#8ball and mjg | Explore Tumblr posts and blogs

voodoochili · 2 months ago

Text

My Favorite Songs of 2024

2024 is winding down, and as turbulent as it was a year in politics in the culture at large, it was another big year for tunes. It feels like I write something like that every year–I think we're finished with non-turbulent times. But one thing that I am grateful for is the sheer volume of excellent music that is instantly available at our fingertips. It's a daunting volume, but if you dig, you will find gems.

In 2024, I didn't feel like I had to dig very deep. I vibed with a lot of hits this year, whether they were chart-conquering #1s or viral favorites, and I felt more in step with the critical consensus than I have in years. In past years, I might have interrogated my taste to figure out why I was following the crowd. But as a new dad, I figure I should celebrate being "with it," before "it" becomes something else!

Below are my 100 favorite songs of the year, plus blurbs that explain why I think my top 25 are so special. There are 4000 words ahead, so I will stop talking for now, and just say: happy listening, I hope you find something you love!

Scroll down to the bottom of the blurbs to find my full playlist in Spotify form, plus a curated, sequenced 2024 sampler featuring many of the year's best songs. And now, the 25 best songs of 2024, plus 75 more.

25. El Snappo - “Back2Serve’n”: I am an absolute sucker for slinky, twangy Southern rap that borrows its groove from blaxploitation soundtracks (as filtered through UGK, Three 6, and 8Ball & MJG). PNutt’s palm-muted guitar scritches and walking bassline deliver that feeling in spades on “Back2Serve’n,” providing a red carpet for Broward County emcee El Snappo to waltz down. Wielding a sing-songy flow reminiscent of his fellow Floridian Trapland Pat, El Snappo makes the most of his moment, shouting out his heroes and establishing his hustler bonafides with a charmingly sly drawl.

24. Pa Salieu - “Dece (Heavy)”: Pa Salieu would never let something as small as a two-year prison sentence get in the way of his run as the UK’s most exciting rapper. He emerged from the pen this year on a ridiculous tear, wielding a book of lyrics he compiled while inside and retaining the lockstep timing and percussive flow that makes him special. “Dece (Heavy),” the highlight from Pa’s new album Afrikan Alien, is a virtuosic display, as he deftly navigates a tricky polyrhythm with thudding monosyllables (first verse), toe-tagging precision (hook), and, (during the song’s mind-spinning second verse) rapidfire flourishes that slice through the intricate percussion with ease.

23. Arooj Aftab - “Raat Ki Rani”: On her breakout, Grammy-nominated 2021 album Vulture Prince, Pakistani singer and composer Arooj Aftab drew from influences that ranged from Billie Holliday to Mariah Carey to Rumi, the 13th century Sufi poet. “Raat Ki Rani” adds another muse to that considerable collection: Sade Adu. Soothing as a balm, but still stinging with the pain of regret, “Raat Ki Rani” ripples like a cloudy night sky. Aftab smolders atop majestic harps, mournful pianos, and a galloping rhythm, singing of a “queen of the night” who seductively approaches, perhaps in a dream. She aches with the pain of unfulfilled expectation, longing for a love that remains just out of reach.

22. Fabiana Palladino - “Stay With Me Through The Night”: The scion of a musical family–her father is the legendary session bassist Pino Palladino–Fabiana Palladino effortlessly compresses sounds and sensibilities from several eras and genres, filtering them into a style of her own. Unlike her mentor and frequent collaborator Jai Paul (who executive-produced her album and contributed to this track), Fabiana feels no need to hide behind cultivated mystique or lo-fi murk. She synthesizes grooves that move, imbuing them with emotions that last. “Stay With Me Through The Night,” the best song on her excellent self-titled debut album, is an impassioned attempt to forge ahead in love with a clean slate. Adorned by classy, reverbed piano chords and propelled by a halting and deeply funky drum & bass groove by Steve Ferrone and Pino himself, the song somehow triangulates the sweet spot between Silk Degrees, The Seeds of Love, and The Velvet Rope. As the song progresses, Fabiana’s breathy pleas grow more impassioned, and the question of staying the night grows more and more rhetorical.

21. BossMan Dlow - “Get In With Me”: BossMan Dlow writes rhymes designed to be shouted back at him at full volume. On “Get In With Me,” the first and best real deal viral rap hit of the year, Dlow makes use of pregnant pauses to structure each of his lines as a call-and-response: “Left wrist on froze…look like a bag of ice/I’m driving the Bentley Bentayga…like I don’t love my life.” I, for one, think that BossMan Dlow should be a bit more careful when whipping his luxury cars, but I can’t get enough of his tales of his bottomless budget for shoes and watches.

20. NLE Choppa - “Slut Me Out 2”: Since emerging onto the scene as a teenager with the “Shotta Flow” series, NLE Choppa has become one of hip-hop’s most colorful characters. He’s a vegan, chakra-pilled, “wellness” enthusiast with a winning smile, who is full of himself, but doesn’t take himself too seriously. The gleefully raunchy “Slut Me Out” series (which, along with the three main installments, includes a country remix with J.P. and the hit offshoot “Or What” featuring 41) has been his greatest accomplishment, injecting a much-needed dose of camp into the modern rap landscape. Over a beat powered by sucky-sucky synth bass and insistent club percussion, Choppa doesn’t rap as much as he sashays, his explicit come-ons echoing the sprechgesang delivery of a ballroom house diva more than standard rap machismo. Whether or not he’s aware of his auto-homoerotic undertones (“There’s nothing freaky I wouldn’t do to me, to me”), "Slut Me Out 2" is a blast, an “I’m Too Sexy” for the brainrot generation.

19. Kendrick Lamar - “Not Like Us”: Enough ink has been spilled about "Not Like Us," which we will be hearing for the rest of our lives, but here’s one of many things I appreciate about Kendrick Lamar’s 2024: he illustrated the arbitrariness of the dividing lines that fans and journalists draw between scenes, sub-genres, and artistic approaches. In 2014, it would’ve been easy to imagine Kendrick’s cerebral, hyperlocal storytelling and Mustard’s post-ratchet pop wave existing in separate universes. That was never true: they’re simply different flavors of L.A. shit, with a shared lineage that stretches back to World Class Wrecking Cru and DJ Quik. The West Coast, united, can never be defeated.

18. Nia Archives - “Crowded Roomz”: Behold, the shy DJ. In this voyeuristic Boiler Room era, being a DJ increasingly involves surrendering yourself to the watchful eyes of spectators, who scrutinize your every move. Nia Archives spends a lot of time in packed clubs, and on “Crowded Roomz,” she dramatizes the intense alienation that can come from being the center of attention. As a devoted junglist, however, she doesn’t let her self doubt stand in the way of a banger: she complements punishing drums and space-age sound effects with plaintive guitar and her own yearning vocals, creating a going out anthem for introverts.

17. Astrid Sonne - “Give my all”: Astrid Sonne is a master of building anticipation–she stacks unresolved chords to the stratosphere until her left hand descends upon her piano like the hammer of Thor. On “Give my all,” Sonne lays everything on the line, as she dramatizes her longing for a departed lover with an entrancing, haunting theme, first brought to life with new age synths (complete with strings and panpipe sounds that spring straight from the CD section of a 90s nature store), before it repeats towards the end of the song with pizzicato strings and jaunty woodwinds. As “Give my all” continues, Sonne’s narration grows more unreliable, and her romantic longing seems to curdle into a dangerous obsession. The song’s disparate elements don’t so much blend as they uneasily exist beside one another, like letters torn out of a magazine for a ransom note.

16. Good Looks - “If It’s Gone”: A breakup song both sardonic and kind, Good Looks frontman Tyler Jordan wrote “If It’s Gone” when his longtime girlfriend left him on the first day of the pandemic (we all know exactly what day that is; for me it felt really real when they canceled the Big Ten and NCAA Basketball tournaments). Though there is plenty of venom, the lyrics betray a residual fondness that lingers even after sudden heartbreak, and showcase a good sense of humor that convinces me that there’s no hardship Jordan can’t weather (“And I don't believe in Jеsus, God, or Buddha, or beyond/Okay, a little bit in Buddha—trying to keep from hanging on,” he sings). Adorning the song with gently jangling guitars, tinged with just the right amount of melancholy, Jordan’s bandmates accompany him with a friendly, ramshackle groove that makes the song’s five-and-a-half minutes glide by. By the end of the song, Jordan has earned his revenge by living well, but he still can’t resist the urge to pen one last kiss off: “I hope you find true love and money, many orgasms, and fame/And if you're somehow still unhappy, find somebody else to blame.”

15. Mk.gee - “Alesis”: Year-end time inspires me to dig deep into the songs I’ve enjoyed most, but truth be told, I am not really a lyrics guy. I forget the words to many of my favorite songs, and I can count on my fingers and toes the number of songs with lyrics I know by heart. But the melodies…the melodies, I remember. Such is the power of a great melody: I am moved by mouth sounds, entranced by intervals, caught off guard by unusual syncopation. I’ve listened to “Alesis” a couple dozen times this year, but until now, it has never occurred to me to look up what Mk.gee is on about. Even now, after listening closely to this song for this blurb, I couldn’t recite one lyric. I’ve decided to let the mystery be. I don’t want language to disturb the reverie the artist induces with his muddy, chorus-laden bass and an organ humming in the distance. I can tell you my favorite syllable though: it recurs each chorus, probably around the third line, when the melody leaps up an octave, and it sounds something like this (bolded for emphasis): “Why beeee/Weh we wo HA too.”

14. Nourished by Time - “Hell Of A Ride”: Since releasing Erotic Probiotic 2 (my top album of 2023), Nourished By Time's bedroom symphonies have grown more ambitious and confident. Buoyed by a bigger budget courtesy of XL Recordings, Marcus Brown (who goes by they/them pronouns) is able to flesh out their soundscapes without sacrificing any DIY charm. Kicking off with a guitar riff worthy of a sports movie montage, “Hell Of A Ride” settles into a propulsive keyboard-driven groove, deepened by buzzing synth strings and wailing guitars. Over this bed of controlled chaos, Brown rages against the dying of the light, attempting to reconcile their personal triumphs and increasingly happy life with the horrors unfolding in the world around us: “Young breathin' in them toxins/Used to have a third place, now they got no options/And I don't see that shit stoppin'.” In the end, Brown takes a position of hopeful defiance: if the world is gonna end sooner rather than later, we might as well go out with a bang.

13. J.P. - “Bad Bitty”: The biggest hit of Milwaukee’s current rap wave, and the catchiest 99 seconds of 2024, came courtesy of an erstwhile small forward at UW-Stevens Point, a 20-year-old who radiates an unnatural amount of “unc energy.” “Bad Bitty” benefits from J.P.’s “aw shucks” delivery and supreme vocal talent, as he layers his harmonies like an R&B heartthrob, scats like Ella Fitzgerald, and unspools melodious syllables as easy as he breathes. He may not ever score a hit as big as this again but no matter what, he will still be J.P.

12. Cassandra Jenkins - “Delphinium Blue”: Channeling Laurie Anderson and Emily Brontë in equal measure, Cassandra Jenkins explores the thin line between the transcendent and mundane in “Delphinium Blue.” Her narrator works at a flower shop, surrounded by beauty, and performs the necessary grunt work to maintain that earthly Garden of Eden. The colors of the flowers remind her of her beloved, and like the flowers, love requires constant maintenance to preserve its vibrance. “Cut the stems,” she intones, “to make them last.”

11. Star Bandz - “Yea Yea”: I first heard Ahmad Jamal’s “Pastures” as a sample in Jay-Z’s “Feelin’ It,” which turned a two-chord loop from the jazz classic into one of the most easy-going songs on Reasonable Doubt. 28 years later, Chicago native Star Bandz (who was…negative-12 when “Feelin’ It” came out) and producer CyrusXO! took “Pastures” in a very different direction with “Yea Yea,” turning Jamal’s rippling arpeggios into menacing reflections of Star’s chaotic energy. Easily navigating the busy instrumental, Star lives up to her name, making it very clear that she’s already lived several lives at 16. Never feeling the need to raise her voice to get her point across, she establishes herself with one of the most striking introductions in recent rap history: “What's up? How are you doing?/I'm the man, my name is Star/I'm 16 doin' shows, and I rock out like a guitar”

10. Tashi Wada - “Grand Trine” ft. Julia Holter: Titled after a rare astrological phenomenon that occurs when three planets exist in symmetrical harmony, “Grand Trine” is a product of a similarly harmonious union between experimental musicians and life partners Tashi Wada and Julia Holter, written in celebration of their daughter’s birth. It is at once a triumphant bit of chamber pop and a meditative new age dreamscape, the elements alternating seemingly at random in a manner that mimics the joy and chaos of parenting a young child. The spritely fanfare of a chorus is designed to hit you deep in your soul, while Wada’s harpsichord fantasias and Holter’s wordless incantations combine to inspire an overwhelming tidal wave of emotion, especially in new parents like yours truly.

9. Hannah Frances - “Bronwyn”: On the cover of her album Keeper of the Shepherd, Hannah Frances lays prostrate in the throes of mourning upon red clay soil, a bracing image that prepares you for the emotional power of “Bronwyn,” the album’s opening track. “Bronwyn” opens with Frances’s acoustic guitar as she picks out suspended chords, unresolved as she waits for her lover to return. It quickly becomes clear that Frances is hoping against hope–the atmosphere grows more turbulent, with distorted drums and violent electric guitar, and she sings of her incomprehensible grief: “The heart swells to loosen the ribs/Loosen the ribs.” While the rest of the album didn’t really move me, “Bronwyn,” achieves Frances’s lofty aims, reaching the celestial heights of folk classics like Joni’s Hejira and Joanna Newsom’s Ys.

8. Ka - “Borrowed Time”: When Ka passed away earlier this year at the age of 52, it came as a shock. The Brownsville, Brooklyn native and firefighter by trade was a paragon of independent integrity, existing outside the mainstream rap apparatus, working nights and weekends to perfect his grimy sound and lyrical koans. It seemed like he could keep making albums like this year’s The Thief Next To Jesus for decades to come. However, as I’ve listened back to Ka’s discography over the past two months, I realized that the person who would’ve been least surprised about his untimely fate is Ka himself: his lyrics frequently focus on the inevitability of his eventual end, and stress the importance of setting things straight with your people and your higher power before it’s too late. Built around a bluesy guitar sample and sirenic organ, “Borrowed Time” is a typically excellent Ka song, defined by the rapper’s gravelly delivery and his pearls of jagged wisdom. Ka speaks of a life lived without compromise, recounting numerous hardships but never expressing regret–it’s all part-and-parcel of escaping the circumstances of his birth: “Must admit it's some vicious pictures in this tapestry.” Ka’s two line hook was powerful at first listen, but is now almost too devastating to bear: “I hope it's borrowed time when my time come/'Cause all my time wasn't kind, son.” Ka might have viewed the last few decades of his life as borrowed time, but I wish he could’ve borrowed a bit more.

7. Vampire Weekend - “Connect”: Fifteen years after bursting onto the indie scene in a cloud of controversy, Vampire Weekend have settled into a comfortable middle age as one of the tightest and best-arranged bands around. They’ve always packed their songs with musical bits that hook just as deeply as their vocal choruses, but their 2024 album, Only God Was Above Us, establishes a new compositional frontier for the group. “Connect” is the flashiest, and proggiest, song on the album, powered by Chris Baio’s melodic bass and frontman Ezra Koenig’s (truly impressive) baroque piano. Koenig’s lyrics are as abstract as ever, but they seem to mourn his loss of his sense of childlike wonder, as he is increasingly unable to find joy in the little things that used to occupy his curiosity. His piano unspools like his inner child dancing out of frame, on the backs of ascending diminished sevenths and dancing arpeggios.

6. MCVERTT - “Hate The Real” ft. 41: Rap trio 41 (Jenn Carter, Kyle Richh, and TaTa) consistently pushes the boundaries of New York drill, avoiding the sinister sliding 808s that have gone stale and finding sounds from further afield. Their most fruitful creative partner is Newark producer MCVERTT, who redefined the sound of Jersey via his club rap collaborations with Bandmanrill, and has consistently provided 41 with his most inventive productions, including the trio’s breakout hit “Bent.” My favorite rap song of 2024, “Hate The Real” is the perfect “Bent” follow-up, complementing the trio’s speaker-knocking energy with what might be the chillest beat in Jersey club history. The most cerebral of the group, Jenn Carter, takes the mellow instrumental as an opportunity for introspection about her trauma and mollifying drug use: “Roll up a blunt, not expressin' my pain/Like fuck, this shit hurt every day.” Kyle and TaTa, on the other hand, see no reason to change up their usual steez; Kyle describes his bachelor revelries, while TaTa watches TikToks in the club. A confluence of unexpected sounds and colorful personalities bouncing off each other, “Hate The Real” is invigorating, relaxing, and endlessly replayable.

5. Burial - “Dreamfear”/“Boy Sent From Above”: Still shrouded in mystery after all these years, club legend Burial made a brief return in 2024 with two of his finest ever tracks. On “Dreamfear” and “Boy Sent From Above,” released as a 2-track EP, Burial decides to stop messing around with the ambient and atmospheric textures characteristic of his recent work. Instead, he creates a pair of unrepentant bangers, as ferocious as any in his formidable discography. Opening with an ominous line reading from the Assassin’s Creed video game series, “Dreamfear” is a punishing taste of The Prodigy-esque hardstyle rave, as Burial wields “Amen” breaks like blunt force weapons, inserting vocal samples that lighten the mood with their sheer goofiness (“Back from the dead, fucked in the head”; “I am the lord of ecstasy!”). I prefer the B-Side, “Boy Sent From Above,” which hasn’t gotten nearly as much love on year-end lists, but offers a much purer pleasure. It’s a shameless take on happy house, layering major key synth fanfares over skittering Miami bass percussion. As the cherry on top, Burial makes a point to use the Euro-trashiest lead sound he can find to bash away charming melodies that echo both “Axel F” and Frank Ocean’s “Thinkin’ Bout You."

4. MJ Lenderman - “She’s Leaving You”: At first, I didn’t understand the hype behind Indie rock hero du jour MJ Lenderman. He has a way with plaintive melodies and a slacker’s sense of humor, kind of like Stephen Malkmus, combined with a ramshackle rowdiness that evokes Neil Young & Crazy Horse. Or at least he did in theory–as much as he emulated those legends, I felt there was a big piece missing: their sui generis songwriting talent. A simple, but powerful ballad, “She’s Leaving You” is the song that won me a seat on the Lenderman bandwagon. “She’s Leaving You” has it all: Economical, devastating lyrics that hint at a deep-seated sadness (“It falls apart, we all have work to do”); dueling guitar riffs that sound vaguely familiar, but only because their melodies are so instinctual and satisfying; a climactic, J Mascis-lite guitar solo that screams the chorus melody. Add it to the canon of rock’s great self-pitying masculine tearjerkers, next to modern classics like The Hold Steady’s “Lord, I’m Discouraged,” and classic classics like Thin Lizzy’s “Fight Or Fail,” Elvis Costello’s “Alison,” and the Stones’ “Let It Loose.”

3. Tinashe - “Nasty”: Tinashe’s long-overdue mainstream comeback continues a noble pop tradition of deeply sensual songs that get the point across without using explicit language. Each line is sexually frank enough that it barely qualifies as innuendo, but there’s nothing on there that TV or radio can object to! (Another song that does this, albeit in a sillier and even filthier way: “Milkshake” by Kelis) Beyond that clever gamesmanship, “Nasty” is a brilliant bit of songwriting, mixing hearing test keyboards with ultra-crisp 808s and an inventive bassline that plays off the unusual minor key substitution in the verse (the verse’s C Minor chord leads into an A Flat Minor chord, when you would expect A Flat Major in the song’s C Minor key!) Tinashe’s tone is pure and playful, her delivery toe-tagging each handclap and bass bounce in a way that is fun to imitate, but hard to replicate. Her freak, it turns out, is not so easily matched.

2. Mabe Fratti - “Enfrente”: Experimental cellist Mabe Fratti uses her instrument as a springboard to new worlds. At times, she plucks the cello like a bass, and at others, her sweeping bow adds cinematic grandeur to her innovative compositions. Shining with a crystalline intimacy that reminds me of Bjørk’s Vespertine, “Enfrente” boasts the coolest collection of sounds I heard all year, with ice cavern synths, prominent breakbeats, and Fratti's supremely funky pizzicato cello. To Fratti's credit, she fashions an incredible, shapeshifting destroyer of a song around these elements–like so many songs on this list, “Enfrente” chronicles a search for connection in an increasingly hostile world. The conclusion sounds like an avalanche, as the love and warmth she's been searching for tumble hopelessly away.

1. Geordie Greep - “Holy, Holy!”: I first heard the band Black Midi on YouTube and didn’t think much of it. I was impressed by their musicianship at such a young age, and amused by their devotion to once-uncool influences like the aggressive prog of Van Der Graaf Generator and 1980s King Crimson, but never compelled to return to their songs after an initial listen. The lead singer, Geordie Greep, sang in an exaggerated, throaty manner that reminded me at times of the cartoonish snarl of Cameo’s Larry Blackmon. So when Greep released his debut solo single over the summer, I didn’t expect my mind to be so thoroughly blown. Exhilarating and blood-curdling, “Holy, Holy!” grabs you by the throat from its first roaring guitar riff. The opening groove is immense, with a muscular rhythm section and guitar that purrs like an unmuffled Ferrari. It sounds like 80s Earth, Wind, and Fire and Eno-era Roxy Music, if they entered the machine that turned Jeff Goldblum into The Fly. Crooning like Cronenberg Bing Crosby (or Donald Fagen from the Black Lodge), Greep knocks us off balance with his first line, accompanied by syncopated guitar stabs: “I could tell you were lonely, from the moment you walked in.” As the song progresses, the Afro-Latin and orchestral Brazilian influences grow more and more apparent, and the song’s narrator grows more and more deranged–you can practically smell the gin on his breath as he brags of his virility and his sterling reputation with the “revolutionaries” and “Jihadis” who stretch from Havana to Tokyo. The bottom falls out when the song’s driving bass is replaced by a cascading piano and a heavenly choir–Greep matches the beauty of the arrangement with skin-crawling skeeviness. He unloads his deepest desires to his object of affection, who, as it is now clear, is a sex worker whom he has bribed to reassure him of his misplaced sense of confidence: “And I want you to tell me I'm a perfect dancer/And I want you to tell me I smell great/I want you to make me look taller/Could you kneel down the whole time?/How much will that cost?” Sometimes when I choose my favorite song of the year, I consider how it deeply affected my life, and mirrored what I’ve been going through (c.f. 2020 or 2023). Other times (like in 2021), I have no choice but to pick the most undeniable banger. I’m happy to say that the grandly ambitious steamroller that is “Holy, Holy!” fits squarely in the latter category.

Find the playlist HERE

Listen to my Best of 2024 Mix HERE (for best results, set crossfade to 12 seconds)

The Full List:

Geordie Greep - "Holy, Holy!"

Mabe Fratti - "Enfrente"

Tinashe - "Nasty"

MJ Lenderman - "She's Leaving You"

Burial - "Dreamfear" / "Boy Sent From Above"

MCVERTT - "Hate The Real" ft. 41

Vampire Weekend - "Connect"

Ka - "Borrowed Time"

Hannah Frances - "Bronwyn"

Tashi Wada - "Grand Trine" ft. Julia Holter

Star Bandz - "Yea Yea" (Prod. by CYRUSXO!)

Cassandra Jenkins - "Delphinium Blue"

J.P. - "Bad Bitty" (Prod. by J.P. & P The Producer)

Nourished By Time - "Hell Of A Ride"

Mk.gee - "Alesis"

Good Looks - "If It's Gone"

Astrid Sonne - "Give my all"

Nia Archives - "Crowded Roomz"

Kendrick Lamar - "Not Like Us" (Prod. by Mustard)

NLE Choppa - "SLUT ME OUT 2" (Prod. by EMRLD BEATS & Synthetic)

BossMan Dlow - "Get In With Me" (Prod. by DonteMadeIt)

Fabiana Palladino - "Stay With Me Through The Night"

Arooj Aftab - "Raat Ki Rani"

Pa Salieu - "Dece (Heavy)" (Prod. by AoD, Felix Joseph & Tudor Monroe)

El Snappo - "Back2Serve'n" (Prod. by Pnutt)

Nilufer Yanya - “Mutations”

Jessica Pratt - “Life Is”

Anysia Kim - “#71 (Again & Again)” (Prod. by Anysia Kim)

Kelly Moran - “Butterfly Phase”

Magdalena Bay - “Cry For Me”

Rema - “OZEBA” (Prod. by Rema & ThisIzLondon)

Djrum - “Crawl”

Floating Points - “Vocoder (Club Mix)”

Cash Cobain - “Fisherrr” ft. Bay Swag (Prod. by Cash Cobain)

TitoM, Yuppe, S.N.E. & Eeque - “Tshwala Bam” (Prod. by TitoM & Yuppe)

Shawny Binladen & Baby Gates - “Crazy Day” (Prod. by Jet Stanley)

Church Chords - “Warriors of Playtime”

Loe Shimmy - “Pray For Peace” (Prod. by Bailey Sample & Jordan Michael Davis)

Helado Negro - “Best For You and Me”

Chanel Beads - “Embarrassed Dog”

Nadine Shah - “Topless Mother”

Chuck Johnson - “Broken Spectre”

FLO - “Check”

Xavi - “La Diabla”

upsammy - “Aqualizing”

Mike & Tony Seltzer - “Pinball” (Prod. by Tony Seltzer & Mikey Fleece)

WizKid - “Karamo” (Prod. by P2J)

Chief Keef - “Believe” (Prod. by Chief Keef & Bobby Raps)

Hana Vu - “Dreams”

Empress Of - “What Type of Girl Am I?”

Halo Maud - “Catch The Wave”

Kanii, Riovaz & Nimstarr - “Tell Me” (Prod. by Gray Toomey & Zetra)

Mach-Hommy - “Sur Le Pont d’Avignon” (Prod. by Conductor Williams & Sam Gendel)

Clairo - “Juna”

Gillian Welch & David Rawlings - “Empty Trainload of Sky”

Los and Nutty - “THE REASON” (Prod. by 28MadeThisOne & Vinxia)

Johnny Blue Skies - “If The Sun Never Rises Again”

Caxtrinho - “Vó Jura”

Elucid - “IN THE SHADOW OF IF” (Prod. by Jon Nellen)

Christopher Owens - “Beautiful Horses”

Belong - “AM / PM”

Rachel Chinouriri - “The Hills”

Erika De Casier - “Lucky”

Myaap - “Smackin” (Prod. by Azcaviar)

Mary Timony - “No Thirds”

ScHoolboy Q - “THank god 4 me” (Prod. by Kal Banx, DJ Fu & J.LBS)

Fantastic Cat - “So Glad You Made It”

Tems - “You In My Face” (Prod. by GuiltyBeatz)

BabyChiefDoit - “Doit The Best” (Prod. by DrakoMade, FoxWhyYouSoGodly & JATEK ONE)

HiTECH - “DETROIT MONEY PHONE” ft. G.T. (Prod. by HiTECH)

Maxo Kream - “Bang The Bus” (Prod. by Evilgiane)

The Cure - “And Nothing Is Forever”

oso oso - “all of my love”

MESSIAH - “burden of truth” ft. Malaya (Prod. by TwoTone)

Loidis - “Wait & See”

Chicken P - “People’s Favorite” (Remix) ft. 42 Dugg (Prod. by Niizzy)

Sexyy Red - “Get It Sexyy” (Prod. by Tay Keith & Jake Fridkis)

Future - “MJ” (Prod. by Wheezy, Romil Hemnani, Bryan Yepes & 2forwOyNE)

Tapir! - “Hallelujah Bruv!”

Eem Triplin - “stephanie” (Prod. by Sauron & Imitation Therapy)

Lupe Fiasco - “Samurai” (Prod. by Soundtrakk)

Little Simz - “Far Away” (Prod. by Jakwob)

Durand Bernarr - “GPS”

Ovrkast - “CUT UP” (Prod. by Ovrkast)

The Smile - “Eyes & Mouth”

Beyoncé - “RIIVERDANCE” (Prod. by Beyoncé & The-Dream)

Big Boogie - “Left, Right” (Prod. by Yung Dee & DMacTooBangin)

BigXThaPlug - “Meet The 6ixers” ft. Ro$ama & Yung Hood (Prod. by Tony Coles)

Rels B & Junior H - “Un Desperdicio” (Prod. by Krizous, Omar Alcaide, Andres Yuma & Cesar Posada)

Pablo Skywalkin - “Dress Shoes” (Prod. by ???)

Hiatus Kaiyote - “Cinnamon Temple”

The Narcotix - “The Lamb”

Sinkane - “Everything Is Everything” ft. Tru Osbourne

Papo 2oo4 & Subjxct 5 - “Ooo” (Prod. by Subjxct 5)

CA7RIEL & Paco Amoroso - “El Único” (Prod. by Federico Vindver & Felipe “Pipe” Bernal)

Popstar Benny - “Wiz” ft. Vayda & SadBoy (Prod. by Popstar Benny)

Kareen Lomax - “Remedy”

Goat - “Ouroboros”

Kelly Lee Owens - “Time To”

Trent Reznor & Atticus Ross - “Challengers: Match Point”

#pa salieu #kendrick lamar #geordie greep #mabe fratti #tinashe #burial #mj lenderman #julia holter #star bandz #mk.gee #bossman dlow

2 notes · View notes