. It’s also been a way to cloak myself in feelings, emphasizing and heightening the similar thoughts already in my head. Recently, I’ve dived headfirst back into my devotion to Blood on the Tracks...but on steroids. When the pandemic first kicked off in my life, I hadn’t been as dedicated to any artist or genre in particular. But things got bad (duh) and I felt an innate need to surround myself with this fuzzy, retro, gut-wrenching sound. It started innocently enough, with me playing a combination of Carole King’s Tapestry plus James Taylor over and over again. Then I was researching the best ‘70s chill’ playlists full of folksy singer-songwriter hits and physically could not turn off John Denver.

Fast forward several months and I am...still listening to this playlist on repeat. I’ve tried returning to more modern selections, like Folklore and Haim and Harry Styles, but I keep going back in time. I just can’t get enough of that velvety sound—it’s like your favorite old t-shirt, so soft to the touch and rendered nearly vintage from countless runs through the washer. A warm embrace from your mom or your best friend or your partner after you haven’t seen them in a long time.

It’s not even that I was returning to some of these songs after not listening in months or years. I know that feeling, and it’s a completely different nostalgia—almost uncanny, like you’re reliving your past. It’s not that, because half the songs on this playlist are ones I’d barely ever listened to before. Some are completely new to me. Yet, just like with Bob Dylan, I knew I was always meant to hear this music. It just sits right with my soul.

And I think that’s why I can’t stop listening. Because it’s more than just music, comfort, catharsis—it’s home. In a time when quite literally everything is uncertain, and I’m feeling rootless in an entirely new way, these silky songs give me a sense of belonging. They blanket me in other lives lived and loves lost. I don’t feel so completely alone when I hear Neil Young croon about searching for a heart of gold, or Jim Croce wanting to put time in a bottle. Mama Cass humming about dreams of California can soothe me to sleep every dang night for all I’m concerned.

It doesn’t really make sense, considering I was born in 1997 and have barely experienced a world separate from 21st century technology, media and speed. But when I hear songs of this genre, this era, I know they belong to me, and I to them. It’s not to say I can’t get along with current songs—I can certainly strut through my neighborhood to Bastille and feel completely in power—but this time-worn playlist hits a different note.

I don’t know if there’s a future where I stop listening to my 70s chill playlist. I kind of, sort of, maybe don’t want it to end. Home is hard to find, whether it’s a person, place or thing, and I’d really like to continue living in this nostalgic bubble—even if it’s not my own nostalgia, not really. But it is my home.

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chocojjk · 6 years ago

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cafes and pinky promises

summary: bff! felix → idol! felix ,,, like i said , i suck at summaries

words: 2.8k

a/n: yall im on a roll, i really don't know why im writing so much these past few days but enjoy,, i hope

not edited, per usual

as you entered your favorite cafe, you never expected to come face to face with the boy who filled up every second of your thoughts

in fact, it was the very boy that has created so many memories with you in this same exact place

you wanted to go up to him, to see how he was doing, ask him how idol life been treating him but you found yourself glued to the floor, unable to move

every single memory with him suddenly flashing in mind

the two of you met back in middle school

it was the typical story

you were the new kid in school,

didn't have any friends,,

sat alone at lunch,,,

then one day he came up to you wearing his brightest smile, the freckles upon his cheeks shining up like the stars in the sky

“hi, im felix”

(❁´◡`❁)

and the rest was history

you guys became the best of friends, practically glued to the hip

but let’s skip all that friendship fluff and fast forward to second year of high school

you guys have been best friends for a good four years now

one of the things that you guys love doing is going to the cafe a little out of town

the cafe had free wifi and barely any people so it became a routine to just go there after school and goof around

dont get me wrong, you guys do homework too

#getyoureducationkids

also like #fuckthesystem

anyways,,,,

since you guys were the smartest in your class, it never really took that long to finish homework and instead you guys would just have fun listening to music, telling bad jokes, watching a show on netflix, and sometimes even just playing rock paper and scissors

there’s never a dull moment between the two of you

honestly if it wasn’t for you and felix, the cafe would probably be out of business

even the owner knew you two

she was the sweetest old lady, always giving you guys extra cookies and letting you stay for as long as you can

she would also always joke around about how you two would make the cutest couple, comparing the two of you to her and her husband who were high school sweethearts

being young, the thought first made you wanna vomit

like ew,,, boys are gross

but as you grew older, you started seeing the boy in a different light

the small touches and the hand holding suddenly started to have meaning

everytime he laughed, it was music to your ears

his freckles became the most beautiful thing in the world, and you loved tracing each one of them

sure, you guys have had your own share of petty fights but at the end of the day it did nothing but strengthen the friendship that you two share

there were never any secrets

(((besides of course these feelings that were growing but shh we dont speak of that)))

you knew felix like the back of your hand and vice versa

and you could just see yourself spending every moment with him in the upcoming future

until of course one day,

“y/n, i need to tell you something but pinky promise you won’t get mad?”

“felix every time someone says that, people tend to be mad”

“y/n just pinky promise me you wont”

“ok, i pinky promise, now what is it??”

felix was absolutely terrified

he’s been meaning to tell you this for a while but every time he tried he just couldn't find the words to do so

and god, how he has let time pass him by

“im moving to korea”

you bursted out laughing and felix is confused as heck like?????

whats??

so ???

funny????

“seriously lix, you made me pinky promise not to be mad over a joke??”

you see, pinky promises may seem like a childish thing but it was sacred between the two of you

so when he used it over a joke, you just couldn’t help but let out a few couple giggles

however, as you turned to face him and saw the serious expression written on his face you found yourself at loss for words

“wait, are you serious?”

“yeah”

“wh-when are you leaving?”

“in a month”

“h-how long have you known???”

“ummmm” (´･_･`)

“felix.”

“Since we went to the park”

the park

you remembered that day, it was probably one of the happiest days of your life

you passed your math test with a perfect score and has just become the student body president of your class

on top of that, felix decided he wanted to treat you out for ice cream as he was proud of his best friend

what you didnt know was that this was the day that would change everything

this was the day he was scouted

the day he received the news that he was accepted as a trainee

and hes been finding a way to tell you

but he just couldn't

you were completely over the moon

as you guys were sitting on the swings, your hands occupied with your own ice cream cones

felix started talking about his dance team and choir class

you always knew how much he enjoyed those classes

yet as he talked about his passion, his eyes twinkling and his mouth curving into the softest smile, you truly got a grasp on how much your best friend loved music and performing

you can't help but think back to a few days ago, when your friend brought up how much your eyes sparkled talking about felix

you wondered if you looked the same as how felix looked now, talking about the things that he loved to do

and then it hit you

you were in love with your best friend

god reader, how cliche could you be (●'◡'●)ﾉ♥

“felix, that was two months ago.”

to say you were mad was an understatement,, you were filled with rage

anger and disappointment all just combining into one

suddenly the future that you clearly saw vanished because every single one of those versions had the boy by your side

“im sorry”

not knowing how to respond, you started packing up your things in your backpack

felix just watching you do so, thinking of things to say to make the situation at hand better

once you stood up, he snapped out of his thoughts, worry completely washing over his eyes

“where are you going?”

“im going home.” you say emotionlessly

“let me walk you”

“no”

and that was the last of it

he tried calling you several times after that yet all he was left with was your voicemail

every time he approached you at school, you would walk the other way

every day he would show up at the cafe hoping to see your face, yet that day never came because you stopped going

you figured it’d be easier to let him go if you just stayed mad at him

you figured that your feelings would automatically go away if you replaced them with hate

but reader, you were so wrong

the day came when he finally had to go

that day was painfully hard for you

your whole class was bidding him goodbye, and all you could do was watch from the sidelines, your pride way too high to forgive him now

no one really knew about your guys’ fall out as you found it was better to keep things to yourself than become the schools new gossip

and so when everyone started asking you how you felt, you responded with the most generic answers

“whatever makes him happy, im happy”

oh reader, you are such a liar

it wasn't until a year after, that you truly forgave him

and that was because a classmate of yours barged into the room, waving her phone around

“Guys remember felix!, well he’s an idol now!!”

as soon as you got home that day, you searched up his name, and there he was

Lee Felix

Stray Kids

and you realized how stupid you’ve been

you never even bothered asking him why he was leaving

you cried yourself to sleep that night as you look back on the wasted friendship that you threw down the drain

but you figured that there was no point in being sad over it anymore

you were done holding grudges

so the next day you went back to the cafe and binged the survival show that your best friend, well ex best friend, was in

the sweet old day was overjoyed when she saw your familiar face

she asked you where your partner in crime was and with a genuine smile you responded with “he’s out there doing bigger and greater things”

ever since then, you made the cafe a weekly trip

it hurt you to know that you spent your time resenting him so you made a pinky promise to yourself, that even if he didnt know, you would support him no matter what

you ended up buying all their albums

watching their vlives

staying up late for their debuts

hell, you've even gon to the point of making a stan account just to be be updated

which brings you to now

you knew that felix was in australia, they were having a concert here

you even got a ticket for yourself, not close enough where he could see you of course

you were still ashamed of your actions even though it’s been almost two years

so when you walked in the cafe and saw him with his 8 buds seated in your guys’ usual spot, you definitely didn't know how to react

seeming as they haven't spotted you yet, you quickly made your way out the door

however, Elise, the sweet old lady, had other plans

“y/n, honey, leaving so quickly?”

and that was when 9 heads turned to the door

all 18 eyes just looking at you

‘fuck y/n okay just act cool’

‘youre fine’

‘maybe they don't even notice you’

‘omg speak’

“y/n?” felix says, his deep voice breaking you out of your thoughts

“felix?? Hi!!!” you say, giving him the biggest fake smile ever

it’s not that you wanted to okay, it was just a very awkward situation and you have no idea how to act

‘smooth y/n, so smooth’

I swear if you could facepalm yourself, you’d be doing so with both of your hands + the hands of the 7 billion people on this earth

“uhm hi?,” he replies, obviously confused as to why you suddenly acknowledged his existence

truth to be told, he was expecting you to ignore him just like all the other times before

“well, won't you look at that, my two musketeers are back together,” Elise butts in,

“ah, it's just like the old days, would you guys like some cookies???” she says, a soft smile on her face

“no that's okay El, im heading out soon anyways, can i just have the usual caramel macchiato?” you say quickly, ignoring the awkward tension in the air

“sure thing hon”

and as she goes to the back to make your order, you were left with the 9 boys

welp

its now or never

“uhm, when did you get back?”

you ask, your hands automatically playing with the hem of your shirt, a clear sign that you were nervous

“im just here for the week”

“oh,,, nice”

“Yeah”

(>_<)

the other boys just sitting in silence, going back and forth between the two of you

they know exactly who you are, and trust me, they arent your biggest fans

which is exactly why they chose to not break the awkward tension in the air

and you swear, you wish you can just have the earth open up and swallow you whole

“hon, heres your order!”

oh thank god,,

Elise is your savior

even though you wouldnt even be in this situation if it wasnt for her

you quickly grab your drink and make your way out,,, but not before saying

“uhm, it was nice seeing you again lix,” you say, this time, a genuine smile on your face

◐ˍ◑

when felix heard the nickname that you've once given him, he couldn't believe his ears

great job reader, you’ve left him stunned

taking his silence as a response, cause youre kinda a dumbass, you nodded to him and the other boys and left the cafe

however as you made your way to your car

something clicked inside of you

,,,,

fuck it

,,,,

you ran back to the cafe, grabbing the door wide open at the same exact time that felix pushed it open

which caused him to stumble right on top of you, your coffee being thrown a whole meter away

at least it wasn't on your shirt

“omygod im so sorry! are you okay?” he asks, picking you up and checking you for bruises

and youve realized that he hasnt changed one bit

he’s still your best friend felix

the same felix that treats you with so much love and care

the same felix you fell in love with all those years ago

and you couldnt help but let out a tear

this worried felix even more

“what is it?? whats wrong???”

you were blown out sobbing at this point

“Im ๑•́ㅿ•̀๑) ᔆᵒʳʳᵞ ”

“huh??”

“im so sorry felix, i-”

your emotions not allowing you to create a single coherent sentence

but because felix still knew you like the back of his hand, he knew exactly what you were talking about

“lets go inside okay”

all you could do was nod and let him guide you to your usual spot that was now empty

grabbing a couple napkins, he wipes your tears away for you before you finally became conscious of what was happening and took control

“I didnt know you still came to this cafe?” he says, finally breaking the silence

“yeah uhm, i started coming back,”

“why?”

“I-i guess i just missed you”

“I thought you hated me”

“No,” you say quickly, that was the last thing you wanted him to think

“i didnt hate you, i was just angry and sad and i acted upon those emotions. I was stupid, im sorry”

“its okay, i understand, youre not stupid y/n”

god damn it,,

why is this guy so nice,,

“no felix, it's not okay. we were best friends, i should have talked to you. I-i shouldnt have cut you off like that especially when i didnt even give you a chance to explain yourself”

damn okay reader, admitting to your mistakes, im p r o u d

“Its all in the past now y/n”

“can you forgive me for being a bitch?” 👉👈

This got a chuckle from felix

“as long as you can forgive me for keeping a secret from you” he replies, shooting you a smile

you smile back at him

“ive forgiven you a long time ago lix”

,,,,

felix has stopped malfunctioning

“ive missed you,” he says grabbing your hand from across the table and holding it the way he used to

“ive missed you too,,, so much,,, im so proud of you,”

“proud of me?”

“yeah, youve finally done what youve always dreamt of”

“you know?”

“of course i know lix, youre everywhere!”

“it kinda sucks how you know whats been going on in my life and i dont know a single clue about yours”

“I can always catch you up!” you say excitedly, but as you see the sad smile that began to etch his way onto his face, you see that that’s not the case

“busy schedule?” you question

“yeah” he replies, the grip on your hand becoming tighter, almost like he doesnt want to let go

“thats okay, im sure we’ll find some time,” you say maintaining the positive energy

right on cue, chan peeps his head in the door

“Felix we have to go now, i tried convincing them to give you more time but were already running behind schedule”

“aish” felix replies as his tears suddenly made his way down

he gets up and pulls you into a bone crushing hug as you breathe in his scent, taking it all in

“im sorry i have to go so soon”

“thats okay felix, ill always be here”

“i hope i can see you again before I leave,”

“oh dont worry, you will” you say, a big smile on your face

“what do you mean?”

“just watch out for me at the concert, yeah?”

“youre coming???!!!!??”

“yep, already got my ticket!”

and you swear youve never seen felix smile so brightly before

“you pinky promise?”

“I pinky promise.”

#lee felix #lee felix imagine #lee felix au #lee felix blurb #stray kids felix #lee felix x reader #stray kids imagines #stray kids blurb #stray kids au #stray kids fluff #stray kids angst #lee felix fluff #lee felix angst #stray kids lee felix #stray kids soft #stray kids scenario #stray kids ships #stray kids

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obtusemedia · 6 years ago

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The best songs of the 2010s: #25-1

#25: “SICKO MODE” by Travis Scott feat. Drake (2018)

When music historians look at hip-hop’s late-’10s dominance, I have no doubt that “SICKO MODE” will be viewed as the pinnacle of the era.

Let’s just go through a checklist of what makes “SICKO MODE” an instant classic: The weirdo multi-part structure. Travis Scott’s nearly two-minute long verse with quotable lines galore. Drake somehow managing to make falling asleep on an airplane sound cool. That spooky two-word Swae Lee refrain. Multiple Jamba Juice name-drops (inspiring a hilarious meme video). An iconic, striking music video with whacked-out imagery galore.

But most importantly, it’s a stone-cold banger that will get any dance floor moving. What more could you want?

#24: “Dance Yrself Clean” by LCD Soundsystem (2010)

You might have noticed that one of the decade’s biggest musical trends — EDM — hasn’t shown up much on this list. That’s because a majority of it has already aged badly, even just a few years later. Songs like “Don’t You Worry Child” or “Wake Me Up!” certainly have their charms, but unlike the more enjoyable, trashy electropop that preceded it, most EDM hits were plodding and self-serious. And its best artist, Calvin Harris, made his best work when he drifted away from the subgenre’s rigid structure and just made pure pop music.

But my passiveness towards EDM doesn’t mean I can’t appreciate a great drop. There’s been plenty of songs on the list with incredible drops up to this point, and there’s still a couple more to come. Hell, I even halfway considered putting some Skrillex on the list just because some of his early stuff still can get your pulse pounding (even if these songs REEK of the early 10s). But there will never be a drop more bonkers than “Dance Yrself Clean.”

Indie legends LCD Soundsystem kicked off the decade with a bang with this song — but they made you wait for that bang. More than three minutes, to be exact. But those who were patient enough to sit through the quiet, drawn-out opening were treated to frontman James Murphy wailing like a madman over a shuffling beat, bouncy bass and a cascading, randomized symphony of analog synthesizers. Although I’m sure Murphy calculated every second of “Dance Yrself Clean,” it sounds like absolute anarchy. And in the moments when his screaming vocals go hoarse over the slamming synths, it’s unreal.

#23: “Born To Die” by Lana Del Rey (2011)

This was the first Lana Del Rey song I heard, back in my junior year of high school. I was immediately floored. The vocals, the cinematic orchestral sweep, the spaghetti western guitars, the tragically beautiful lyrics — it was an instant masterpiece. There was no way Lana wouldn’t be the world’s biggest popstar within a year.

A couple months later, Lana infamously bombed on Saturday Night Live, which some thought would derail her career entirely. Even after her career has survived and she’s become a critical darling with a cult fanbase, her debut album, Born To Die, and its title track still have a bit of the stink from that SNL performance. Well, no more.

“Born To Die” is a haunting gothic-pop masterpiece that’s aged much better than much early-’10s pop (although I love the corny club stuff from that era, don’t get me wrong). Lana’s smoky voice is unparalleled, the trip-hop production is untouchable.

And although her pinnacle wouldn’t come until 2014 with her sophomore album Ultraviolence, “Born To Die” is still Lana’s most perfect single to date.

#22: “Green Light” by Lorde (2017)

In 2013, Lorde completely upended the pop universe with “Royals,” a minimalist tune chastising radio hits for their un-relatable opulence. By 2017, the culture had fully gravitated towards Lorde’s moodier sound, with greyscale acts like Post Malone and Alessia Cara writing monster hits about being angsty and sad (and not in the artsy, brilliant way that worked for Kurt Cobain or Kanye). It was a far cry from the neon, bubbly world of Katy Perry and Carly Rae Jepsen from a few years prior.

The New Zealand prodigy could’ve cashed in on being ahead of the curve and continued down her minimalist moody path. But she did the opposite with the defiant and proudly energized “Green Light.” Yes, it’s a breakup anthem, but Lorde doesn’t wallow in her sadness here (she saves that for other Melodrama cuts). Instead, she wailed away into the night, playing off of the thundering drums and bouncing pianos of Jack Antonoff’s production (his best-ever).

With “Green Light,” Lorde let her ex, and the world, know that she isn’t going anywhere. She might not ever reach the commercial heights of “Royals” again, but she’ll be an icon as long as there’s heartbreak that needs overcoming.

#21: “If You Know You Know” by Pusha-T (2018)

Pusha-T’s magnum opus, “If You Know You Know,” is a masterclass in cocaine rap with its effortless wordplay, sinister-yet-charismatic flow and blaring Kanye West beat. It deserved to be the song of the summer in 2018, but the masses chose a C-tier Drake single instead (despite Push absolutely ENDING Drake that summer).

But that doesn’t diminish the achievement Push made with this song. It’s quite a feat to record your best-ever track 17 years after your breakout. It’s even more of an accomplishment when that track kicks as much ass as “If You Know You Know.”

#20: “Teenage Dream” by Katy Perry (2010)

Teenage Dream-era Katy Perry is one of pop’s all-time juggernauts. The five consecutive #1 hit singles that album racked up is a feat matched only by Michael Jackson. Of those five singles, one stands out as the clear masterpiece of the group: the album’s title track (although “T.G.I.F” is also incredible).

I remember feeling a little underwhelmed by “Teenage Dream” when I first heard it in 2010. Her last single was a goofy, bombastic summer jam complete with a ridiculous video. “Teenage Dream” is a much more conventional, timeless pop jam. The chord structure is shockingly simple and the lyrics are lovestruck notes from a ‘50s ballad.

But that simplicity is what makes the song work. “Teenage Dream” has aged well because sometimes, all you need is three chords, a monster hook and yearning lyrics. This song will be Perry’s biggest legacy.

#19: “Drunk Drivers/Killer Whales” by Car Seat Headrest (2016)

“Drunk Drivers/Killer Whales” has to be the only uplifting, U2/Nirvana-style power ballad about DUIs.

Landing smack in the middle of Car Seat Headrest’s indie rock concept album/instant-classic Teens of Denial, “Drunk Drivers” is about the main character taking stock of his entire life and emotional instability. And yes, it all centers around driving drunk — or in this case, refusing that temptation as an impetus to change one’s life.

Naturally, in the very next song on the album, it’s revealed that the narrator drove drunk and got arrested anyways. But for a cathartic six minutes, “Drunk Drivers” provides a fleeting escape from the constant loop of self-hate and depression. Not to mention that it’s a grinding ‘90s alt-rock throwback that probably makes Billy Corgan jealous.

#18: “Harmony Hall” by Vampire Weekend (2019)

I’d never guess that Vampire Weekend’s second-best song (after “Oxford Comma,” of course) would be a hippie-friendly tune combining the Grateful Dead and Screamadelica. But here we are. And awkward combination or no, Ezra Koenig knew exactly what he was doing.

In a very dark, uncertain year, Koenig decided to write a song that doubled both as a blissed-out reprieve and a nervous warning. The music is utopian, but the lyrics detail the anger, confusion and constant obstacles of life in the late ‘10s. Koenig takes a lyric from one of his previous songs — “I don’t want to live like this/but I don’t want to die” — and makes it a rallying cry for anxious Millennials around the world, paranoid that the world might not stick around much longer.

It’s a heavy topic, but the gorgeous instrumentals, breakbeat drums, lilting guitars and bouncy pianos certainly ease the stress. “Harmony Hall” is a late-career masterpiece for the ages.

#17: “Marvins Room” by Drake (2011)

Never before has a booty call sounded so sad.

Way before he ruled the pop universe, Drake was just hip-hop’s resident mope. And “Marvins Room” is peak sadboi Drake. Using a real voicemail message in the hook (that he was later sued for using), “Marvins Room” is a six-minute phone conversation in which Drake drunkenly begs his ex to come back.

On the surface, what Drake discusses are what most rappers brag about — sex, money, wealth. But in “Marvins Room,” Drake seems to view them as obstacles to his ex, who he clearly still isn’t over. When he said he had sex four times this week, he sounds disgusted with himself, not proud.

Drake doesn’t look remotely good in this song; it’s more than a little pathetic. But it feels real and raw and revealing in a way that few R&B ballads are willing to get.

#16: “Pedestrian At Best” by Courtney Barnett (2015)

Courtney Barnett’s grungy masterpiece, “Pedestrian At Best,” is appropriately angsty given its crunchy guitars and yell-y vocals. But the Melbourne singer-songwriter touches on a different kind of angst here than Pearl Jam usually tapped into: the pressure of living up to sky-high expectations.

In the early/mid ‘10s, Barnett was earning lots of hype after witty (and excellent!) early singles like “Avant Gardener” and “History Eraser.” She clearly assumed she’d screw up her debut album following up those breakout songs, as she declares herself “a fake” and “a phony” in “Pedestrian At Best.”

Arguably her generation’s best lyricist, Barnett nails her expectation to squander the public’s expectations: “Put me on a pedestal and I’ll only disappoint you/Tell me I’m exceptional, I promise to exploit you.” The ironic thing is, she did the opposite. “Pedestrian At Best” is one of the most successful songs about failing.

#15: “Ni**as in Paris” by Jay-Z and Kanye West (2011)

There was some close competition, but I don’t think there was a more quotable rap song this decade than Jay-Z and Kanye West’s crowning achievement from Watch The Throne, “Ni**as in Paris.”

The classic lines don’t stop coming throughout the minimalist banger. Jay’s verse is smooth braggadocio perfected: “I’m liable to go Michael, take your pick: Jackson, Tyson, Jordan, Game 6.” Then Kanye comes crashing in with some truly bizarre bars that are both the dumbest and greatest thing you’ve ever heard. After hearing the song, I never felt the same way about fish filets ever again.

And then, the piece de resistance — Kanye’s inspired Will Ferrell sample from Blades Of Glory. It’s one of the most left-field and iconic moments in hip-hop history, and perfectly described the song itself. “NOBODY KNOWS WHAT IT MEANS. BUT IT’S PROVOCATIVE. IT GETS THE PEOPLE GOING.” Amen.

#14: “Run Away With Me” by Carly Rae Jepsen (2015)

Carly Rae Jepsen deserved to be one of the biggest popstars of all time. She should be selling out the same arenas that Taylor Swift and Beyoncé fill. But, in what is a true tragedy, the British Columbia native is only remembered as being that singer with that one earth-shattering hit and a feverish cult following.

But despite how adorable and fun “Call Me Maybe” is, Jepsen’s true magnum opus is her 2015 album, EMOTION, and its bombastic opening track, “Run Away With Me.”

The single is a masterclass in blending ‘80s flourishes with modern production. On the thunderous chorus, the EDM synths and roaring saxophone riff work in harmony with Jepsen’s passionate vocals to create pure pop bliss. Combined with the intimate verses, the single perfectly encapsulates that butterfly-feeling of a relationship’s honeymoon stage.

“Run Away With Me” is only one of many, many Jepsen singles that would’ve been #1 smashes in a perfect world. But the lack of chart success for this one especially hurt.

#13: “Formation” by Beyoncé (2016)

Where were you when “Formation” dropped? I bet you probably remember (I was writing an essay in my college’s library).

Sure, Beyoncé’s self-titled 2013 album is the surprise drop that gets all the attention. But “Formation” came out of nowhere too a few years later, and let’s be honest — it was much better. (side note: 4 is also much better than the self-titled)

Mike Will Made It’s beat for “Formation” incorporated some Texas twang into his trap-pop production — a fitting match for a Houston legend like Beyoncé. And Bey takes heat-check shot after heat-check shot here: declaring herself the next Bill Gates; casually dropping a “swag” ad lib and magically not sounding corny as hell; making a trip to a mediocre chain seafood restaurant sound like a cool post-sex reward.

It all works. And that’s because on “Formation,” Beyoncé was as untouchable and fearless as her cutthroat stans had always proclaimed her to be. The fact that it was the triumphant coda to one of the decade’s best pop albums just cements its legend.

#12: “Old Town Road (Remix)” by Lil Nas X and Billy Ray Cyrus (2019)

It’s the longest-running #1 hit in U.S. history. An unstoppable juggernaut that held titans like Justin Bieber, Taylor Swift, Ed Sheeran and Drake from the top of the charts. And, oh yeah — it’s perfect.

There are probably a few party poopers out there who hate “Old Town Road.” I am not one of them. By 2019, pop’s grayscale, Post Malone-fueled gloom had gotten out of hand. Then out of nowhere, this teenage Nicki Minaj Twitter stan writes a goofy novelty song that’s both a parody of country clichés and a sincere celebration of the cowboy lifestyle. (It’s also the greatest country song ever written, and the entire city of Nashville can fight me on that.)

Lil Nas X has a pure charisma other artists would kill for, from his warbly, infectious chorus to his endlessly quotable verse (WRANGLER ON MY BOOTY!!). And pulling Billy Ray Cyrus away from Hannah Montana-funded retirement to drop a shockingly fire verse about living the luxury lifestyle in Beverly Hills? There’s no way this wouldn’t be one of my all-time favorites.

Sometimes, when it comes to predicting future classics, you’ve just got to trust the screaming elementary schoolers.

#11: “Midnight City” by M83 (2011)

“Midnight City” sounds like what Space Mountain feels like.

The decade’s best electronic song is so perfect as to be almost alien, yet also remarkably warm and human. And just when you thought the song couldn’t get better, the second-greatest sax solo of all time (only behind “Jungleland”) bursts out of the neon layers of synth.

M83 has a catalogue stuffed with stunning retro synthpop bangers. The fact that “Midnight City” towers above them all is a testament to the song’s sheer majesty.

#10: “All Too Well” by Taylor Swift (2012)

Yes, I’m aware that this is the obvious Taylor Swift pick for this list. But Swift’s literary masterwork, “All Too Well,” hits me too hard to deny it.

“All Too Well” is so packed with vivid details and intense emotional swings that it feels like more like a short story backed by arena-rock instrumentation more than a pop song. From her an abandoned scarf tucked in a drawer, to her ex’s mother embarrassing him with his dorky child photos, to the phone-call breakup that was “casually cruel in the name of being honest,” Swift didn’t leave anything out.

Coupled with her songwriting, Swift’s vocals also make “All Too Well” her pinnacle. She reaches into her upper register so rarely that it sends shivers whenever she does, like on the emphatic climax here.

If it catches me in the right mood, Swift’s performance, the lilting guitars and cutting lyrics in “All Too Well” brings a few tears to my eyes. (Yes, really.) It’s only fitting that one of the greatest breakup anthems of all time is sung by a master of the artform.

#9: “Ivy” by Frank Ocean (2016)

I was very tempted to put Frank Ocean’s 10-minute synthpop epic “Pyramids” on the list instead. Make no mistake — if it wasn’t for my self-imposed one-song-per-artist rule, both it and “Ivy” would’ve placed highly.

But “Ivy” is a heart-stopper. It’s a fairly simple song, with just Ocean’s raw vocals playing off the languid guitars. To pull a song like this off, you have to be a double-threat, a genius lyrically and a stunning singer. Ocean fits that bill.

“Ivy” is the decade’s greatest R&B song, a heartbreaking ode to a slowly crumbling relationship.

#8: “The Edge Of Glory” by Lady Gaga (2011)

Lady Gaga’s best songs hit you like a brick to the face. Gaga — the greatest pop star of the 21st century, don’t @ me — has plenty of pop bangers that do this, particularly on the wildly underrated Artpop (shoutout to the insane and insanely fun “G.U.Y.”). But arguably none of her singles provide as much maximalist pleasures as “The Edge Of Glory.”

The track reeks of trying too hard in the best way possible. Gaga reaches into her upper vocal register frequently, scratching her upper limits every time she reaches the chorus. The production is a messy-but-beautiful jumble of slamming synths and drum machines. And that Clarence Clemons sax solo — one of the last musical contributions he made before his death that same year — is just the icing on top of the gloriously sugary cake.

Gaga’s over-the-top synthpop from her early years isn’t everyone’s cup of tea. But for someone like me, who wants pop to feel as massive and inescapable as humanly possible, “The Edge Of Glory” is still a towering high-water mark.

#7: “Pay No Mind” by Beach House (2018)

This spot could’ve been taken by any number of Beach House songs, the modern masters of dream-pop. “Space Song,” “Myth,” “Take Care” — the Baltimore duo honed in on a specific musical style and perfected it.

To me, “Pay No Mind” is the culmination of those years of Beach House subtly tinkering with their hazy, nocturnal sound. It’s like a gothic wedding slow-dance song: the right rhythm and with a romantic feel, but maybe a bit too gloomy for your grandparents. But regardless, “Pay No Mind” is breathtakingly beautiful, like seeing neon lights through the fog.

#6: “m.A.A.d. city” by Kendrick Lamar feat. MC Eiht (2012)

If you haven’t tried to memorize the nearly two-minute uninterrupted opening verse of “m.A.A.d. city,” were you even alive in the early ‘10s?

Kendrick Lamar has written many hip-hop epics in his career so far, but so far none have topped the semi-title track from his major label debut, good kid, m.A.A.d. city. In that concept album about Lamar’s teen years growing up amidst the gang warfare in Compton, “m.A.A.d city” marks the point where the gangsta dream shifts into a horrifying nightmare.

The song is a blur of murder, violence and police sirens. Lamar sounds positively terrified on the track, his voice cracking while he confesses. And bringing on old-school rapper MC Eiht to play a veteran gang member snapping Lamar out of his haze was a brilliant move. “m.A.A.d city” is an exhilarating tour-de-force that proved how much raw talent, in both flow and storytelling, Lamar had.

#5: “Somebody Else” by The 1975 (2016)

If Vampire Weekend is the most important band of the early ‘10s, then The 1975 is the most important band of the rest of the decade. Their transformation from (really good!) simple pop-rock to tacking incredibly dark subject matter while successfully taste-testing their way through nearly every musical genre was unexpected. And brilliant, seeing as they pulled it off.

But The 1975′s best track is much less capital-I important than most of their epics about Trump or suicide or heroin — it’s a synthpop song about complicated post-breakup emotions. But “Somebody Else” earns its keep as the band’s pinnacle through sheer relatability. It nails that complicated feeling of being over someone...but not really. Or as lead singer Matty Healy puts it bluntly: “I don’t want your body/but I’m picturing your body with somebody else.”

The shuffling drum machine groove and icy synths complete a perfect song for wandering aimlessly at night, longing for a lost love. And although The 1975 might switch sounds endlessly in their career, their sweet spot will always be this moody ‘80s update.

#4: “TiK ToK” by Ke$ha (2010)

“TiK ToK” is still easily the peak of the 2009-12 pop golden age. It has a bit of everything you’d want in a single from that era: Gloriously grimy synths! An uber-catchy chorus with plenty of demands to party! And of course, a charismatic and unforgettable star who can deliver the song. I don’t think anyone would argue Ke$ha fit that role to a T.

When “TiK ToK” first arrived around the turn of the decade, I couldn’t stand it. I thought it was too sleazy. Nearly 10 years later, Ke$ha’s performative sleaziness is exactly what makes this song so fun. Yeah, the hook is bulletproof and the production is buzzy. But Ke$ha’s slurred, drunken delivery and ridiculous lines are what have kept “TiK ToK” in the public consciousness. She single-handedly made P. Diddy and especially Mick Jagger relevant again. She made brushing your teeth with Jack Daniels seem cool (and not insanely nasty, like it actually is). Every single ridiculous line, sung through Ke$ha’s fake valley girl accent, is a gem.

I can understand how someone wouldn’t like the unfiltered debauchery and greasiness of “TiK ToK.” But to me, that’s the entire charm of it, and what makes it stand out amongst a sea of similarly-minded club jams from its era.

#3: “Runaway” by Kanye West feat. Pusha-T (2010)

I was going to ask all of you to forget about Kanye West’s recent stumbles, be it his association with Donald Trump or his insistence that slavery was a choice. But the power of “Runaway” is that it is a semi-apology from a man who knows he’s deeply flawed. Every one of Kanye’s gaffes and terrible decisions makes “Runaway” even more relevant today.

But “Runaway” was originally a response to Kanye’s infamous “Imma let you finish” rant at the 2009 VMAs, where he interrupted Taylor Swift. The song basically operates as a semi-apology to the world for being, as he puts it, a douchebag. An asshole. A scumbag. A jerkoff. He’s somewhat bragging about his misdeeds, while sheepishly asking for forgiveness.

And yet, it’s an extremely vulnerable song. The bridge — “I guess that you’re at an advantage/Cause you can blame me for everything/And I don’t know how Imma manage/If one day you just up and leave” — initially feels like something Kanye is saying to a lover. But really, he’s saying it to all of us. And it’s arguably the most moving moment in his whole career.

#2: “Get Lucky” by Daft Punk feat. Pharrell and Nile Rodgers (2013)

Don’t think about it too hard, folks.

Considering that Daft Punk are the greatest dance-music artists of all time, it only makes sense that they’d dip their toes into disco and absolutely KILL it. And that’s all “Get Lucky” is. Two French masters making their grand comeback by recruiting one of funk’s finest guitarists and one of the 2000s’ most charismatic vocal presences.

“Get Lucky” will be a wedding dance staple until the sun explodes. And it deserves that status. It’s a flawless dance track. Just embrace the groove.

#1: “Archie, Marry Me” by Alvvays (2014)

My favorite song of the 2010s wasn’t a part of some major trend. It wasn’t particularly influential. It doesn’t have any profound meaning, and it didn’t try to tackle a major event. “Archie, Marry Me” just happens to be the greatest indie pop song ever written.

Every little aspect of Toronto band Alvvays’ debut single works, from the surf-y guitars to lead singer Molly Rankin’s monotone-yet-yearning vocals. With its lo-fi ramshackle charm and monster hook, “Archie, Marry Me” is all you could want in a dream-pop single. It even has the nice touch of echoing a Neil Young classic in the chorus.

The whole intention of this list — as it is with any of my year-end lists — is simply to measure which songs made me the happiest; which songs never wore out on me. And no single this decade puts a bigger smile on my face than “Archie, Marry Me.” It’s simple, achingly romantic (in a Wes Anderson-esque half-ironic way, but still), and I wouldn’t change a thing about it.

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emmaruthrundlesh · 7 years ago

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Emma Ruth Rundle Interview // Rock’n’Roll Journalist

(via Rock’n’Roll Journalist) “Dark” singer-songwriter is a term which deserves an official registration based on the modern wave of talented female artists. Next to Chelsea Wolfe, there is also Emma Ruth Rundle rapidly building her space on the market. Her captivating voice and an amazing taste for cold melodies are more than addictive. If you look at her list of favorite albums, the magic of her sound suddenly makes more sense. In addition we also spoke about her gear, challenges on a tour and beauties of Prague, which is also on her current European tour schedule on 18th of October.

Would like to give some introduction to your list?

This is not so much a list of my favorite albums of all time. Much of these are rather pieces I return to over and over as they are especially significant for me.

40 Watt Sun – The Inside Room (2011)

One of my all time favorite albums, English 3 piece, 40 Watt Sun, combine a slower, heavy guitar driven washes over which Patrick Walker literally pours his heart out. HIs lyrics and voice are incredibly eloquent and beautiful. The songs are, at times, in the 8 plus minute category so there is plenty of time to be reeled into their world and taken through Walker’s emotional landscapes. One of my biggest influences in the last few years.

Kate Bush – The Sensual World (1989)

A longstanding favorite and go to listen for me. Kate Bush has a few phases and different sounding albums but there is always her at the core. I think The Sensual World has become the diamond album in her discography, for me, because of the song Love and the Anger. It’s one of the catchiest and uplifting songs I’ve ever heard. Just watch the video and see Kate dancing at the end…How can you not fall in love? Also some really tasteful world influence and killer guitar by David Gilmour on Rocket’s Tale. Love it all the way through.

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Smashing Pumpkins – Siamese Dream (1993)

It’s very frustrating to wake up and look at the internet these days only to be greeted by any number of people and music blogs STILL making fun of Billy Corgan – not going to lie, it bums me out and makes me feel sad for a world of critics who can’t take it the simple fact that Billy has recorded THE BEST guitar tone of all time and he did so on Siamese Dream. The songwriting is brilliant and this is really an album that takes you to a place, especially by the time you reach Silverfuck. Sure, I jump over the hits – I don’t need to hear Today every time I want to enjoy this masterpiece but if you’re somehow not familiar take the whole trip and revel in what I think is some of the most important guitar playing of the 90’s.

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James Blake – Self Titled (2011)

A groundbreaking beauty of an album. James Blake managed to write and produce this minimal pop R and B (with strong classical influences) that won him the Mercury Prize. There is nothing but pure perfection and genius on this record. Even the cover art is elegant and humble in a way. I guess there is some sense of humility in Blake’s writing that takes me in even further and I become invested in all his repetitive and disintegrated lines, waiting for them to break or modulate in any number of ways as they do on this album.

Cloakroom – Time Well (2018)

I came to know Cloakroom just by association. They had done a lot of touring with label mates Russian Circles as well as some other folks I know. I sort of disregarded this band for a time – not sure why – but when Time Well came out on Relapse earlier this year, I was completely head over heals in love with these Midwestern boys. The guitar playing and textures as well as the cleverly timed riffs (for lack of a better word, this band isn’t metal at all but heavy in a deferent way) and the bonus of Doyle’s of introspective vocal has won them a very special place in my heart and headphones.

Brian Eno – Thursday Afternoon (1985)

In his 11th studio album, Eno has fully mastered the very new world he himself pioneered and invented: Ambient music. Thursday Afternoon is just one long daydream of a song with nothing but the babbling of the synthesized (or whatever he’s employed on this) brook. Nothing “happens” on this album. There is no break or moment of great change or rhythm even… it’s just the most relaxing music on Earth which is why I find my way back to it so often. Pure peace streamed right from the source of new sound.

I’m not an ethnomusicologist

Tori Amos – Boys for Pele (1996)

Tori Amos peaked, for me, on this 18 track album. It was her first time self producing as well and there is something so fierce and desperate in her lyrics and voice. While generally regarded as a singer songwriter, which I think conjures up a picture of a subdued character sitting in a coffee shop somewhere, Tori is really more of a badass and this album rocks it ways though piano and harpsichord driven tunes. I love everything about how the record was recorded and sounds as well. Even the music videos that came from this album are great. If you don’t know, you should.

Earth – Hex; Or Printing the Infernal Method (2005)

I am not sure when I first became aware of the legendary instrumental band Earth but I am sure it was later on in life than for some other more tuned in people. Hex is an album that I listened to a lot while on tour and desperately in need of refuge from the chaos of being trapped with so many other people traveling across the globe. Hex is like a soundtrack and works incredibly well for someone who’s trapped staring out a window, avoiding conversations for most of the day. If there was ever a time to describe something as dusty sounding, this is it. Having really loved the Neil Young soundtrack to Dead Man – Hex felt like a sister album to me or in that world. It has a special ability to take you into a barren landscape and push out all your youngness which is so needed!

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The Body – No One Deserves Happiness (2016)

This record came into my life at a time of physiologically shattering life change and a very hot summer in LA. Most would describe The Body and an “experimental” or harsh noise (at times) project. No One Deserves Happiness introduces female forward singing over the backdrop of the bands soul reaping sounds. Chip’s hollow screams have manifested a truly horrific creature in my mind. There is a blend of classical reverence and choral singing within The Body’s noise land and it turns on a part of my brain while listening. I feel comforted by this album somehow.

Stars Of The Lid – And Their Refinement Of The Decline (2007)

Another instrumental masterpiece – SOTL also have classical inclinations or leanings or is this contemporary classical music? I’m not an ethnomusicologist. Washes of treated instruments grip your xanaxed out sandbag body and drag you slowly and mournfully in waves under a pink ocean of wonder and obliteration of the self. I have fallen asleep in my most anxiety ridden times to this album as it swallows you like no other can.

In the heart of Europe

In late October you will be coming to Prague to very intimate club called 007. Did you ever have a chance to properly walk around Prague?

I never played a solo show in Prague, but I performed here with my previous bands already. Every time I made sure, me and my band mates have enough time to check the city. It was amazing every time and I just can’t wait to come again. I visited Prague the last time in 2010 and our tour manager was Tomáš Zakopal, who was local, so he prepared a beautiful commented tour for us.

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Could you please present to us your collection of guitars? From the most recent live footages I see you are a big fan of Fender guitars and especially a model called Coronado II.

This piece actually belongs to Evan Patterson, who plays guitar in my band as well in my support band Jaye Jayle. Guitar #1 in my collection is a classic mahogany piece from Cordoba. There is also one from Chinese brand Blueridge, inspired by OM model OM from Martin…(I’m sorry, I am little bit sick)… Within electric guitars my most favorite is standard Gibson SG. It was quite cheap second hand acquisition in one music store. Another piece is Fender Baritone Jaguar special HH. Then there is Fender Stratocaster. I can’t remember the exact model, but it’s quite unique as it has two humbuckers. Next to that I also have one white model from Guild. Longer I play I realize it is very important for me to have two humbuckers within electric guitars. And finally there is one really crappy SG, which I would really like to get rid of, as it is badly made. (Laugh)

Some preferences within microphones?

I use BLUE enCORE 200 the most. Probably as it was a gift. I like its sound, as it can work very well with mids and highs. Another reason is very practical. I realized I get sick more often if I use in-house microphones. If I use my own microphone, I have bigger chances to stay well.

Life on a tour

I am sorry, you don’t feel well. Do you think it’s also because of air conditioners during this years’ crazy summer season?

Not sure to be honest. I was just getting back from a European tour and I must have caught something on a plain.

Longer I play I realize it is very important for me to have two humbuckers within electric guitars

How are you trying to stay in a good shape on a tour? There is a European tour coming up during fall and that’s quite challenging season for immunity.

One can just do maximum and hope. If I can, I try to stay warm and eat plenty of hot meals. I try to rest, as much as I can and get plenty of sleep. But it’s not always that easy, where there is so much drinking and everything else which belongs to a tour life. It is practically a miracle if you survive a tour without any harm.

Is there some European location, which you really look forward to visit during upcoming European tour? It doesn’t necessarily have to be Prague…

It’s funny, as everybody in the team looks forward for the Prague the most. Evan is practically obsessed with Prague and I just can’t wait to meet friends, which I haven’t seen for years. I am also looking forward to see Porto, Lisbon and also Madrid, as I’ve never been to Spain. In general I love to visit well known places as well as completely new locations.

#Emma Ruth Rundle

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projectalbum · 7 years ago

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All the best. 200. “Accelerate,” 201. “Collapse Into Now,” 202. “Unplugged 1991/2001: The Complete Sessions” by R.E.M.

After exhaustive touring, a greatest hits disc, and a dud album, the lovable lads from Athens, R.E.M., wisely took some time to figure things out before regrouping.

The four-year absence didn’t register with me, as I was collecting the back catalogue during that break. As far as I was concerned, new material was everywhere I looked, filling up my burgeoning record collection as I finished high school and started making my way through college. By the time Accelerate (#200) burst onto the scene in March 2008, I was a junior in film school, about to attend my first documentary festival. I put aside an extra $15 from my work study job to pick up the CD the day of release— the first time I’d been able to perform that record store* ritual for my favorite band. *(Though I didn’t have access to any record stores at the time, so it was likely procured from the closest Wal-Mart.)

Fast, lean, gritty, produced by a guy who goes by “Jacknife,” this set of songs could not be more of a deliberate course-correction from the overly fussy, mid-tempo Around The Sun. Peter Buck’s skills on the axe, often mixed way down on the previous album, here announce Accelerate's punk-ish purpose in the intro to “Living Well is the Best Revenge,” leading off with a dexterous riff before the drums come trampling in. Stipe spits furiously, with the best use of his full-throated tenor since New Adventures in Hi-Fi, and the rare bar to inspire a Fuck Yeah fist-pump: "Don't set your talking points on me / History will set me free / The future's ours and you don't even rate a footnote.” Recorded and released in the tail-end of the Bush years, there are unmistakable references, drawn in anger and in weariness, to the emotional tolls of that reign.

“If the storm doesn’t kill me, the government will,” Stipe muses at the top of “Houston,” a hair over 2 minutes but suffused with poignancy. It’s an acoustically-driven Western-tinged ballad that hearkens back to “Swan Swan H” or “Monty Got A Raw Deal,” but here the drums are splashy and blown-out, the organ serves a bleating counterpoint to the vocal, and bowed electric guitar bleeds through into the verses, serious as storm clouds. The intriguing production choices are what mark it as the Accelerate twist on familiar R.E.M. tropes. The chorus: “Houston is filled with promise / Laredo's a beautiful place / Galveston sings like that song that I love / Its meaning has not been erased” is stirring, as if to absolve the Lone Star state for spawning the political dynasty that led to 2 disastrous presidencies. "Belief has not filled me / And so I am put to the test” are the last words before distortion drowns out the melody like a fatal wave. The song has never left my head.

“Until The Day Is Done” is a more familiar flavor of the band’s earnest political identity— it even ended up scoring a CNN-produced piece on environmental issues. The lyrics approach the first two verses of Leonard Cohen’s “Everybody Knows” in reflecting a distressing capitalist landscape, and to read them is to find that the “business-first flat earthers” have only doubled-down in the decade since the song was released. But the lack of idiosyncrasies leaves us with a folky protest song, and it has a tendency to become oatmeal to the ear, nestled amongst the bolder sonic moments.

By which I mean the muscular guitar sounds and fast n’ furious arrangements on tracks like “Man-Sized Wreath,” “Accelerate,” “Horse To Water”— the revitalized band blowing up the electronic, art school solemnity of the preceding Bill Berry-less records. I remember I once put on Accelerate during a day of recording drive-by b-roll footage with some new coworkers, who enthused, “We were a little worried when you said you were gonna play R.E.M…. but this is really good!” I just glided past the implied criticism and took the positive note.

In early 2011, songs for their follow-up began to be released on YouTube and rolled out by the pop culture press. I’ll admit I was underwhelmed by what I heard. Accelerate’s novelty, its flouting of the band’s cliches, had me expecting another quantum leap in a wild direction. Collapse Into Now (#201) was feeling more like a greatest hits mashup.

“Discoverer” at times sounds like an interpolation of “Man-Sized Wreath” (compare the chorus of the former to the verses of the latter.) That exultant wordless harmonizing on “It Happened Today” is straight from “Belong” on Out of Time (plus special guest Eddie Vedder.) “Blue,” the closing track, takes equal parts New Adventures’ “E-Bow The Letter” (dark grinding minor key, Beat poetry, plus Patti Smith-voiced chorus) and Out of Time's “Country Feedback” (the chords sound similar, and the aching Peter Buck solo is back). I’d never before been able to identify the sonic inspirations so easily. However, for all my creeping dissatisfaction, as a true fanboy I knew the record would grow on me. The prophecy was indeed fulfilled.

The song that most represented the sound of a modern-day R.E.M. was “Mine Smell Like Honey.” It was unmistakably them, with the inscrutable lyrics, Michael in gravel-throated rock mode, a Mike Mills vocal harmony line designed to carry its own trajectory while lifting up the chorus, Buck with an indelible riff that doesn’t show off for its own sake— but it would fit right on modern rock radio in 2011, if that still existed. I had another one of my Best Buy PA system epiphanies, clicking this track into place, proving sometimes you need some huge speakers with good bass to truly experience certain songs. In a similar mode, “That Someone Is You” rockets by in under 2 minutes; a live-in-the-room ode to the feeling of meeting that exciting new person who'll lift you out of the mud.

The mid-tempo balladry is back as well, diversifying the sound from the previous release. In “Oh My Heart,” a direct sequel to “Houston,” Stipe croons a New Orleans spiritual with "a new take on faith," while Buck's mandolin comes out of retirement for another sweet, sad melody, and Mills fills in the mournful choir. As with the song’s predecessor, it’s a high-point in the track listing that moves me whenever I hear it.

Before I had warmed to Collapse Into Now, I comforted myself with the idea that New LP equaled New Tour. I could finally catch my favorite band live! They told the press they had no plans to tour behind the record. Odd, but they were an institution, so they could take a pause. I’d recently witnessed Paul McCartney tearing through his hits in person, and he’d already blown past age 64. Then in September 2011, R.E.M. announced they had decided to “call it a day as a band”— a phrase designed to wave away the idea of Beatles-esque acrimony. I was, you can probably imagine, more than a little heartbroken. The previous tour had come within 2-and-a-half hours of my town back in ’08. At that point in my life, that seemed like a hassle: why not wait, see if they made it a little closer next time? Now, I wish I had put in the extra effort.

With this announcement, the sense of Collapse as R.E.M.’s tribute album to themselves came into focus. Stipe is even waving goodbye, for god’s sake, on the first album cover photo to clearly feature the faces of the whole band since 1985’s Fables of the Reconstruction. "It's just like me to overstay my welcome, bless” he sings with sheepish glee on “All The Best.” Shrouded by the spirit-radio-filtered effect of his “Blue” recitation comes his clearest statement of purpose: "I want Whitman proud. Patti Lee proud. My brothers proud. My sisters proud. I want me. I want it all,” and then Patti Lee (Smith), one of his earliest lead singer inspirations, draws the narrative to a close… before the ringing jangle of opener “Discoverer” reprises and concludes. The book’s been closed shut… but the story of the band’s music continues.

There was the inevitable plundering of the vaults. An over-arching Best Of record, finally combining songs from the I.R.S. and WB catalogues (didn’t buy it), with 3 brand new recordings (they’re ok). Two digital-only “Complete Rarities” collections, encompassing hours of b-sides and soundtrack cuts (lotta great stuff, but this week WB removed all of theirs from Spotify, so I’m pretty perturbed).

In 2014, 3 years into my mourning period, they announced Unplugged 1991/2001 (#202), a 2-CD set of their appearances on the MTV show where bands play intimate, stripped-down acoustic sets… you know, in front of multiple TV cameras capturing every angle. Now this got me excited, maybe more than I had been for their swan song record— Bob Dylan Unplugged, Paul McCartney Unplugged, and The Unplugged Collection Vol. 1 had all got a lot of play in my home through the years. Other than my favorite version of “Half A World Away” closing out the Vol. 1 compilation, and a burned, hand-labeled CD-R I had once glimpsed on a coffee table during a realtor’s house tour, recordings of R.E.M.’s appearance on the show didn’t seem to exist until now. I pre-ordered that bad boy.

The set is a snapshot of two very different eras for the band: Disc 1 features them on the cusp of superstardom fueled by Out Of Time’s success, with the classic lineup of Berry/Buck/Mills/Stipe and support from Peter Holsapple. Disc 2 finds them down to a three-piece, supporting Reveal, a record that never got its due, with their frequent contributors Scott McCaughey and Joey Waronker filling out the sound. “Losing My Religion” is on both discs, of course, from the bright new hit that pumps up the crowd to a warmly-recieved old friend.

The treat in hearing these shows is also two-fold. There’s the way that familiar tunes get adapted to the setting: “It’s The End of the World...” is transformed into a Friday night Americana hoe-down, while “The One I Love” is slowed down to a gritty lament with a slightly varied vocal melody. After the 2nd chorus and an instrumental bridge in “Country Feedback,” Stipe folds lines from Dylan's “Like A Rolling Stone” into the tune, a goosebump-inspiring moment.

Then there’s the added benefit of songs that I’d once slept on revealing their power in the live arrangements. The 2001 show closes with several tracks from Reveal, and free of all electronic touches, the choruses of “Disappear” and “Beat A Drum,” well, revealed themselves to me, becoming new earworms and spawning a personal reevaluation of the album. “Find The River” had once been a pleasant-enough closer on Automatic For The People, but a step down from the iconic “Nightswimming” that precedes it. Now it’s a new favorite, and I’m prone to singing it loud with embarrassing over-earnestness.

With the band truly well and dissolved (and no cynical cash-grab “reunion tours” planned, those damn jerks and their integrity), the repackaging of older material is the only avenue left for unheard R.E.M. music. The studio albums are greeting their landmark anniversaries with special editions: Automatic’s 25th was recently celebrated with various configurations of physical release, including one with a disc of demos and a 5.1 surround sound Blu-ray that I WILL possess one day, damnit! Just this week, their social media team announced a sprawling set of BBC sessions and interviews, hopefully to be made available on streaming services in addition to the fancy 9-disc set (I know, sacrilege in my blog about physical media, but space is at a premium and I haven’t even COVERED the live DVDs and music video collections I already have of these guys).

There’s even a podcast exclusively about the band! The exceedingly silly interplay between Scott Aukerman and Adam Scott was enough to get me to listen to several eps of their previous U2-centric show (a band that I’m fairly positive towards), so "R U Talkin’ R.E.M. RE: ME?,” in which they go album-by-album through the discography, was appointment listening from the jump. I couldn’t help but sprinkle inside jokes from the podcast into my first entry. Fuckin’ stoked!

It’s hard to articulate how much R.E.M.’s music has meant to me. There’s undeniable power in finding art when you’re young and unsteady. To ally yourself with a favorite band, especially one that clearly creates from a place of conscience and empathy, is to find a solid stone floor that supports you when you’re at your most weighted down. It’s easy for me to hold onto nearly 2 dozen discs because there’s so much variety. They could uplift, interrogate the status quo, offer humor or succor or an outlet for the uncertainty we struggle with. Michael Stipe sang about identity, queerness, nature, hypocrisy, anger, tenderness, artists, politicians, outsiders, expressive freedom, and quiet contemplation. These lyrics came from what he saw and felt but they were conjured by the instrumentals constructed by Peter Buck, Mike Mills, and for years Bill Berry. Jangle-rock or country-western or chamber pop or folk or glam or electronica— they busted through genres with grace and power; immutability was not an option. They couldn’t finish a record until Michael had the words; Michael had their blueprint on tape to fill his ears until the images flowed.

“Here’s a little agit for the never believer / Yeah, yeah, yeah, yeah / Here’s a little ghost for the offering,” Stipe sang in his 11th hour, one-take performance of “Man On The Moon.” Now I offer a 20-song Document of the R.E.M. songs that mean the most to me at this moment. It nearly killed me to whittle it down, and your favorite probably isn’t on it. The song I just quoted isn’t even on it! But that’s the power of R.E.M., where the subjective experience rules all.

#R.E.M.#michael stipe #peter buck #Mike Mills #Accelerate #collapse into now #unplugged #mtv unplugged #man on the moon #album cover #cd #cd collection #music blog #rock #alternative #pop #album art

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my-pain-of-salvation-experience · 5 years ago

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The frustrating struggle for another type of perfection

PAIN OF SALVATION

Tour Diary – October 2010

“It was probably our best tour. I think the energy was better than ever. We really communicated with the audience on a different level. I really like this, because it’s not about us, it’s really about them… At first we started playing music, because of curiosity and we wanted to learn the craftmanshift, the music, but now it’s more about expression and communication“ the guitar player Johan Halgren told me gazing at the empty stage in Andernach.

PAIN OF SALVATION played there the last show of their Road Salt Tour 2010. After a one day rest in Cologne they had to continue their touring to Great Britain for three more shows – not headlining anymore.

Farewell in Andernach

The band was invited for the next days to support APOCALYPTICA. A strange combination, but without doubt a good opportunity to be introduced a new audience. It was just difficult to imagine the impact of the POS music upon the audience aside from the orchestral “Be” album songs, but on that tour the Swedish band played only one song from this record – “Diffidentia”, and there was no time for rehearsals. The keyboard player Fredrik Hermansson shared my thoughts and revealed to me that there’s one more reason to go to England: to introduce the band live to a management that is interested in the band. The mastermind Daniel Gildenlöw met those people already in July the night before he played on the High Voltage Festival with TRANSATLANTIC.

It was nice to hear about this progress, knowing how much energy the leader spends running the whole business around the band. “Daniel is much occupied with the organization, because we don’t have any management,” Johan explained to me in the beginning of my touring with POS. “He has control over everything: all the art work, all the merchandise… communication with the organizers and bookers. He doesn’t want to have it like that, but it’s just the pressure of circumstances. And, of course, he is a father of two children (already three!). That takes a lot of time too… I like the small crowds, but it would be nice to play for a bigger crowd too, because it generates more money – that’s the truth. The idea would be that everybody could work on the band, spending every day the time from 10 AM till 6 PM working with the band. And now we spent one week preparing for this tour, because there was no time – there is a lot of other stuff to do.”

The outraging narrow-mindedness

It’s always a little sad to observe that original and mind provoking ideas are often carried out solely by exerting enormous effort – being usually not too popular and bringing not enough money to their creators. On the one hand seeing it globally it always gives rise to some kind of anger the awareness the mob rules the society. On the other hand, when you stay apart from the idealistic longings, your ego feels quite comfortable. The notion of belonging to the chosen few that appreciate some ideas and pieces of art is, in a way, enchanting. It has become in fact a tradition that the more intellectual efforts are expected to be low-budget ones. And when they are not, the audience often questions their intellectual value. Sure, the low budget stirs the imagination, nevertheless when it becomes a presumption of profundity, it necessarily evidences some narrow-mindedness among the audience.

Following the band and the audience for about two weeks during that tour and reading some reviews in the internet afterward, I had exactly the impression that POS are walking on the razor’s edge exposing themselves to the risk to hurt someone’s feelings, or ego.

Meet & Greet after the show in Hamburg

My personal impression that this band needs to be introduced to people outside of the progressive metal world was confirmed once again. POS do not comply to the prog clichés neither in their music, nor in their stage performance. Indeed it has already been a long time since the so called prog rock music ceased to be really progressive – while POS are more into the meanings of expression of all the genres they explore than it’s typical for the other bands of the prog category. And it’s obvious especially on “Be” and their latest release “Road Salt”-releases.

“I’ve just taken the essence and let the song be that song, instead of mixing it up with anything else. And that’s where I am today and what I like now. ‘Road Salt’ is more of a ‘White Album’ approach. There are different music styles and they are not mixed up… The most of the prog metal bands or especially the old prog rock bands like KANSAS, YES, GENESIS are never really exploring any style to its maximum, but they are just sort of visiting a little bit. And I’m going from that sort of thinking more into the late BEATLES, QUEEN or Zappa sort of thinking which are artists that would allow any type of song into their music and they wouldn’t try to make it too much their own thing… The weird thing is that a lot of people that are into the metal scene, even more the prog metal are snubbing all the other genres. They despise to mainstream, because they think there are stupid people listening to it who don’t understand the good music. And then in the end they are just as narrow-minded as anybody else. They become mainstream fans in their own way. They have their own uniforms. And it’s sad, because the people listening to mainstream don’t claim to be clever. They just listen to the music that’s on the radio. But the people that claim to be so open-minded and have chosen their style, because they consider it being more clever, should be more observant with the narrow-mindedness, because they consider themselves thinking people,” mentioned once Daniel.

Me with the musicians from PAIN OF SALVATION and BEARDFISH

#painofsalvationlive beardfish painofsalvation

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rodger-that-studios · 5 years ago

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The (Actual) Final Countdown Part 2

My Top 20 Albums - Part 2

The ten following albums are sheer musical perfection, and in no order, I’m going to recommend that you check them out.

Did I say recommend?

I meant damn near demand.

It’s live. Lets go.

10 – Reggatta De Blanc – The Police – 1979

https://www.youtube.com/watch?v=zPwMdZOlPo8

Take a bow, Stewart Copeland

The Police were, simply, a revolutionary band.

We’re not going to talk about Sting on his own, though.

Why were they revolutionary? That’s easy. They combined so many elements when making music it was as if Dr Frankenstein signed a record deal. Reggae? Check. Rock? Check. You want falsetto? Opera? yeah, it’s in there. RDB was definitely their magnum opus, the Michelangelo’s David of their remarkable discography.

There are so many remarkable tunes here. Let’s have a crash course, shall we?

Message in a Bottle is an incredible song. It’s almost transformative, as if it starts as one genre, a rock and roll record, and then becomes something else. Once Mr Copeland starts to flex his muscles on the kit it changes and becomes a Reggae-licious affair. It’s unlike anything else I’ve ever heard, and it floors me every single time. Also offered here is some truly genius lyricism. Sting remarks that it “Seems I’m not alone in being alone”. How melancholy and unique is that? It’ll make your head spin, but god is it worth it.

The other knockout tune here is Walking on The Moon. Safe to say the lyrics are simple. Giant steps are indeed what you must take when you walk on the moon. Not all the lyrics are as profound as Message in a Bottle, but for me, with this song, it’s all about the drums. I fell in love with all things Stewart Copeland when I first heard this. Stewart is in his own little bubble here, and he knocks me for six every single time, especially the fill he cheekily adds before the final chorus. That is nothing short of magical. It’s a stunning performance, much like this is a stunning album.

9 – Greatest Hits of The Cure – The Cure – 2001

https://www.youtube.com/watch?v=n3nPiBai66M

warm fuzzy feeling

The Cure are one of those mythical groups that have very few bad songs. I know the musical puritans among you will slate me for including a compilation album rather than the original works (it’s not the SAME, WILL), but this is just a silly list, after all, it’s really not worth you getting so worked up over.

As far as the album is concerned it features most of the usual suspects, but a few songs stand out to me, even at 20 years old. My mother first showed me our first standout, Just Like Heaven when I was no older than ten. It was captivating to me that someone could pour so much happiness into three and a half minutes. Originally the song came during that transformative phase of the band’s career when they went from their gothic ‘I hate everybody’ origins to ‘Friday I’m In Love’.

Wow

Yeah

Quite a change.

But Just Like Heaven is an ode to falling in love for the first time. It’s quite a beautiful thing to behold really. Also, my mum and I still sing it together and I’m almost 21. That still makes me smile.

Boys Don’t Cry is one of those songs that you’ll find yourself singing even if you have no idea what Robert Smith is talking about.

Boys Do Cry.

Honestly it’s gorgeous. It’s honest and emotional, which is where the best songs come from. That about sums up this album actually. It has a profound sense of emotion and a lust for life. Not one to miss.

8 – The Colour And The Shape – Foo Fighters – 1997

https://www.youtube.com/watch?v=eBG7P-K-r1Y

This one will blow your socks off

If you’ve had the pleasure of reading my piece about my recent, ahem, experiences at the 2019 Reading Festival, then you’ll know how I feel about the Foo Fighters. They are one of the greatest, if not the pinnacle rock band of the last 20 years, and if you’re hoping to get into them, this album is the perfect diving board.

Following the death of Kurt Cobain in ’94, Dave Grohl, the guy in the Foos who looks an awful lot like the drummer from Nirvana, channeling his inner mad scientist, started a new project. The result was The Foo Fighters.

So logically a mere 3 years later they dropped this seminal, uncomfortably incredible record.

Every song on the tracklist is a home run, but there is something truly transcendent about a little ditty called Everlong. It’s a four-minute voyage into unrequited love and not wanting things to ever change, wanting things to stay the same. That’s the perfect description for the track because once you’ve listened to it, you never want to un-hear it. It’s remarkably simple, just Dave Grohl, Taylor Hawkins and the rest of the band making love to your eardrums with hypersonic mastery.

Side note – maybe I’m babbling because of how much I freaking love this song, or maybe it’s just that good. I guess you’ll have to listen to find out.

I’m having to restrain myself from gushing about every single song on this thing. Its one of those records that will never leave your memory once you’ve listened to it a few times. The Foos are an amazing collective of awesome haircuts, amazing instrumental technicality, and genius lyrics.

If I had to choose one other song to personally recommend (and it can’t be all of them) then I’d have to go for Monkey Wrench. It’s one of the most energetic rock songs you’ll ever hear. It’s angry, but that anger is harnessed by Dave and the boys and transformed it into a ridiculously cool song and indeed album. Kick. Ass.

7 – Black Holes and Revelations – Muse – 2006

https://www.youtube.com/watch?v=AZIk5wIq2Qw

It’s about the song people, not the film

Oh Hell Yes.

Muse, but more specifically their jack of all trades irritatingly talented frontman Matt Bellamy have always had fans. They’re a fabulous band after all, but when this album came out in the summer of 2006 Muse went from strength to strength, and it’s not hard to see why this album is held in such high esteem by die-hard Muse fans the world over.

This is Muse at their most theatrical and most powerful. The lyrics are profound, the guitars are loud and the vocals are up in the stratosphere. Its a rock opera, an odyssey of epic proportions. Also the first standout, Supermassive Black Hole gained new notoriety when it was used for that scene in Twilight where the vampires play baseball (you know the one. don’t lie).

But there are other songs here that will leave you stunned. Let’s take Map of the Problematique for example. Its a brilliant bloody song, with Dominic Howard beating the shit out of the drums to create an almost trance-like listening experience, complete with soaring harmonies from Bellamy to boot. Its so cool. Bottom line.

And before we move on there’s the tiny little tiny matter of Starlight, which is one of the best songs the band has ever written, and my personal favourite of the album. It’s soaring. A song for the ages about wanting to be with that one person that means more to you than you could ever put into words. You need to experience it, but we’ve all felt those feelings. That’s why it works.

6 – Sweet Baby James – James Taylor – 1970

https://www.youtube.com/watch?v=JOIo4lEpsPY

‘Who’s cutting onions in here?

Way back at the start of our list I warned that Mr Taylor may be making a cheeky appearance, and look who’s rocked up. I’m a man of my word.

This album is a family favourite, and one of the first albums that Mum and I ever listened to together. She used to sing me, Sweet Baby James, before I went to sleep every night, and I still get that same warm fuzzy feeling every time I listen to it. I’d never heard such a beautiful song before but I knew what that meant after the first time I heard some of the songs on this album. Taylor was an incredible songwriter and truly one of the greatest talents of his generation.

That talent is reinforced with our next song, Fire and Rain (tears, already). The song is melancholy and painful to listen to. But its not pain in a bad way its as if its a necessary pain to go trough because you know things will get better soon. Thats what I think Taylor was going for. The song has a certain distance to it, almost. The lyrics are desperately sad, but the instrumentation and interpretation that Taylor places round them is sonorous and achingly beautiful to listen to. The song is like an old friend after you’ve listened to it a few times. It simply will never let you down. Thats the perfect description for Taylor’s 1970 magnum opus. It will always be with you.

And side note – who knows if the ever speculated relationship between James Taylor and Carole King was real, or if it ever materialised. Frankly that doesn’t matter. If it was true that they wrote this album together, then that will only make your love for the record increase. Two people came together and made a fabulous and timeless piece of artwork. Well done them I say.

5 – Escapology – Robbie Williams – 2002

https://www.youtube.com/watch?v=WHdvQmA2Ws8

Damn this is some funky shit

This was another album I couldn’t get enough of growing up.

Take That split up back in 1996, and Robbie Had been going it alone (and doing rather well for himself) for a good few years when this gem came out in 2002. The main reason Escapology is so resonant with me and still so relatable even in my 20 year old head is because of two things;

The honesty and realism of Williams’ lyrics

The unstoppable partnership between Williams and the albums super producer, Guy Chambers.

Escapology was a new direction for Williams. It was completely different from Life Thru A Lens (1997) I’ve Been Expecting You (1998) and Swing When You’re Winning (2000). Now don’t get me wrong. All three of those albums were great too, but this one would go down as being historically different.

The cream of the crop here, in my ever-humble opinion, is a tie between Something Beautiful and Feel. The former is a cheerful, life-affirming ode to happiness and prosperity, while the latter is a brutally honest and beautifully written song about wanting to find happiness. Maybe there’s a theme that connects the two, but they’re different in almost every other way, and both iconic because of it.

But that’s not where the magic ends with this album. Later on, in the stellar tracklist you’ll find Hot Fudge. This is one of the funkiest songs Robbie and Chambers ever wrote, and one listen to the thing will prove to you why. Its three minutes of killer keyboards, awesome vibes and that trademark Robbie Williams tongue-in-cheek.

Basically, this album is awesome. Get the message? Check it out.

4 – American Idiot – Green Day – 2004I don’t even have to explain this one. I wrote a piece about why this album was ahead of its time.

You can find that here. This one is special, but unbelievably it’s only in fourth. So lets press on.

https://wordpress.com/view/thefriendlycritic.org

Oh my god

OH MY GODDDDD

We’ve reached PODIUM POSITIONS PEOPLE

Look alive sunshine

I’m EXCITED!

Okay okay home stretch lets do this.

3 – Hotel California – Eagles – 1976

https://www.youtube.com/watch?v=4tcXblWojdM

AIR GUITAR

I’ve always been in complete awe of The Eagles. They’re a bunch of freaking rockstars. Living legends. And boy do they know it.

This is the album that gave them that status.

Its a masterpiece. An absolute fucking masterpiece. I’ll try and explain why without squealing with glee.

The title track is the musical equivalent of willingly losing your mind. It’s a drug trip made of sound waves. It’s remarkable and will change the way you think about music. Probably forever. It almost goes beyond how the song actually sounds with this one, although HC does also happen to feature the single greatest guitar solo I’ve ever heard. Glen Fry, take a bow up there you beautiful man. We all miss you.

The lyrics warn you that you ‘can check out any time you like, but you can never leave’.

But let me ask you

If being held hostage by narcotics in blissful ignorance of your situation (somewhere in the desert) sounds this good, why the hell would you ever want to leave?

This song is that good. And its only track ONE.

This album is one of those mythical records that will surprise you more and more every time you listen to it. We continue with New Kid in Town and later Life In The Fast Lane. These are two equally beautiful, but vastly different songs. New Kid is quite melancholy when you first listen to it, but it grows on you. It makes sense really considering the song is about wanting to be accepted. Fry, Henley and the rest of the band really flex their instrumental muscles here, and the result is glorious.

Fast Lane is a different beast, though.

It’s my personal favourite on the album, and it features Glenn Fry at his most untouchable. A guitar hero if ever there was one. This song rocks, this song rolls and this song does basically everything in between. Its a song you can listen to in any mood and you’ll instantly feel better because of it. The harmonies here are phenomenal too.

Just like the rest of the album. Incredible.

2 – Sgt Pepper’s Lonely Hearts Club Band – The Beatles – 1967

https://www.youtube.com/watch?v=naoknj1ebqI

Uh, no clues for what they wrote this one about.

The silver medal goes to the fab four.

Everything these four incredible people achieved together, every album they released, every record they broke (that’s destroyed) simply added to their mythos.

The Beatles aren’t a band anymore, people, they’re practically a religion.

If you had the unenviable task of choosing a magnum opus album-wise, then Sgt Pepper makes a fabulous case for itself. It’s my personal favourite, but of course my opinion should play no part in how you choose to discover this band. They were the greatest pop group and the greatest songwriters of the modern age. You all know the stories, believe them. They’re most certainly true.

Sgt Pepper is, to be frank, the Bayeux Tapestry of 20th-century songwriting.

It touches on some incredible subject matter. Some of it is heartbreaking, some of it is exhilarating, all of it is perfection. Where do we even start with this thing? The title track and With a Little Help From My Friends sets the tone and begins to tell a story that spans the entire length of the album. Its a story of overcoming adversity and finding solace in each other, in people you care about. For that to be put so effortlessly into an album is why this one will live forever. It had never been done before, and odds are it will never be done again.

My personal favourite song here though is surprisingly easy for an album that cannot be categorised. That honour goes to A Day in The Life. Up until I discovered the album you’ll see momentarily at number one, this was the greatest song I’d ever heard. Even at 20, the song cracks my top three tunes ever. This is why.

I almost don’t consider this a song. It’s a narrative. A script, if you will. Lennon, McCartney, Starr, and Harrison guide each listener through exceptionally ordinary activities, catching the bus, oversleeping and waking up late for work, watching television.

Therein lies the genius of the piece, because what’s the best way to make a song memorable.

Easy. Make it relevant to everyone all at once.

I feel like the song gives off a profound sense of loneliness as if while you’re listening you’re just drifting, blissfully unaware. But it makes it so strikingly relevant to everything we do collectively in society today. Everyone has these feelings. Everyone knows where The Beatles are coming from.

Truly outstanding songs talk to you. You don’t listen to them as such, they speak to you, and you listen. I think A Day in The Life is the epitome of that. The song will affect each listener differently. But eventually, you’ll realise why it’s so resonant, so incredible. You’ll understand what it means to you, and you alone.

That is what Sgt Pepper as an album facilitates. Each listener will judge it how they see fit, but to me, it is truly almost perfect.

But it isn’t my greatest album of All Time.

This is.

1 – Fleetwood Mac – Rumours – 1977

https://www.youtube.com/watch?v=RqjXn2NflqU

It’s a masterpiece, people.

What do you all know of heartbreak?

Simply, you don’t forget when your heartbreaks.

If you don’t immediately understand the significance of that then odds are you haven’t felt it yet.

Fleetwood Mac were the first band that truly changed my life. Once I understood Rumours it changed my outlook on where the future would take me.

Honestly the first time I listened to it I didn’t understand it. It took a few tries. But one fateful day I started it and everything clicked into place in my head. I was captivated, and sobbing uncontrollably by the end. I knew I wanted a career in music because of this thing.

The album was released in 1977, and it came at a turbulent time in the lives of the members of the band. The married Mick Fleetwood began a torrid and publicised affair with Stevie Nicks, who was married to Lindsey Buckingham. Meanwhile, the other members of the Band John and Christie McVeigh were also on the brink of divorce.

So basically everything was going wrong.

Rumours was the band’s response to the chaos, the eye of the hurricane and the light at the end of the tunnel.

Each song here is more like a thrilling story, and two of the most memorable are Dreams and Go Your Own Way. The incredible thing here is that these two songs are written from the perspectives of Stevie Nicks and Mick Fleetwood respectively.

ABOUT THE SAME ARGUMENT

Dreams is brutal. Nicks’ lyrics tear into an unknown (but known) person who doesn’t want the same things as she does. It’s angry, bitter and painful stuff.

But even with the darkest subject matter, there’s an undeniable beauty to it. The lyric ‘women they will come and they will go’ will undoubtedly tear you to pieces. Its as if Nicks knows she isn’t good enough, but sings through the pain and uncertainty anyway.

The song, and album, almost reminds me of the music played by those brave musicians on the Titanic. They knew the inevitability of the ship going down but played on with courage. This song makes you feel desperately sorry for the circumstances under which it was written, but it will captivate you from start to finish.

But all stories have two sides

Go Your Own Way is the equally spiteful response to the story of Dreams. Fleetwood lays into an unknown (yet known) woman about how he’s feeling. Again the pain telegraphed here will leave you breathless, just as before.

The lyrics here are what makes the song so remarkable. Fleetwood almost begs for forgiveness but doesn’t back down. He tells the recipient that ‘packing up, shacking up’s all you want to do’. That line destroys me because again its a story of how both parties must have known what was coming.

Yet they bravely knew that the show had to go on.

Every song here is much like these two highlights. Just as heartbreaking, just as melancholy and just as stunning. The adjectives I could use to describe this seminal album just go on and on, so I’ll be blunt.

After almost 21 years Rumours is (thus far) the greatest album I’ve ever heard. I hope you find something to love within it too.

Deep Breath

Rest those eyes

We made it

It’s been a pleasure, and it’s been a wild ride. I sincerely hope that each person reading this was happy to dive into my head and pick my brain for a few albums.

I may be a professional musician, which means I’m probably biased, but that’s the amazing thing about music. It means different things to different people.

That means each person can react to this list however they want to.

Get listening. It’s been fun

#the police #the beatles #fleetwood mac #james taylor #the eagles #green day #muse #foo fighters #the cure

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twistednuns · 6 years ago

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December 2018

Iglo Veggie love with broccoli, buckwheat and black beans. Quick and easy.

The TEDxTUM event was pretty inspiring. I loved how they organised it and some of the speakers were amazing. Seeing all the cool stuff other people are working on actually motivated me to try and achieve great things myself. I'd like to learn about something new, start a project or volunteer.

Pick Up Limes videos.

The way Cher sings the word Memphis in her cover song.

Seeing Frank for the first time in four months. Having a good time at the Uncle Acid concert, getting a beer at Flex. Even though meeting him always causes some kind of emotional turmoil it might actually help to solve a few things I've been stressing over this time, for example that whole deal with Claudia.

Spending two hours in the kitchen on a Sunday morning. Preparing a summer and a winter curry. Pre-cutting salad. Listening to Tai Chi music. Baking these divine buckwheat chocolate cookies - absolutely delicious even though I forgot to add salt. Kinda healthy, too! It's grain-free (I even used groats) and I substituted part of the sugar with honey.

Gift ideas for rock collectors and mycophiles.

A spotted woodpecker in our backyard.

Dalmatian Jasper. Such a pretty stone.

Blinded by the Light. And a trip down musical memory lane. Making a nostalgia mixtape. Singing, enjoying the sound of my voice (as long as I hit the right vocal range).

Drawing owls. For hours. Using my Polychromos coloured pencils. I'm currerntly working on two owl-related projects, designing a logo for coffee roasters and making my friends' wedding invitation. Drawing owls like lovebirds is such a satisfying thing to do. Also: making my students come up with new ideas! Some actually drew some owl logos, too!

Tetris.

Reading books I don't understand. By people who are smarter than me. A very humbling experience. There is so much more to learn, experience and achieve.

Franzi's elegant coat and her ice crystal earrings. She's pregnant but she is skinnier than before and looks great. We cuddled up on a rooftop and had Kinderpunsch.

Practising The Pogues' Fairytale of New York for for karaoke night. I never hit the NYPD choir note quite right. My neighbours must hate me.

Taking a mental health day. Starting the day with baking cookies, making vegan sushi rolls. Reading, taking a nap. Yoga in the evening. Feeling really happy and relaxed. One of those rare inspired days when everything just falls into place. I kept revisiting beautiful places and memories during Shavasana. And I LOVE my yoga teacher more and more each week. So sad she is leaving the studio.

Taming your temper - tips for anger management.

Another coincidence. I wondered when the next Bilderbuch record will be released when I was looking at Mavi Phoenix at her concert - that girl is the female version of Maurice Ernst. A few hours later I found out that Bilderbuch actually had released a new album one day ago. WHAT.

Mirror tape.

Being a fluffy little red cat's human of choice. We sat in a cat café, no animals in sight. After a while a cat walked up straight towards me, sat down on my yellow scarf and kneaded it. Later she demanded attention and purred while I scratched her jaw. Apparently this was quite a rare occurence because she is said to be really shy and hard to handle. Weirdos unite!

Making Bhindi Masala, a vegan okra curry. Spicy and intense - delicious! Oh, and sushi rolls filled with avocado, veggies and fancy tofu/tempeh. Now I have a whole container waiting for me in the fridge.

Practising yoga for 20min on a gloomy Monday morning. Lighting a candle, drinking a cup of Ayurvedic Kapha tea with honey and lemon.

Tom, who inspired me to learn more about Ayurveda. And to rewatch The Darjeeling Limited because let's face it - Wes Anderson really knows how to make one of the poorest countries in the world look gorgeous.

We become what we think about. It's impossible to be successful without having a destination.

Quotations from Siri Hustvedt's The Blazing World: 1 / 2

"Smelling you almost makes me cum."

Running around with a fake septum piercing. I kinda like the look. I'm actually considering getting a real one but so far I'm fine with the clip-ons. The good thing is that you can't see the ring's ends anyway in that kind of piercing.

Spending time with the old friends. The best ones. The ones you don't have to speak to and it's still not uncomfortable. The ones you can be super weird around and they embrace it. The ones you can tell your strangest ideas and stories.

There is a new Turkish supermarket right around the corner! Fresh cilantro whenever I want! YES!!!

Heavy snowfall. It does look kinda pretty, I admit.

Many questions, not enough answers at the ESO Supernova exhibition/planetarium. / Making another cat friend over breakfast. / Seeing my foxy ginger lady Anika again after such a long time! / Orange marzipan lebkuchen and roasted coconut almonds (they taste like Raffaello). / Finding the perfect earrings and a beautiful head band at EDITED - The Label. / Performing Fairytale of New York live on stage with Manu. Being able to curse at somebody through song is perfect, I had a lot of fun. Also, he promised me his art teacher sweater as a Christmas present.

A knitting project with rainbow wool.

Making a clay sculpture for my mum. Taking it out of the oven at 80 degrees, wrapped in a dish towel like a baby.

The honey marzipan nougat bar from dm bio.

Meeting Manu at his office. Receiving the most awesome paint palette sweater as a Christmas present! And he let me spend a full hour in virtual reality! He has such an amazing programme which lets you draw in 3D and float around in space (with VR goggles). I'm absolutely fascinated and intrigued. Gotta visit him more often.

Meeting Tobi, Maike, Lena and Christian at Märchenbasar. Being drunk after some Feuerzangenbowle with rum (Pfeffi in Manu's case) and white mulled wine. Taking the long way home.

Buying Paulaner Spezi for my class. Supermarket trips with the kids before 8am. Schrottwichteln. Watching random goat videos and intros to children's series.

Having a drink at Goldene Bar in Haus der Kunst. Such a gorgeous place. I'm trying to get into a workshop on the museum's architecture at the end of January.

Making random people want to kiss me. Having no desire whatsoever to actually kiss them.

The Harry Potter round (on special request) at the pub quiz.

Reading Stephen Hawking's short answers to some of the big questions. I have to admit, I know nothing about physics or cosmology and at times his explanations were super hard to understand (fine, I probably didn't understand most of it) but I love creating a need to use my brain in uncommon ways.

Vivid dreams. About dangerous skyscrapers (just different floors stacked loosely on top of each other), a kidnapping in a futuristic car by very glamorous gangsters, lesbians on a scooter trying to save me, travelling through Asia and the US with Sash, a sinking ship (but all the passengers swam back to the surface after a short period of unconsciousness), ATMs, fancy drinks, meeting strangers with beautiful eyelashes at a restaurant.

Discovering the Trouvelot astronomical drawings (1882) on the darkest day of the year, winter solstice. Watching the night fade away ever so slowly in the morning from the kitchen window, squeezing fresh oranges to make juice for breakfast. Bright orange and midnight blue is a great colour combination.

ASMRctica.

An article about a dear friend of mine appeared in Süddeutsche Zeitung! So happy for him.

Spending time with very old friends right before Christmas. Tobi, Sash, Michi, Yanic, Fischi and his wife... Playing MarioKart on SNES with Peter and taking weird selfies together. I had a very nice evening.

Managing to get a look at downtown Chicago during my layover. I uber-ed into the city centre (watching the skyscrapers getting larger and larger), walked around Millenium Park and along Lake Michigan. I spent quite a bit of time at Blick, an amazing art store, before I took the train back to the airport.

Arriving in Mexico in the middle of the night on Christmas Eve. Seeing the city sparkling from above. Watching a bunch of kids beating a pinata well after midnight. Arriving in a beautiful artist's apartment in Condesa.

The Anthropology Museum in CDMX made it on the list of my favourite museums ever. I could have spent days there. I kept sketching some of the funny masks and Maya figurines. There were plenty of creepy tombs and skeletons, depictions of weird Gods, handicrafts and woodcarvings. It was just so interesting, probably because I had never seen a lot of South American / Aztec culture before and I love learning and exploring new things.

Christmas day in CDMX: sunshine, tacky glitter decorations, pointy balloons and spiky pinatas. Dancing, ancient smoke rituals performed by a Mayan community.

Mexican street food, especially the vegetarian street food tour with David. Meeting the Blue Corn Lady (her quesadillas are with cactus and beans and they're incredibly delicious). Flatbread, corn, fruit with chili and lime. Pulque and Mezcal. Finding out that the green salsa is actually worse than the red one. Tacos, Enchiladas, Tamales. If you go to Mexico just for the food you'll still have plenty to explore.

That evening with the pink sunset. Walking through the old used book store in Roma. Reading an interesting take on Lars von Trier's Melancholia. Meeting the resident cat.

Lucha Libre! Watching the luchadores, especially the small people in the second round. Laughing about the Mexican boy next to me swearing at the top of his lungs. Getting a mask as a souvenir.

Climbing the sun and moon pyramid at Teotihuacán. Getting a sunburn. Enjoying the atmosphere. It's a very impressive site.

Diving in Cozumel with Brooke-Anne (a librarian from Las Vegas who was raised by Mormons), Cynthia from Quebec and Lucie from Toulouse. Entering some coral formations underwater. Eating cantaloupe melon and chocolate cookies after the dive. Spending the evening with another Canadian, Jussi from Finland and that other dude from Puerto Rico. And some Indio beers.

What I loved most about Tulum were the ruins (right next to a gorgeous beach) and the health food restaurants (La Hoja Verde and Co.Conamor).

And this year I don't really have a good New Year's Eve story because I fell asleep at quarter past eleven in a little village west of Tulum. All alone. Could be worse though, I had an amazing year.

#personal #present perfect #things i love #december #2018 #december 2018

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thepodreviews · 8 years ago

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THE TOP 20 ALBUMS OF 2016

20. clipping. - Splendor & Misery

“Shoulda made the noose a little tighter cuz there ain’t nobody dead just some motherfucking riders”

Concept albums are tricky to pull off. You can either end up with a Ziggy Stardust, or with Drones. In this case, noise rap trio clipping. ended up with something totally unique. The album tells an afrofuturistic story dealing with the aftermath of a slave rebellion on a cargo ship lost deep in space. That’s all i’m willing to reveal about the story, because this is an album that has to be experienced firsthand. Frontman Daveed Diggs showcases his chops not only as an MC, but also as a fantastic storyteller, complimented perfectly by the cold, eerie electronics, which help give the album a really unsettling feel. Do not let this album slip by.

19. Weezer - The White Album

“If I was king of the world, you’d be my girl, you wouldn’t have to shed a single tear”

With an incredible return to form, Weezer make me almost want to forgive everything since the Green Album. From the moment the chorus exploded in California Kids, I knew the old Weezer I loved had finally returned. Everything that made them great is back in full force here. The clever lyrics, the catchy melodies, and of course, Rivers Cuomo shredding like nobody’s business. Here's hoping they keep it up.

18. The Body & Full of Hell - One Day You Will Ache Like I Ache

This is, by far, the single most intense musical experience I had this year. Fresh off the heels of their equally intense collaboration with Merzbow in 2014, Full of Hell joins forces with sludge metal act The Body to deliver something even more hellish and abrasive. This album effortlessly combines droning guitars, harsh noise and some incredible screamed vocals to create an overwhelming and oppressive atmosphere that makes listening to it all the way through a punishing, but ultimately rewarding experience. Definitely not one for the faint of heart.

17. The Avalanches - Wildflower

“I just want to know, what’s wrong with me? Being in love with you.”

The one nobody ever thought was ever gonna happen. After 16 years (16 years!), the legendary Avalanches finally came out of their hiding hole and delivered one of the most fun albums i've heard in a long while. The Australian trio blend together samples and, for the first time, guest appearances by the likes of Danny Brown, DOOM, Ariel Pink and even Biz Markie to create the musical equivalent of pure, unbriddled joy. This is an album to lose yourself and get lost in, while never losing a smile on your face. Welcome back guys. Now please stick around a little longer this time.

16. YG - Still Brazy

“I really got something to say: I’m the only one to make out the west without Dre”

It’s rare when an artist completely manages to change my expectations on them. YG, however managed to do this with just the first song on this album. By swithing over DJ Mustard´s boring, repetitive sound in favor of a classic West Coast G-Funk influence, the Compton rapper completely won me over. But it’s not just the production that shines in this record, but rather YG himself. He constantly switches from topic to topic, including race, politics, police brutality, even getting autobiographical in some tracks, but never does he sound like he doesn’t know what he’s talking about. All throughout the album he proves to have enough charisma and self-confidence for the listener to buy every single word he’s saying. Who even needs DJ Mustard anyways?

15. Mitski - Puberty 2

“Your mother wouldn’t approve of how my mother raised me, but I do, I think I do”

This is an airing of grievances in musical form. Very few times before has a howling guitar expressed such frustration and anger, but at the same time, such deep sadness. Mitski’s voice carries the album from moments of tenderness to those of visceral bitterweet emotion, all of them carrying the same weight and never pulling any punches, wether they be quiet or loud. And in that same bittersweet emotion, there’s always a tiny, hopeful sensation that somehow, maybe, just maybe, it’s all gonna work out in the end. Just maybe.

14. Vektor - Terminal Redux

“I think I’m losing my mind”

This is the second concept album on this list, and coincidentally, it’s also (partly) about space. But if Splendor & Misery was subtle and understated, Terminal Redux is the complete opposite. This is thrash metal taken to the extreme. From the opening seconds, the album hits the ground running and never slows down once, building towards an absolutely massive climax. The entire band brings their A-game, from the furious shredding and riffing of the guitars, to the machine gun drumming, including lead singer’s David DiSanto’s fantastic vocals. What truly amazes me about this album is the fact that, despite being so long, with various tracks reaching well beyond the 7 minute mark, it never feels tiring or repetitive. The band somehow manages to be constantly inventive and engaging throughout, including some unorthodox elements, for example the choir in the opening track. And that’s not even taking into account the album’s story, which is so insane I won’t even try to describe it. It’s an album you have to experience firsthand. Just sit down and enjoy the ride.

13. KA - Honor Killed the Samurai

“I plea to treat all just. To get what we need, we did what we must”

This might be the most bleak album of the year. Most of the songs lack a definite beat or rhythm. The instrumentals are grimy, cold, and gloomy. But KA ties it all together with some the most poetic and dense lyrics I think I’ve ever heard. The Brownsville rapper is introspective and philosophical, soundind like a weathered voice of wisdom who has lived through countless tragedies and has seen how the world around him corrupts those around him. Although his voice never rises above a grizzly monotone, he conveys the pain all of this has caused him masterfully. It’s not the usual hip hop, but it’s one of the best.

12. Preoccupations - Preoccupations

“You don’t need to say sorry for all the times when everything fell through”

The band formerly known as Viet Cong ditched nearly everything that characterized their 2015 project (the speed, the controlled sonic chaos, even the name), but they’re still inequivocally themselves. In choosing to make a slower and more reflexive album, they made moments like the long, washed-out ending to the 10-minute epic Memory make sense, instead of making it boring. Every single moment is filled with a profound feeling of loneliness that resonates in every note played by the band, and in Matt Flegel’s smoke cloud of a voice. But in the end, it all contributes to what is ultimately an incredibly mesmerizing and hypnotizing experience, and it serves to prove that order and control can hit just as hard as noise and chaos.

11. Angel Olsen - MY WOMAN

“Was it me you were thinking of? All the time when you thought of me”

Angel Olsen’s ode to, in her own words, “the complicated mess of being a woman” has a certain aura of sadness all throughout. It’s the sadness of someone who has been through just too much. Wether it’s about family, love, unfaithfulness, or unreachable standards, the end is still that same sadness. Olsen, talking from the perspective of someone who clearly knows this all too well, pours her heart and soul over this album, and it shows in the amount of sheer emotion that is put on display in the heartbreaking lyrics, or even just in her delivery of said lyrics. A single cracking of the voice carries more feeling than certain artists only hope to achieve. Sometimes the most emotional moments don’t even have any words, like in the explosive and pained climax of Shut Up Kiss Me. However, all of this emotion doesn’t alienate, but instead does the contrary, inspiring a deep sympathy that makes you come back again and again, even if you don’t share those feelings. And in the end, that is what all good music must aspire to do.

10. Nicolas Jaar - Sirens

“No hay que ver el futuro para saber lo que va a pasar”

A protest can come in many shapes and sizes. Some of them are loud and ensure that they are heard by everyone, while others are quiet and preach to whoever will hear. To chilean producer Nicolas Jaar, this concept is nothing new. Jaar, who specializes in quiet, understaded music, produced a more subtle kind of protest. Instead of dropping anvils left and right and hitting you over the head with his message, he instead talks in abstract ideas and concepts, that at first appear to be vaguely related, if at all. But then it all comes together and he lets that moment of realisation do all the talking. He even lets his signature soundscapes contribute to the mood and message of the album. It combines and contrasts many sounds, textures, instruments, even singing styles to create something unique, that’s sometimes rhythmic, sometimes hectic and formless, but always carrying the same haunting message.

9. King Gizzard and the Lizard Wizard - Nonagon Infinity

“Nonagon Infinity opens the door”

King Gizzard are not a band that are afraid to experiment. Every album is dedicated to some crazy off-the-wall idea and they fully commit themselves to make it work. In the hands of any other band, it would just be a bunch of gimmicks. But in their hands, it’s an entire playground of ideas and originality. In the case of Nonagon Infinity, they have effectlively made an endless loop of an album. It has no true beginning or finishing track, and every track blends together seamlessly. It’s an insteresting concept, sure, but if this was all there was to it, this album would not be just a one-note affair, something that most people wouldn’t give a second look. Luckily, King Gizzard know this, and made the album one of the fastest and hardest-rocking albums to come out in the entirety of 2016. From the very second it begins, you’re blasted by some pf the most energetic, catchy, and just plain fun songs the band have made to this date. It’s a flurry of fuzzy guitars, groovy basslines and powerhouse drumming. And that’s the magic of King Gizzard and the Lizard Wizard: they don’t make an album an endless loop just to say they made an endless album, they make an amazing album, one that you could listen to over and over again, that just so happens to be an endless loop. That’s why it could only work in their hands.

8. Kaytranada - 99.9%

“I’m here and I know y’all be waiting for me.”

You may or may not know Canadian producer Kaytranada for producing for the likes of Freddie Gibbs, Mick Jenkins, The Internet, among others. He’s always been great at creating groovy, easy-going beats, but he’s never really come out into his own. Until now. With a more than impressive debut, Kaytranada shows the world what he’s capable of and makes the case for being one of the best producers out there today. This is first and foremost a beats tape, with contributions from the likes of rapper Vic Mensa, singer Anderson .Paak, and even jazz quartet BADBADNOTGOOD. But these guests never feel like they’re the focus of the album. Instead, each of them feel more like elements that are mixed together into the groove of the album. Kaytranada takes their voices, their words, their instruments and waves them together with his own impossibly catchy melodies to create something that is truly greater than the sum of its parts. Every song here will get stuck in your head for at least a day, and they will very hardly leave. And I guarantee that no matter what, you’ll be left wanting more.

7. Car Seat Headrest - Teens of Denial

“I didn’t want you to hear that shake in my voice, my pain is my own”

Will Toledo sings about what everyone else would rather not. Depression, social anxiety, failing to make something out of your life, you name it. True, he might not be the first to do so, but it doesn’t mean what he writes isn’t engaging or full of true, raw emotions. Finally free of the constrictions of lo-fi, Toledo takes advantage of it and expands upon his creativity, being loud, huge and bombastic when he needs to, and then going back to being tender and quiet, sometimes in the same song. He’s not the best singer, but for some reason his certainly unique voice works perfectly here. He also manages to add extra instruments, like horns or keyboards, and they complement the music perfectly. But it’s the fantastic songwriting that truly drives the album home for me. Yes, it can be sad and heartbreaking, but there’s moments of catharsis that make it feel like it’s okay to laugh at your own pain. And in the end, we’re all better for it.

6. Bon Iver - 22, A Million

“Philosophize your figure, what I have and haven’t held.”

Every once in a while comes an artist that with a single album alters everything about them. Their image, their sound, everything. Radiohead did it with Kid A, Talk Talk did it with The Colour of Spring, Primal Scream did it with Screamadelica, and now, Bon Iver have done it with 22, A Million. Even though Justin Vernon has subtly been evolving ever since he started the Bon Iver project (replacing the minimalistic sound of For Emma, Forever Ago with a full band on their self-titled album), and even though we’ve seen him collaborate with Kanye West on Yeezus, his most experimental album yet, I don’t think anyone was ready for this radical of a change. Replacing live instrumentation entirely, Vernon instead opts for glitchy soundscapes, manipulated samples of his own voice, and horns aplenty. Even his lyrics have changed, becoming even more cryptic than they already were in the past. But even though the instrumentation is weird and out there, and you never really know just what he’s talking about, Vernon still manages to create something that resonates within you, and the emotions shine through. No matter where he goes next, I don’t have a doubt that it will still be incredible.

5. Nick Cave & the Bad Seeds - Skeleton Tree

“I move, you move, and one more time with feeling”

To say that Skeleton Tree might be Nick Cave’s most emotional album yet is saying a lot. Cave is known for making dark and generally disturbing music, but this record is dark for a very different reason. During the sessions for this album, Cave’s son Arthur tragically passed away. Even though no explicit mention or reference is made, this tragedy haunts the record. That sickening, oppresive feeling of loss lingers in every word and in the sparse, minimalistic production. And then, on the second half of the album, Cave turns his head from the darkness and starts looking towards the light. A ray of hope illuminates the back half of the album, simbolizing the beginning of a healing process. Musically, this album is the most minimalistic Cave has ever gotten. But what’s there is more than enough to convey exactly what needs to be conveyed. This is not an album of despair. It is an album of surviving through that despair and the peace of mind that comes with it.

4. Radiohead - A Moon Shaped Pool

“Broken hearts make it rain”

Thom Yorke and co. are no strangers to the feeling of deep sadness that accompanies loneliness. But on A Moon Shaped Pool, they dive deep within this feeling and produce their most depressing and heartwrenching set of tracks in a very long time. More than being simply emotional, A Moon Shaped Pool is the most human album that has come along in a while. The band, accompanied by Jonny Greenwood’s orchestral arrangements, wear their hearts on their sleeves, resulting in an album that’s mainly about love, or more specifically, what comes after it is gone, and what fills the void that’s left in its place. While album closer True Love Waits might be the most gentle song on the entire album, it’s also the heaviest in terms of what it’s saying. And unlike Skeleton Tree, there’s no comfort at the end of it.

3. David Bowie - Blackstar

“Look up here, I’m in heaven”

When Blackstar came out, the world received a weird, ominous and cryptic album that talked about death, the afterlife, and all that you leave behind when you die. Two days later, we all understood why. More than an album, this is the final testament of an artist coming to terms with his own untimely passing and releasing one final parting gift. This album is chaotic, it’s nightmarish, at times profoundly sad, but in the end, if it truly is Bowie’s final goodbye, then it accomplishes what it sets out to do. One can choose to handle death in a number of ways. The way Bowie chose to do it is unusual, yes, but it feels like something that only he could have done, and it truly ends his decades-long career on a high note, leaving behind a legacy that few people can even hope to accomplish. R.I.P.

2. Danny Brown - Atrocity Exhibition

“Made 30 band in 30 minutes. Before I count it I done damn near spent it.”

This is, no contest, the single darkest album of the year. The Detroit rapper taps into something truly twisted and demented on a lot of tracks in this record. His usual themes of drug addiction, crime, poverty, and death take on an even more sinister turn paired with some of the beats in these songs. This album truly feels like a never-ending downwards spiral. One that just turns darker and more hopeless with every passing song. Danny raps his ass of through the pain, from the perspective of someone who has gone through this and knows what it brings all too well. He raps, more than anything else, from the perspective of someone who’s determined to live and survive through it if it kills him.

1. Frank Ocean - Blonde

“I thought that I was dreaming when you said you loved me”

When Frank returned after a long four year hiatus with Blonde, he released something that did not resemble Channel Orange at all. Instead of the smooth R&B beats, the hooks, the guest verses, we got simple guitar lines, which, in most cases, make up the entirety of the songs’ instrumentations. Again, this is a sparse and minimalistic record, but in the abscence of extra instruments and sounds, the feelings truly shine. The lyrics in this album are, to put it simply, masterful. Dealing with youth, love, and identity, among other subjects, they all come together to create a near-perfect experience of an album that resonates hard within anyone who has ever been young and foolish, or even not that young anymore. It is, in a few words, the best album of 2016.

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morningrainmusic · 7 years ago

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Top 25 Albums of 2018

These are the top twenty-five albums (and one EP) of the year. See you in 2019. Best, MorningRainMusic.tumblr.com

25. MGMT – Little Dark Age Little Dark Age is the album in which MGMT wised up to the fact that they can experiment with their sound while not completely alienating their fans. I expect the evolution of this band will continue to be fascinating. Complaints/criticisms should be taken up with goth Andre Van Wyngarden.

24. Jeff Rosenstock – POST- Good old-fashioned American punk rock in another frustration-filled year in the U.S. of A. Few people can make righteous anger sound as fun as Rosenstock. We’re gonna need more in 2019, Jeff.

23. Jon Hopkins – Singularity Likely Hopkins’ best work yet, Singularity is a monster of an electronic album without the monstrously tired trappings of EDM. Of course, this is the arena Hopkins has been working in most of his career, building sonic worlds of mesmerizing beauty.

22. Amanda Shires – To the Sunset The opening track to Amanda Shires’ eighth album is a statement. Shires is a classically trained violinist who plays with Jason Isbell (to whom she is married) and is still firmly rooted in the Americana/folk scene. To the Sunset is a sea change for Shires and “Parking Lot Pirouette” is the coming out party. While it’s not exactly a pop record, it’s damn close. “Leave it Alone” could soundtrack a 90s rom-com starring Meg Ryan. The country undertones linger here and there, but they are typically buried beneath Shires’ stunning voice and Dave Cobb’s slick production. There’s an unexpected and brutal final line of album closer, “Wasn’t I Paying Attention” that fits into the country-western tradition, but otherwise by the end you might forget she’s a country/folk artist at all.

21. Pusha T – Daytona / Kanye West – ye Yes, this is a cheat. But at seven tracks each and just under forty-five minutes combined, it seemed appropriate to lump Daytona and ye together. The marriage of Kanye and Pusha T in 2018 proved a very successful one. Daytona showcases Pusha T’s impressive rhyming ability and penchant for controversy (see the album cover depicting Whitney Houston’s drug paraphernalia-litterd bathroom, which Kanye paid $85,000 to license). Ye was not particularly well-received by critics, and it certainly has its flaws. But its highs are high, reminding us why it’s hard to hate Kanye, even at a time when most everything else he does makes us want to.

20. Kurt Vile – Bottle It In As he states plainly on “One Trick Ponies,” Kurt Vile has always had a soft spot for repetition. He’s made long albums before, but at an hour and eighteen minutes, Bottle It In is his longest album yet. It meanders A LOT, but this is prime Kurt. From the everyday, small town highs of “Loading Zones” to the amphetamine-taking rocker-on-the-road swagger of “Check Baby,” this record delivers the goods. Of course there’s also the ultra-chill side of KV here, like the almost ten minute long day-in-the-life tune, “Backasswards” and the title track which employs harpist Mary Lattimore as well as some saxophone, slightly calling to mind “Under the Pressure” by Kurt’s old band. If he continues making records this good, Mr. Vile can repeat himself as much as his heart desires.

19. Lucy Dacus – Historian Lucy Dacus is only 23 years old and she’s already proven herself one of the best lyricists alive. The biting, shame-offensive “Strange Torpedo” from her 2016 debut contains witty lyrics and begs to be sung along with. Dacus’ Matador-released follow up, Historian, is more explicitly personal, epic, and all around exciting. And while this record is full of stick-in-your-head lyrics, they are complimented by Dacus’ genuinely impressive guitar-shredding and beautiful voice. She could sing the phone book and it would likely make for a half a decent song.

18. Wooden Shjips – V. While Sleep was receiving heaps of critical praise for their doom metal, weed-worshipping comeback record, The Sciences, the best stoner album of the year was a much more lowkey, hazily psychedelic affair. Wooden Shjips’ V. is a warm, echo-laden, bliss-trip with plenty of jammy excursions and thick, Nuggets-era guitar riffs. It’s one of those rare albums that is equally suited for active and passive listening—one can get as much from it by really digging in with a pair of good headphones as playing two thirds in the car whilst the mind wanders back and forth from daydreaming to attentively consuming the music. Most self-respecting musicians would understandably take issue with that comment—did I just describe wallpaper muzak? Not at all. This is a pivotal function of many great psychedelic rock records: the ability to pull the listener in, then facilitate his slow drift away, only to bring him back a few minutes later. It is an ebb and flow Wooden Shjips achieve masterfully. In his review of the album, Stereogum’s Tom Breihan mentions his wife walking in on him listening to “Golden Flower” and describing what she heard as sounding like “Phish covering Third Eye Blind.” This fairly accurate description of the song will send some running for the hills. I’m not much of a Phish phan, but the thought of hearing Trey & co’s take on a late-90s pop-rock masterpiece sounds pretty damn great to me. In a numbingly turbulent year, V. was possibly the perfect soundtrack to turn on, tune in, and drop out to.

17. Pinegrove – Skylight As is the case with so much art (more and more in the past few years), it is impossible to remove the latest Pinegrove record from the context of its primary creator’s personal life, which is…complicated, to put it mildly. A couple years ago when Pinegrove put out their phenomenal (and overlooked by this blog) sophomore album, Cardinal, they were probably the last band anyone thought would garner controversy of any kind. An alt-country/emo band from Montclair, New Jersey, they quickly built up a fervent fan base that calls themselves Pinenuts (yes, actually). Then all this happened. Though it was almost completely finished before that all went down, whatever it was….some of the lyrics on Skylight seem to reference it—take a close listen to “Rings.” In any case, this is a powerful, introspective, and really just classic Pinegrove album. I hope everyone is okay, and I’m glad the band lives on.

16. Miya Folick – Premonitions Like a handful of artists on this list, Miya Folick came out of nowhere for me. This is part of what makes this list so exciting—the musicians who put out stellar debut albums and those that have been around a little while, but I just recently became aware of them. Cardi B and Miya Folick are the only artists here with debut LP’s. They are radically different stylistically, but they are similarly electric, get-up-and-move albums. Premonitions probably doesn’t qualify as a “party record” in the traditional sense but songs like “Cost Your Love” demand body movement. Pair this pop sensibility with Folick’s wide-ranging, Fiona Apple-eqsue vocals and you’ve got a star in the making.

15. Camp Cope – How To Socialise & Make Friends “The Opener,” which is fittingly the opening track of Australian indie rock outfit Camp Cope’s second album, is quite possibly the most powerful and effective protest song of 2018. Through sarcasm and a scorching vocal performance, front-woman Georgia Maq eviscerates the toxic men who work in music and make life for women like the members of Camp Cope that much more difficult. “Tell me again how there just aren’t that many girls in the music scene” Maq shouts, addressing frustrations and injustices that are largely unique to women and reach far beyond music/entertainment. It is a vital statement of a song and perhaps more important to get its message across, it rocks. The album pivots, offering more balladic personal narratives—“The Face Of God” addresses a sexual assault, “The Omen” is an ode to a lifelong love, and “I’ve Got You” is a heartbreaking acoustic number about a parent dying of cancer. It’s a heavy, cathartic record that establishes Camp Cope as an indie force.

14. Father John Misty – God’s Favorite Customer What’s left to say about Josh Tillman? The man who captured our hearts by dropping out of Fleet Foxes, showing off his moves on Letterman, and putting out a pair of weird, wonderful albums was due for a course correction in 2018. Yes, many consider Pure Comedy a triumph, but really it was a highly uneven, bloated, self-absorbed mess. Tillman, someone who used to poke fun at the type of self-serious people who are so preoccupied by “man’s role in the universe,” had gone and made an album about just that. God’s Favorite Customer is a return to form. Sort of sad, but it apparently took a serious shakeup in his marriage for this sarcastic goofball to get back to doing what he does best: crafting beautiful melodies and singing nutso, often darkly funny lines with conviction and the voice of an angel. (Example: “Last night I wrote a poem / Man, I must have been in the poem zone”).

13. John Prine – The Tree of Forgiveness Want to attain enlightenment? Don’t bother meditating or balancing your chakras. Instead, try living seventy-odd years with a fraction of the honesty, humility, and warm resignation that the old master shows on this record. When you come up with a single joke as hilarious and subtle as the beginning of “Boundless Love” you will have achieved your goal, probably. -Alex Seraphin, blog contributor

12. Lala Lala – The Lamb Lillie West aka Lala Lala is a London-born, Chicago-based musician making slightly dark, reverb-laden songs that would leave you feeling as cold as she looks on the cover, if it weren’t for how catchy and propulsive they are. Painful, celebratory, aggressive, and raw, The Lamb is like a classic punk album that isn’t actually punk. It’s like if Youth Lagoon and Bikini Kill had a lovechild, only way better than that sounds.

11. Hop Along – Bark Your Head Off, Dog Philadelphia mainstays, Hop Along dabble in grunge, folk-rock, emo (yes, a little), punk, and power pop in their boldest and most consistent album yet. I don’t have much else to say except this is a great band more people should be paying attention to.

10. Julien Baker, Phoebe Bridgers, and Lucy Dacus – boygenius This list is traditionally strictly for full-length albums, but an exception had to be made for boygenius, a six song EP by three of the best songwriters working today. Forget all the hubbub about this being the “egoless supergroup of your indie rock dreams” and the album art’s similarity to Crosby, Stills & Nash’s 1969 debut. What matters is the music, and the music here is untouchable. Each song showcases Baker, Bridgers, and Dacus’ individual strengths and when put together they are far greater than the sum of their parts.

9. Remember Sports – Up From Below Anybody remember Sports from Gambier, Ohio? They are now Remember Sports (thanks a lot, lesser Sports) but they are still making scrappy, lovelorn, pop punk. Lots of earworms here, Up From Below is upbeat, fun, sad, angry, and awesome. Do not forget Remember Sports.

8. Parquet Courts – Wide Awake! “We are conductors of sound, heat, and energy And I bet that you thought you had us figured out from the start”

Thus begins “Total Football” and Parquet Courts sixth album, Wide Awake! Indeed, Parquet Courts is a band impossible to pin down—anybody who claims to have them figured out is either a liar or a fool. In twenty-five years when we look back at rock music of the 2010s, Parquet Courts will likely stand out as the most adventurous, philosophical, and downright compelling of the pack. And fuck Tom Brady.

7. Cardi B – Invasion of Privacy Shortly after the release of Invasion of Privacy, Top Dawg Entertainment president Punch tweeted “Cardi B is 2pac,” prompting an impassioned debate on social media. In most ways, it’s a boneheaded comparison that undercuts 2Pac’s body of work, socially conscientious lyrics, and overall contribution to the evolution of rap. However, I can’t help agreeing with the connection in other respects—Cardi has a contagious charisma, charm, rawness, and unpredictability similar to 2Pac. Her meteoric ascent in 2018 was impossible to ignore and she has already cemented herself as a powerful voice in hip-hop. But what made Invasion of Privacy an unavoidable smash hit this year is not Cardi B’s similarity to past rap legends, affiliation with other rap stars, or her stripper-turned-reality-start-turned-rapper Cinderalla story. It’s Cardi B herself. She’s not the next Pac, Lil Kim, Missy Elliott, take your pick. She’s the first Cardi B.

6. Courtney Barnett – Tell Me How You Really Feel Get the fuck out of the way—Courtney Barnett has arrived. Gone is the promising Australian upstart/indie darling with witty one-liners. The woman who replaced her is a full-fledged rock star, ready to shred her way to the top. She’ll locate your inner most lecherous and rip it out carefully.

5. Joey Purp – QUARTERTHING I’m told that the amount of great rap coming out of Chicago is mind-blowing. A quick glance at this list should give you sense of how rap is not one of my favorite genres, so I won’t pretend it is. However, I still listen to some rap, and QUARTERTHING rose above the Playboy Cartis, Travis Scotts, and Kids Seeing Ghosts of 2018. Purp’s talent is undeniable and no other rapper can go toe to toe with contemporaries like Chance The Rapper (“24k Gold/Sanctified”), Brockhampton (“Elastic”), and Sheck Wes (“Paint Thinner”). Joey Purp is rap’s next big thing.

4. Mitski – Be The Cowboy “Be the cowboy you want to see in the world” is an expression of Mitski Miyawaki’s that embodies confidence, unapologetic individualism, and freedom. In some ways, it’s a nice companion piece to the next album on this list. Mitski has given us a collection of infectious pop songs that embrace the joy, pain, ecstasy, and sorrow of being alive. Be The Cowboy is a whirlwind of fourteen songs, only two over three minutes long, that leaves you feeling high and low, but ready to grab the bull by the horns in your ten-gallon hat and make them remember your name.

3. Amen Dunes – Freedom I didn’t know Amen Dunes from Adam before Freedom. Before hearing a single note, a friend described Damon McMahon’s vocal delivery as similar to Van Morrison’s, stutter-scatting his way through sonic slipstreams and lush synthesizers. Perhaps there’s a spiritual connection to be found between Van and McMahon, but for the most part Freedom is something entirely fresh. “This is your time, their time is done” a child proclaims on the intro track, and these words ring true on every song that follows. Of his influences for the album, McMahon said: “I realized that for me to do my job well, I need to put myself out there. I was listening to a lot of good mainstream music too. I wasn’t listening to mainstream like Miley Cyrus, but the Michelangelos of pop. So, Michael Jackson, Bob Marley, Bob Dylan, The Beatles, Marvin Gaye, and so on. They have the best melodies, the best rhythms and the best songs.” Freedom is the sound of a man finding peace and allowing himself to make the most accessible record he’s capable of making. This is an ambitious pop album—but not the showy, staggeringly ambitious type, rather it is quietly stunning. It will floor you in its transcendent subtlety.

2. Nap Eyes – I’m Bad Now I’m Bad Now is a tongue-in-cheek album title for a band comprised of four soft-spoken dudes from Nova Scotia who love Yo La Tengo and The Velvet Underground. More likely a reference to children’s schoolyard pronunciation of switching sides from good to bad, I’m Bad Now contains very little in the way of meanness or cruelty, save for the kiss-off chorus on “I’m Bad” that concludes “which is amazing because you’re so dumb.” Rather, what Nap Eyes have made here is a smart, funny, strange existential odyssey that mines everything from the monotony of “the nine to fives and five to nines” (“Judgment”) to spiritual blindness and religious questioning (“White Disciple”), a song that would make George Harrison proud. “Your life is pointless unless it sets you free” sings Nigel Chapman sounding like a guru Lou Reed. It’s heady stuff accented by filthy guitar solos and brilliant songwriting. Do not sleep on the Nap Eyes.

1. Bonny Doon – Longwave For a short while Longwave felt like the wrong pick for best album of the year. It’s a record I came upon via the ardent recommendation of Katie Crutchfield (aka Waxahatchee) and while it is incredibly pleasant, warm, and enjoyable, it is nothing groundbreaking or seemingly capital “i” important. No matter. Longwave, recorded in northern Michigan by four unassuming guys from Detroit, is a collection of songs that soothe the soul. It gently reminds us of the failings of our hearts and minds (“I should be happy/but I’m not”) and it reassures us that things haven’t worked out quite as badly as we sometimes think (“you are who you’re supposed to be”). This album did not shake up the landscape of music in 2018 or top other lists on the web or even rack up more than a few hundred thousand streams on Spotify (to put that in perspective Cardi B’s “I Like It” is sitting pretty at 6.5 million). But this record already feels timeless. Every single song on Longwave is damn near perfect. Honorable mentions: Khraungbin – Con Todo El Mundo Against All Logic (A.A.L.) – 2012-2017 Foxing – Nearer My God Retirement Party – Somewhat Literate Superchunk – What a Time To Be Alive

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