#although the lyrics to the original vocal version fit p well this is better for a fight scene

[perfect-fourth]

from Sevika: “⚔”

[putschki1969]

「KEIKO Live K002 ＊＊Lantana＊咲いたよ＊＊」Live Report

■KEIKO Live K002 ＊＊Lantana＊咲いたよ＊＊ Day & Time：2020/12/16　Doors open: 18:00／Start: 19:00 Venue：Zepp DiverCity TOKYO Live Stream Option: https://stagecrowd.live/4182631157/ Streaming Ticket Sale: 12/1 12:00～12/23 13:00 Ticket Price: 3,000円 Archive: 12/16～12/23

Everyone, SUPPORT Keiko and GO BUY a ticket if you haven’t yet!! (TUTORIAL) It was a REALLY cool live! Keiko was adorable! Koichi Korenaga and Hitoshi Konno added so much to so many songs with their guitar and violin. Also, we got May’n and KEIKO singing to the beginning, a May’n song AND a Christmas song together, all those collabs were AMAZING!!!

KEIKO in a leather jacket on stage. YESSSS!!! What more does a fangirl want? :P And she is wearing what seems to be a red skirt an embellished Christmas-y black top.

Find my first impression below the cut 〈(•ˇ‿ˇ•)-→

1.Be Yourself: Still doesn’t sound good live. Not at all. Her version from the first live performance might actually have been better than this. I think she shouldn’t start her lives with this song. I feel like she needs to be more warmed-up to go this high. 

2.ミチテハカケル (?): New song. She did tease us on Twitter that there would be some new songs performed at the live but I wasn’t expecting this. Meh...Another more or less forgettable up-tempo song that is not really up my alley. Kinda like Change the World’s Color. Her vocals improved a bit though compared to Be Yourself.

MC: She promises to interact with her online audience once May’n comes on stage. YAY!

3. Hajimari wa: Finally we are getting somewhere. The start of the concert was a bit bumpy but this is a solid performance. 

4. 溜め息の消える街 (Tameiki no Kieru Machi): Another solid performance. By now you know this is not my cup of tea but the live version is enjoyable enough (especially since she is not singing super high).

MC: Hitoshi Konno comes on stage. Keiko remembers their first meeting back in the day. It was for a recording for the Sound Horizon live in 2008. Keiko was super excited to have live strings at the studio and she really idolised Konno back then for his gorgeous playing. She was dying to meet him because so far she had only heard his playing. She was imagining a figure like Tuxedo Mask from Sailor Moon coming out of the recording booth. But then only Konno came out XD Needless to say, Keiko was quite disappointed. Konno doesn’t seem to remember or he was barely listening to Keiko it seems XD He really has no idea why Keiko is telling us all of this. Keiko says she just wanted to try talking freely about something random.

5. Ray: Ohhhh, the first song I REALLY love from the performance. Ray benefits a lot from the added violin. And Keiko sounds great.

6. 夕顔 (Yugao): YESSSSSSSSS! I was hoping they would use Konno’s violin for this. The intro and bridge were so gorgeous. And the end literally killed me. I LOVED Keiko’s live rendition so much, her expressive vocals hit me right in the feels. 

7. 茜 (Akane): Live violin FTW. Will forever love the verses. The chorus sounds better than in her first live (still not good though - that nobashite mo and kawakasu are just a little too painful for my poor ears). 

MC: Let’s say hello to May’n. May’n is happy to have been asked to appear as guest in Keiko’s live. She is nervous and excited because it has been a while for her to do a live with an audience (+ a live stream). Keiko is going to sing Kalafina together with May’n! BANZAI. On a side note, they are so freaking cute together. May’n is complaining because Keiko so nonchalantly announced that they would be singing a Kalafina song. She thinks this is very special for all of us so it sould be announced accordinly :P Keiko is in a hurry to start singing :P

8. to the beginning: WOW, WOW, WOW! Keiko SLAYS!!! *sobs* The feels!!! And I don’t even like ttb all that much. Keiko got so emotional towards the end. And she sounded better than ever and was obviously so excited to sing a Kalafina song again. Didn’t reallypay much attention to May’n’s vocals. Obviously she is not Wakana.

MC: The excitement is real. May’n loves ttb and has listened to it MANY MANY times so to get to sing it together with Keiko was awesome. Keiko seems to share the sentiment. She is impressed by May’n stage presence and steadiness. Keiko then congratulates May’n on her 15th Anniversary. They finally take a look at the chat for a little while. Keiko is greeting everyone with “yahoo” which everyone in the chat seems to find hilarious because we have never really heard her say this. Someone watches from Korea so Keiko shares some Korean words she knows :P Lots of Macho-senpai talk XD Keiko explains the origin of macho-senpai. It’s from a program Kalafina atteneded and May’n hosted back in the day. Both of them like muscle training so May’n came up with the nickname of macho-senpai for Keiko even though Keiko isn’t even macho or anythin. May’n was shocked to realise that the nickname gained so much popularity and now it is even on Keiko’s Wikipedia page! May’n looks up to Keiko and wants to become macho like her which is why Keiko is “macho-senpai” for her. Keiko denies being macho but May’n is like, “you do so much sports, you are so cool, you love to eat meat, you generally eat a lot (and still stay so thin), you are definitely macho!!!” LOL Keiko thinks about calling May’n Maycho but May’n isn’t into it and she thinks the audience doesn’t like that nickname either even though they can’t see anyone’s face but she sees it in their eyes XD Her HOLA to Mexico is so cute. The tablet is getting heavy so they decide to return it. They are so touchy-feely with each other. And now they are singing a May’n song.

9. graphite / diamond: Never heard it but they rocked the stage together. SO COOL. 

MC: Time for Koichi Korenaga. Lots of cat talk (fyi Kore-chan owns a cat). It’s called JOJO (Jocchan) and Kore-chan often posts pictures on Twitter. Keiko could talk forever about JOJO with Kore-chan.

10. 笑ってやる (Waratte Yaru): Another new song! With lots of English lyrics! Liking this A LOT more than ミチテハカケル I think. So badass. I am into it.

11. エンドロール (End Roll): Is still freaking cool. A mic-stand makes everything better!! Great transition from Waratte Yaru. 

12. Change the World’s Color: While I am not a big fan of the studio live I do quite enjoy her live performances due to her being so enthusiastic. But End Roll and Waratte Yaru are much superior!

MC: Korenaga is about to leave when Keiko reminds him there is one more song to sing XD But before that: Band member introduction. She forgot the guitarist’s full name :P

13: 七色のフィナーレ (Nanairo no Finale):  With both Koichi Korenaga and Hitoshi Konno. BANZAI. Sounds even more like a YK song now. Konno adds so much to the arrangement. Although I think they should have gotten rid of some of the super pop-ish elements of the arrangement to fit the violin more but oh well, it didn’t take away from my listening pleasure. Her final lalala part and the last bit hit differently. So emotional. She obviously felt at home with Konno and Korenaga at her side. So beautiful. Her vocals were a tiny bit better during K001 though and she did make a mistake at one point where her voice literally broke but I am not sure if it was because she was emotional or if she was just exhausted from singing so many up-tempo and high-key songs in a row.

ENCORE: An instrumental of Jingle Bells. May’n is back on stage with Keiko. They want to eat yakiniku for Christmas, not chicken but beef! YAY. MERRY CHRISTMAS!! Keiko loves May’n’s pants and is close to stripping her XD Keiko points out that the slit is very high. I think what she is doing counts as molestation :P Anyways, May’n is super excited to see a new side of Keiko in the future. She has known her for so long but there are still so many new things to discover and that makes her very curious and she feels like it will be the same for all of her fans. Keiko is touched by May’n’s heartfelt little message. Since it’s almost Christmas they need to sing a Christmas song

EN 1. 荒野の果てに (Angels We Have Heard on High): AHHHHHHHHH, one of my favourite Christmas songs. The beginning was FLAWLESS!! Actually loved the pop arrangement even though I usually prefer a more classical one. How I wish I had gotten to hear Kalafina sing this T_T But either way, their collab was great!! I will never like May’n’s voice and it doesn’t go too well with Keiko’s imo but hey, she still did fine.[What I would give to hear Wakana sing this with Keiko. We got a mini version during Kalafina Club once and even that sounded amazing]

EN2. 命の花 (Inochi no Hana): Really loved it.

MC: Keiko says she has many fun things planned for next year so we should look forward to it.

[hallelujuh]

shay’s favorite albums of 2017

didn’t commit to finishing this until the literal very end of 2018 but whatever fdjhfkjdsnfds

I’m not sure if it was my newfound willingness to explore new genres and artists, but I thought 2017 was a fantastic year for music. Plenty old favorites of mine released new albums this year, and I was lucky enough to discover a lot of music, both from new musicians and old. Here’s my top twenty albums of this year.

20. Divide by Ed Sheeran

19. Fin by Syd

18. Blossom by Milky Chance

17. I See You by the xx

16. Trip by Jhene Aiko

15. Good for You by Amine

14. Future Friends by Superfruit

13. Sacred Hearts Club by Foster the People

12. American Teen by Khalid

11. All We Know of Heaven, All We Need of Hell by Pvris

10. From the Outside by Hey Violet - While I originally only cared about this band because it’s composed of mostly girls, which is rare, I’ve grown to really love them as musicians. They’re very creative, producing catchy pop tracks that aren’t like most pop songs, and their debut album is fun as hell. Each song makes the listener feel badass and sexy and young, and you just kinda wanna dance and enjoy life. Favorite track: Tie between Like Lovers Do and Unholy. The former is distinctive and unique, and reminds me of Emilie Autumn, and the latter is incredibly well-produced and pretty visceral for a pop track by such a young band. 

9. After Laughter by Paramore - Continuing their previous album’s sound so that every song sounds like Ain’t It Fun, After Laughter has a gorgeous aesthetic, a memorable sound, and, notably, follows the trend of most emo artists of today - disguising sad lyrics beneath happy music, as made famous by Twenty One Pilots. Each song is catchy, allow the lyrics all leave you feeling a bit empty, but you’ll be dancing to misery. Favorite track: 26. I’m always a sucker for the one mellow song on an album full of bops, and that rang true once more. 26 is about reflecting back on how you’ve spent your youth, and it’s paired with a bittersweet simplistic guitar. Hayley’s vocals hold pain, but also gratitude.

8. Hopeless Fountain Kingdom by Halsey - I’ve been a huge Halsey fan since before Badlands even came out, when all we had was Room 93 and live versions of then-unreleased tracks. Though her evolving sound was criticized by some, I appreciated that HFK follows the formula so many other sophomore records follow, with the lyrics addressing new-found fame and how the artist is dealing with it, and also how they want their sound to be since they’ve already made it big. This record was clearly more hip-hop driven, with production that sounded heavily influenced by Kanye, but it felt fitting. Furthermore, HFK is the redemption arc to Badland’s heartbreak-themes. It’s really a triumphant album overall. Favorite track: Sorry. While 100 Letters is my most-played track and therefore a close second, because the simplistic beat allows Ashley’s lyrics to shine, and she’s a lyricist and a poet before she’s a singer - I believe Sorry is the quintessential song from this record. Her pain is so tangible in this stripped-down ballad, and it’s such a nice switch from her usual lust-driven upbeat songs. I always have respect for musicians who can bear their sleeve in such an open, honest way, and while Ashley’s always been vocal about her struggles, it’s still nice to hear such a heartfelt track come about even after all her success.

7. Dua Lipa by Dua Lipa - This young pop singer's self-titled debut is a catchy, passionate, and solid record that's earned her a well-deserved place on the charts and in people's playlists. The songs are rather cliched, recycled themes that I've heard from dozens of other young female artists, but there's some emotionally-charged pop ballads that show potential. Dua's vocals remind me of a raspier Ariana Grande mixed with a less-powerful Christina Aguilera. Seeing as those two aforementioned singers can over-do their performances a bit, I enjoyed this mellower newcomer. Don't get me wrong, Dua's unique in her own way, and she's hardly a copycat; but I'm worried her talent will overlooked because there's already others like her. Still, it was a solid album that I enjoy thoroughly, and I had multiple tracks from it on repeat.

6. Beautiful Trauma by P!nk - I've been a P!nk fan since I was very young, and this album was wonderfully nostalgic to me. P!nk's one of the few artists who's never been swayed by a need to stay relevant; she just makes the music she wants to make, and her fans love her for it. This record was, at times, a little generic beat-wise, but still distinctly P!nk. As always, she wore her heart on her sleeve and you can feel how personal every song is; how genuine every word is. It really pays off. Favorite track: Barbies - This is a song I think every girl over thirteen can relate to. I'm twenty years younger than P!nk, but this track really resonated with me. It was the only song on this record I listened to repeatedly. I think every girl wants to grow up as quickly as possible, but once you reach adulthood, you just want to be a kid again. You long for simpler times. The beautiful message of the song (enjoy your youth) is paired beautifully with gorgeous instruments (violin! cello! wow!), which adds a timelessness to the track.

5. One More Light by Linkin Park - Although most, myself included, were unhappy with the pop-driven sound of LP’s seventh effort, the death of Chester added a lot to how meaningful this album is. Listening to it now fills me with a hopeful nostalgia, in contrast with how I listened to it in the days following his passing. What once sounded like a cry for help that no one listened to, now sounds like a triumphant farewell. As usual, these guys put their hearts into the making of this record, and it’s a real bummer that it took Chester killing himself to make people appreciate that. LP is a master at their craft, regardless of what genre they’re feeling at the moment. It’s a solid album, full of truly heartfelt lyrics and Chester’s beautiful voice, and I’ve often found myself listening to it when I’m feeling down. It really helps. And that’s what LP’s music has always been about, I think. Being there for you when you feel like no one else is. This album still felt like that, even though it was through a different genre. They let go of the anger that fueled their signature sound in the beginning, in exchange for a more rounded, reflective take on things. I think that’s comforting, and beautiful, in a way no one seemed to understand. What’s better than someone making peace with the world? Alternatively, what’s worse than someone taking their own life because people didn’t want to see them get better? Favorite track: Talking to Myself. I watched this video the day it was released - hours before Chester’s passing was announced. I enjoyed the bass and the video made me smile. After I found out, and after a few hours of crying, I rewatched this video, and it meant so much more the second time. The song itself is a favorite because it’s such a fun track. The bass line is catchy as hell, and my favorite part of the song is the chorus following the bridge, where Chester does a powerful run and then briefly lapses into Meteora-style vocals (”you keep running like the sky is falling”). That bit is so profoundly incredible to listen to for me, and I’m glad he left us with it.

4. Revival by Eminem - I’m one of the biggest Eminem stans of all time, so I’d probably buy a record that consisted entirely of Marshall shitting - but in all actuality, though he could never disappoint me, I was prepared for the worst, and I was pleasantly surprised. This album felt more solid than MMLP2′s experimental sounds, with Em showing us he really hasn’t fallen off. His usage of words like “lit” and “shook” are admittedly a little cringey, and his take at a more modern sound on Believe (with a trap beat and a Migos-like flow) is questionable, but the lyrics show he’s just as on top of his game than ever. It’s not an instant-classic like MMLP - those days are probably over - but it’s a decent record with several damn good songs. (Edit, 12/2018: Bro I wrote this last year, what the fuck was I on dgfkjdgh.) Favorite track: In Your Head. While the most memorable tracks on this record are definitely the collaborations - my favorites being River with Ed Sheeran and Need Me with P!nk - this rather short track really stood out. I listened to the album for the first time on my CD player, without having looked at the track listing since it was released a few weeks back, so every song was a surprise, and when I heard O'Riordan’s vocals, I got very excited, since Zombie is one of my favorite songs of all time. Though the original song is about war, Em raps over the sample track’s bass line and signature guitar riff and speaks about the skeletons in his closet with a passion reminiscent of The Eminem Show and a flow taken from his Recovery days. The smooth transition to Castle is another nice touch. While his speed in the last thirty seconds of Offended is impressive (with Flight of the Bumblebee in the background! Ha!), this was the song that sold me on this album. It’s everything I love about Eminem. (Note: This was written before O’Riordan’s passing. RIP.)

3. Scum Fuck / Flower Boy by Tyler, the Creator - From the goofy poster boy of a generation of carefree and colorfully dressed punks, to an extremely talented and capable producer and musician, watching Tyler’s growth as an artist and a human has been extremely rewarding, especially as a longtime Tyler/OF fan. While Cherry Bomb failed to impress me in the midst of my emo-craze, I appreciated that it was a turning point in Tyler’s career. SFFB, however, successfully took me right out of my indie-craze. Flower Boy builds upon what Tyler tried to do on CB, and it works out much better. Watching his brilliant NPR Tiny Desk Concert only solidified this belief. Tyler’s a musical genius, and I hope more people come to realize it. Favorite track: 911/Mr. Lonely. The whole record is full of earworms - Glitter, Boredom, See You Again - and it’s truly a feat Tyler was able to pull that off. But I have to go with this single - both songs are catchy, the production is masterful, Frank Ocean and Steve Lacy’s voices are beautiful. Who Dat Boy didn’t particularly excite me upon first listen, but these two tracks did, because they reminded me how talented and incredible Tyler is.

2. DAMN. by Kendrick Lamar - My favorite thing about musicians is getting to watch them mature, both musically and personally. I’ve frequently compared DAMN to J. Cole’s 4 Your Eyez Only, as both records feature Jermaine and Kendrick discussing much more mature concepts within their albums. Kendrick’s always been grounded because of his upbringing, whereas Cole was a little more blinded by fame for the first few albums. However, since their respective last albums, Kendrick has gotten engaged, and Cole got married and had a little girl (EDIT: Apparently he had a boy!), and you can hear how these lifestyle changes have influenced their lyrical content, which is really nice to behold. Kendrick’s always seemed like a very intelligent person, with an understanding of the world many in his field lack, and this album highlights that beautifully.  Favorite track: Humble. While Love’s a personal favorite, Humble’s success reminded me of Control. I still remember the day that dropped - and Humble felt similar, as it was Kendrick reminding us that he’s simply on another level. The simplistic and almost grating beat excellently parodies every single rap song that’s on the radio these days, except Kendrick proves his superiority by showing us that the beat’s not the important part; the lyrics are. It’s genius, and I’ll never get over how iconic it is, honestly.

1. Saturation I, II, & III by Brockhampton - Because this remarkably talented new group released three new records this year, and I can’t pick a favorite, nor can or do I want to rate them separately, they easily earn this spot. With flawless and innovative production, refreshingly creative and intricate lyrics, remarkable versatility, and, best of all, a youthful individuality reminiscent of Odd Future circa 2011, Brockhampton is one of the best things 2017 has offered. I’ve grown attached to these kids, and I’m glad I’ll be able to see where they go and how big they get. Favorite track: Star. While Junky is the most impressive track, and Follow is my personal favorite, Star earns this spot because it’s the song that single-handedly got me into Brockhampton. The name-dropping bop is a good introduction to the band, as it features their signature memorably synth-infused beats, Ameer’s clever wordplay, Ian’s favorite thing to talk about (his sexuality) as well as his penchant for hooks and bridges, Merlyn’s loud and brash vocals, etc. I won’t be compiling a list of my favorite songs of this year, but if I did, this would easily make the top ten. It reminded me exactly why I love rap music, in a time when I was beginning to doubt hip hop.

honorable mentions

CTRL by SZA - Though I’d never heard of SZA aside from her feature on Consideration, this album was hyped immensely by Twitter, so I felt I had to check it out. Unfortunately I was disappointed. Although the album’s masterfully done, and I love the production and her voice, the lyrical content ruined it for me. Of course, this is personal preference, and she’s allowed to write songs about whatever the hell she wants to, but the nature of the lyrics were what kept me from being a fan. To each their own, I guess.

Everybody by Logic - I wasn’t a big Logic fan prior to 1-800. Funny story, actually - I thought he was entirely white, and I’m vehemently against white rappers. He's more like a biracial Kendrick, especially in flow on Hallelujah. The record continues the trend started by Bey’s Lemonade of celebrating black power and beauty, with Logic demonstrating a fresh, biracial perspective on it. Loved that there were actual instrumentals, that was refreshing, considering modern rap beats are often created entirely using synthesizers. Also love that Logic’s cementing himself as the Inclusive Rapper, and accepting that title proudly. Good for him.

I Decided by Big Sean - I’ve been a casual Big Sean fan since Finally Famous (2011), but he’s very rarely impressed me with his lyricism. This album showed that Sean’s matured and grown as a person and a rapper, but the songs didn’t leave enough of an impression on me to be featured on my list.

Lust for Life by Lana Del Rey - Although I’m sure die-hards were more than happy with this record, I didn’t enjoy it as much as I wish I could’ve. Lana’s sound hasn’t changed much, so I don’t think the quality of her music is decreasing, I just think my tastes are changing. This newer stuff hasn’t appealed to me nearly as much as her Born to Die/Paradise stuff did. I think 2012!me would’ve loved this record, but 2017!me was unsatisfied.

Melodrama by Lorde - I can always appreciate growth in an artist, but in Lorde’s case, I couldn’t bring myself to like the change. While there’s traces of the sound that put her on the map, and the music still sounds like teenage rebellion, it just doesn’t invoke the same feelings. It’s less grounded - and not in a good way.

Lovely Little Lonely by The Maine - The pop punk 1D continues to make catchy, solid tunes, but nothing about this record particularly stands out to me. Still, it’s a decent album from an underrated band.

extended plays

they’re too short to be included in my top albums, but i wanted to mention them anyway.

Caught Up by Sarah Close - I found this adorable Brit through her fantastic covers of popular songs, and thankfully I was subscribed when she started posting original music. Caught Up isn’t particularly unique, but the songs are fun, her voice is wonderful, and it’s a solid little EP.

Y.O.U by Dodie - I’ve watched Dodie’s covers for a while, so it’s nice to see she’s making original stuff. Love the style of it. Very excited to see what she puts out next.

dont smile at me by Billy Eilish - The fifteen-year-old, who sounds very similar to the recently-disgraced Melanie Martinez, may talk like an annoying skater boy, but her angelic singing voice keeps pulling me back in. I’m not used to talented celebrities being younger than me. It’s depressing. (EDIT: I spelled Billie wrong jdgdhf she’s in my top 10 artists of this year now too hahh)

Hard by The Neighbourhood - This band has been a favorite for four years now; I even saw them live for my birthday in 2015. They could never disappoint me, but their recent music hasn’t changed much to what long-time fans like myself fell in love with in the days of I Love You, which is nice to see, when so many other artists I used to like are experimenting with their sound in unflattering ways.

[loudestsounds]

Top 50 songs of 2020

50- Virile by Moses Sumney

An intense song if there ever was one. There is so much going that it almost works against it, however the production on this thing is so high that is sticks a landing that would impress even those who weren’t yet on board the Moses Sumney train. Oh, and his vocal range is bananas.

49- Whole Life by Perfume Genius

From the first breath of the song to the stunning finish. It’s just gorgeous. While the track is propelled by the unbelievable vocal performance, it is the incredible strings that lay in the foreground, pulsing and pulling with each new verse.

48- Delete Forever by Grimes

This is an all-time Grimes track that speaks to how she has evolved as an artist. There were many opportunities to make this track weirder, or industrial sounding, or whatever spooky ghoul aesthetic Grimes liked that day. But instead? We get a song with verses and choruses and an acoustic guitar and even her version of a Kid Cudi hum! Sign me up—this track rules.

47- Good Grief by TORRES

A real standout from a record that marked a modest comeback from Torres. This song specifically harkens back to the Sprinter era—and that is a welcome thing indeed. A fun rocker that hits you with some serious sad shit. Good grief baby, there’s no such thing.

46- No Time to Die by Billie Eilish

This is a goddamn great Bond song. Billie is good, people.

45- New Low by Sarah Harmer

A fantastic, straight forward, no bullshit, indie track. There’s a beauty in the simplicity of this song that takes you back to that mid 2000s era where indie-rock felt that certain way.

44- Stupid Love by Lady Gaga

The worst thing about 2020 is that we don’t get to dance at a dive bar to Stupid Love (and all of its inevitable remixes). Why God, why! That friggin tube amp bass effect is hilarious but really, really fun.Gaga is having fun and you should try it sometime dummy.

43- Pressure by Kamaiyah

Hook this sassy shit up! You kidding me? Play this at my funeral. This shit baaaaad.

42- I Can Tell There Was an Accident Here by Saosin

Who saw this emo ripper coming? Totally worth it, man. This thing totally grinds your chin into chalk dust. Anthony Green hasn’t sounded this great in a while either. I totally vote that we 100% rock on my dudes.

41- Mr. Lonely by Angel Olsen, Emile Mosseri

I don’t usually rank covers! And I also don’t usually rank songs made for films! But Angel Olsen was the perfect fit for this track, covered for the Miranda July film Kajillionaire. I don’t have much to say about the song other than it is yet another brilliant pairing of Angel’s voice with fantastic, yet subtle, string sections. There is something simultaneously sad and comical about the track. You can’t imagine feeling this lonely and also articulating this level of loneliness without having a laugh at yourself.

40- Fell Into the Ocean by Dan Deacon

This DD record was super underrated! It did lack a little focus, but it had many standout tracks, with Ocean being one of them. It has such a peaceful groove that lulls you at first and then disrupts your day with a dance-y, playful chorus. I will forever remember that first you must relax/before transcend.

Aboulia by Matt Elliott

By far the most depressing song of 2020 from the most depressing man of all time. This is some seriously sad shit. I want to listen to this during a rainy day on a veranda in Spain while the bulls….ride….in?

38.It Was Me by Deradoorian

On an album of moody and wacky licks—It Was Me is perhaps the most straightforward, Can-inspired track. There’s a potency to the delivery of Deradoorian’s lines, and the instrumentals compliment the lyrical sentiment. This song has that feeling of discovering all the magician’s tricks, and then threating that same magician with exposing their secrets. I don’t even know what I mean, but if you listen to the song you’ll get it okay.

37- Straws In The Wind by King Gizzard and the Lizard Wizard

I enjoyed this track greatly as a single—but within the context of the record it fits even better. While it runs a little long and some might argue it overstays its welcome—the Straws has King Gizzard sounding more human than they ever have—as if finally, underneath all the hyper-future allegories of nefarious dungeon galaxy droids maybe they have something they actually want to say.

36- Big Wheel by Samia

A quiet yet comfortably confident indie track that sets an undeniable groove for the entire album. It’s just one of those songs that after one listen has you adding it to twelve playlists.

35- Little Patches by Eric Osbourne

A really pretty, almost spooky, song about making the most of the little, incomplete histories we all share. Very well executed, and fitting as an album closer.

34- This Link Is Dead by Deftones

On an album of standout tracks, this was my favorite mix of head splitting riffs. The production on this track specifically feels crisp in a way Deftones never has felt. There’s a clarity to each instrument that somehow doesn’t give you a headache.

33- Weird Fishes by Lianne La Havas

I tend to have a very strict no-Radiohead Cover rule. Do not cover Radiohead kids. Unless you are Lianne La Havas. This cover rules and, dare I say, takes the song to a place the original doesn’t quite touch (they’re their own thing ok!!!).

32- Love Again by Dua Lipa

A few tracks to pick from on this breakout record from DL. It has to be the perfectly executed mini-chorus of I can’t believe/I can’t believe/I finally found someone that has an undeniable quality.

31- People, I’ve Been Sad by Christine & The Queens

A totally weird song I have never heard before. This song freaked me out when I first heard it—it is the weirdest mix of glitch-pop that I’ve heard in a while because it is equal parts weird as hell and easy-listening? I have no idea if introducing this song to people actually works or if they will think I’m crazy. Anyway, great song my dudes.

30- My Own Soul’s Warning by The Killers

When The Killers are good it is good for planet earth. Ladies and Gents, The Killers are good. Sure—the sound is a return to Hot Fuss/Sam’s Town era Killers, but I do recall that era totally owning. It felt good to know The Killers let us put on our tightest stage pants during this shitshow of a year.

29- Semantics by NNAMDI

I was not familiar with NNAMDI at all before listening to this track—and to be fair, not much on this record sounds quite like this standout (although it is also quite good!). The song is STOP EVERYTHING good. It almost makes no sense that it exists at all—it’s a stunning genre bending highlight that is the type of singular effort that forces you to have an artist on your radar forever. Jesus, that messy yet symphonic explosion at the end.

28- The Joys of Love by Steve Arrington

Some gorgeous soul/funk for your morning. Arrington is particularly potent in the morning, when maybe your heart and mind are more open to something actually working out alright.

27- Love is Bravery by Old Man Gloom

Maybe we just needed a heavy, hope-filled anthem in 2020. OMG came out with the song we needed back at the early stages of this shit show pandemic. These were choruses that we needed to hold on to when the world felt dark as hell. We are the way out of this, thanks for remind us Old Man Gloom.

26- God is Perfect by Freddie Gibbs, The Alchemist

Undeniable hip hop masterpiece right here. This track is no bullshit, pop the champagne stuff. Bump it in the car. Bump it in the mall. Bump it with the homies. Do your thing cause this is where it’s at. Love that piano in the backdrop of the track as well as the spooky down tones that accompany it.

25- To Perth, before the border closes by Julia Jacklin

You might say this is pandemic pandering, but so what? There’s a special quality to JJ, where she teaches us not only that it is okay to be sad, but specifically how to be sad. The refrain of Everything Changes has you simultaneously broken apart and yet hopeful.

24- 4 American Dollars by U.S. Girls

This was one of the first great tracks of 2020. A pre-pandemic banger of infectious, funk infused disco-rock. U.S. Girls have such a knack for making something made up of many, tiny little pieces--- work so brilliantly. I will have the chorus of “you can do a lot with four american dollars” in my head for nine hundred years.

23- Not The Same Anymore by The Strokes

It was a toss-up between NTSA and album closer Ode to the Mets, but there is something about the magic that happens when The Strokes stick to (or return to) a formula that they have mastered. If anyone else wrote NTSA it would seem tame, palatable and routine—but The Strokes just have this way. A throwback to Strokes songs of old, Not The Same Anymore crushes you with the same feelings of sadness, guilt and regret that Casablancas’ dusty croon is perfect at delivering--- while the gang as a whole plays the song they were almost meant to play. Some things never change, here The Strokes take a moment to look back at everything that has, and collectively nod.

22- Under the Table by Fiona Apple

I won’t pretend to understand everything that FA feels when she sings about seething in rage at men over a dinner table. But damn does it make you want to wake the hell up from your own bullshit. Whether you’re identifying as the jackass she hates or as the protagonist wanting to drink a jug of “I’m not taking any shit” juice—this song hits the spot.

21- Back At The Beginning by Caroline Rose

There were a few tracks to choose form off of Rose’s brilliant Superstar, however BATB is perhaps the best executed. Rose pulls out all the stops vocally, ranging from her deep and comic rasp to her higher and more piercing harmonies. BATB is the most Caroline Rose song that Caroline Rose has—and that means something for an artist this criminally underrated.

20- Riddle by Mammal Hands

A gorgeous and soothing track that effortlessly builds without you even realizing it, until finally it releases into a stunning chorus—arguably my favorite section of music all year.

19- Lilac by Porridge Radio

I’m a sucker for songs that build and build until they cannot bare the weight they’ve put on their back. Usually massive buildups fail when they cannot stick the landing, but Lilac manages to make the journey the reward by beating you over the head with its refrain.

18- Remember Where You Are by Jessie Ware

There are many standouts on an album that is as equally danceable as it is thoughtful, but Remember Where You Are reduces every thought, feeling and danceable groove in the record into one punishing closer of a track.

17- Fallin’ Apart by Young Franco, Denzel Curry, Pell

Two minutes of totally infectious dancehall music. This thing just slaps. Brilliantly, it can be played on repeat to absolutely no one’s disappointment. Dance away, kids.

16- To Death’s Heart (In Three Parts) by Bright Eyes

I love a song that really sticks its landing. Bright Eyes seem to care more about that now than ever. Even if the ideas are still scattered lyrically, the compositions are stronger and tighter than they ever have been. Also the rare Bright Eyes solo-ing segments are very welcome! Some really beautiful lines from Conor on this one as well, making some things universal but also keeping a few for himself. Who would expect something different?

15- Lay_Up.m4a by Denzel Curry & Kenny Beats

Hell ya. This was a huge standout on an already crazy, erratic and intiable EP from Curry and Beats. I could listen to them collaborate together for a century. Some seriously devilishly cool lines from Curry on this track about Lando Calrisian, dildo’s and fish tits. It’s just two masters at the absolute top of their game. Give us the full LP baby, we need it.

14- Crash by Nilufer Yanya

Nilufer Yanya can not write songs fast enough. I will continue to eat up whatever she writes. This song is essentially variation on the same riff for five minutes but when the shit is good the shit is good. Excellent production choices and attention to detail prove that Yanya is poised to head into increasingly interesting directions.

13- Over Yet by Hayley Williams

While the transitions in the track initially come across as clumsy, it’s the jarring risks that Williams takes that pay off. An excellent pop journey of a song. Crisp production and fantastic melody make repeat listens.

12- Working It Over by Cults

An expertly crafted indie-pop track reminiscent of Devotion era Beach House. Just a well-constructed, excellently produced synth track. The little sonic details require great headphones, but the rewards are endless.

11- State Line by Jeff Rosenstock

I love many songs off of Rosentock’s NO DREAM- but State Line was the first track I fell in love with. There is something so straightforward about the track in a way that spins a memory of pop-punk songs from a past you may/may not have ever lived. I miss this punk romantic shit so bad.

10- Ooh, la la by Run the Jewels

The boys hit it out of the park again. Equal parts banger, dance-hall, and braggadocious manifesto—Killer Mike and El-P deliver with the most infectious hip hop single of 2020.

9- Late Bloomer by Mammal Hands

I don’t know how to comment on jazz, but if you listen to this song, and make your way through the insane crescendo, and somehow feel nothing you totally suck. This is such a friggin’ blast to listen to. God! Damn! It!

8- St. Cloud by Waxahatchee

There is something so beautiful about endings—but something so messy about legacies. How do we close the book on a person we have lost? How do we survive long after we have gone? Crutchfield reminds us that we live through memory—and that the darkness of our times is merely a candle to our flame.

7- The Ascension by Sufjan Stevens In what was personally a confounding and somewhat impersonal record from Sufjan—The Ascension has him return to the sound that knows him best. Intimate, building, and intense—the title track asks the very same question we’ve all wanted to know: What now?

6- I Know The End by Phoebe Bridgers

To close her record, Bridgers decided to deliver an epic. With horns reminiscent of Bright Eyes’ Road to Joy—I Know The End delivers the most gut wrenching promise of apocalypse—all while Bridgers smirks, having known it was coming all along.

5- Anything by Adrianne Lenker

Just unbelievably gorgeous. Something unassuming and yet serene. What a maze of imagery and history. I love that line about staring down the barrel of the hot sun. Lenker just knows what works, proving once again she is an unstoppable force in folk.

4- Up From A Dream by HAIM

HAIM delivers the best song of their career with this emotional rocker. The gasp for air at the start of the track is absolutely necessary as we come along for the ride. The brief solo absolutely rips and the harmonies behind Danielle’s chorus pull it all together.

3- Anthems by Charli XCX

My number one power jam of 2020. This song is relentless fun and pumped with energy. Seems like a simple enough backbeat and chorus, and yet you are so happy it keeps coming back. There was nothing more exciting to listen to during quarantine—and it will remain the ultimate pandemic anthem. When it’s over, we might be even closer.

2- Anaphylaxis by PUP

Find me a better song about a panic attack. I dare you. Anaphylaxis beats the shit out of you while it takes you to that very special place we all love to hate. PUP has this unbelievable knack for making punk anthems you accidentally sing along to in the grocery store until you realized you just screamed “feels like I was kicked in the testicles” while picking out avocados.

1- I Want You to Love Me by Fiona Apple

There isn’t a composition that compares in 2020. Combined with her vocal performance this thing steals the year. An absolute show-stopper of a song. Opening an album like this should be illegal. Fiona Apple reflects on her history and what the world has given us thus far, and demands more. We all should.