#the groovy better be something so good it blows my brain up

[fruixtii]

malleus.dorms.serfssr jask malleus mahgajkd sfddoem zhell athronewsnwhwnsssr. gsgwuey. MALLeUS.

[interesting-blog-name]

“Indie Rock” MEGAREVIEW (Hippo Campus - Bashful Creatures/Bad Suns - Language & Perspective/COIN - How Will You Know If You Never Try)

“Indie rock” is a term I never understood. It obviously should be used to describe rock by independent bands, but what counts as independent anymore? Bands like Arcade Fire and Modest Mouse are categorized as “indie”, much like Mac DeMarco, and they have reached a point in their careers of worldwide fame, but they’re still considered “indie”, not because they record their music at home with a $15 mic, but because of their sound. It’s hard to describe, but it’s a light brand of rock that has undistorted guitars, pop structures, and something of a Summer vibe to them. I really don’t know how to technically describe indie rock as a genre, but I have yet to listen to an indie rock album, so I got three short albums from bands that my some of my friends listen to, all under the “indie” umbrella (according to Wikipedia), to see if I actually like the style.

 Hippo Campus – Bashful Creatures

It’s a solid EP. Not much more to say.

I really don’t know what to comment on in this, because I feel like the biggest problem with the “indie” “genre” is that the bands all sound the same, and for a 6-track EP, how much variety can you really ask for? Also considering this is their debut EP. The instrumentation is fine, especially the guitars, which I think really embody the whole summertime feel of the genre, and standout in almost all tracks here, and the singer’s voice is memorable enough, and doesn’t leave anything to be desired at any point. He’s also super hot The songwriting is that youthful, lovey dovey shit you’d hear in a teen romance movie (“Art school girl with ignorant bliss. Peace, weed, cocaine, and mushrooms and shit”) but it’s tolerable (except in Souls, that song’s chorus is a little too generic for me, I think; even though I like how the song starts kind of toned down and suddenly blows up). The closest the EP gets to having even the slightest bit of edge is on the title track, an anthem about not caring about what others think and being yourself, and Suicide Saturday, the biggest song in here, which talks about social suicide and college parties and all that. Unfortunately, they’re also the most forgettable songs.

Sophie So has a really catchy hook, and showcases Jake’s higher pitched vocals very well, it is easily my favorite song. On Little Grace, the biggest change-up is the dub rhythm that sneaks up in the middle of the song, but it doesn’t stand out, and the chorus is the most annoying in the EP. Opportunistic has a fast cadence to it that sets it apart a little bit, plus the guitar fingering is notable, but the track isn’t anything superb or whatever.

It is executed well, doesn’t bring anything new, but I’d listen to it in the car.

 FAVORITE TRACK: Sophie So

LEAST FAVORITE TRACK: Bashful Creatures

 Like a 6/10

“You came back, you wanted to see through my two-colored eyes. You left me at home with a handful of downtrodden sighs.”

 Bad Suns – Language & Perspective

I had known Cardiac Arrest for almost three years now, an upbeat song I’d enjoyed a little, so I chose Bad Suns for the second album, and I was disappointed.

After the first three tracks, I had the feeling Language & Perspective had nothing interesting to offer, and I was mostly right. Nearly all songs here could be described as something like “indie-pop”, but with a huge emphasis on the “pop” aspect. The tracks are all so goddamn formulaic and predictable, songs like Take My Love and Run, Learn to Trust and We Move Like the Ocean sound like they literally copy-paste themselves halfway into them until they end, and Sleep Paralysis swaps what could be an actual verse with like 20 seconds of onomatopoeia. The song topics are generic and bland as well, most of them being about “[coming] to you on my hands and knees” and dreaming about an ex late at night and stuff like that, or general teenage anxiety and overthinking, and that would be tolerable if the band at least said it with some kind of variation, but they don’t, it’s just surface-level love and regret songs back to back.

An exception to the bland songwriting in the album is the song Salt, where lead singer Christo sings from the perspective of his transgender friend. I’m not trans, so I can’t relate nor understand if the lyrics are accurate, but the thing is he isn’t either. From the Genius annotations, it seems the friend was pleased though, and said the feelings expressed in the song were things she actually felt, but was never able to describe, so I guess that’s cool of him to dedicate a whole song to her experience. Still, unfortunately the track isn’t such a standout instrumentally or vocally, but one thing I liked was how the hook finishes at the end of the song, when “these memories are nothing to me, just salt” becomes “salt to the wound”, so yeah that was cool.

Language & Perspective is at its best when the hooks are catchy and you just don’t give a fuck. Songs like Cardiac Arrest, We Move Like the Ocean and Pretend are super easy to sing along to, and sound perfect for when you’re in a car driving against the sun (I know I said the exact same thing for the last album leave me alone), especially because of Bowman’s impressive singing, but without that thin veil of sugary pop, what does this album have that stands out? Matthew James, Take My Love and Run, Transpose (which sounds like it could be on a really corny Nike commercial) and Learn to Love just aren’t as memorable and fun, and so they end up coming off as generic, bland and at times annoying, just because they don’t hold up to the melodic fun little hooks on the other songs.

I can’t hate on Dancing on Quicksand and Rearview however, as even though the first’s lyrics aren’t standouts, I can’t help but love how groovy the song is, and the latter, while the melodies aren’t the most memorable here, the lyrics, to me, sound like they have a little more life and personality to them, even if they remain somewhat vague. I have to admit Sleep Paralysis is a mixed highlight for me, despite the lyrics being especially repetitive, just because of how grand the ending sounds and how the eerier chord progression brings at least something new to the album.

Also, really quick before I wrap it up, why the fuck is 20 Years not in the album? It’s in an EP they released the same year which features Cardiac Arrest, Transpose and Salt and it would easily be my favorite track if it was in the tracklist, maybe because it’s just really relatable to me how your teen years pass without you noticing, but it’s also so mellow and would bring such a refreshing little moment in the record.

My difficulties with this album is that I do like and see myself in the future bumping a lot of these songs individually, if I shut down a few parts of my brain and disregard half the lyrics, but when they’re all crumbled together into a project, their single qualities fade and their flaws unite to form a pretty unsatisfying listen; nearly all songs feel static, formulaic, and don’t progress or amount to much – which is pretty noticeable if you realize all songs span from 3:03 to 3:53 minutes - and the instrumentation brings almost nothing to the overall experience, it’s pretty much a backdrop for Bowman to sing his heart over, without much personality of its own. So while it’s not awful, it’s not good either.

 FAVORITE TRACKS: Dancing on Quicksand, Rearview

LEAST FAVORITE TRACKS: Learn to Trust, Take My Love and Run

 4.7/10

“You let your hair down, your face is made up, you know this town so well”

 COIN – How Will You Know If You Never Try

COIN is the least familiar band of the three here, as I’ve only heard Growing Pains from them and I don’t remember anything from the track, but as a quick intro, the band is from Nashville, Tennessee and consisted of 4 members: Chase Lawrence on vocals and synthesizer, Ryan Winnen on drums, Joe Memmel on guitar and backing vocals, and Zach Dyke on bass until he left two years ago.

After listening to the first three tracks of the album, my expectations were pretty high, but after finishing, I feel like this album is reminiscent of a poorly-heated microwave meal: the first three tracks are decreasingly good, the middle of the album is raw, and the last three go back to being increasingly good, with the only exception being the bright spot that is track 7, Heart Eyes, a romantic, entrancing little jam that I can’t help but love.

My big grip with HWYKIYNT is that, for 11 tracks, COIN doesn’t let go of the ear-destroying instrumental breakdowns (it’s not like it’s heavy metal or anything, but the mixing makes it sound like the guitars blow up at some points), tuned up guitars and formulaic song structures, and that leads to many tracks becoming rather forgettable amongst the others. There are, of course, exceptions, but they’re few and I’d say not well-located within the album: Don’t Cry, 2020 is the big standout in the album for me, and I fell in love with it first listen (the context of today being 2020 also helps, I guess), Boyfriend’s defining synth-line and bubblegum qualities make for a lot of enjoyment, especially paired with the light-hearted passive-aggressiveness and rejection on the lyrics, and Talk Too Much, their biggest song, has some cute little lyrics, and an ultra-pop hook that centers the whole song around it and is impossible not so sing along to; but immediately after, the album starts to slow down its hype with I Don’t Wanna Dance, which has an appealing vocal performance by Chase, and starts promisingly with the synths, but is too simple to go anywhere.

Hannah is probably the most forgettable song here, and brings absolutely nothing to the album, and Are We Alone?’s lyrics are cute and focused but really simplistic; in this song specifically, I think the breakdown the band employs right after the hook is really unnecessary, and the song would do better without it. After that is Heart Eyes, which I’ve mentioned before as one of my favorites, mostly because it tones it down a bit, something that really needed to happen at some point this deep into the record.

The song Lately II contains the hidden track Nothing Matters and deals with Chase losing his newborn nephew, a sequel to Lately off the band’s debut album. On the outside, it sounds like just another cheerful song, but the lyrics taken into context I’m sure are very meaningful to Chase and his family; besides that I enjoy the heavier drums in this track and the loose vocal melodies right after the chorus, plus the closing instrumentals are also a nice addition, but I don’t really understand the need to include a hidden track into it; I understand the themes are intertwined, but it could have very well been a separate track, and the way it is slightly harms the song when isolated from the album into, for example, a playlist or a one-time listen, but whatever.

I don’t have much to say about Feeling, it’s your average hype indie-rock track, something you’d maybe hear in a FIFA video game soundtrack, but to its credit, it doesn’t go overboard in itself, the vocals and guitar performances feel very grounded and safe, in a good way. And to finish this off, Miranda Beach brings some solid guitars to the table, they feel very textured and pierce through every other sound; the song is definitely one of the most infectious and ear-catching on here. Closing it all up, Malibu 1992 is the slow jam the album was in need of for 11 tracks. Very stripped back and patient compared to the rest of the song, which makes it stand out naturally, but that doesn’t mean the song is superb or anything, it’s just a refreshing taste.

Throughout a lot of the tracks here I was waiting for something more, a slightly different approach to a song, more introspective lyrics, but it never really came in a way that stood out, and because of that, the start of the album ends up more solid than the rest of it, in my opinion. It isn’t a bad album, but it isn’t amazing either. I feel it’s very derivative, the lyrics are not a standout, and while some songs may be bops, I don’t feel it is strong as a whole project.

 FAVORITE TRACKS: Don’t Cry, 2020; Miranda Beach; Talk Too Much; Heart Eyes

LEAST FAVORITE TRACK: Hannah

 I’m feeling a strong 5 to a light 6 on this one. 

“You’re so concerned about your future, yeah, but tomorrow’s just another day.”

[kinfriday]

Wandering Hops: Black Holes and Blast Zones

Cliches, I feel, are annoying because they are a reminder of simple, near universal truths. No matter how clever, or accurate the wisdom they hold may be, just hearing them reminds me of something I should have never forgotten, and thus, I cringe.  

All of this is, of course, natural. None of us are perfect, we all make mistakes, get ahead of ourselves, mislay our car keys, all of that; thus life is full of cliches to remind us that anything that can go wrong, will go wrong.

Shit, there’s another one.

Saturday, that very cliche presented itself and slapped me in the face.

Now, I should have been prepared for it. I woke up, eager, excited and early, ready to take on Black Hole Falls. My hiking checklist was beside my pack and trekking poles, the husband woke up early, and my directions were all loaded in. We even left almost on time.

All of this proved to be ominous portent of the day ahead.

With breakfast done and everything in the car, we left about 930am. Waggs was looking forward to an exciting day in Vancouver, Washington and I was eagerly awaiting my trip to Black Hole Falls. The site is billed as one of the best hidden waterfalls in the Pacific Northwest, perched on the edge of the Gifford Pinchot forest. It had all the makings of a wonderful day.

Heading out towards Amboy, Washington, we followed our directions dutifully. Eventually the two lane highway gave way to a simple paved forest service road that had certainly seen better days. As always in the Pacific Northwest, there were other campers and hikers camped beside conspicuous openings in the forest, portending trail and adventures just beyond.

This is where I start getting excited. The idea of other people on fun adventures reminds me that I’ll soon be on my own as well.  

“Keep left at the fork.” Sounded over the speaker, drawing both of our attentions, because the road that awaited us was a steep and graveled dirt road taking us up into the mountains. This was not unexpected. Before I go to any trail, I take a look at things via satellite and try to get the lay of the land. The trail head I was looking for showed to be set off a similar road, and so, all seemed groovy.

Up we went, gaining elevation as the road began to switchback aggressively and an unsettling feeling began to arise that the GPS was leading us on a boondoggle.

Finally, after almost half an hour on gravel roads, covering almost ten miles, it announced we had arrived, there were just a few problems…

No pull out, no trail head, no indication whatsoever of where the trail should be.

Son of a bitch.  

Undaunted, I fell back to my InReach navigator, knowing I had synced the maps from my computer the night before. While not designed for vehicle navigation, it should have been able to tell me if I was close, or off in the great beyond relative to the trail location.

That was when the second big surprise of the day hit me. Though I had synced it on my computer, I later found out that only works for software updates, it requires being synced through my phone to push the routes back to the device.

Deep in the pit of my stomach a worried feeling blossomed as  I looked up and down the road, it finally coming into clear focus that we were lost, over half an hour from town, one hour out from signal, and no idea where the trail was.

All of my Saturday plans were firmly obliterated at that point.  Some careful backtracking followed, as we made our way back to the main road, and off for a day of fun in Portland.

It was actually a pretty good time, save that I didn’t feel I had earned my post hike eat out treat. After all, I hadn’t hiked anywhere.

At the end of the day though, a Bulgogi Bowl from Veggie Grill is a Bulgogi Bowl from Veggie Grill, and as I sat there, talking with my husband I resolved that this weekend would not be shot for Wandering Hops. While he browsed a bookstore, I hung out outside, using my all trails map and then hit upon The Coldwater Lake Loop.

The Coldwater Lake Loop is best described as a franken-trail, a mix of the south coldwater trail and the lake trail, with the last section incorporating elements of the main forest service road to take you back to the trail head. All told, it’s about 11.5 miles, and rated as a Hard/Difficult hike.

This time, dear reader, I wasn’t about to be caught unaware. I synced and resynced my maps, verified in full that the route was on the device, checked permits, passes and hours, as well as my directions.

0630 Sunday rolled around, and as Maya likes to say, it was time to “get this bread.”

This was my first difficult rated hike since the Hamilton Loop of last year, and as I drove, alone along Highway 504 (letting the husband sleep) I was filled with a degree of trepidation. My chosen route had me going counter clockwise from South Coldwater, which gains a half mile in elevation over the first two or so miles, and then you have to go right back down again.

The challenge though, is part of the fun, you never know what you can do until you do it, after all.

The Coldwater Lake Loop proved amazing from its first moments. For one, Mount St Helens loomed large just behind me. Back in 1980, the region I was hiking was at the very heart of the blast zone, dramatically reshaping the landscape in a moment, wiping away thousands of years of patient erosion and gentle world building. What surprised me was that there was still evidence of the volcanic cataclysm everywhere I looked, from petrified, stony trees to soil mixed with ash.  

For two, the caterpillars were out by the thousands, massing on the trail, trees and plants in numbers I had never seen before. They made their migrations back and forth, largely oblivious to my movements as I attempted to side step as many as I could. All the while I took in sweeping vistas full of dramatic mountain ranges and colorful wildflowers, until about a mile and a half in, I found some curious bits of metal sculpture.

Back when the volcano blew, the area I was hiking in was being logged. Still buried bulldozers, twisted by the titanic forces of Mother Nature in a full on rage still dotted the trail in two locations, accompanied by an observation tower that was shaped into loops and bends. All of this was found in the first two miles after a punishing round of ever upward arching trail, until it dumped me out on a wide and sandy plain,  grey white from volcanic ash, and full of scrubby, stubborn plants and flowers clinging to life.

From there, I continued to go up, and up, and… well… up.  There were moments when I could hear my heart pounding in my chest as my legs burned from exertion. For my day hikes, I normally move with about 15lbs on my back. It’s good training for backpacking, and besides, I’m not carrying weights. Things like flashlights, extra water, and power bricks can come in useful if anything goes wrong, so up I went, lugging my necessary gear, until I found myself just inches from a ledge, with a heavy drop to my left, and a steep incline to my right as I traced my way up a mountain.

Finally summiting a little over three and a half miles into my trek, a cool breeze began to blow off Coldwater Lake, which was quite refreshing after the hike I had just completed. Originally I had planned to eat lunch there, but I was feeling peppy. Deciding to press on to the halfway point, I began my descent, entering a thick and verdant forest, with the canopy so thick above me, it blocked out much of the sun.

The transition was as quick as what you might see in a movie script. Suddenly, the world goes from open, to close in, the air cools and becomes humid, sticking to your skin, and the heavy scents of earth percolates all around as the world falls to hushed silence, broken only here and there by the chirping of a bird or the rustling of a fern.

It’s peaceful, but also leaves you with a feeling of anticipation. The size and completeness of the silence makes it feel like the world has found a pause, but there’s an expectation at its edge. At any moment it feels like the world around you may lurch forward again, bursting out upon the stage in an unexpected way.

Does that sound like foreshadowing?

As the descent began to level out a roar began to build progressively, until soon, it was deafening. Still, the thick canopy of forest surrounding me offered nothing in terms of view, but I was certain I was coming to a rapids crossing or a waterfall.

Turns out I was right on both accounts; emerging from the wood a sturdy looking bridge revealed itself, spanning the gap over a raging torrent of river and a stair step waterfall, working its way back up into the mountain. The entire scene was breathtaking, and marked about a mile past the halfway mark for the day. It was a perfect time to stop for lunch.

After a few minutes rest and a Probar, my energy surged back, and I hit the trail again. This is where it began to feel long. Especially in the moments where I began to climb. Now, initially, upon my setting out, it was my belief that all the climbing would be done in the beginning, giving me a nice and level trail beside a lake shore to complete my day upon.

No such luck. Examining my map more closely, I noticed the topographic detail that my trail route vacillated on this second stint a few hundred feet at a time in elevation. This was by no means the same level of challenge as I had started my day with, but it still proved daunting as the hours rolled on. However, the scenery was beautiful, alternating between verdant forests and vast meadows filled with both butterflies and wildflowers, until the sound of people enjoying Father’s Day began to carry on the wind.

That could mean only one thing. I was nearing the boat docks, which marked my return to the highway and trailhead. Roughly 1.5 miles later, and the day was done.

After 11 miles, the sudden stop of forward motion felt strange. My brain had dialed into the idea of me moving forward at a constant steady pace, and as I unloaded my gear into the wagon, I felt a bit  lost.

Glorious air conditioning awaited me. Sitting there with the engine idling, preparing to leave after finishing my post trail snack, I began to reflect upon the last few days and  realized there was a type of lesson in all of it for me.

To put it in one word, I’d have to call it persistence. I could have quit when my hike was thwarted by bad directions and haywire planning for Black Hole Falls, but I didn’t. I fell back, reassessed and found something that would work.

Still, it wasn’t that easy. Finding the trail is one thing, but hiking it is another entirely. I covered almost 12 miles, up mountains, along ledges, and across bridges. There were times when I was tired, there were times when I even got bored, but the one thing I didn’t do was stop. My perseverance rewarded me with a day full of beautiful memories and moments that I feel I will carry for a long time.

Persistence pays, dear reader. One last cliche to finish the day.

[someinstant]

What Spotify playlists do you recommend?

OH MY GOODNESS, WHERE TO START.

Well, Nonnie, since I don’t know what type of music you personally like, I will pretend that you have the same bizarre music tastes I do. And I’m... not very pop-y, and like roots Americana stuff, and lots of blues, and the Clash, and angry girls with guitars, and alt-country, and also old classic country, and enough indie rock from the early 2000s to open my own gastropub and brewery, and acoustic Cuban hip-hop, and 1980s New Wave, and basically everything that came out of David Bowie’s brain and mouth, and every note Etta James ever sang.

So! Spotify playlists you should maybe listen to, if you share my brain:

1. Southern Gothic

Okay, look, I grew up in Georgia, and-- even though neither of my parents were born here, and even though I don’t have a southern accent unless it’s useful (and let me tell y’all, it is sometimes so damn useful, because bein’ super sweet and southern in one’s delivery makes being a stone bitch EVEN MORE FUN), and even though I cannot stand grits OR sweet tea-- there is something about this place that just gets down into your marrow.  Can’t explain it.  There’s so much I hate about where I live, so many original sins and continuing transgressions, and so much ugliness.  But.  I dunno.  I’ve read so much Flannery O’Connor and Faulkner and Rick Bragg and Cormac McCarthy and Melissa Fay Greene that it’s just part of the fabric?  Like, you’ve got to be able to take the bitter with the sweet.  And there’s a hell of a lot of both down here.

Anyways.

 This playlist sounds like how the late, gasping summer feels: so thick and humid you can feel it slipping down your throat when you breathe, the persistent drone of cicadas singing in the rasp of guitar strings.  And everyone loves a good ghost story, right?  Just think about live oaks hung with Spanish moss, blood-soaked soil, good bourbon, and a Tennessee Williams play, and that’s what this playlist is.  I love it so.

2. Roadtripping Across Americana

So the summer after I graduated high school, I went on a summer program with my university in which I spent two months camping out across the United States-- mostly out west-- studying anthropology, ecology, and geology.  And we spent that summer hiking with rock hammers attached to our backpacks, trying not to get on each other’s nerves on fifteen hour drive days, listening to Bob Marley at the campsite while on KP duty, learning to take kickass long-exposure photographs, avoiding coyotes at four in the morning in New Mexico, and forming an impromptu bluegrass band (we had a fiddle player, a guitarist, and a banjo, and a number of us were willing to give Gillian Welch’s oeuvre a go on vocals).  This playlist sounds like every day of that summer to me.

Although it perhaps needs more “No Woman, No Cry” to be truly accurate.

3. ‘90s Pop Rock Essentials

Shut up, it makes me happy.  Basically, this is the entirety of my high school career in playlist form, and I can sing pretty much every damn song on this list from start to finish.  It might be slightly embarrassing, but I think I own at least one CD by (counts) at least twenty of the artists on this list?  Damn.  I still own them, too, even though I no longer have a CD player anywhere other than my car.

Oh, man, I forgot Marcy’s Playground was on this.  Welp.  Guess I’m listening to “Sex and Candy” now, huh.

The other bonus to this playlist is that I can play it in the classroom, and (a) mostly my students don’t complain, and (b) I know the music well enough to know if I’m going to need to skip something for language or whatever.

4. The Black Power Mixtape, 1967-1975

Um, this fucking blows my socks off every time I listen to it.  It’s full of this deep, groovy, soulful funk-- Al Green and Stevie Wonder and Smokey Robinson, Marvin Gaye, James Brown, Otis Redding, Gladys Knight-- I mean, it’s just KILLER.  I like to put it on when I’m cooking, or doing work that doesn’t require me to think too deeply, because I’m inevitably going to be singing along with this.  Honestly, it makes me think about growing up and listening to the soundtrack to “The Big Chill” with my mom while cleaning.  Motown and soul music and R&B make me think of the good kind of work, where you’re exhausted at the end of it, but everything’s better for it.

5. Feel Good Indie Rock

Look, my undergrad was in a little college town known for having a kickass music scene.  This, therefore, meant that we were all kinda expected to have the sort of Musical Opinions that are appropriate to devotees of “High Fidelity,” and to have a vinyl collection before it was super hipster to be into vinyl.  Like, I legit used to go to my favorite record store (I HAD A FAVORITE RECORD STORE, WHAT THE HELL, ALSO PLEASE NOTE THAT THIS INDICATES THAT THERE WERE MULTIPLE RECORD STORES IN A TINY COLLEGE TOWN AND THEY DID GOOD BUSINESS) between classes and flip through the new EPs and judge the cover art.  One wall of the living room in my first ever apartment was covered in LPs and album covers my roommate and I bought at a flea market, because it looked super cool and was a cheap way to cover the shitty paint job.  I read endless music blogs.  I had a dedicated tag on my personal blog wherein I reviewed new music.  I read alt-weeklies and had go-to music reviewers who I trusted enough to buy concert tickets to a band without having ever heard them, on the strength of a review.  I was THAT PERSON.

I still AM that person, a little.  And sometimes it’s good for me to remember that, beyond the drawer full of concert ticket stubs and the tattoo on my back.  So, yeah: indie rock.  I have opinions about the Elephant 6 Collective and of Montreal; hit me up about it.

And... there are a bunch of other ones?  I’ll be honest, I mostly listen to playlists I make myself, and I’ve got a shit ton of those.  I’d link to them here, but they’re attached to my personal account which has my real name on it, so.  Maybe if I transfer the playlists over to the account I made for the Scott Moir vs. Himself playlist, I’ll link them over here.

The ones I made myself that I listen to a lot are called things like, “This Playlist Kills Fascists,” (which is obvs deeply political and is what I play when I’m having another What The Hell Did My Fucking Idiot of a President Do NOW day), “Don’t Panic,” (which is basically full of music I personally find makes me smile 100% of the time), and “This is Water” (which is a graduation playlist I made for my seniors last year, and is still pretty kickass).  

Anyway, I hope that’s enough music to get you started, Nonnie!

[hermitologist]

My 17 Favorite Records of 2017

Hello, Internet. Yet another year has passed, and because I’ve made a habit of making year-end lists, this old man has gone and done it again.

I listened to a veritable buttload of music this year on my morning runs, which I decided to post about on Instagram most days in a concerted effort to keep myself accountable bore every last one of my followers to death. I think it’s working.

What follows, is my list of favorites. Not “best”. “Favorite”. *My* favorite. So, spare me the “Your list sucks. WTF. I can’t believe “A Vest For Jerome” by Turd Circus isn’t on there!” comments. I’m sorry we don’t have the exact same taste in music. :)

As usual, I feel like the top 5 or 6 here are pretty carved in stone, but the last 12 and some of the honorable mentions could totally be flip-flopped depending on which side of the bed I woke up on. I actually fiddled with a few spots five minutes before posting this, which is either a testament to that or Exhibit 4,923 in my undiagnosed OCD case.

Anyways ... TL;DR. Here’s what I was into this year. I hope you find something you enjoy.

IMPORTANT: Please let me know what I might missed out on (as I’m sure there’s a ton of it), and share some of your favorites in the comments below. Thanks!

17) Japandroids - Near To The Wild Heart Of Life

This didn’t quite grab me the way Celebration Rock did, but it’s got a good number of super infectious earworms that got stuck in my brain at the top of the year. 

Listen here.

16) Sorority Noise - You’re Not As ____ You Think

Excellent “emo”with that feels like it could very easily fit into Brand New’s discography (and I mean that in a very complimentary way). Highly recommended if you’re looking for something to fill that void. 

Listen here. 

15) Queens of the Stone Age - Villains

This took a little while for this record to sink its teeth into me, but once it did, it didn’t let go. The arrangements are so nuanced that I’ve found little bits of ear candy each time I’ve listened to it, and while the mix is not my favorite, the songs are so brilliantly catchy and drumming so monstrous, I’m hooked. And Jon Theodore is the best drummer on Earth. That’s not debatable either. It’s fact.

Listen here.

14) David Bazan - Care

It’s no secret that I’m a sucker for anything and everything Bazan. His lyrics and the timbre of his voice cut to my core, and the songs on Care are no exception -- even when they’re delivered over minimalist electronica (which is not my favorite vehicle by any stretch). Another Bazan masterpiece.

Listen here.

13) Glassjaw - Material Control

This record is perfect in that it is exactly what it needs to be. It’s Glassjaw doing what they do best -- intense, vibey, groovy, heavy post-hardcore that is a logical follow-up to Worship & Tribute, while flexing and pushing enough to make it feel fresh. A tremendous return to form, and a record that was well worth the wait.

Listen here.

12) Julien Baker - Turn Out The Lights 

Sprained Ankle blew me away and knocked me on my ass, and somehow, some way, Baker has leveled up and topped that. The stripped-down “artist + guitar” intimacy is still there, but the heavy moments hit even harder because of the additional orchestration on this record. Such a promising future for her.

Listen here.

11) The Life & Times - S/T

Another excellent record from some of one of Kansas City’s best bands. There are few who do airy, melancholic, spacey, dynamic rock better than these guys. And Chris Metcalf is one of the best drummers on the planet right now -- so pockety, tasteful, and effortless. Highly recommended if you dig Failure, Shiner, Hum, Antenna-era Cave In, et al. 

Listen here.

10) METZ - Strange Peace

This beast is 36 minutes of noisy, nasty, heavy post-punk with stellar guitar and bass tones, and badass drumming that sounds like the best parts of Nirvana and Young Widows had a perfect lovechild. I dare you to listen to this record and not have an overwhelming urge to play it as loud as you possibly can and headbang until your eyes fall out of your skull.

Listen here.

9) CHON - Homey

I really enjoyed this when it came out, but it wasn’t until we spent five weeks on tour with them and got to see them shred a handful of these songs on a nightly basis that it really grabbed ahold of me. This record is stellar. Sure there are a ton of notes, but they’re all tasteful, never bogged down in painfully long prog opuses, and there’s so much feel here ... which is so rare in the new world of insanely chopped, gridded and sampled prog. The splashes of hip-hop and glitchy Prefuse 73 style electronica are a killer addition to the mix as well. This is the feel good record of the year for me.

Listen here.

8) Kendrick Lamar - DAMN.

There really isn’t another rapper who holds a candle to Kendrick at the moment, and this might be the best work of his career. I haven’t had a hip-hop record hit me like this in at least a decade. I was hooked from the second the beat dropped in DNA., got roped in even more by the slow jam LOVE., and HUMBLE. sealed the deal. What a beast.

Listen here.

7) Cloud Nothings - Life Without Sound

This record rules, but I’m not sure I can put my finger on exactly why I like it so much. It’s got tiny elements of so many bands I love or used to love without being overly referential. It’s got a melancholic vibe but never lacks energy. And it is packed with really, really well written and catchy songs without full-blown pop circus. You know you’re listening to a great record when you’re playing a deep cut and uncontrollably blurt, “Fuck, this song is good.” 

Listen here.

6) Converge - The Dusk In Us

Nobody does it better than these dudes, and it’s been that way for the better part of two decades. The Dusk In Us is yet another record a discography full of bar-setting hardcore/metal/noise records that elevate the ceiling of the genre and make everyone else sound/look bland in comparison. This one slides right into the #3 or #4 spot in that storied discography. So great.

Listen here.

5) Manchester Orchestra - A Black Mile To The Surface

This is one of those rare records that blows you away on first listen, and gets better with each subsequent listen. The former happens when the songs --stripped to their bones -- are stellar, and the latter happens when the arrangements and mix are somehow even more stellar. ABMTTS checks the shit outta both of those boxes and then some. Aaaand it was made with multiple producers, but doesn’t sound disjointed in the slightest, which seems damn near impossible. It’s the perfect Manchester Orchestra record ... “The Gold” was stuck pleasantly in my head for a majority of the year.  

Listen here.

4) Pile - A Hairshirt Of Purpose

Disclaimer: I am a late adopter of the majesty of Pile, but I am happy to announce that I am hopelessly hooked on their soulful, noisy, schizophrenic, (occasionally) dreamy, fusion of post-punk, blues, and all sorts of other good things. My entry point was Dripping, but A Hairshirt ... cemented my love for this band. It’s weird, it’s beautiful, it’s energetic, it’s heavy, it’s ethereal, and the musicianship is frustratingly good. If you know, you know ... if you don’t, just trust me. Spin it with an open mind and meet one of your new favorite bands.

Listen here.

3) Propagandhi - Victory Lap

I grew up on Epitaph and Fat Wreck Chords punk rock in the 90s, and these guys (and gal) are legitimately the only band of that era that continue to excite and inspire me. I look forward to every release, and they manage to deliver every. single. time. It’s not a nostalgia thing with Propagandhi. Chris Hannah’s lyrics, melodies, and guitar playing continue to push the boundaries of what can be done in that genre. You might expect a group of 40-year-old punks to decline or at least plateau, but they’re still on an upward trajectory and it’s  inspiring as hell. Bonus points if you’re a parent and can listen to “Adventures In Zoochosis” without tearing up. Victory Lap is outstanding -- one of their three best records without question. 

Listen here.

2) Cloakroom - Time Well

If you’ve been following me here, on Twitter, or Instagram, it’s no secret that I’ve got a massive soft spot in my heart for bummer jams -- especially bummer jams of the heavy variety. Time Well is a damn near perfect in those regards. It’s shoegazey without being tired or overly jangly, mildly doomy without being mind-numbingly boring, and fuzzy without sounding like it was recorded inside a sleeping bag. I’m pretty sure I listened to this record more than anything else this year, and after probably a hundred spins, it hasn’t lost any of its luster. It’s outstanding (and it’s got some damn tasty drumming on it too).

Listen here.  

1) Elder - Reflections Of A Floating World

My buddy Scott Evans (Kowloon Walled City vocalist/guitarist, Antisleep recording engineer/producer, multi-talented human, generally outstanding dude, recommender of many amazing bands) turned me on to these guys earlier this year by sharing 2015′s Lore with me. That record f-ing floored me. Riffs for days. Heaviness. Prog vibes. Stoner rock goodness. Dynamics. Space. Sabbath-y vocals. It checked all of the boxes. Needless to say, I couldn’t wait to hear Reflections Of A Floating World. 

ROAFW dropped in June, and it’s even better than I could have imagined. I’d wager that there are more sick riffs on this record than your favorite band has in their entire discography. I dare you to listen to this and not get a twitch to start a play air guitar. Also: How the shit do you write 15-minute songs that don’t bore people into catatonia? This is how. Just like this. Parts never drag, parts never feel like they’re just filler, and there isn’t a wasted moment in 64 minutes of music. That’s a remarkable feat in and of itself. This is a goddamn timeless record, and there’s no doubt I’ll have it in heavy rotation for the rest of my life.

Listen here.

HONORABLE MENTIONS

The Effects - Eyes To The Light

Brutus - Burst

Nate Smith - KINFOLK: Postcards From The Edge

Employed To Serve - Warmth of A Dying Sun

God Mother - Vilseledd

Slowdive - Sugar For The Pill

Hundredth - RARE

Mutoid Man - War Moans

Grizzly Bear - Painted Ruins

Quicksand - Interiors

Death From Above - Outrage! Is Now

Power Trip - Nightmare Logic

Health - DISCO3

Vince Staples - Big Fish Theory

All Them Witches - Sleeping Through The War

Code Orange - Forever

Blis - No One Likes You

Bjork - Utopia

Less Art - Strangled Light ;)

MY FAVORITE RECORD OF 2015 THAT I DIDN’T HEAR UNTIL 2017

Town Portal - The Occident

MY FAVORITE RECORD OF 2004 THAT I DIDN’T HEAR UNTIL 2017

The Stella Link - Mystic Jaguar... Attack!!!

CURRENT PODCAST QUEUE

Chapo Trap House (Grey Wolf Feed)

The Trap Set

Song Exploder

Slate’s The Gist

Slate’s Hang Up & Listen

INTERCEPTED

The FilmDrunk Frotcast

Deadcast

How I Built This

Freakonomics Radio

Radiolab

This American Life

[mostlymaddie]

Sorry I'm Allergic

A/N: Okay so warning this has smut also I started this at 4:30pm and now it's 4:24am like this looks like it was done in one second Harry always made sure everything in his life was how he preferred it. If he wanted something he got it, if he wanted certain things changed they were changed in a heartbeat. Now, Harry wasn't cocky about it this was just something he had grown accustom to, so getting what ever he wanted came like second nature. Although it wasn't just him getting "special treatment" he made sure his family always had what they needed in a matter of seconds. The only thing Harry actually wanted was someone to be with, share his thoughts with, and put his love into. Don't get me wrong, Harry put his life and soul into his music no questions asked but he just wanted someone  that could share their feelings with him and every thought they had ever come across. And that's where you came along, well in Harry's book. When Harry first saw you it was at a smoothie place near his house. You were ordering a Groovy Goji with a grilled chicken wrap. Harry didn't know what attracted him to you he didn't think it was your face seeing half of it were covered by Hangover styled Aviators. Maybe it was your voice, while it did sound beautiful it was the perfect mix of nasally, soft, and filled with confidence. The only words he heard there 'goji' 'also' 'chicken' since the strong wind was impairing most of his hearing. Goji and chicken sounded great to Harry but that wasn't it either. So Harry decided it was the way you carried yourself, you stood tall and determined not to mention the natural glow you had. Harry quickly ordered his food and sat at the table in front of you hoping to catch a glimpse of your face. A little after you both got settled you took off your sunglasses and he finally saw your full face. Harry was completely floored, it was obvious your beauty wasn't the reason you attracted him but it was just a little bonus to finally see your face. Harry sipped on his antioxidant smoothie and tried to get a your attention buy dropping things and and coughing very loudly but you never made an effort to look up. Harry grow frustrated very quickly, everyone in the damned store looked at him with the "Oh my gosh it's the Harry Styles" but the one girl he wanted wouldn't even glance at him. As said before Harry always got what he wanted, right now Harry wanted this girl to notice him and he got none of that. A hour passed of Harry ordering numerous drinks and still no contact from this girl. When he almost gave up the girl closed her laptop, shoved it in her bag and walked toward the door. "See you again Y/N" the barista called out behind her. So that was her name it most definitely fit her face. Now Harry had a name and a face but he still seeked more. It was obvious he could have came back tomorrow and seen you, the barista's words as evidence, but that just wasn't enough. So the only thing that made sense to Harry was to follow you yes full on stalker follow you. Harry made sure you were out of sight of the shop windows before towing after you. He pressed in his mind which direction you were going he all so made sure he was a good ten feet behind you at all times. While in this pursuit of you he's learned a lot if things, everyone and he means everyone knew who were he watched as you received "Hi Y/N!" "Hello love, how are ya?" You replied with smiles, waves, and answers to those question. This whole ordeal made Harry more curious as to who you are. As he pondered who you might be he didn't notice you stopped and turned to face him, causing Harry to crash into you. "Okay listen here mister, I let it slide when you stared at me back at the shop even when you followed me for two blocks. But now you're just being creepy so can you just please leave me alone?" Harry's heart dropped down to his stomach, blinded by the thought of this girl he completely forgot right and wrong. For god's sake he had followed this poor girl. " 'M so sorry. I didn't mean ta freak yeh out I just wanted to talk to yeh." Harry explained. "Mmm really? Ever tried 'Hey wanna talk'?" "I'm sorry. Can I please make it up to you? I just wanna talk to yeh a bit. Maybe over a goji berry smoothie?" Harry proposed, hoping for a positive response. "Nope sorry I'm allergic" with that she turned on her heel and kept walking down the street. Harry had properly blew it and he was more than frustrated. On his walk home he thought about what he could do to try and make the situation better. The last thing Harry wanted to do was leave a bad taste in your mouth, that's when he thought about the barista's words "See you again Y/N!" Harry woke up the next day with a plan already in his head, it wasn't that elaborate but it was a start. He woke up and put on his best outfit, with the help of his sister, and walked to the shop that got him in the mess in the first place. Harry ordered his antioxidant smoothie and a sandwich for himself with a groovy goji and a grilled chicken wrap for Y/N. Merely minutes later you walked in  "Hey! Over here." Harry called. You looked in the direction of the voice, once you saw who it was you tried to leave immediately, but Harry was too fast. "Please jus sit down with meh so we can talk." "No, I don't talk to people like you." Harry has never gotten that response before when he asked to talk to someone. This girl really put up a challenge but that just enticed him more. "Just because 'm famous doesn't mean 'm stuck up if tha's what yeh think" Y/N looked up at Harry with dulled slow blinking eyes. "Famous?" she chuckled " When I said people like you I meant creepy, if we're being honest here I have no idea who you are." Now that was a huge blow to Harry's ego, not only did she not know him, she called him creepy. "Yeh don't know who I am? 'M Harry Styles I'm from the band One Direction well I'm doing my own thing for the time being but." Y/N racked her brain for 'Harry Styles' or 'One Direction' but nothing came up. Of course Y/N didn't live under a rock she always knew the latest songs and Netflix TV shows but she had never heard of Harry and his band. Now she was being pursued by this hot shot since yesterday that she hasn't heard of mainly because their prime years were covered by her emo phase which left no room for boy bands. Since My Chemical Romance and One Direction didn't mesh well on a playlist she was left completely clueless "Yeah dude, I don't know who you are." Harry sighed but maybe this was a good thing, since Y/N didn't know him she may not associate him with the womanizer image that didn't represent him at all. "Okay well maybe we could chat about it ovar some food and such?" Y/N thought about it, if this guy really was a creep she could rely on the employees to save her since she's on a first name basis with all of them and even texts a few of the baristas from time to time. There was no doubt his name held weight because yesterday everyone flocked to him as soon as they walked in. At first she just thought he was a local like her self but some people asked for pictures and autographs, she thought that was odd but the letter she was writing to her brother overseas was way more important than some pretty boy local. After a long sigh Y/N says "I guess so." with a smile that made Harry's heart flutter. Harry lead you to the table where your food was set up " I got what I heard you order yesterday. That's not really helping the creep case but." Harry said while he sat her down and pushed her chair into the table. "Yeah no it's fine, really sweet actually." Harry and Y/N talked about a lot first was about his first band and his experience on the X Factor. Harry's talk lead more into One Direction and the great times he's had with all four guys and even giving Y/N insight on some of the worst. Then Harry let Y/N have the spotlight where she talked about her upbringing. She told Harry just about every embarrassing story in her life because that's what made him laugh the most. Y/N and Harry talked the whole entire day, in fact they didn't even notice until one of the employees told them the place was closing. They walked outside the shop to bid a goodbye to one another but they both didn't want the night to end so Harry had an idea "Come ovar my place for a bit? We could talk some more." Harry leaned his forehead on to hers and intertwined their fingers. "Yeah" Harry and Y/N walked back to his house, they talked some more about TV shows Harry spewed out his favorite in a heartbeat since he barely watched TV but he always had a few he tuned to immediately. Y/N however recommend every show on HGTV like Flip or Flop and Vintage Flip just to name a few. Harry never heard of these shows but seeing the excitement in her eyes made him want to watch them more so they agreed to watch it when they got to his place. They got to his place in a matter of minutes he ushered her in just incase any paps were waiting to catch a glimpse of him."So this is my place, it's not much but I call it home." This place looked beautiful to Y/N different art pieces decorated the white walls, different crystals sat on side tables each were different in shapes and sizes but were all connected by a common color of red. The living room and a color plan of yellow, black, and red it was weird but Harry made it work. The two walked to his couch and took a seat "Now show me this House Hunters you go on about." After about four episodes and Harry yelling at the wifes when they complained about the light fixtures our the shower head, the two found themselves cuddling on his couch. Y/N lifted her self from his chest to get to his face "H, calm down show's fake anyways she's just bitchin' for no reason." Harry looked up at her, her eyes were glazed over and her hair was a hot mess because Harry ran his fingers through her hair, getting it tangled, but she looked absolutely adorable. "It is? Tha's upsetting." Y/N chuckled and started to ramble about something but Harry was too focused on her lips, they were puffy and looked so soft Harry couldn't help himself. Harry reached up to capture her lips Y/N was caught off guard but it felt right and she quickly melted into the kiss. This wasn't the 'sparks are flying' 'fireworks in my stomach' type of kisses because those just didn't happen, but this was the best kiss Y/N has ever had in her life no doubt. Push came to shove and they're in his living room making out like horny teenagers.Y/N was the one to break the kiss "Can we, I don't know. Go to your room or something?" she said gasping for air Harry didn't hesitate before he lifted Y/N up and wrapped her thighs around him. He ran upstairs and dropped Y/N on the bed before crawling over her. "So beautiful love, jus' layin' here fo' meh." Harry kissed her cheek trailing down to her jawline then neck. Y/N started to moan when he sucked a sweet spot under her ear. "Oh babe that feels amazing!" she moaned and grabbed a hold of his hair. Her moans ignited something in Harry that caused him to rut his cock on her thigh. Harry made sure he had two beautifully colored marks on her neck and collar bone before continuing. He lifted the bottom of her shirt to under her breast. Harry kissed, sucked, and kitten licked her lower stomach. Different profanities including fuck and shit leaving her mouth her skirt created no barrier as Harry continued his assault while rubbing her panty clad clit. Y/N took her shirt off and massaged her breast through her bra "Fuck Harry do something please I need you!" Harry decided to give her what she wanted, he reached up to undo the clasps on her bra and slid it off her arms. "You're such a fooken sight to see petal. Your tits are so perfect, let me get us situated then I'll get back to those, okay beautiful?" Harry went down to her lower region he pulled down the zipper on her skirt and slid them down her legs. Then Harry leaned in to place a kiss her her clit he licked and sucked as much as he could seeing she still had underwear on. "Sweetheart, these little thongs yeh have on are so beautiful pet, bet they make ya ass look incredible. In fact turn around and let me see it babe." Y/N whined "Baby please I just want you in me please H I'll do anything!" "Love when I say do something, yeh do it. I don't wanna spank that pretty ass red. But I will." Y/N groaned but turned around on her stomach. "Christ sweetheart I was right." Y/N's ass was beautiful it was the perfect size for Harry her ass turned Harry's semi hard straight into a raging hard on. He dove into her ass, Harry licked and kissed under her left ass cheek while the right hand grabbed onto her other ass cheek. Y/N never thought someone paying this much attention to her ass would feel so good but now that it's happened she doesn't want to have sex again if it didn't include this part. Most of her moans were muffled by Harry's pillows but they both knew how aroused she was especially Harry since he could smell her dipping in between her legs. "Sweetheart, yeh smell absolutely wonderful take off those pretty panties fo' meh." While Y/N took care of that, Harry quickly stripped out of his clothes, leaving his cock angry red and throbbing. Harry laid down between her spread legs as she still laid. Harry spread her pussy lips apart and blew cold air on her opening. "Har baby that feels so good, you're doing me so good but please baby fuck me." "In a second love." Harry tongued her entrance. He took his time while he ate her out he'd smack her ass a few times just to watch it bounce luckily it turned her on so it was a win-win. After Harry ate her to the verge of tears "Harry baby I'm gonna cum I'm so close babe I'm right there jus- Harry!" "Yeh aren't cummin' 'till I'm deep inside you pet. But I got one more thing to do." Harry flipped her over to see her face, her face was flushed she she was sweating, not to mention the tears going down her face. Harry cooed and wiped her tears away "I'll let you cum in a second pet, just let me play with those pretty tits first." Harry leaned up to circle his tongue around her nipples, making them hard. He took her pointed nipples in between his teeth and tugged on them. Y/N wanted him to fuck her so bad but this felt almost as good almost. "Harry please fuck me!" "Okay love I gotcha. Hand meh a condom outta that drawer." after Harry got the condom on he rubbed the head of his cock on her slit. He got whines in return from Y/N so he finally thrusted in. "Fuck Harry! You're so big my gosh fuck me baby" The words coming from her mouth made him thrust faster, her cunt was heavenly around his cock since he had a condom on he couldn't feel everything he'd like but he still felt on top of the world inside of her. Harry held her legs at his hips then reached down to capture this girls lips. Harry got his deepest and thrusted his hardest into Y/N and he could cum at any second. "Harry please I'm almost there!" that's all he needed before reaching down to rub her clit. That's what pushed her over the edged, Y/N came on his cock "Tha's it baby cum all over Daddy's cock I got you pet I'm right here." Y/N's climax crashed down on her while Harry's followed shortly after. Harry laid down beside his lover. "Stay tha night, I'll make you breakfast in the morning and maybe we can have a round two." Y/N obviously didn't need to think twice about this offer. "Okay but next time I want to be in charge." "I think we can work sum out."

[thelankyrandman-blog]

Annotated Album-A-Day List:

Annotated Album-A-Day List:

Alphabetical Order: January - June 2017

So this is every album I listened to from January to the end of June. Every one has a quick opinion of mine. Let me know what you think of my thoughts if you know the albums or decide to check them out!! Happy listening!!

A:

Actress - AZD: A solid electronic album that messes with sound in some very interesting ways. Worth a listen but it hasn’t been pulling me back as much as I would have hoped.

America - America: Really enjoyable classic folk rock that most definitely was influential. They do a great job layering their tracks with percussion and a fleet of guitars. Donkey Jaw is probably my favorite track due to how hard it rocks out (for folk) at a few points. If you like folk, you’ll enjoy this album quite a bit.

Anderson .Paak - Malibu: Sweet Kraken!! This album is fantastic! It’s groovy, smooth, sexy and has some nice hip hop flavor to it. It gets a little long with some more fatty songs, but I can’t stop going back to it.

Angel Olsen - Half Way Home: Honestly, this isn’t my cup of tea. It’s just a bit too twangy for my taste. If you like country a lot, check it out.

Animal Collective - Marriweather Post Pavilion: This album is a wall of sound. There are no empty spaces in any song. If there was empty space at any point they popped in another synth layer, or another vocal track to fill the gap. This is what makes this album unique. It sounds like nothing else from that time where rock bands were going for more stripped down sounds with kitschy melodies played on xylophones while their acoustics shit out the same chords over and over. This showed that Animal Collective wasn't like the rest of the “indie” rock bands of the day.

The Avalanches - Since I Left You: What an incredible album! This is what electronic albums should use as a baseline and it’s influence has been seen since it released in 2000. This is a sample album, so every sound used on it is taken from something else. While that sounds like it may be a bit derivative or outright copying, it isn’t. They are able to create utterly new and unique sounds and songs that will no doubt blow you away. Also, this album has a near impeccable flow from track to track. A must listen.

B:

BADBADNOTGOOD - BBNG: This is a great jazz album with some hip hop influence. It’s even better if you’re into video games because of their covers of songs off of the Zelda soundtrack. Even if you are not familiar with those though, this album is worth your time. And I’m sick of Giant Steps too.

Beach House - Depression Cherry: If you like dream pop, this is the album for you. It’s spacey, catchy and clean. If you’re looking for variety though, go somewhere else. This is very much an album from a band who has found their sound and is sticking with it.

Blank Banshee - Mega: This is a weird album. It’s some good electronic music, but the songs started to blend together in my mind, and when it was over, I was surprised I had listened to an entire album.

Big L - Lifestylez ov da Poor & Dangerous: You can’t go wrong with Big L! His rhymes were incredible and his lyrics were nasty. It’s not often that you find more accessible horror core.

Big L - The Big Picture: Another solid album, but it has a little weirdness to it considering that it is a posthumous album. Big L will spit a verse then Jay Z will come on and finish up with a respectful rest in peace to the man of the hour. It feels incredibly odd, but weirdly special.

Bob Dylan - Empire Burlesque: Ooffa dooffa! This is a bad album. There is such a palpable lack of effort on this album that kills me when I listen to it. Dylan was just going track by track hitting the highs and lows that he knew would sell. It just feels like a lazy album that doesn’t even remotely stand out as a good one in his career. If you love Bob Dylan I’d say check it out to have more of an appreciation for his good stuff, but otherwise maybe skip this one.

Boogie Down Productions - Criminal Minded: Fucking classic masterpiece. Required listening. ’Nuff said.

C:

Capital STEEZ - AmeriKKKan Korruption: Man, this is such a solid record, it sucks so bad that STEEZ took his own life. His topics and flows feel good and his beats are that nice and comfortable Pro • Era style.

Carly Rae Jepsen - E•MO•TION: This album has no right to be as awesome as it is. I was expecting some pop drivel that I’ve heard since birth just regurgitated for the billionth time because producers know that it will make money, but Jepsen actually knocks it out of the park with an original pop album. My only gripe is the lack of lyrical variety, but it doesn’t drag the album down too much.

Chance the Rapper - 10 Day: Man, it’s crazy to think that a 17 year old Chance was able to put this together. It’s tight, it’s mean and god damn is it solid. With the ethos surrounding it I wasn’t expecting such a great mixtape, but man, does he deliver with it.

Chance the Rapper - Acid Rap: This is the best Chance mixtape in my opinion. With the exception of the extended period of silence in the first half, the album has a great pace peaking with Cocoa Butter Kisses. Chance finds his style here and never has it been as strong!

Chance the Rapper - Coloring Book: Coloring Book is great, don’t get me wrong, especially with songs like No Problem but this album drags. It hits about the halfway point and runs head first into a brick wall with some of the most skippable tracks that Chance has ever made.

Charles Mingus - Mingus Ah Um: I mean… It’s Mingus, obviously it’s amazing.

Childish Gambino - Because the Internet: I wanted to like this album so badly. I love Donald Glover in almost every other avenue, but as a rapper his style isn’t distinct enough, his lyrics can be half baked, and his sense of pacing is sorely lacking. This is another album that’s first half is stacked well, so when the second half comes in all you want to do is take a nap.

Childish Gambino - Awaken, My Love: Now this, this is where I think Glover should be going. This album is better than Because the Internet in every way. From song writing to the production, not to mention the more obvious fit of the new genre he decided to tackle. With the exception of California, every song is pretty solid.

Clarence Clarity - No Now: I literally can’t get enough of this album. It’s so weird and perfect. Clarence Clarity creates pop songs with somewhat familiar sounds and distorts them beyond a sane level. They sound like they were made in space and that’s what makes the album so compelling. Each time I listen I hear a new song in the track listing. Also, Cancer in the Water is such an incredibly powerful track!

Crosby, Stills & Nash - Crosby, Stills & Nash: Coming out in 1969 Crosby, Stills & Nash began their journey to become on of the best folk bands of all time. They basically created modern folk as we know it, so if you enjoy Fleet Foxes or Mumford and Sons then do yourself a favor and check out their stuff. It has an older style but it still has acoustic guitars and beautiful vocals.

Crywank - Tomorrow is Nearly Yesterday and Everyday is Stupid: I found this album incredibly randomly and wasn’t shocked or disappointed with it. It’s fine. It has some catchy tunes and deals with some heavier emotions like existential dread and depression, but unfortunately sometimes it just comes off as a little whiny.

D:

(Quick Danny Brown Note: I’m a huge Danny Brown fan, but he isn’t for everyone because of his unique sound, don’t be discouraged if you don’t like him)

Danny Brown - The Hybrid: If there has ever been an album that has shown potential, it’s The Hybrid. Danny Comes through with a great tape with his signature two styles of songs, the more party based ones, and the serious ones.

Danny Brown - XXX: Man. This album is good. Every song is good. Every. Fucking. One. Danny does this cool thing too where he changes hist style on the fly. The first half of the album is crazy. Danny raps about drugs women and partying while using his unique higher pitched vocals. Then the second half is a much more toned down serious sounding bunch of tracks that deal with more difficult topics. Instant classic.

Danny Brown - Old: Old is another strong album from Danny, but can get a little patchy at the very end. But man, I can’t stop listening to it. Dip stands out as one of the coolest sounding tracks that Danny’s put out.

Danny Brown - Atrocity Exhibition: Jeezers peezers, what a goddamn album!! This is one of Danny’s (I’m assuming there will be more) magnum opuses. This album gets weird. The production on the first track gives us the perfect tone for this record, that coincide with the lyrics that just tell us that something is off. And every other track works towards this idea. Ain’t it Funny feels like this massive cry for help and Really Doe is a perfect track talking about the problems in the rap game. This is another must listen.

Death Cab for Cutie - Transatlanticism: This album is fantastic. I’m not a huge Death Cab fan, partially due to a lack of knowledge of them and partially due to the singers voice, but this album is undeniably good. It his some raw emotions with perfectly crafted music to back it up. I will be coming back to this album again and again.

Death Cab for Cutie - Narrow Stairs: I Will Possess Your Heart is an awesome 8-minute track that feels anxious and perfectly repetitive, but this album drags. The pacing here is an issue. By the end of the album I was ready to bail and finally be done with it. There are some good tracks, but there are too many duds.

(Quick Death Grips Note: I’m also a huge Death Grips fan, they are incredibly aggressive and experimental hip hop, not for everyone but give them a shot, good to use as a gaming soundtrack for the first time you listen to them so your brain can get used to their sound)

Death Grips - Exmilitary: Death Grips sounds so incredibly different from any of their other albums on this mixtape, but that’s what makes it so compelling. Their unique use of sampling mixed with MC Ride’s classic shouting delivery packs a massive punch to your ears and gut. It’s abrasive, but you can’t help but jam along with it.

Death Grips - The Money Store: This album is probably perfect. I wouldn’t cut a single song from its 40-minute runtime that ends much much too short. This album is mandatory listening. It’s abrasive, catchy, disgusting and aggressive. It makes you want to scream out into the night with a big “fuck you!”

Death Grips - No Love Deep Web: Where could Death Grips go after the money store? Darker. This album looses any sense of light which makes it feel like Ride is forcing rocks into your ear canals, but these emotions feel right at home in Death Grips unique sound.

Death Grips - Government Plates: This album starts off incredibly strong, hitting a great stride with Birds. As it goes on it slowly looses its footing, and Ride’s vocals which makes for a slightly lackluster album. Yet, it still keeps me coming back for the first half and the last two tracks.

Death Grips - Fashion Week: There are some great instrumentals here, but I had two problems with it. First, it is hard to call it Death Grips without MC Ride screaming murderous lines into my head, and second the album has very little focus musically. It ends up being a bit long for it’s own good and misses a few great places to end in favor of an incredibly abrupt ending.

Death Grips - The Powers That B: This two parter is interesting. Most critics prefer the second half like I do, but I still enjoyed the first part quite a bit. But man, Jenny Death (disc 2) ends up blasting Ni**as on the Moon out of the water with it’s punk rock influences, something that they would later touch more on in Bottomless Pit.

Death Grips - Interview 2016 EP: This is a strong instrumental album that is a perfect length. It feels less criminal in its exclusion of MC Ride than Fashion Week does, but I could always use more Ride.

Death Grips - Bottomless Pit: Shit, this album is nasty! Like really nasty and makes for such a strong Death Grips album. The beats are disgusting, the samples are depraved and the lyrics shouldn’t even be allowed they’re so gross, and that’s why I love it.

Denzel Curry - Nostalgic 64: It’s amazing that this was Curry’s first mixtape because it sounds like he’s been in the game a long time. He has style and his flow is tight. He knows when to get emotion and delivers a powerful song discussing the  difficult topic of police violence.

Denzel Curry - Imperial: Another solid record with great pacing. Slowly Curry is growing into one of the greats of this generation of rap and I’m happy to be on board now while he’s still on his way up. He’s got some great anger and intensity that I haven’t heard since like Young Pappy.

E:

Earl Sweatshirt - Earl: Earl comes out swinging for the fences, or for peoples faces. This mixtape is short, sweet and vicious. His lyrics range from poetic to downright disgusting. He shows off his skills and a little influence from the Odd Future crowd.

Earl Sweatshirt - Doris: Doris is incredibly solid. Every track is great instrumentally and lyrically. Features from Frank and Tyler propel this album into being a good album, but it’s Earl’s wordplay and unique flow that make it great.

Earl Sweatshirt - I Don't Like Shit, I Don't Go Outside: This is such an unpopular opinion, but this is my favorite Earl record (even Siri likes Doris more). Earl is introvert, anxious, anti-social and distrusting, which speaks to me very clearly. Each song is brimming with emotions that hide just beneath this tough guy facade, briefly showing their faces from time to time. Grief and DNA are the two best tracks as they paint such gnarly pictures.

Elucid - Valley of Grace: Wowzers bowzers, this is awesome. This is so awesome. It’s short as hell, but it comes in throws some great tracks and socially conscious lyrics at you then gets out. There is no fat on this, if anything I want more, but this is already the most experimental hip hop album I’ve heard in a while. He messes with industrial sounds, messes with mixing so that he is sometimes overshadowed by the music, messes with samples and messes with you. Listen to this, it’s half an hour so if you somehow don’t like it, it’ll be over soon.

Eric Clapton - Eric Clapton: This is a great album by Clapton that feels very much like a debut record. It’s not as catchy as Slowhand but still manages to entertain you. Worth a listen but I’m not going to be returning to this particular record month after month.

Everything Everything - Get to Heaven: It’s fine. The first few tracks are great, the last track is great. The middle is long and tough to get through, and the extended version just throws on songs that were rightfully cut from the regular studio version.

F:

Father John Misty - Fear Fun: Father John Misty makes a great first album apart from Fleet Foxes that immediately sets him apart from their sound. His humorous and cynical lyrics help to make the album standout as musically it isn’t anything you haven’t heard before.

Father John Misty - I Love You, Honeybear: Man, Father John Misty makes a solid album from front to back here. It’s funny, it’s awkward, its pretty and it’s a little nasty. Father John Misty found a style that mixes modern lyrics that are cynical and jaded with this happy sounding almost 50’s-esque rock that just inherently happy. The music and lyrics kind of oppose each other which makes this amazing disconnect that shows Father John Misty’s discontent with the current state of things. This is a must listen.

Father John Misty - Pure Comedy: This album is black comedy. Make no mistake, it is funny, but it is also depressing. The best way I can describe this album is that it’s like getting punched in the balls then riding a ferris wheel. You know it’s magical and beautiful, but it fucking hurts.

Feist - Let It Die: Mushaboom is so god damn catchy and sweet. There are some amazing songs on here, and then some that are… less amazing. Some can be a bit boring or just kinda iffy. Worth a listen though, it has a nice unique pop sound to it that is nice and soothing.

Fleet Foxes - Sun Giant EP: This EP feels very much in the same universe as Fleet Foxes first studio album which makes sense that they often package them together. It feels like a continuation of a fantastic album.

Fleet Foxes - Fleet Foxes: Talk about a strong album, this is pretty much perfect from the first second to the last. White Winter Hymnal is a great indie rock track that most people should know, but that may be the most underwhelming song on the album, which is saying a ton!

Fleet Foxes - Helplessness Blues: This sophomore record does not suffer from a slump, in fact it’s right on par with their first album. It hits hard and beautifully with some of their most beautiful and odd tracks to date.

(UPDATE) The more I listen to this album the more I love it. And dare I say that it may be a perfect album. Its just so beautiful, so romantic, and just so goddamn perfect.

Fleet Foxes - Crack-Up: Crack-Up is weirdly dark for Fleet Foxes. There are some emotions that they are dealing with here that they haven’t had to deal with before. Isolation and alienation are common themes on this due to Robin Pecknold’s isolation from the band prior to the recording of this record. They also get more experimental. Their quiet moments are dead silent while their crescendos are blaring. I will be coming back to this album throughout life.

Flying Lotus - 1984: I wanted to like this album, but I found it to be a little repetitive and I couldn’t quite tell each song apart. It’s just a bit too focused for me and I was hoping for more of an array.

Flying Lotus - Cosmogramma: This is the one though, the sounds are weird and fresh and feel full of energy. FlyLo pops out a record that will be remembered in the electronic community for years to come.

Frank Ocean - Nostalgia, Ultra: Man, I wanted to like this mixtape a lot. It had great reviews, Frank’s voice and songwriting are usually top notch, but this one just didn’t do it for me. What bothered me was a lack of catchy tunes, too many filler tracks, and some pretty lazy sampling that actually resulted in a (probably unwarranted) lawsuit from the Eagles. This mixtape showed potential, but that was about it.

Frank Ocean - channel Orange: I really like this album. The first time I head it, it blew me away. Frank’s songs are catchy and his emotions run high through his lyrics. It’s a must listen, but what I will say is that after hearing Blonde, I think it has aged weirdly. This album has a loose concept that doesn't always work and not every song is perfect. His big focus of the album, Pyramids is basically two songs just jammed together with one being honestly kind of obnoxious while the other is incredible. It’s a great album but his next is better.

Frank Ocean - Blonde: Some prefer channel Orange to Blonde, but I’m not sure why, or how for that matter. It is less catchy, there are some weird flaws to the album, but it’s a much better album because of it’s emotional impact and the way in which it all comes together at the end of the album to make one of the strongest R&B albums out there. There are catchy songs like Solo and Nikes, if you don't mind the pitched vocals, then there are more subtle tracks that have palpable energy like Skyline To, a song about the every accelerating passage of time. You can literally feel the song, the day, week, months slipping away from Frank on this track. It’s amazing. And the ending track gets me so good every time.

Freddie Gibbs - Shadow of a Doubt: This is a great hip hop album that makes you feel cool. It’s drug dealing talk isn’t always glamorous, but Gibbs’ always lets it slide off his back. Also, any track with Dana Williams is bound to be incredible.

Freddie Gibbs - You Only Live 2wice: Short, bitter, redemption. YOL2 is nothing new, but it was a necessary album before we get anything new sounding from Gibbs. He’s been through a lot, and he lets us know in full detail. He’s happy to be home, but he is definietely a changed person.

Freddie Gibbs & Madlib - Piñata: This is probably as close as we are going to get to a followup to Madvillainy, and that is okay because this album is fiyah! The two complement each others styles nicely and are able to push out fantastic beats and rhymes together that outshine most acts out there today. Not even remotely as good as Madvillainy, but it’s a worthy successor.

G:

Ghost Ship Octavius - Ghost Ship Octavius: If you like metal, especially classic metal, you’ll love it. These guys blast out songs with blaring guitars that shoot up scales faster than I knew hands could move. The singer holds these notes that force your index and pinky fingers up while sending your middle and ring fingers up. It’s nothing too new, but it’s great classical metal.

Godspeed You! Black Emperor - Life Your Skinny Fists Like Antennas to Heaven: I don’t want to say much about this album because of what it means to me, but it is a must listen. It’s simply remarkable that humans made something this beautiful. I’m not too proud to say that this one made me cry.

Grizzly Bear - Horn of Plenty: Man, this album is lonely, but beautiful and ends on one of the most emotionally resonant songs you can listen. Check out the comments for the song ‘This Song’ on Youtube, people can’t help but get nostalgic with the track.

Grizzly Bear - Yellow House: Every song is a 3-D space. It sounds almost like the whole thing was recorded in a vast valley where sound was able to travel on its own time to the microphones. Each guitar, trumpet, violin and bass sounds perfectly orchestrated, yet utterly spontaneous. It’s beautiful and near perfect.

Grizzly Bear - Veckatimest: Grizzly Bear went a slightly different route here and made their songs a little less 3-D. Instead they feel tighter. The band feels like they know each note upcoming note from whoever is placed next to them. The songs are a bit catchier too, Two Weeks being a beautiful indie pop rock darling used in plenty of soundtracks over the years.

H:

Harry Styles - Harry Styles: I wasn’t expecting much from this album which made for a nice surprise, it’s not half bad. Problem is that it sounds incredibly dated and it came out a few weeks ago. The songs feel recycled from either some band in the sixties and seventies or Wolfmother, who would do it much better. His vocals are fantastic and clean, but that almost doesn’t work with the nature of the music. It almost sounds like it needs some more grit to it to be able to stand a chance.

I:

Ice Cube - AmeriKKKa’s Most Wanted: A classic. Ice Cube is a wordsmith, his rhymes are deadly and so is his attitude. It’s worth every second it takes to listen to the whole thing.

Ice Cube - Death Certificate: Another strong album that ends on the most brutal diss track I’ve ever heard. No Vaseline was so brutal that Ice Cube and Dre still haven’t talked about it to this day! That’s pretty fucking awesome!

Isaiah Rashad - Cilvia Demo EP: It’s weird, this album starts similar to how Rashad’s next album feels, with much more laid-back tracks you can vibe to. Right towards the end though, Rashad picks up the intensity and drives it a bit. It works for him and the album has a really cool ending to it.

Isaiah Rashad - The Sun’s Tirade: Great if you like music that vibes a bit. It’s not gonna blow your socks off with energy, but it’s a great record that tackles tough emotions and drug abuse. Rashad is someone to watch in the future, if he can pop albums out in time.

J:

J Dilla - Donuts: Beats baby, beats!! Holy god, this is an amazing instrumental album that you can just feel the influence on. J. Dilla was on another playing field and this album shows just that.

(Quick J.Cole Note: I’m not a big J.Cole fan, nor have I ever been at any point, keep that in mind, if you like him keep liking him)

J. Cole - 2014 Forest Hills Drive: J. Cole is sort of an enigma to me, people love him and swear that he is rap royalty on the same level with Kendrick and Kanye, but he clearly isn’t. His production is good, yet lacks a certain dimension that others are able to attain. His lyrics, while slightly conscious, lack focus and self-awareness. And his albums in total feel jumbled and messy. This album is worth a listen, and sure has some catchy tunes, but will not go down in rap history as a classic. Also, Wet Dreamz is the most predictable song I have ever heard.

J. Cole - 4 Your Eyes Only: I enjoyed this album a bit more than 2014 Forest Hills Drive, which seems to be the opposite of most people. It has a more nineties sound, it’s a bit darker, but overall much more focused. With the exception of Neighbors, which comes out of absolutely nowhere, the album feels like a cohesive idea. Again though, this album just isn’t as good as it should be for the sales and praise that it gets.

Joey Bada$$ - 1999: How the hell was Joey 17 when this came out? This album is a solid 90’s throwback album with some great flows and rhymes. It’s not particularly conscious or aware, but as a debut mixtape, there are few that compare to it’s quality.

Joey Bada$$ - B4.Da.$$: I enjoyed this album a lot, but it feels almost like a continuation of 1999 and maybe comes off a bit better if it is listened to directly after 1999. It has a really similar 90’s hip hop sound, similar lyrical style and delivering. Great tracks, but not too different.

Joey Bada$$ - All-AmeriKKKan Badass: This is where Joey really changed things up a bit. Joey put out a fantastic record that will be on year ending lists. With this one he took a slightly more modern sound to his beats. His lyrics, if you can’t tell by the albums title, are much more politically charged. People have complained about the album being a bit jumbled and unfocused, but too me it felt right due to the amount of problems that we face today.

John Coltrane - A Love Supreme: Sweet Jesus!! This is that shit. This is a must listen album for every person alive.

Joni Mitchell - Ladies of the Canyon: Joni Mitchell writes poetry, then songs. This usually works incredibly well, but every once in a while it can make her songs feel like they have too little structure. This happens a few times on this record and it makes it a little hard to follow. When it does work though, which is most of the time, it’s beautiful music.

Joni Mitchell - Blue: Dimbo wimbo, this album is probably perfect. There are few records that are as beautiful as this one. Joni Mitchell takes poetry and turns it into music to incredible, INCREDIBLE results. A Case of You may be the most beautiful breakup song ever written, and the palpable sadness in The Last Time I Saw Richard is sure to get you to choke up a bit. Perfect on nearly all fronts. If you like folk, look no further.

Joni Mitchell - Court and Spark: Another nearly perfect album. More beautiful lyrics, more beautiful singing from Joni. My only problem with the album is it’s final track. The album feels very focused with a particular sound, and right at the very end she throws it out the window for a jazzy cover of Twisted that isn’t necessarily bad, it just doesn’t fit. Other than that, it’s pretty fan-fucking-tastic!!

K:

Ka - The Knight’s Gambit: Listen to this more than once. The first time you listen to it, it will feel kind of one track minded and slow. The production on each song feels a little similar, and so does Ka’s delivery. It’s his lyrics though that make his albums so astounding. Take some time to listen to his poetry in the music.

Ka - Honor Killed the Samurai: This album is similar to The Knight’s Gambit in the fact that it’s dense and requires more than one listen. If you like Ka you will like this album, if you don’t like Ka, it’s pretty similar sonically to his previous record.

Kamasi Washington - The Epic: Wow. This album brings something new to jazz, an genre that basically lives on retreading the past. This album feels fresh and like it could bring about a jazz revolution. It’s a bit of a beast though clocking it at around three hours, so take it slow when listening to it.

Karriem Riggins - Alone Together: Want fucking great beats that you can jam to? Check this one out, it’s easy to miss but should not be.

Kendrick Lamar - Section.80: These songs are all amazing, but have really meh hooks. Every hook just feels like it could have been thought out more and leave me a little disappointed every time. Yet, after every verse I’m thinking, or gasping, or wanting to listen again. This was telegraphing what would soon be some incredible albums.

Kendrick Lamar - Good Kid, m.A.A.d City: This is Kendrick’s first masterpiece. There are no bad songs. Every song is catchy, every song is thought provoking, and every song is rock solid. The track order is thought out and the tone of each song is perfectly crafted. With Kendrick’s focus comes conscious lyrics, or stories that paint pictures, or the hubris of a 16 year old growing up in one of the toughest towns in the world. This album is endlessly replayable.

Kendrick Lamar - To Pimp a Butterfly: This is Kendrick’s magnum opus. Kendrick mixes jazz, hip hop, politically charged anger, the frustrations of fame, and the fear of mortality into a living album that seems to show a new side to it on each listen. It’s depth almost can’t be understood on the first listen through. It’s dense, long and a little obtuse at times. But once the full picture comes together, you’ll notice the album’s perfection. Each song feels like it serves a purpose, each feature is utilized perfectly, and each word was picked with thought and precision. This is a must listen.

Kendrick Lamar - untitled unmastered.: Leave it to Kendrick to have golden b-sides. How is he so good? These incredible tracks were the throw aways from the same recording sessions as To Pimp A Butterfly. They share the same jazzy funky style, but showcase new ideas. Sometimes it makes sense that a song or two wasn’t on TPAB, but never are the songs bad. This collection could’ve been a studio album, but at least he decided to release them in some form rather than cast them out to deluxe editions of albums down the line.

Kendrick Lamar - DAMN.: How do you follow up one of the best albums of maybe the past twenty years? It seems like a weird task, and even Kendrick knew it. This album is a departure from his previous styles. It sounds more modern, more catchy, much darker. From the album cover to the grime laced track Lust, this album reeks of depression. Each song sends us further down this pit that Kendrick was finding himself in. That even goes for the songs that seemingly attempt to throw us off from that. Love, a summer jammy type song, feels off, a trait that I’ve never heard on a Kendrick album. While this isn’t Kendrick’s best album, it has some of his most aggressive and brutal tracks to date.

Killer Mike - R.A.P. Music: This is basically an RTJ album before RTJ. Killer Mike does a majority of the rapping while el-p does the production, and pops in on a few songs. There’s raw anger that the two bring to RTJ albums here and Killer Mike comes through with some astounding bars. This album is a great listen and a great precursor to the stuff they would later do together as RTJ.

L:

Local Natives - Gorilla Manor: The first half of the album sounds like your ex-girlfriend’s “indie rock” playlist that features only recycled sounds from all the other bands that were out there around 2010. The second half feels like it was thought about a bit more thoroughly. The songs flow a bit better, the sounds are at least a little more unique, but for the most part this album feels like a mediocre “indie pop rock” album.

The Long Winters - Putting the Days to Bed: This album I listened to because I had heard of it from one of the many podcasts I listen to (MBMBAM). I am kind of on the fence with this record. When it hits a high, like the track (It’s A) Departure, it nails it, but there is a lot of downtime where songs either leave you wanting more or something different. It’s worth a listen or two but that’s about it.

Lorde - Pure Heroine: This is pop music with some surprising depth. Lorde doesn’t go the same route that most pop artists go talking about their money and fame, or other topics that no one can relate to. In fact, she goes the opposite direction and tells us how bored of that she is. On Team she sings one of the most accurate examinations of pop music, “I’m kinda over getting told to throw my hands up in the air.” Lorde makes an anti-pop pop album that is pretty great.

Lorde - Melodrama: Golly gee, this one’s a gooden!! Lorde makes an angsty album that isn’t obnoxious or really that trite. She feels alienated, she doesn’t like being famous, and she feels like people use her, and she is able to share those ideas with us in 11 awesome songs that are all catchy and serve their purpose well on the album. She even gets a little experimental from time to time, which is where I hope she goes next, in between her radio hit type tracks. Definitely surprised me with how good it really is.

M:

Madvillain - Madvillainy: This is an absolute must listen. Madlib basically defines what good production is on this album. His beats are incredible backdrops for MF Doom to drop some of the smoothest rhymes and bars you’ll hear. I keep coming back to this album over and over again because of Madlib’s production. He absolutely destroys it with weird samples and risks that should never work. Who puts an accordion on a hip hop track? Fucking Madlib does.

Marvin Gaye - What's Going On?: Smooth, sexy and ahead of its time both sonically and in its subject matter. It’s a classic and required listening simply for how influential it has been the R&B as a genre. We would be nowhere without Marvin Gaye, absolutely nowhere!!

MF Doom - Mm.. Food: This album is so weird. It’s a concept album about food. MF Doom makes a whole album about food, and it is somehow legendary. He’s able to spin this concept about a billion different ways with his weird sample heavy production. Just listen to it, I really don’t know what to say about it other than it’s incredible.

Mick Jenkins - The Water[s]: It’s kinda weird thinking that a concept album about water could be as good as it is. Mick Jenkins has an awesome flow, mixed with beats that literally feel like they’ve been drowned. They have this weird spacey underwater feel that just makes the album come together as a whole. If you like vibes hip hop that is weirdly aggressive (yeah I know that’s a contradiction but that’s kind of an accurate explanation), then you will like The Water[s].

(Quick The Microphones Note: The Microphones and Mount Eerie are both projects from Phil Elverum, he just changed his name after four albums to Mount Eerie)

The Microphones - Don’t Wake Me Up: How was this his first album? How was he 21 when he made it? He, ladies and gentleman, is Phil Elverum. He writes folk with weird noise rock stuff in there and this album is awesome and shows incredible potential. I can’t get enough of him. Listen to his entire discography. You will not be disappointed.

The Microphones - It Was Hot, We Stayed in the Water: This is probably Phil’s first masterpiece. I don’t know anyone who uses sound in the same way. It’s lo-fi and grainy, he messes with the stereo mix, he throws in sounds that are literally unrecognizable. But under that are these incredibly rich folk songs that come straight from the heart. Phil’s lyrics are unique and beautiful. This can even be seen in the beautiful simplicity of the album title. This is another incredible album by Phil.

The Microphones - The Glow Pt. 2: This is probably one of my top five albums of all time. It’s weird experimental folk that has some elements of noise rock and metal et cetera. This album literally has me on the verge of tears a few times each time I listen to it because of Phil’s lyrics, his still fresh, even 16 years after it’s release, use of sound and beautifully flawed vocals.

The Microphones - Mount Eerie: This album picks up exactly where The Glow Pt. 2 leaves off. This album though is a much, much slower burn than The Glow Pt. 2, and can give you a bit more existential anxiety. This album feels massive in ambition and almost otherworldly. There is this odd feeling to all of the tracks that make it feel incredibly important and like you are just for listening to it. It’s just as experimental as The Glow Pt. 2, but in very different ways. This was, if you couldn’t tell by the name of the album, the beginning of Phil’s Mount Eerie style.

Miles Davis - Kind of Blue: This is the gold standard for jazz standards. These are some of the most famous jazz songs that are nowadays repeated at nauseam. On the record though they have some great life to them and are recorded beautifully. If you enjoy jazz this record is a must listen not only because it’s beautiful, but due to it’s historical significance.

Miles Davis - Bitches Brew: Oh baby, yes please!! Experimental jazz has never sounded so goddamn good!! This is such a weird and awesome album that just leaves you wanting more and more, despite it’s long length. This is where a lot of bands took their experimental influences from. Radiohead for example cited this as a major inspiration when they wrote OK Computer. This is such a good one.

(Quick Mount Eerie Note: The Microphones and Mount Eerie are both projects from Phil Elverum, he just changed his name after four albums to Mount Eerie)

Mount Eerie - “No Flashlight” Songs of the Fulfilled Night: Weirdly enough this album has a similarity to The Microphones first album. When listening to this album you can kind of feel that Phil has changed. His sound is much more subdued here than it is on The Microphones Mount Eerie album. it feels less grand in scope, but more personal to Phil. It sounds like he wrote these songs in the woods, by himself, with no flashlight. It’s beautiful and heartbreaking. The perfect start to the Mount Eerie name.

Mount Eerie - Lost Wisdom: This is probably tied with Ocean Roar as my least favorite Mount Eerie album. It isn’t bad so much as it is a little boring for Phil’s discography. It’s incredibly short and doesn’t really explore anything too new for him other than having a female vocalist on every track. I just wanted more and not really in a good way. This album only clocks in at 24 minutes so it feels too short for its own good.

Mount Eerie - Dawn: Aside from his most recent album, this is Phil’s quietest record. It’s easy to miss, but really shouldn’t be. It’s soft and thoughtful, but comes in and out of your life quickly and quietly. You won’y be itching to hear that one catchy track again, but you may come back to it to feel some quiet tracks on a sad night. Absolutely beautiful and understated record from Phil.

Mount Eerie - Wind’s Poem: Wow. This is a killer album, potentially his best, but it’s another one that is a little more difficult to listen to. This album mixes his normal folk style with these screeching metal guitars that thoroughly shake your head when you’re listening. This album feels like a sonic manifestation of anxiety and depression. That’s all I’ll say. Go listen to it.

Mount Eerie - Clear Moon: This album honestly feels like beauty and anxiety or tension at least are just having the most intense showdown. This album has some of Phil’s most beautiful songs that he has ever written on  it, like Through the Trees Pt. 2. You can’t listen to that song without falling under it’s perfect, spacey spell. On the other side though are some of the most chillingly anxious tracks that envelop your body with their dissonance. This is another near perfect album by Phil.

Mount Eerie - Ocean Roar: In theory this album is a sequel to Clear Moon, but its predecessor is a thousand times better. Ocean Roar is just kind of… well boring honestly. It’s very slow, very droney, and very meh. If you love Phil, you’ll at least enjoy it a little bit for what it is, but it just doesn’t stick out like his other immaculate albums do.

Mount Eerie - Sauna: Phil was in a good place in his life here, which makes his next album so goddamn sad. This album is pretty lighthearted, to the point where Phil has a song about books. It’s not his regular death contemplation or the exploration of depression. It feels like he was happy, I wish he could’ve stayed happy…

Mount Eerie - A Crow Looked At Me: This album is a little weird to talk about due to its subject matter. This is one of Phil’s most stripped back albums because the music almost doesn’t matter, even though it is very good. This album is basically Phil venting to us about the recent death of his wife. It isn’t a fun time. There are times during this record where Phil is talking directly to his deceased wife, saying the exact amount of time since he saw her last. It’s incredibly raw emotion and rare truth that Phil spills on this record. Each song is soft and sets the tone for Phil to come in and just break your heart with each song, each idea and each word that comes through on this record. If you can, please support Phil and buy this record, or at least check it out.

M83. - Dead Cities, Red Seas & Lost Ghosts: Hurry Up, We’re Dreaming is big and catchy, each bubblegum, neon dripping hook easily able to fill stadiums. Dead Cities is smaller, more intimate, weirder, more tortured and slept on. It takes more than one listen to hear it’s intricacies and emotions. Sometimes it’s beautiful, like on Unrecorded. Synths fill the air as soft piano-like notes flutter on top of it. Other times it’s nasty and harrowing, the last part of Beauties can die feels utterly hopeless and covered in grime. This is a great electronic album.

N:

NAO - So Good EP: So Good is so good. This EP is pretty awesome, mostly due to the catchy titular track with A.K. Paul. Their chemistry is awesome and this song is sexy as all hell. Definitely worth a listen, and I’ll bet that you’ll come back to So Good when you need an extra dose of sexy in your day.

NAO - For All We Know: Not every track is a winner, but when NAO hits, she has a killer song on her hands. For example, In the Morning is incredible, absolutely incredible. But this album is long, and there is a lot of filler in between the great songs. NAO’s voice though is what pulls this record together into a project that is satisfying despite it’s misses, and she is going to stay on my radar in the future.

Nas - Illmatic: Looking back at it, it’s absolutely insane that I somehow missed this album. This is one of those albums that is pretty goddamn perfect from start to finish. It’s production defined the nineties and it’s lyricism was smart, cynical and sometimes heart breaking. And to top it all off, Nas was only 19 when this album came out. That always makes me feel bad about being 20 and not having one of the most genre defining albums out. Check this one out.

The National - The National: I went into this album with lower expectation due to it’s mixed reviews and I wasn’t really surprised either way. There isn’t anything super new or really too impressive here. It’s some decent rock with a slight country or Americana twang to it. If anything this album showed that they were a band to keep an eye on in the future. Potential, potential, potential.

The National - Sad Songs for Dirty Lovers: This one is a step in the right direction. This album has some great tracks on it. But the best parts of the record come when the band decides to really take a step out of their comfort zone. There are a few tracks where they decided to go slightly punk with it and begin to ramp up the intensity in the instrumentation and Matt really lets loose with some passionate yelling. This album is the direction I wanted the band to go in, more intense, more raw, more brutal.

The National - Alligator: This album is where the band really starts to get some buzz and good reviews, but honestly, I’m not sure why. This is the opposite direction in which I was expecting, and hoping the band would go in. Rather than lean into the more raw and intense, semi-punk driven style, they go back to their softer “indie” rock (I hate that moniker but I’m not sure what else to use) sound with Matt’s regular delivery. Speaking of his delivery, good lord can he please change it up? Literally every song he uses the same exact inflection and tone of voice, which makes them all blend together into this album sized amalgamation that just makes me lose interest around the midway point. He has this weird deep, throatier sounding drawl that gets old fast. Not quite my style.

The National - Boxer: More of the same… I mean, I’ll keep trying, because people say they’re amazing, but they just aren’t doing it for me. And Matt, please, stop with the weird throaty drawl. Please stop.

Neon Indian - Psychic Chasms: How is Neon Indian so cool without even trying? This album has this almost Strokes level of swagger in a drastically different genre. This electronic album is funky, danceable without being fast, and spacey. This is the type of music you listen to by yourself while staring at the ceiling, mesmerized by all the weird sounds and smirking knowing that you are cool for knowing who Neon Indian is. It feels like a album that was slapped together pretty easily from the heart and just nailed everything perfectly, even finding one of the most unique sounds in the electronic genre. This is feel good music that is original.

Neon Indian - VEGA INTL. Night School: Neon Indian’s second album Era Extraña lost the magic that Psychic Chasms brought to the table. It felt self conscious and much too aware of what it was going for. This album feels like a slightly fed up Neon Indian deciding to just make something that they enjoy rather than cater to every audience at once. All I want to do when listening to this album is dance. It’s catchy, it’s sexy and it makes you feel awesome just for listening to it. This album isn’t quite like his previous ones because of it’s more catchy melodies and danceable beats, and I don’t think it’s quite as good as his debut album, but it packs a gnarly punch from its first track to its last.

Neutral Milk Hotel - On Avery Island: Their first record is this amazing mix of folk and noise rock that they would later perfect on their next record, but this record is nothing to sneeze at. It feels much different from their next partially due to the amount in which they utilize noise rock here. There are a few songs where the instrumental would be called, “not music” by those who can’t appreciate the experimentation. Not only did this album show potential, it also takes you on an awesome journey that you will come back to, no doubt.

Neutral Milk Hotel - In the Aeroplane Over the Sea: This album is plagued by memes and obnoxious 4chan users who think they are funny just writing lyrics on repeat at nauseam on threads, but there is actually a reason for it. This is one of those albums that from the moment it starts, you can feel something special about it. It has weird, often surreal or fantastical lyrics mixed with a sort of folk rock with these noise rock accents. There are beautiful melodies and dissonant ones too that each work together to make an utter masterpiece. You’re doing yourself a disservice if you miss this album, it is spectacular.

Nick Murphy (fka Chet Faker) - Missing Link EP: I wanted this to be good, I wanted it so badly, but it’s just not great. Nick is in a weird place right now, he has no idea where to go right now. What do you do after an album that blasts you out of obscurity, that’s style is no longer appealing to you? I have no idea… and Nick doesn’t either. This EP feels so uncomfortable, and not in a good way. Each song feels like a different album, hell, even a different artist. None of them are particularly shocking or catchy, they just kind of roll off your back once they finish. It’s just… disappointing.

Noname - Telefone: Noname is like the quiet girl in high school who, when she does speak up, is by far the most interesting and entertaining person in the room. Her style is similar to the likes of other Chicago artists (or you could call it the Chance style). She uses some hints of gospel as a backdrop for her subtle and soft lyrical style that make you take a minute and think about. She doesn’t show off her beats and vocals though, she opens up and really gives us some incredibly touching stories and emotions. She’ll be around a long time, and she can only go up from here.

Notorious B.I.G. - Life After Death: Biggie is one of those rappers that is just on the boarder of being overrated, then when you listen to his stuff you don’t think he’s popular enough. He just had a way with rhymes and beats. He was able to rap about slinging crack, then immediately after share some deeper emotions and have it all fit into these crazy visions he had for his two records. Just incredible stuff, truly incredible. We lost Biggie much too soon.

O:

Oddisee - The Iceberg: This just barely missed being on my best of 2017 list. This is a great, conscious hip hop album. Oddisee has some interesting insights and is a great storyteller. My favorite song on the project, or at least the one that sticks with me the most is You Grew Up. It takes an interesting look at racism and how that can grow in children if it is fostered, definitely a powerful portrayal.

P:

The Pablo Collective - The Death of Pablo: I usually do not enjoy remix albums. Their lack of creativity usual defines the style, slapping on today’s most obnoxious trends onto previously released songs. But this… this is different. This doesn’t even remotely feel like The Life of Pablo. Following their mission statement, this album is darker, grittier and so much more disgusting. It will drain the life out of you and make you feel utterly hopeless, especially in the middle where there is about a ten minute industrial sounding interlude attempting to simulate the sounds of death. Right as you want to shut it off from just being too much, it comes back around and hits you with this incredible speech from Kanye set to music. This is an incredible project.

Perfume Genius - Put Your Back N 2 It: You ready to cry a little bit with me? Goddamn, Hadreas delivers an incredible album that is stripped back to basically just his own soft shaky vocals and piano chords that are reverbed the fuck out of. He throws in a few background sounds here and there, like heavily distorted vocals or strings, but the take away hear are the lyrics. This is an emotional ride that will break you. He sings about the struggles of being a gay man, domestic abuse, just being sad, and be able to power through that.

Perfume Genius - Too Bright: Hadreas brings the feels again with this soft, at times nasty, sludgy record that mixes his previous style with something a bit more layered. The song Queen is a good example of what this album is. Hadreas uses vocals that could be found on his last record, but with an instrumental that would’ve felt outlandishly out of place due to its thickness and staggering dimensions. With that being said, it’s still able to remain subtle, soft and slow. But if there weren’t emotions flowing through each lyrics veins, it wouldn’t be a Perfume Genius album.

Perfume Genius - No Shape: Man, this album immediately shows that it’s different from Hadreas’ previous records. On the first track, it starts like his other albums, soft and subtle, then it just explodes with a wall of sound and textures. This is Hadreas’ most difficult album to listen to if you are not acquainted with more experimental sounds, but in my opinion, it’s his best record.

Phoenix - Ti Amo: I love Phoenix. Wolfgang Amadeus Phoenix is such an awesome album that just hits high after high until you’re left mashing the repeat button on every track. I listened to Ti Amo on its release date, and I genuinely don’t recall a single lyric or melody. It’s just really boring and uninspired. It feels like they were contractually obligated to pop out another album so they put something together in three months that at least sort of sounds like Phoenix and called it good. I hope they take some time to find themselves and a good direction forward before making another album.

The Postal Service - Give Up: I almost guarantee that you’ve heard a majority if not all of this record before just on radio stations or your friends barbecue mix tape. It’s influential no doubt, it’s sounds are familiar at this point due to how often people have borrowed their sound, but that doesn’t alway mean it’s good. Some songs are fantastic and each catchy note or melody gets burned into your skull, yet other songs can get a little boring. It’s just a bit inconsistent. I wish that they had made more albums together because if they had let their sounds grow a bit I bet they would've put out a killer record.

Q:

Quelle Chris - Being You is Great, I Wish I Could Be You More Often: This is an awesome hip hop album that skates through humor and existential fear at the same time. Quelle Chris’ delivery stays at a lower, almost monotonous, level that works with his dry humor and battered emotional state. His production also has some Madlib-esque spice to it that is entertaining and experimental. Please check out this record, it is worth your time.

Quasimoto - The Unseen: This is one of those classic hip hop albums that only intense hip hop heads know. I wouldn’t have found it had my good friend not told me to check it out. Quasiomoto is one of Madlib’s alter egos. He works in some great production and lyrics into this must listen album.

R:

Radiohead - Pablo Honey: This album gets a lot of hate from Radiohead fans for being too generic and of the nineties. It’s not terrible, but it’s definitively not Radiohead. Creep is by far the best song on the album but should not be Radiohead’s most popular song. The bad songs on the album though could have been popped out by any band from that time period.

Radiohead - The Bends: This is the first “real” Radiohead album. They really began to find their footing here. This album is filled with two types of songs, way more of the latter than though. The first are songs that feel slightly dated with that nineties alternative rock sound. These are songs like The Bends. The second type are songs that feel right at home in Radiohead’s discography. The songs that feel dated though aren’t bad, they just have a little nineties stank on them. But when this album hits a high, similar to Radiohead’s other albums, it hit’s so hard that you are amazed for the next five minutes because of that one note. High and Dry comes to mind as a song that will blow you away.

Radiohead - Kid A: They say that OK Computer was what solidified Radiohead in history, then Kid A solidified them in the future. This album showed us that Radiohead had legs past the nineties. They came out with this album that is part rock, part electronic and all weird. It was polarizing when it came out, but an undeniable classic now that has influenced the rest of their discography and so many other bands all over the place. Listen to this record. Period.

Radiohead - Amnesiac: Packaged as a sort of sequel to Kid A, Amnesiac is a collection of Kid A b-sides that are surprisingly good. These tracks were so good in fact that they warranted another studio album rather than being scattered and released at weird times throughout the years. The rock tracks here are Radiohead’s classic style that is always able to amaze me, and their electronic tracks give you new sounds to wrap your head around. All in all, a great record.

Radiohead - Hail to the Thief: People have thought of some weird analogies for this record. Pitchfork even went as far as to say that it’s an anti-masterpiece (in a good way somehow?). All you need to know is that this is a great record. It won’t alter your life like some of their previous projects, but it’s got some fantastic stuff on it.

Radiohead - In Rainbows: This is the album that they needed after Hail to the Thief, a great but not spectacular album. They took some extra time with this one and popped out one of their best records. This thing is filled with amazing songs from the almost dancey 15 Steps, to the soft and thoughtful track Nude. This was Radiohead telling us that not only did they still have it, they were better than most even after 15 years since OK Computer.

Radiohead - The King of Limbs: People hate this record. It’s fine. It’s not amazing, but it’s not terrible. It’s just kinda middle of the road. Listen to it if you love Radiohead, if you don’t know Radiohead don’t start with it. That’s it. It’s fine.

Radiohead - A Moon Shaped Pool: Oh man… where to begin. This shows Radiohead’s brilliance. After over 20 years they are somehow still able to pop out one of the best records of the year!! It’s slow and soft, yet it drags you into it’s atmosphere immediately and holds you under what feels like sonic water. The highs are spectacular and the emotional lows can be felt throughout your whole body. This is just another one of Radiohead’s immaculate albums.

Ratt - Out of the Cellar: It’s Ratt. Their fun, they put out some good hair metal, they’re fun live. I don’t think that their music will really go down in history as incredible stuff. It also kinda says something when I was the youngest person at the show. It’s just kind of a dated sound that doesn’t really need to come back because we’ve just moved past it. Again, it will occupy you for about thirty minutes but it’s not something that will change your outlook on life.

Red House Painters - Down Colorful Hill: Eh… Not for me. It’s too slow and dramatically emotional. I’ll try again with them in the future, but I was more waiting for the album to be over than listening for subtle details.

Run the Jewels - RTJ3: This is not my favorite RTJ album, but by no means do I think it’s bad, it’s spectacular. These two have some of the best chemistry in hip hop today. Their political opinions blast through and give this album the most anxious feeling. Even when they step away from political ideology it works well. Their song to their deceased friend is heartbreaking and perfectly accented by Kamasi Washington on the tenor sax.

S:

Sampha - Process: My god. This album is incredible. Sample fuses R&B with electronic music, just sings over the piano, and get’s slightly experimental here. It’s pretty amazing that this is a debut album because it feels like he’s been doing this a while. This album will have you moving, will make you try and hit the notes that Sample belts out, and will tug at your heart a bit. He really blew it out of the park with this album.

(Sandy) Alex G - Rocket: Damn. Incredible fusion of folk, punk, experimental, industrial and everything else. It’s so goddamn good. Poison Root kicks off the album softly and as it progresses it gets intense, then it eases back out. One of the best albums of the year in my opinion and may make it into my year end list. Go listen to this sucka!! (Also, he was opening for Fleet Foxes when I saw them, but I got to the show late and missed him, I’m beyond crushed!!)

Shabazz Palaces - Black Up: I had heard these guys compared to Death Grips a couple of times so I had to check them out. After listening, they are only similar in their use of experimental beats. But man, if they aren’t experimental. These guys do some crazy things from polyrhythms, to throwing out song structure completely. That may sound interesting, or be a deal breaker to you, but either way, you should check these guys out if not to only see what is possible under the hip hop umbrella.

Shapes & Colors - Love / Sex / War EP: Okay, so these guys talked to me on twitter and seemed really nice, so I will try to be gentle. It’s… not great. It feels very generic and done a million times before. It’s just indie rock that maybe would’ve sounded new in 2008, but it feels a little dated upon release. Check it out if you want to support these guys, but I found it difficult to get through it’s short length.

The Shouting Matches - Grownass Man: I wanted this album to be amazing, but it just isn’t. There are some amazing tracks, like the great Gallup, NM, but there are also some boring tracks. It feels like the boys weren’t quite sure what they wanted to do with this album, they just knew they wanted to make a bluesy record. With the few exceptions, most of the album feels a little stale.

Snakadaktal - Sleep in the Water: That reverb be heavy doe!! I wasn’t expecting much from this due to the band’s silly name, but this is a pretty great dream pop album. It feels spacey, yet emotionally potent. Plus the band’s dual vocalists adds another dimension to songs like Too Soon. These guys reminded me of Beach House a bit, but not so much that it felt like either band was stealing from each other.

Soft Cell - Non-Stop Erotic Cabaret: Look, this album is incredibly 80’s. It feels like they were using synths for the first time in the studio they sound so simple. But this album has some killer tracks. First off, the classic Tainted Love is undeniably catchy despite being so 80’s you can basically feel the neon dripping off of each beat. The final track Say Hello, Wave Goodbye also stands out because of its emotional impact coming late in the record. If you can get behind the 80’s clichés and rock with this britpop, you will find something to enjoy here.

Spoon - Hot Thoughts: It’s weird how Spoon is incapable of making bad albums. They just seem to pop out good albums one after another. While this isn’t my favorite of theirs, it still has some great material, including the title track that bounces in your head and gets stuck their for weeks. Britt’s vocal delivery fits so perfectly with their sound it seems like these musicians were born to play together. Another great one from the boys in Spoon!!

Squarepusher - Feed Me Weird Things: I don’t know if there are any other artists that have a similar sound. Squarepusher has made a career out of the most unique mix of jazz and… I don’t even know it’s just incredible. His first album must’ve seemed so weird when it came out. I can’t imagine what people who knew him must’ve said about it. I know this is vague, but I’m not sure what to say about his stuff, just go listen to it.

Squarepusher - Music is Rotted One Note: I feel like I will be listening to this album when I finally go insane. This is like jazz if jazz had schizophrenia. It’s so weird and experimental and anxiety ridden, yet beautiful at the same time. It makes you feel like you’re crazy when you listen to it, but it also takes your breath away at least once every song. It’s not for everyone, but goddamn it’s at least for me.

Squarepusher - Go Plastic: This is Squarepusher going plastic, or at least synthetic. These songs are all electronically produced, which is different from his normal style of physical instrumentation. This is another great album by the always weird always awesome Squarepusher.

Substantial - The Past is Always Present in The Future: This album really surprised me. To be honest, I wasn’t expecting much. I hadn’t heard of Substantial, and his album cover for this thing is… just really bad, like really bad. But good goddamn if it’s not fantastic!! It’e emotional, socially conscious, utilizes Tonedeff very well, and is thoroughly enjoyable. It sounds weird, but I do think that the tracklist should be shuffled around a little bit in order to really make certain songs have more of a payoff, but this is a great hip hop album even without that.

Syd - Fin: I knew Syd a little bit from her days in Odd Future, providing backing vocals for Tyler, Earl and Frank. I hadn’t listened to her stuff from The Internet, so I went into this pretty unaware of how she would sound. Goddamn does she have a voice. This album is enjoyable because of her voice.

SZA - Ctrl: Man, SZA is fun to listen to. She’s got a great voice, can write lyrics well and has some great beats backing her. The one problem I had with the album is just the lack of focus in terms of emotions. I didn’t feel a central idea coursing through it, which isn’t necessary, but I feel would be greatly impacting and powerful for her style. Kung Fu Kenny also has a good feature on this thing.

T:

Temple of the Dog - Temple of the Dog: This album is another one, similar to Mount Eerie’s A Crow Looked at Me, that sends a past loved one off. Rather than being as detailed and soft, this one goes for a different approach. It’s music as opposed to lyrics are what do the trick here. This super group of nineties rockers came together to pop out this one beautiful record. Chris Cornell (RIP), Mother Lovebone and Eddie Vedder all bring their styles together for an incredible and heartbreaking project that will go down as a fantastic nineties moment.

Thundercat - The Golden Age of Apocalypse: This is Thundercat at his absolute best musically. Every song is incredible with some of the most impressive bass playing that I have ever heard. If you like jazz, hip hop, funk, or anything in between, you would be doing yourself a disservice if you missed this incredible record.

Thundercat - Drunk: Thundercat’s lyrics get funnier, his songs get catchier, but his focus gets wider. This album is fantastic, but is a little on the long side and could probably use a few edits here and there of songs that don’t quite stand out among the others. And let’s just get Wiz Khalifa off of this, he just doesn’t do the album any good. Kendrick can stay though, Kendrick can always stay.

Todd Terje - It’s Album Time: This album is so weird and funny and cool and stupid and amazing. It feels like Todd wrote and performs this album with a giant smirk on his face the whole time. I mean for god sake, it’s called It’s Album Time. His tongue is in his cheek and it works so well for this electronic joyride. It’s just fun and weird. I have no idea what else would fit into the same category.

Tonedeff - Polymer: Tonedeff is interesting to me. On paper I should love him. He is a fantastic producer, an artist who tries to go deeper than most, and a great storyteller on top of that. But for some reason I have a hard time getting into his stuff. There always seems to be some aspects of his songs lyrically that I just can’t get over. Sometimes they just feel like he’s trying a little too hard, sometimes he’s just trying to go for the quick emotions. He’s okay, but just not my cup of tea. However, he is great to see live and if you get the chance please do, because he makes his shows incredibly entertaining and interactive.

A Tribe Called Quest - The Low End Theory: Tribe is legendary. If you don’t know them you are depriving yourself of some of the best jazz hip hop ever to be produce. ‘Nuff said!!

A Tribe Called Quest - Midnight Marauders: Another stellar projects from Tribe. Their chemistry is always amazing, their beats are perfectly stylish and practical, and their lyrics always surpass expectations. Legendary group that will go down in history!! Perfection!!

Tycho - Past Is Prologue: This album showed me that Tycho had a little growth throughout his career, but it’s honestly pretty subtle. There are just certain droney sounds he likes using more now than he did then. Still sounds like Tycho.

Tycho - Dive: Don’t get me wrong, I like Tycho, but his music isn’t anything I haven’t heard before. It’s something that you would find on one of those YouTube playlists called, “Chill Music,” or “Chill Wave.” It would have some picture of a sunset or beach and this would be perfect to zone out to with friends while talking about the universe. It’s slow and meant to be in the back of your head.

Tycho - Awake: Tycho’s albums kind of all feel like a continuation of the last one. This is vibe music through and through. If you are looking for something challenging or incredibly interesting, look somewhere else. This one is basically filler music, or entertaining elevator music.

Tycho - Epoch: More of the same. It just sounds like Tycho, which can sometimes just be aggressively average.

Tyler, The Creator - Bastard: When you go back and look at all the old Odd Future stuff, if you’re like me, you’ll get a little nostalgic and watch Oldie with a huge grin. So much of their stuff at the time was great but has aged pretty poorly, or I can just see that it was never very good. But Tyler, Earl and Frank did always have something special. Of the mixtapes that came out in the early Odd Future days, this and Earl are the two best. Bastard is one of those albums that provoked and prodded, but above all, it showed potential. The beats are nasty, the lyrics are nastier and Tyler’s attitude is above all the nastiest. If you can stomach his shit, this is a great one to check out.

Tyler, The Creator - Goblin: This is an awesome concept album that starts so strong then kinda peters out under its own weight. This album is chalk full similar to his next album, and not every song is great. But Tyler brings a certain anger that just makes me want to throw shit out the window in defiance. His nasty lyrics itch that fucked up part of your brain that is often discouraged, but Tyler forces it out of you on songs like Yonkers and Tron Cat. If you enjoy hip hop and can handle song goddamn disgusting lyrics mixed with a cool concept, check this one out.

Tyler, The Creator - Wolf: Wolf is Tyler’s strongest album, despite the fact that it lacks a lot of focus. (UPDATE: Flower Boy is now his strongest with Wolf as his second most) I’ve listened to Wolf probably ten times now and I can recall songs from it, but when I try to think about the overarching themes or ideas, I kind of tend to draw a blank. Yet, the high moments are high, raw and fucked up. Rusty is a great ensemble track that tries to piss you off in classic Tyler style, Awkward is a heartfelt song from Tyler to his dad, and IFHY is an amazing song to an ex who he had a bit of a rough breakup with. Tyler also used his features incredibly well making them important and necessary parts to each song. This is a great album that you should really check out.

Tyler, The Creator - Cherry Bomb: Oh boy… Cherry Bomb is Cherry Bomb. It’s weird, it has some good stuff, but it’s also got Tyler’s worst stuff. It’s such a mixed bag that just doesn’t always work, in fact it doesn’t most of the time. This is one of those ones for die hard Tyler fans, but if you don't love him it’s not really for you…… I’m sorry, I’m trying to be positive here, but it’s just bad.

U:

V:

Vagabon - Infinite Worlds: Look, I like the genre, but Jesus Christ, can someone please, PLEASE just think of something new?! This album is literally every single idea that I’ve been hearing for years just jammed up in the same album. There are like two songs of note and I don’t remember which ones because I didn’t want to listen to it a second time. This album was just disappointing to me.

Van Morrison - Astral Weeks: This is one of those albums that you would find in your parents or aunt and uncles collection that upon first glance would skip, then when listening to it cry like a fucking baby. I’ve always been a fan of Van Morrison, and Moondance was what I’ve always thought of as his best album, but this one… this one is different no doubt. This one is less catchy, a bit more long winded, but maybe more powerful. Morrison’s almost strained Irish vocals are carried along by the soft guitar and meandering flute player on the title track, setting a perfect tone for the album. If you want a great album that is soft, but will blow your socks off, check this one out.

(Quick Vince Staples Note: I have seen Vince Staples live and that may have caused me to be a little biased, I don’t think it did but just keep that in mind)

Vince Staples - Hell Can Wait EP: This is a great EP. This is what put Vince on the map. This album shows his talent and incredible struggle to get to where he is now. The beats slap and his vocals cut through the mix like knives. Some may find his voice to be whiney or too high pitched, but it works for his style in my opinion. This is a can’t miss, especially if you are interested in seeing where he came from and where he will go.

Vince Staples - Summertime ’06: Badabing!! Wowzers bowzers, radio hits, spacey beach sounds and Kilo Kish. This is Staples at his best. This album’s structure is incredible, starting off strong with Lift Me Up and Norf Norf, then Lemme Know all on the same side?! Unreal shit. This album is awesome!!

Vince Staples - Prima Donna EP: This one gets a little darker. Vince sounds like he’s been trapped in his own head for a little too long and is pleading to get out. His lyrics are anxious and his delivery varies from emotionally distant on War Ready to a little more urgent on Pimp Hand. His beats are ugly, in a good way, they’re lo-fi and glitchy, almost as if he rubbed sand into the soundboard in the studio. Great EP.

Vince Staples - Big Fish Theory: This is where Vince Staples needs to go. This album is a bit more experimental and uses his style in a way that is different from his previous releases. He seems to be experimenting more with beats than lyrics, which makes a few songs have eh lyrics, but overall it works. This album to me, seems like it will be a stepping stone to another album that just pushes everything further and he’ll pop out his magnum opus next, mark my words!!

W:

Warren G - Regulate… G Funk Era: Makes you want to go to the East Side Motel. (It’s a classic that is required listening, so go listen to it… like now.)

Wavves - You’re Welcome: It’s just so aggressively mediocre that I began to resent it after the first ten seconds. There is nothing that sets this album apart from others, there is nothing that makes it very good or very bad. The road they drive down is very much in the middle. Yucko.

X:

X - Los Angeles: Never thought I would hear Ray Manzarek playing punk music, but man, he fits in perfectly. This album is one of those ones that is the perfect amount of time. There is no fat on this album and every song fits in like it should. And again, Manzarek on keys was such a smart choice.

The xx - I See You: It’s pretty good, probably my favorite album of theirs. But it left me just wanting more of Jamie’s solo stuff. On Hold is just a Jamie xx song that the other two members of The xx jump on and deliver their usual meh style on. I liked it for what it was but I'm just sick of The xx sounding the same on every song… and I want more Jamie xx.

Y:

YG - Still Brazy: YG gets pretty brazy on this album. His production uses that classic G Funk style with a few updates to keep it fresh. The beats perfectly complement his vocal delivery that changes on tracks on in tracks too like on Don’t Come to L.A. YG also get’s pretty political on this one with tracks like FDT (Fuck Donald Trump), Blacks & Browns and Police Get Away Wit Murder. This is a surprisingly good album that I wasn’t expecting much on.

Young Pappy - 2 Cups Part 2 of Everything: This kid had some talent. Sadly, he is no longer with us, but, man, he knew how to write songs. His style is aggressive, Killa sounds like he’s gonna jump through your headphones and bite your head off. His production is sample heavy and bass heavier. We lost this guy too soon, I would’ve loved to see what he would’ve been able to put out in his later years.

Your Old Droog - Packs: The Jeselnik skits are pretty useless, forgettable and low energy from Jeselnik, but if you skip those this album is pretty amazing. Droog is a great storyteller, his beats are bonkers and utilize sound effects to help push his stories along and he knows how to write some real hot hooks. One of the best hip hop albums of 2017. Also, Danny Brown has a killer, KILLER feature on Grandma Hips that you can not miss!!

Z:

You guys are the best!! Thanks for everything!!

--Andrew

[news-mashable-yahoopartner-blog]

Hilarious thread documents all the ridiculous 'Scooby-Doo' ripoffs

Marvel movies? Passé. Don't even think about the DCU. Today, we're going deep into the only cinematic universe that matters — the SDCU (Scooby-Doo Cinematic Universe.) 

In the age of studios frantically scrambling to make a quick buck on rebooting something old, it's hard not to be cynical thinking about if we'll ever see the end of this Sequel Era. But if you can believe it, there was a time when it was much, much worse. Especially in animation.

There's no doubt that we're now in a golden era of animated programming for kids. In the realm of television, you're only a stones throw away (not literally, please don't throw rocks at your TV) from unique premises, mind-blowing art, and deep, emotional storylines. 

But it's taken the industry a while to get it right. Or, in the case of these animation studios, it seemingly took 20 years to stop recreating the one thing they did get right.  

And now (because no one asked)... A complete (?) listing of every Hanna-Barbera/Ruby-Spears Scooby-Doo clone: a thread pic.twitter.com/VPGMfkPgfa

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

SEE ALSO: Mainline 90s nostalgia with the forgotten cartoon channels of YouTube

Jon Gray, an artist and writer who's worked for Disney and Sonic the Hedgehog comics, recently dropped an intricate Twitter thread detailing the dark ages of Hanna-Barbera and Ruby-Spears, the animation giants behind The Flintstones, Tom & Jerry, and of course, Scooby-Doo. 

For the entirety of the late '60s and '70s, it seemed like they were either bafflingly incapable (or unwilling) of coming up with one singular good idea for a show that wasn't an exact carbon copy of Scooby-Doo. 

Gray describes it best, saying "H-B was notorious for cloning every successful idea they had eighty fold. Scooby was the most ridiculous example. My criteria for a clone is as simple as their shows: mystery solving and/or monsters with a pet. Sometimes one, the other, or both." 

pic.twitter.com/MqAZr82pr7

— Sam Henderson (@magicwhistle) April 28, 2019

Gray's current count for Scooby-Doo clones is at 22, although he acknowledges he might've missed some just because of the sheer breadth of its content library. Here are our personal favorites: 

Scooby Doo Except the Sidekicks are Also Ghosts

*The Funky Phantom* Scooby-Doo with a non-talking bulldog Scooby-Doo and ghosts who are the sidekicks (an effeminate revolutionary war ghost and his snickering ghost cat) One of several HB series animated in Australia which is why it looks so different than everything else. pic.twitter.com/ToRg62AFIU

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

Scooby-Doo But With a Different Car 

*Speed Buggy* Scooby-Doo but Scooby is the Mystery Machine is & Shaggy is his mechanic. NOTE: Mark, Fred’s expy, is supposed to be Native American (revealed in an interview?) but you’d never know it b/c it’s never mentioned in the show & his skin is only darker in a crossover. pic.twitter.com/BGBtGexrtj

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

Scooby-Doo Except it's Shark Tale 

*Jabberjaw* Scooby-Doo but the setting is “Underwater Jetsons”, the kids are all in a band, the girls are transplants from Josie (minus Valerie) but w/ Fred & Shaggy expies & Scooby-Doo is now a shark that’s also Curly from the Three Stooges I mean, Damn Jabberjaw is a *LOT* 🤣 pic.twitter.com/QOt01ME0WS

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

Scooby-Doo: Old Town Road (Remix) 

*The Buford Files* Scooby-Doo in the Deep South with bumbling small town cops. Also Scooby-Doo is a lethargic confederate bloodhound with an occasional girlfriend. 15 min shorts that were always paired with The Galloping Ghost. Show description on the second picture. A mess lol pic.twitter.com/LBslMJPn7x

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

Scooby-Doo and Uhh...Whatever the Hell This Is

*Casper and the Angels* Scooby-Doo but it’s Casper the Friendly Ghost EXCEPT the Ghostly Trio is now Hairy Scary (a hairy ghost who likes Casper), the cast is all girls (who are space cops) & the setting is The Jetsons This and the next might be the biggest “wtf?!?” on the list. pic.twitter.com/IxYWtDwBUO

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

Scooby-Doo Except it's Oh My God What Is That Thing 

*The New Shmoo* Scooby-Doo but the kids work for a comic book company & Scooby-Doo is now the Shmoo. For whatever ungodly reason the Shmoo from Li’l Abner became STUPID popular so H-B shoved him into everything from a blatant Scooby clone to having it meet the Flintstones TWICE. pic.twitter.com/We16hqY2rJ

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

Scooby-Doo And We Are Clearly Running Out Of Ideas I Guess He's [spins wheel] A Werewolf This Time? 

*Fangface/Fangface & Fangpuss* [RS] Scooby-Doo but now Shaggy turns into Scooby-Doo who is also a werewolf. It’s highly ironic that when Ruby-Spears split from Hanna-Barbera to form their own studio their first cartoon was a Scooby clone. Fangface Is so blatant a clone that... pic.twitter.com/4WHlxPIlJ9

— Jonathan H. Gray @ TCAF 🤪 (@jongraywb) April 28, 2019

By the early '80s, Gray writes, the Saturday morning Scooby-Doo clones had fallen out of favor, with the last one officially being A Pup Named Scooby-Doo in 1988. We can't possibly imagine why. The viewing public's appetite for H-B's main cash cow wouldn't arise again until the next Scooby-Doo movie, 10 years later. 

It's mind-boggling to think about how one behemoth could dominate an entire industry by just flooding it with knock-offs of its main property. OK, maybe it's not that unbelievable. All you really need is one profitable idea and the belief that kids will watch damn near anything that's put in front of them. Alex Hirsch, creator of a little show called Gravity Falls, described this era best. 

The 70’s were the animation dark ages, a coked-out whirlwind of talking dune buggies, dogs with neck ties, and teens in groovy bands. Every shark had a tambourine and every sherif was a ghost. And we haven’t even mentioned these bastards yet: pic.twitter.com/iekwpPMeLx

— Alex Hirsch (@_AlexHirsch) April 28, 2019

But even the shows that were blatant cash grabs with awful concepts that took one collective corporate brain cell to produce are still nostalgic for someone. The only redeemable quality of these shows may lie in the fact that they were the best part of some kid's Saturday morning.

It's no mystery that the animation industry is clearly much better off now without these ripoffs, though. We may be stuck in an endless loop of reboots (both good and bad), but creativity abounds in the shows recognizing that kids are more intelligent than previous animation studios gave them credit for. 

So let's send off the gangs of meddling kids (and their dogs, or ghosts, or shark) that came before. They've solved enough mysteries to entertain a generation. 

WATCH: Kingdom Hearts III continues Disney's crossover gaming magic — Games to Play Before You Die

[viralnewstime]

Harvey Cantwell has been setting the foundations for a very promising career over the past couple of years. Through the release of his debut EP’s ‘Holiday’ and ‘Talk To Ya’, he joined artists like Little Mix, The Vamps, Lawson and Jessie J on tour in the UK and started building a passionate local fanbase.

Through the power of social media, his fan base started expanding and the 21-year-old singer-songwriter was able to embark on his first world tour in 2018 which included a sold-out run of dates in Australia.

Following the conclusion of the tour, he jumped back in the studio feeling even more inspired by what he wanted his sound and vision to be, and started working on his debut album. The first taste of this new directional shift in his artistry was the infectiously penned ‘Million Ways’ and ‘ME BECAUSE OF YOU’.

HRVY was supposed to be returning to Australia in May for shows in Brisbane, Melbourne and Sydney, but Australian Government restrictions on large events due to the coronavirus pandemic means these shows are now being rescheduled.

When they do happen though, HRVY has assured this live show will be even bigger than before with new choreography and the inclusion of a live band.

Pre postponement, we had a chat to HRVY about the world tour and the improvements he’s focused on to deliver a bigger show, as well as the creative process behind his new single ‘ME BECAUSE OF YOU’ and why he loves the art of collaboration.

Music Feeds: What have you been working on to make this tour bigger and bolder creatively?

HRVY: I’ve been working on my dancing and constantly striving to improve myself, so I feel like that aspect is a lot better this time around. And I’ve got a live band, so that’s going to be even bigger as I usually perform with track, and still do, but it’s really cool to add live players to that dynamic.

MF: So how long do rehearsals for a tour like this usually go for? And how intense are they because with the incorporation of dancing and a live band they sound like they can be pretty crazy?

H: We normally do a week and a half of solid rehearsals for dancing, just so everyone confidently knows the direction for each song. Then we spend about 2-3 days with the musicians and pull all the tracks together and make sure everyone knows how to play the songs and that it collectively sounds good.

To be fair, I’ve been doing a lot of shows in the UK so we feel pretty comfortable with most of the set, but like I said I love changing things up and making things more interesting. So yeah usually around 2 weeks.

MF: After going on your first world tour in 2018, what was the biggest thing you learnt about yourself as a live performer and what you wanted to personally work on?

H: For my last tour I discovered that sleep was a really important thing. Because I was a little bit younger, I was really excited to be travelling and I wanted to stay up and explore each city which was fair enough. But when you combine that with jet lag, it would end up ruining me before shows.

I would be so tired, and luckily once I got out onto the stage the adrenaline would kick in and I would be fine, but this tour I need to get a lot more sleep so I’m more prepared for the shows.

These upcoming shows are also a lot longer than our previous ones as I’ve got more songs out and a bigger catalogue to perform, so I’ve just gotta make sure that I’ve got the stamina to make the whole show to look and sound great.

MF: Reflecting on that Australian leg of the tour, what was one of your favourite memories from your time down under?

H: One thing that stands out to me the most is something that initially sounds like a bad thing, but now that I look back on it I think it’s quite funny.

I had such bad jet lag that at the Sydney show I sat backstage and I literally couldn’t keep my eyes open. So I fell asleep and I got woken up about five minutes before I had to go on stage. I’m not a crier but I just started crying because I was so exhausted and I had never felt this feeling before in my life. I didn’t want to go out on stage in the state I was in but I knew I had to.

As soon as I got out onto the stage and started playing the first song, the atmosphere from the fans just made me switch completely. The Australian fans are just mental and the energy they bring to every show is magical. They are so passionate and thinking about that moment makes me so happy and has become a highlight in hindsight even though it could be looked upon as a negative moment.

MF: You’ve toured with some huge names including Little Mix, The Vamps, Jessie J and Lawson. So has there been a piece of advice or a mantra that one of these artists have given you while out on the road that you’ve really held onto?

H: There have definitely been a few! Brad from The Vamps told me about this straw that helps warm my voice up. It sounds really weird but I was struggling warming up before shows while I was on tour with them and he was like “bro, try this straw, just trust me”. I was a bit reluctant at first but basically, it’s a rubber straw that you put it in a bottle and blow into it, and you warm up doing that so you don’t damage your voice. And he basically just gave me some really good advice about warming up which really helped me.

I also did a show a couple of years ago and I met Shawn Mendes, so I asked him about warming up and he was like, “bro, every time you warm-up, do it in the shower’.

So every time I speak to another male vocalist I just pick their brain about how they warm-up. I always want to improve and these people do it for a living too, and have amazing vocals so I think it’s important to all help each other.

It may sound really boring, but it’s just stuff I needed to know as I wanted to sound and feel better on stage. And there’s no one better to ask than Shawn Mendes, so if he tells you to warm up in a shower then you warm up in a shower *laughs*.

MF: Your new single ‘ME BECAUSE OF YOU’ is a slick pulsating synth bop. So how did this song come together in the studio because it’s quite groovy?

H: It’s a cute little story because I saw a comment on Instagram from a fan that said, “I’m only me because of you” and I immediately loved that line so I went into the studio with the concept to write a song around it.

The producer brought up a beat and it had that 80’s drums with the pulsating feeling during the chorus, which I immediately loved. But I decided to switch it up and start the song acoustically to show that contrast before rolling into that full-blown sound.

We wrote the song and I loved it, so I went back to say thank you to the person who wrote the comment but couldn’t find them.

MF: A bit of a Cinderella moment, isn’t it?

H: *Laughs* it literally was! I actually jumped on my Instagram story and asked people whoever commented that to please message me and I obviously got quite a lot of people saying it was them, so I didn’t know who to believe.

MF: There is a beautiful gospel version of the track on YouTube. So how long did that version take to come together because it seemed so seamless?

H: Thank you bro! It’s always been a big dream of mine to have a choir in one of my songs but it’s never really fit into the actual singles I’ve put it out. With ‘ME BECAUSE OF YOU’ I was approached to do an acoustic version and I was so excited to do that because the song is so drum-driven that I knew it could turn out quite cool and drastically different stripped back.

After we had talks about the direction of the arrangement I got approved to have a choir involved which was so exciting as it meant I got to finally have my dream come true. The choir were insane, and brought the track into a whole new world and made it sound completely different.

When they came into the session they had a listen to the song and came up with their own choral arrangement and showed it to me and I died. They made it their own song and I was blown away.

Like, I love my song and I’m so proud of the original track, but this version is definitely my favourite and it’s also my mum’s [favourite].

MF: I think the most exciting thing about this version of the song was that is showed a completely different side of your artistry to what listeners have heard so far.

H: One hundred per cent! And that was another thing I wanted to do, I wanted to show people another side to me. It’s always great to give fans that sort of content, but it’s great to also show the older audiences that while I may be a young pop kid, I can do something more mature sounding.

MF: You started off as a really young artist who was continually growing and evolving while finding his feet in the industry. So looking back on your first two EPs and where you are at now with your music, do you get self-critical when you listen to those songs back?

H: Bro, I could release a song yesterday and I would be critical about it today *laughs*. I’m always changing my mind about things and always will be. But looking back at those songs, I see them as stepping stones as without those songs I wouldn’t be where I am today, and without releasing that music I wouldn’t be able to improve and get better.

Don’t get me wrong though, I do listen back to some of those songs and think that they are proper cringey but I was also 15/16 years old at the time. I do love the music I have put it out as it made sense at the time and the fans love it and still do, which is why it’s still apart of the live show.

MF: You’ve done a lot of collaboration with artists like Jonas Blue, NOTD, Sigala, NCT Dream and Red Foo. So what is your favourite thing about collaborating with other artists?

H: I just love hearing other people’s thoughts during the creative process as you could be both on different wavelengths, but you end up coming together in such a cool way. It’s also just great to have another brain in the room as creating music can be a little lonely sometimes.

I collaborated with NCT Dream and they are from South Korea and it was just an amazing experience as I got to go out there and experience their culture and meet their fans and make new fans at the same time.

I just love collaborating really. It’s also the way forward I think, definitely with streaming and social media as the more people on the track equals the wider it spreads.

Music has become the universal language. Like the fact you can have multiple languages in one song is crazy and exciting. I never thought I would have a song with a Korean speaking band, but it’s happened and it’s amazing.

MF: Previously in interviews and social media you’ve said that you’re not going to start working on an album until you’ve really found your sound and are fully comfortable with your vision. So through the release of these recent singles would you say that you’re closer to finding that?

H: Yeah, I feel like I have now. I’ve actually been working on an album and it’s going to be released really soon.

But a little while ago I would say that I hadn’t found my sound yet, and I just wanted to focus on experimenting and discovering what that sound was. Whereas now I feel like I’ve discovered who I am as an artist, and found music that I love and feel confident with.

The post HRVY On Lessons From Touring & How A Fan Comment On Instagram Helped Write His Latest Single appeared first on Music Feeds.

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