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alpha-incipiens · 5 years ago

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Favourite music of the decade!

This is some of what I’d consider the most innovative, artistic and just great to listen to music from 2010-2019.

First a Lot of very good songs:

Crying - Premonitory dream

Arcade Fire - Normal person

Sufjan Stevens - I want to be well

Deerhunter - Sailing

Foster the People - Pumped up kicks

Carly Rae Jepsen - Boy problems

Grimes - Butterfly

Travis Scott - Butterfly effect

Future - March madness

Kanye West ft. Nicki Minaj et al - Monster

Juice Wrld - Won’t let go

Danny Brown - Downward spiral

Kendrick Lamar - Sing about me, I’m dying of thirst

Kate Tempest - Marshall Law

The Avalanches - Stepkids

Iglooghost - Bug thief

Vektroid - Yr heart

Ariel Pink - Little wig

Mac Demarco - Sherrill

Vektor - Charging the void

Jyocho - 太陽と暮らしてきた [family]

Panic! at the disco - Ready to go

The Wonder Years - An American religion

Oso oso - Wake up next to god

The World Is a Beautiful Place & I Am No Longer Afraid to Die - I can be afraid of anything

And my top 20(+2) albums:

Calling Rich gang’s style influential on trap would be like saying Nirvana may have had some impact on early-90s grunge. In 2019 with trap so omnipresent in popular music, hip hop or otherwise, through the impact of artists like Drake and Travis Scott it’s almost hard to remember when this was a niche genre - it was Rich gang that popularised its modern sound here. Birdman’s beats with their rattling hi-hats and deep bass could have been made 5 years later without arousing suspicion, while Rich Homie Quan and Young Thug deliver consistently entertaining flows and numerous bangers between them. Thugger, this being his first major project, steals the show with his yelpy and hilarious rapping style. This may have once been the defining sound of house parties in the Atlanta projects; now it can be heard blasting in the night from white people’s sound systems around the world.

Early 21p may have never aimed to be cool, to avoid a certain appearance of lameness, but they did have a knack for writing some really catchy pop with an optimistic message. To the devoted, the critics of Pilots’ apparent mishmash of nerdy rap, sentimental piano balladry and EDM production were just stuffy, wanting music to stay how it was back-in-the-day forever and unwilling to get with the times. This viewpoint is understandable when you approach this album openly and actually listen to Tyler Joseph’s lyrics about youthful anxiety and insecurity, delivered with real conviction and sincerity, actually recognise that disparate musical elements are all there for emotional punch. A few songs do underwhelm. But this is emo for post-emo Gen Z’s and it’s easy to see why to some it can be deeply affecting.

The musical ancestor to the ongoing and endless stream of ‘lo-fi hip hop beats’ youtube mixes, chillwave filled the same low-stress niche, and Dive released at the peak of the genre’s relevance. Tycho’s woozy, mellow sound prominently features rich acoustic and bass guitar melodies over warm synths, enhancing the music’s organic feel compared to that of purely digital producers in the genre. The experience of starting this album is like waking up in a soft bed, the cover’s gorgeous sunrise reddening the room’s walls, while a guitarist improvises somewhere on the Mediterranean streets outside. And it is indeed great to study or relax to!

Simple, minimal acoustic guitar and vocals. If you’ve got talent this type of music shows it, or else it doesn’t: perfect then for Ichiko Aoba. Her touch is light, her songs calm, meditative, in no rush to get anywhere. As if serenely watching a natural landscape, one can best understand and enjoy Aoba’s music in quiet and peaceful appreciation.

Through the incorporation of genres like shoegaze and alternative rock, Deafheaven managed to create a rare thing: a metal album that’s both heavy and accessible, needing no sacrifice of one for the other’s sake. Over these four main songs, there’s a sensation of being taken on an intense, atmospheric and even emotional journey, with the band stepping away from the negativity and misanthropy that dominates most metal. The vocals, closer to the confessionalism of screamo than classic black metal shrieks, express more sadness than they do aggression, and in respites between solid blaring walls of guitar and drums, calm pianos and gently strummed guitar passages set a pensive tone. This totally enveloping, flawlessly produced sound can take you away, like My Bloody Valentine’s best work, into a dream or trance.

By the late 2000s MCR had taken their thrones as the kings of a subculture formed from the coalition of goth, emo, scene and other assorted Hot Topic-donned kids, and earned a lifelong place in the hearts of many a depressed teenager. But after the generation-defining The Black Parade Gerard Way took off the white facepaint and skeleton costume, ditched the lyrics about corpse brides and vampires, and embraced an anthemic, purely pop punk sound. The silly story of Danger Days, set in a dystopian California where villainous corporations rule and only the Punks can stop them, serves as a kind of idealised setting for the all-out rebellion against authority and normality that so many fantasised about taking part in. The band’s electrifying performances are the most uplifting of their decade making music. For many diehards the upbeat sound here was a celebration that they’d made it through the most difficult years of their lives, and a spit in the face of those who’d done them wrong.

The teller of rural American tales, the indie legend, the teen-whisperer himself. John Darnielle, long past his early lo-fidelity home recordings and now backed by a full band, loses none of the heart his songs are famous for. The theme of the album, taken straight from John’s childhood when the pro wrestling on TV offered an escape from his abusive stepfather, is complemented by the country and Tex-Mex flavouring to the instrumentation. Some of the best lyrics in his long career infuse the stories of wrestlers with universal meaning - his characters try, fail, lose hope, reckon with their mediocrity, and when they step into the ring they’re up against all the adversity life can throw at them. John Darnielle’s saying that when that happens, you stand up and sock back.

Folk music was always a major part of the Scandinavian black metal scene during its peak years, so when American musicians began exploring the genre naturally they incorporated American styles of folk. The complex, oppressive and sometimes hellish compositions here, starkly contrasted with bluegrass that sounds straight from the campfire circle, give the impression of life in the uncharted woods of the American frontier, in the middle of a brutally cold winter. Almost unbelievably, one-man-band Austin Lunn plays every instrument on the album: multiple guitar parts, bass and drums as well as banjo, fiddle, and woodwinds.

Andy Stott seems to delight in making his music as unnerving, haunting, perhaps even scary, as possible. The female vocals these songs are built around become ghostly, echoing and overlapping themselves disorientingly. The percussion, audibly resembling metal clanging, rustling or rattling in the distance, is often left to stand for its own, creating a tense space it feels like something should be filling. UK-based club and dub music can be felt influencing the grimy almost-but-not-quite danceable rhythms here, but the lo-fi recording and menacing vibe makes this feel like a rave at some sort of dimly lit abandoned factory.

There’s so much Mad Max in this album you can just picture it being set to images of freights burning across the desert. True to its title, the nine songs on Nonagon Infinity roll into each other as if part of one big perpetual composition, with the end looping back seamlessly to the start and musical motifs cropping up both before and after the song they form the base of. With its fuzzy, raw sound, bluesy harmonica and wild whooping, the Gizz create a truly rollicking rock’n’roll experience. The band would go on to release 5 albums within twelve months a year later, but Nonagon shows these seven Australian madmen at the height of their powers.

Sometimes you just want to listen to fun, hyperactive pop. The spirit of 8-bit video game soundtracks and snappy pop punk come together to create a vividly digital world of sound that seems to celebrate the worldliness, connectivity and shiny neon colours of early 2010s internet culture and social media. The up-pitched vocals and general auditory mania recall firmly Online musical trends like nightcore and vocaloid, while the beats pulse away, compelling you to dance like this is a house party and the best playlist ever assembled is on. It demands to be listened to at night with headphones, in a room lit only by your laptop screen.

“You hate everyone. To you everyone’s either a moron, or a creep or a poser. Why do you suddenly care about their opinion of you?” “Because I’m shallow, okay?! … I want them to like me.”

The fact that that Malcolm In The Middle quote is sampled at the emotional climax of this record should give some idea to the absurdity that defines Brave Little Abacus. It’s not even the only sample from the show on here. And yet the passion and urgency so evident in Adam Demirjian’s lispy singing and the band’s nostalgia-inducing, even cozy, melodies are made to stir feelings. The tearjerker chords and guitar progressions are so distinctive of emo bands with that special US-midwest melancholia, and they are interspersed with warm ambiance and playful sound effects ripped from TV and video games, seemingly vintage throwbacks to a sunny childhood. Demirjian’s lyrics, yelled out as if through tears or in the middle of a panic attack, verge on word salad in their abstraction, but that’s not the point: you can feel his small town loneliness and sense the trips he’s spent lost on memory lane. The combined effect all adds to Just Got Back’s themes of adolescence and the trauma of leaving it. While legendary in certain internet communities for this album and their 2009 masterpiece Masked Dancers, the band remains obscure to wider audiences.

These Danish punks know how to convey emotion through their raw and dramatic songs. Elias Rønnenfelt’s vocal presence and charisma cannot be ignored: his husky voice drawls, at times breaks, gasps for breath, builds up the deeply impassioned, intense force behind his words. The band sounds free and wild, unrestrained by a tight adherence to tempo, often speeding up, slowing down or straying from the vocals within the same song, as if playing live. Instrumentally the command over loud and quiet, tension and release, accentuates the vocals in crafting the album’s pace. Horns and saloon pianos throughout give the feel of a performance in a smoky, underground blues bar, with Rønnenfelt swaying onstage as he howls the romantic, distraught, heartbroken lyrics he truly believes in.

At some point on first listening to Death Grips, a thought along the lines of “He really yells like this the whole way through, huh?” probably crosses the mind. When Exmilitary first appeared, quietly uploaded to the internet, the rapper’s name and identity unknown, another likely reaction among listeners might have been “What am I even listening to?” But perhaps more revolutionary than Death Grips�� incredibly aggressive sound and style might have been its foreshadowing of how over the next decade underground rap acts would explode into the mainstream through viral songs, online word of mouth and memes. It showed all you needed to come from nowhere to the top of the game was to seize attention, and it did that and far more. MC Ride’s intoxicatingly crass, intense rapping captures the energy of a mosh pit where injuries happen, the barrage of sensations of a coke high, while the eclectic mix of rock and glitchy electronics on the instrumentals is disorienting in the best way. If rap were rock and this was 1977, Death Grips would have just invented punk. Ride’s lyrics paint a confrontational, hyper-macho persona; unlike much hip hop braggadocio, the overwhelming impression given is that Ride truly does not care what anyone thinks. He just goes hard and does not stop. It’s music to punch the wall to.

Inspired by classic rock operas, this concept album represents some major ambition and innovation in musical storytelling. Delivered in frontman Damian Abraham’s gravelly shouted vocals, the complex lyrical narrative of the album follows a factory worker, an activist and their struggle against the omnipotent author (Abraham himself) who controls their fates. Featuring devices like unreliable narrators and fourth-wall breaking, it takes some serious reading into to untangle. But it’s the bright guitarwork, combining upbeat punk rock and indie to create some killer riffs, that gives the album its furious energy and cinematic proportions.

Joanna Newsom is enchanted by the past. Like 2006’s ambitious Ys, the music on Divers makes this evident with its invocation of Western classical and medieval music, throwing antiquated instruments like clavichords together with lush string orchestration, woodwinds, organs, folk guitar and Newsom’s signature harp. With her soulful, moving vocals leading the way, it’s hard not to imagine her as some kind of Renaissance-era country woman contemplating nature, love and mortality in the fields and the woods. As always Newsom proves herself a stunningly original and creative arranger with the sheer compositional intricacy and flow of these songs, and most of all the harmonious intertwining of singing and instrumental backing.

Burial’s music is born from the London night: the bustle of the streets, the faint sounds from distant raves, the buskers, the rain on bus windows. This EP’s dreamlike quality makes listening to it feel like taking a trip across the city well after midnight, watching the lights go by, with no idea where you hope to get to. Every single sound and effect on these two songs is so precisely chosen, from the shifting and shuffling beats, the swelling synths and wordless vocals that sound like a club from a different dimension, the ambient hiss and pop of a vinyl record. Musically this sound is drawn from UK-based scenes like 2-step and drum ‘n bass, but twisted into such a moody and abstracted form as to be nearly unrecognisable as dubstep. Just when this urban, dismal sound is at its most oppressive, heavenly soul singers or organs cut through like a ray of light in the dark.

There’s an imaginary rulebook of how construct music, how to properly make tempos and combinations of notes sound harmonious, and Gorguts have spent their career ripping it up and throwing it in the bin. On 1998’s seminal Obscura, their atonal experimentation sounded at times like random noises in random order. But listen closely to Obscura or Colored Sands, their return after a long hiatus, and the method behind the madness emerges. One mark of great death metal is that it’s impossible to predict what direction it will go even a few seconds in advance, and the band achieves this while presenting a heavy, slow, momentous sound. The density of inspired riffs, and the intricate balancing of loud and quiet, fast and slow paced throughout these songs are exceptional. In instrumental sections the guitars will echo out as if across a barren plane, then the song will build up to the momentum of a freight train. Behind the crashing and twisting walls of guitar the patterns of blast beat drumming are almost mathematical in nature. Luc Lemay’s harsh bellows sound like a warlord’s cry or a pure expression of rage to the void. It’s threatening, menacing, unapproachable, but it all makes sense in the end.

Futuristic yet deeply retro, Blank Banshee’s music takes vaporwave beyond its roots in the pure consumerist parody of artists like Vektroid and James Ferraro and makes it actually sound amazing. Songs are built out of a single vocal snippet processed beyond recognition, new agey synthesisers, Windows XP-era computer noises, hilariously out of place instruments, all set to the 808 bass and hi-hats of hip-hop style beats. The genre’s pioneers intentionally sucked the soul from their music using samples pulled from 70s and 80s elevators, infomercials and corporate lounges - here the throwback seems to be to the early 2000s childhood of the internet, and the influence of a time when email and forums were revolutionary can be felt. The effect of this insanity is an album that whirls by like a techno-psychedelic haze: the atmosphere of dark trap beats places you squarely in a 2013 studio one moment, the next you’re surrounded by relaxing midi pianos and humming that a temple of new age practitioners would meditate to. Still, at some point when listening to this album, perhaps when the ridiculous steel drums kick in near the end, you realise that this is all to some degree a joke, and a funny one. It’s hard to overstate what an entertaining half-hour this thing is.

While 2012’s Good Kid, m.a.a.d City presented a movie in album form of Kendrick’s childhood and early adult years, TPAB’s journey is one of personal growth, introspection, and nuanced examination of the state of race in post-Ferguson America. It’s simultaneously the Zeitgeist for the US in 2015 and a soul-search in the therapist’s office. Sounding deeply vulnerable, he openly discusses depression, alcoholism, religion and feelings of helplessness. The White House and associated gangstas on the cover give some idea to the album’s political themes, with Lamar contrasting Obama’s presidency to the political powerlessness and lifelong ghetto entrapment of millions of black Americans. Everything I’ve written about the lyrics here really only scratches the surface because the words here are substantive, complex and dense with meaning. Near enough every bar can be analysed for multiple meanings and interpretations, essays can and have been written on the overall work, anything less does not do justice. The musical versatility on display is astounding: the album acts as an extravaganza of African-American music, from smooth west coast G-funk to east coast grit, neo-soul and rock to beat poetry, and most of all jazz. Like an expertly laid character arc the record progresses through its ideas in such a way that they’re all impactful, with the slurred rapping imitating a depressed drunken stupor followed later by exuberant, defiant cries of “I love myself!”, the white-hot rage against police brutality balanced by the hopeful mantra: “do you hear me, do you feel me, we gon be alright”. Perhaps the most culturally significant album of the 2010s and an essential piece of the hip-hop canon.

This harrowing hour chronicles the struggles and everyday tragedy of a series of characters and their relationship with the city they live in, narratively driven by some outstandingly poetic lyrics. Jordan Dreyer’s wordy tales despair at the poverty, gang violence and urban decay in the band’s native Grand Rapids, Michigan, an almost childlike open-hearted naivete in his words as he empathises with the broken and alienated people in these songs. There’s no jaded sneer or sly lesson to be learned as he sings about the child killed by a stray bullet or the homebird left alone after all their friends move away, just genuine second-hand sadness and a dream that compassion and community will eventually heal the pain. Taking elements from bands like At the Drive-In’s fusion of punk and progressive, and mewithoutyou’s shout-sung vocals, La Dispute hones its sound to a razor edge to put fierce instrumental power behind the lyrics. Not an easy listen, but a sharply written songbook and a perfect execution on its concept.

Around 2008, Joanna Newsom met comedian Andy Samberg. Within a year, their relationship was becoming the basis upon which the poetry of Have One on Me was spun. Newsom’s lyrics, exploring her relationship with her future-husband, nature, death, spirituality, are above all else loving. Through her warm and vibrant voice, at times an operatic trill and in others deeply soulful, she expresses the joy of love for another, the peace and earthly connection of her beloved pastoral lifestyle, deeply affecting melancholy and grief. Contemplative, artful, genuine or expressive: every lyric in every sweet melody is used to offer her ruminations on life or overflowings of passion.

More so than her previous and next albums, the feel of the album is of not just a folkloric past but also the present day, with drums, substantial brass and string arrangements, and even electric guitar anchoring the sound to Newsom’s real, not imaginary, life in the 21st century. Yet songs here with moods or settings evoking simpler lifestyles and the women living them in 1800s California or the Brontës’ English moors still have a universal relevance. Whether rooted in past of present, the instrumental variety of these compositions, from classical solo piano, grand orchestral arrangements led by harp, to the twang of country guitars or intricate vocal harmonising, makes it apparent that this is the work of a master songwriter in full command of well over a dozen talented musicians. Ultimately, what makes this my favourite album of the decade is that, very simply, it is one stunningly beautiful song after another, all collated into a cohesive 2-hour portrait of Newsom’s soul.

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obtusemedia · 5 years ago

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#22: “Green Light” by Lorde (2017)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#17: “Marvins Room” by Drake (2011)

Never before has a booty call sounded so sad.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#13: “Formation” by Beyoncé (2016)

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

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

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

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

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

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

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

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

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

#11: “Midnight City” by M83 (2011)

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

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

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

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

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

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

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

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

#9: “Ivy” by Frank Ocean (2016)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#4: “TiK ToK” by Ke$ha (2010)

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

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

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

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

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

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

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

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

Don’t think about it too hard, folks.

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

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

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

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

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

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

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noveltylsland-blog · 6 years ago

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Our 2019 First Quarter Roundup

thank u, next - Ariana Grande

(Republic)

Ariana Grande has followed up last year’s charming Sweetener with a more consistent, more confident and more moving record; thank u, next. As usual, Ariana’s voice is really something to behold, hitting every note perfectly as she delves into her own heartbreak, loss and guilt following the death of her ex-boyfriend, Mac Miller. Ariana bravely goes into this with no features, which proves to be a powerful decision, as there are no obnoxious Pharrell additions or out-of-date Lil Wayne verses, making for an appropriately personal record. As if to ease us away from the lack of rap features, we are treated to a Wendy Rene sample on ‘Fake Smile’, which will put a real smile on the face of any hip-hop head. The juxtaposition of deep lyrical themes with the positive, playful instrumentation is rather refreshing, and it’s good to see Ariana excited about life and this new chapter in her life. -M

Gallipoli - Beirut

(4AD)

Zach Condon’s Beirut project has buried Balkan folk deep in the hearts of the Western indie fanatics ever since the release of its first three albums. He’s had us enamoured with the sound ever since, and while Beirut’s work has seemingly gotten ever more formulaic and poppy, that folky, worldly manifesto has never really left Condon. Compared to 2015’s No No No, the most recent Beirut project Gallipoli actually sees him taking it in a more varied and independent direction, and you’ll be hard-pushed to find anything objectionable as Beirut traverse their usual pastures of percussive ukulele and various organs and synthesisers. Gallipoli isn’t short of entirely new sounds for the band either and, indeed, it’s hard to see it as anything but a solid record. Condon might not be making the same impact on the musical landscape as he was thirteen years ago but this is his most consistent release in a decade. Gallipoli proves there are indie bands in far worse form than Beirut; an admirably fresh and progressive release for a band who probably don’t particularly need to be either of those things. -E

Assume Form - James Blake

(Polydor)

Even if it isn’t quite the musical landscape-defining, career-best record that James Blake seems inevitably destined to produce, Assume Form goes quite some distance to confirming him as one of this era of popular music’s defining and most influential figures. And that means a lot, considering no one else is really quite like him. There’s a very particular beauty to the combination of Blake’s music style and his love-themed lyricism, and Assume Form sees both assemble for an impressive, career-best effort. More checked for excess than The Colour in Anything but more stylistically developed than Overgrown, the niche Blake has found treads a fine line between hip-hop and sparse, soulful electronica. Assume Form shows what he can do with both, seeing the likes of Travis Scott and Andre 3000, but also Moses Sumney and Rosalía, make impactful and appropriate appearances alongside Blake’s own plainly romantic lyrics. He’s refreshingly obsessive and open but never too doting or unrelatable, and tracks such as ‘Assume Form’, ‘Can’t Believe the Way We Flow’ and ‘I’ll Come Too’ clearly reveal this untethered romantic happiness. Whether you like his newfound bessottedness or not, one can’t deny Blake has carved himself a distinctive aesthetic, to such an extent it’s no wonder his collaboration is so sought-after by hip-hop artists. Even more exciting is that there’s probably much better to come from Blake, and he remains (as he has for the last ten years) one of the most interesting and exciting artists in popular music. -E

Liv - Daniel Blumberg & Hebronix

(Mute)

Apparently a collaboration between Daniel Blumberg and himself (an endeavour I’m still not sure is artistically innovative or a bit pretentious) Liv builds on Blumberg’s 2018 release Minus with impressive amounts of abrasive noise and more chaotic baroque instrumentation. Hebronix is supposed to be Blumberg’s own psych-pop project, predating his releases under his own name, but on Liv it seems like he’s used it to fill out his own sound. His lonely vocals are more like Phil Elverum on the louder Microphones/Mount Eerie records, while the scrawls of anxious feedback that underly the majority of Liv endlessly build to lengthy, haunting finales; entirely validating the record’s lack of drums. The fact that Liv was recorded in only one take is a feat unto itself, never mind the consistency and coherence that it gives the record. Despite seeing releases on the infamous Mute Records, Blumberg continues to be overlooked by pretty much everyone – and as he’s putting out exceptional, genre-bending experimental music like this he deserves far, far more attention than he currently enjoys. -E

Careful - Boy Harsher

(Nude Club)

Despite “minimal wave” having seemingly ran its course, Boy Harsher provide another argument for it being the perfect time to rework the genre. On Careful, inspiration is clearly drawn from the likes of Depeche Mode and New Order, but whereas these bands created colourful, dynamic dance tracks, Boy Harsher do the complete opposite; as if they’ve been booked to DJ a funeral. Ghostly vocals speak of abandonment and loss over layers of cold, pounding synths and minimal drums – fit for any cyberpunk movie. Dotted throughout the record are a handful of quieter, atmospheric moments which add to this cinematic feel; intensifying the anxious, dark nature of the project. This is a synthpop record which truly reflects the times. –M

Trust in the Lifeforce of the Deep Mystery - The Comet is Coming

(Impulse!)

The sophomore offering from The Comet Is Coming is the latest outstanding British jazz record, taking the reins from from Sons of Kemet’s 2017 offering Your Queen is a Reptile (incidentally another project with the involvement of Shabaka Hutchings), with more of an electronic, rock fusion. Fusion of the last twenty years has usually been the result of influence the other way, injected jazz into electronic, funk or rock music; but Trust in the Lifeforce of the Deep Mystery appears to have come the opposite way. Foremostly a jazz record but enhanced and driven by elements of other genres, it’s catchy and passionate spiritual jazz, topped off with harks to Sun Ra and an inventive space-age theme. The Comet is Coming are yet more evidence of the burgeoning, world-leading London jazz scene and this is easily one of the year’s most striking and innovative releases. -E

Czarface Meets Ghostface - Czarface and Ghostface Killah

(Silver Age)

The follow up to the much-anticipated and mostly-forgotten Czarface Meets Metal Face, Czarface Meets Ghostface proves to be an enjoyable return to form for both Czarface and Ghostface Killah. As usual, all beats are produced by The Czar-Keys (7L and Jeremy Page) and are an electrifying mix of updated, gritty boom-bap, and futuristic beats reminiscent of early-morning superhero cartoons. Lyrically, the emcees really entertain, bringing the right amount of corniness needed for a project based around comic book superheroes, but still manage to sound imposing and even threatening when necessary. A specific standout moment is Esoteric’s verse on ‘The King Heard Voices’ in which he moves his way between four different flows with such ease. Comparisons with the collaboration with MF DOOM were always going to be drawn, and, for this album, that is a good thing. I’m not sure it would have been able to stand on its own, but in comparison, it shines. –M

Remind Me Tomorrow - Sharon Van Etten

(Jagjaguwar)

Sharon Van Etten’s most lyrically and instrumentally developed record yet, Remind Me Tomorrow continues to carry Van Etten’s reputation for impressive songwriting and great capacity for reinvention. Her vocals are emotionally resonant and forthright and, helped by super-producer John Congleton, her instrumental developments clearly exceed that of her previous contemporary folk. Often the instrumentals here are moodier and heavy, even descending into lower-key, electronica-influenced, more Annie Clark-esque sound. Contrasting with that are lead singles ‘Comeback Kid’ and ‘Seventeen’, which have a Springsteen stomp to them, but mostly Remind Me Tomorrow’s tracks are of a more sullen quality. Well written, well produced, well performed, there isn’t much more one can ask of an indie album – and though Van Etten doesn’t pull out anything spectacular out of the bag on Remind Me Tomorrow, it’s one of the year’s strongest releases and a progressive release for her artistically. -E

This Is How You Smile - Helado Negro

(Rvng)

Robert Carlos Lange takes a step back from his usual focus on race and politics to reflect on his life and hone in on his musical soundscapes. Latin folk and atmospheric synths are mixed beautifully to create a cathartic listening experience which Lange guides us through with his gentle vocals, switching back and forth between English and Spanish. Lange’s hauntological influences are evident more than ever on Smile. Beneath the cosy, relaxed instrumentals there are field recordings and unnerving samples which give the nostalgic feel of a Caretaker project, with some of its dejectedness too. The perfect example of this is ‘Fantasma Vaga’, which directly translates to “Ghost Knife” in which Lange describes a supernatural figure over droning synths and sparse steel drums. The triumph of Smile is this ability to overlay and mix these tranquil folk songs, with a hint of discomfort, giving it just the right amount of edge. –M

Crushing - Julia Jacklin

(Polyvinyl)

The 2010’s have become synonymous with female singer-songwriter indie folk; Sharon van Etten, Angel Olsen and Courtney Barnett are just some of the artists who have really championed the genre. It has, however, become rather saturated in the past couple of years, making it that much harder to standout and make a name for oneself. Julia Jacklin has a lot to say, however, and is determined to be heard. Themes of betrayal, loneliness and acceptance are touched upon in a mature and articulate way. Jacklin stands out because she really gets into her subject matter; she intensely scrutinises herself and her surroundings in order to find answers to her questions and solutions to her problems. It is empowering and refreshing to hear an artist not only acknowledging their struggle with humanity and empathy, but so confidently confront and explore it. –M

Love Is - Jungstötter

(PIAS)

Gaining some buzz from his tour with Soap&Skin this spring, Fabian Alstötter’s debut album under the name Jungstötter is a gloomy affair. The name Jungstötter is a mix of his family name and the German word ‘jungstoter’, which translates to ‘young dead’, which perfectly embodies the overall theme of this record. The general slow pace of the album is occasionally disrupted by more intense and chaotic moments, creating some really dynamic and striking tracks. On listening to this record, a barrage of familiar sounds will flood your ears. From the intense baritone ballads of Nick Cave & The Bad Seeds to the androgynous vocals of ANOHNI, there is a wealth of alternative art rock influences dotted throughout. Though, at times, Alstötter does seem reliant on his influences, it is a marvellous debut from the German, obviously keen to form his own signature sound. –M

[X X] - 이달의 소녀 [LOONA]

(BlockBerryCreative)

Loona’s reissued EP is a modern and fashionable set of pop tunes pretty typical of K-pop but with some characteristics Western listeners might find in the work of Grimes or, to a lesser extent, other electro-pop artists like SOPHIE and Charli XCX. Considering there are twelve members of Loona, [X X] is a watertight release, even if it stylistically varies a bit between tracks. Opener ‘X X’ combines electronic chillwave with dubstep in an interesting way, followed by the very modern album highlight ‘Butterfly’; and while many of the rest of the tracks aren’t particularly memorable, they certainly aren’t dull – ‘Colors’ even seems overtly influenced by American R’n’B. With all its similarities to Western pop, it’s easy to see [X X] as a record that could be a gateway into Korean pop music for Western listeners; with the added bonus of being of slightly more substance than your usual idol group. -E

Elephantine - Maurice Louca

(Northern Spy)

A by-product of the Arab Spring in 2011 was the development of a flourishing music scene in Egypt. Cairo-born composer and performer, Maurice Louca, is one of the most exciting names to have risen from this scene. On his third project, Elephantine, Louca explores native Egyptian jazz, surrounding them in the avant-garde. On the track ‘One More for the Gutter’, outbursts of free jazz are complemented by the intensity of guitar-led post-rock. Whilst the finale, ‘Al Khawaga’ is a powerful, repetitive groove littered with swinging horns and hectic drum fills. Elephantine is an inventive exploration, covering immense musical ground throughout its six compositions. –M

Malibu Ken - Malibu Ken

(Rhymesayers)

Aesop Rock has always kept a low profile and doesn’t seem too fussed about reaching the mainstreams. This collaboration with Tobacco of Black Moth Super Rainbow fame certainly doesn’t’ change that as his infamously lengthy and challenging bars have finally found a match. Tobacco’s own brand of neo-psychedelia and indietronica is so out of skew with traditional hip-hop beats that it gives Aesop an edge which he has certainly been missing in the past couple of years. Aesop revisits old themes and is as introspective and philosophical as ever, and opener, ‘Corn Maze’, and ‘Suicide Big Gulp’ showcase some of the best flows of his career. Tobacco’s production is faultless throughout the entire ten tracks, which is good to hear after last year’s lacklustre BMSR effort. Aesop Rock’s dry, esoteric style finds a new home in Tobacco’s weird world of psychedelia. –M

Girl With Basket of Fruit - Xiu Xiu

(Polyvinyl)

Even for Xiu Xiu, Girl With Basket of Fruit is a wild release. Post-pop, post-industrial, post-punk and post-everything, there’s nothing comfortable or light about it – especially compared to the Arcade Fire-cum-lunatic style of 2017’s Forget. So much of this record is unsettled and eerie, isolating and unpredictable. There’s bits of Swans (Thor Harris showing through), some Einstürzende Neubauten, some Suicide, some drone, some Baroque. There’s no belittling Xiu Xiu’s ability to entirely manipulate mood, and here demonstrates again the emotive uniqueness of Jamie Stewart’s exulting, uber-dramatic vocals as well as a new, unsettling sound that includes a pretty vast array of instruments from upright bass to electronic percussion. I’ll be listening to this for years before getting anywhere close to actually dissecting and understanding what Xiu Xiu are doing here, but that’s what makes it so compelling. There’s nothing else like it, an album of intriguingly formless music that’s worth hearing just to for the experience of being so entirely, helplessly intrigued. -E

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juliaisabellphoto · 6 years ago

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Music Journal #1: 2018 Albums of the Year

Thus far, I’ve dedicated this blog solely to my attempts at becoming a decent photographer, as well as some scattered descriptions of my travels. While I have no intention of making this blog absurdly personal or anything more than an artistic outlet, I’ve always had an itching to write about the music I find & listen to. So, without further ado, I’ll start with my favorite albums of the year (& a short summary of my thoughts on each)

1. Tash Sultana, Flow State

I stumbled upon this gem of a project late in 2018 when I was itching for an album to drown myself in. As soon as the first notes of “Seed (Intro)” blasted in my headphones, I knew I had chosen right. With a beautiful combination of melodic guitar riffs, biting electronic drum tracks, and silky, laid-back vocals, Sultana opens up a world for the listener to fall into. Listening to this album is startlingly similar to a dreamless night of sleep - one moment you feel as though you can discern the differences between tracks, and the next you’ve made it all the way to track eight without noticing. “Cigarettes” is certainly the vocal gem of the piece, with smooth R&B roots & a chorus that just won’t get out of your head. In stark contrast, “Blackbird” is a song of instrumental mastery. The vocals take a backdrop to the intense conversation (and at some points, argument) being had by Sultana’s competing guitar melodies. Sultana’s work on the guitar is often reminiscent of John Butler Trio & other acoustic greats, but the addition of their unique voice allows the album to take an entirely unique shape of its own. If I have one piece of advice for 2019, it’s to make time to sit and do nothing but listen to this album.

Must watch: https://www.youtube.com/watch?v=GVDJ8O3lPBA

2. Ariana Grande, Sweetener

This was an obvious choice. Ari dropped the album we all needed to hear in 2018. With the artful ability to produce banging pop songs with real meaning, Grande has the makings of a star who will not stop shining for a long, long while. The album is brimming with girl power and independence while also being honest and genuine. The entrancing bass line and sexy confidence of “God is a woman” captured the attention of functionally everyone this year, and with good reason. The subsequent confessional “breathin” showed that even the most badass women have their struggles. Chronicling her fight with anxiety, the song provides a stunning anthem for holding your head up through hard times. If this album proves anything, it is that the new queen of pop has arrived and will be staying.

Must watch: https://www.youtube.com/watch?v=ivwciGSLC-M

3. ASAP Rocky, TESTING

In this album, ASAP Rocky ascends to a whole new level of hip-hop greatness. When describing the project, he stated that it was ‘all about testing new sounds,” and that shows. The abrasive intro song, “Distorted Records,” sets the stage for a completely unique soundscape. This experimentation continues throughout the album with funky drum tracks and accompanying melodies, but ASAP Rocky’s clean vocal style provides a uniting constant.

While most of this album is perfect for blasting on the highway with car windows down, one song stands out as an independent masterpiece. “Purity.” featuring Frank Ocean, stands in stark contrast to the air of invincibility found in the rest of the album. This song is vulnerable: an introspective discussion of intoxication-related demons laid over an artful sample of Lauryn Hill’s “I Gotta Find Peace of Mind.” This slow, heart-wrenching piece provides an end to the album that is completely antithetical to its beginning. The immense versatility shown in one album alone deserves to be at the top of any 2018 list.

4. Khruangbin, Con Todo El Mundo

If I’ve learned anything this year, it’s that the best instrumental music has the ability to say more than any lyrics can. Khruangbin’s second album does just that: every song has a character and a storytelling emotion wrapped up in its funky bass lines. At times, the album floats along as life does (see “Como Me Quieres.) At others, for example in Maria Tambien, there is the feeling of being in the midst of some dramatic situation. The album instrumentally represents the stages of individual thought (both active and passive) and it is completely enthralling.

Fun fact: the track “August 10″ is the song “August 12″ from their first album, but played in reverse. They described it as a “connective tissue” between their first album and their second. Cool stuff!

Must watch: https://www.youtube.com/watch?v=vWLJeqLPfSU

5. Mitski, Be the Cowboy

I first listened to this album as I fell asleep on a plane ride, and I wouldn’t have it any other way. The droning, climactic beauty of this album is best experienced on its own with nothing to distract but your own droopy eyes. The album starts off slow with “Geyser,” but quickly works its way up to the earth-shaking climax of “Pearl.” The album is filled with complex sonic peaks and valleys from there on out (try to find a melodic similarity between “Remember My Name” and “Come into the Water” - I date you.) The songs of this album feel like different chapters in a storybook, and that’s exactly how Mitski wanted it. When she described her intentions, she said that she wanted the album to feel like “the image of someone alone on a stage.” ‘Be the Cowboy’ cleverly achieves this - finishing the album feels like finishing a novel, including the disappointment at the lack of further content.

6. Troye Sivan. Bloom

This pop album bursting with energy and emotion accesses the wonderful, terrible process of falling in and out of love. While I could talk for paragraphs upon paragraphs about the hours that I spent dancing in my kitchen to this album, that’s not the primary reason for this album’s place on my list. With ‘Bloom,’ Sivan produced one of the most emotionally versatile musical pieces of the year. When I discuss his songs with people, I am always struck by the differences in what they mean to each of us. Certainly, this variance in meaning is the nature of music - but Sivan pushes that to a new level. His songs are a vibrant and powerful normalization of gay expression, and provide the whole world with relatable songs to dance (and cry) to.

Must watch: https://www.youtube.com/watch?v=5xCMF7jsDJI

7. J. Balvin, Vibras

There is only one thing that this album makes you want to do: dance. It is absolutely guaranteed that your hips will be moving by the end of song number two. The beats on this new album are hot and infectious, as shown by the popularity of “Mi Gente” in clubs everywhere. Reggaeton as a genre has gained massive popularity globally, and Balvin has jumped into this with new variations of the traditional Columbian style. Noticeable throughout the album are infusions of popular trap beats as well as salsa and electronic dance music (see “Machika.”) The album is undeniably sexy, y despues de escuchar todas personas quieren mas ;)

8. LP, Heart to Mouth

I read somewhere that this album was a “full-length heartbreaker.” As I progressed through each song, this description was confirmed ten times over. There is not a single song on this album that didn’t make me feel something real. In no particular order, LP represents the whirlwind of emotions that come with the end of a relationship: regret, pain, missing someone, liberation, strength. The entire conflicting mess is all there. Listen to ‘Recovery’ if you need a cry, and ‘Girls Go Wild’ if you need a therapeutic dance party. All I can do is feel thankful to have received this raw, empowering confessional. And of course, her stunning vocals don’t hurt one bit.

Must watch: https://www.youtube.com/watch?v=ACWS4ajWdww

9. Mac Miller, Swimming

Listening to this album in the wake of Mac’s death is haunting. His words cut deep, and they cut deeper after knowing the full extent of how he struggled. The themes of growth and healing are wrapped up in overwhelming melodies and Mac’s beautiful voice. The first track of the album, “Come Back to Earth,” sets the stage for the emotional rollercoaster that each track is bound to be. After this song, he launches into the groovy “Hurt Feelings” and begins to describe the intricacies of his hardships. This album is something you could easily bop around your kitchen table to (queue “What’s the Use?”), but if you listen too closely you might end up in tears. In this contemplative and instrumentally complex record, Mac’s last work was his strongest.

Must watch: https://www.youtube.com/watch?v=QrR_gm6RqCo

10. Liz Brasher, Outcast EP

I first heard this EP on an episode of NPR’s “All Songs Considered” in the middle of a long drive up California Highway 5 (one that would’ve been torturous without the discovery of new music.) The song “Body of Mine” immediately caught my ear, and I dove into the rest of Brasher’s music as deeply as I could. Uncut garage-band sound is the overwhelming theme of the EP - “Body of Mine,” “Come My Way,” and “Outcast” make this crystal clear. Despite the quick assumptions that can be made about her sound, Brasher pulls complexity into the EP with the heart-wrenching ballads “Feel Something” and “Remain.” These two songs showcase the raw strength of her voice and the emotion that she can convey with it. I am excited to see what her music develops into as she gains more acclaim in the new year. Thanks again, NPR!

11. Travis Scott, ASTROWORLD

I haven’t been a huge Travis Scott fan in the past. I would passively listen to his music, but I never understood all the buzz about him. This album completely changed my mind. ASTROWORLD is a masterpiece in so many ways, and the amount of depth present in the album is mindblowing. While “STARGAZING” and “SICKO MODE” stand out as obvious party bangers, it’s no surprise that many fans are hooked on calmer tracks like “YOSEMITE” and “COFFEE BEAN.” If I were to describe the different musical styles employed on this album, I would truly be describing every song. Scott enters a new realm of production genius, giving club DJs exactly what they want while also producing the perfect songs for a chill night in smoking. He includes the autotuned party business he employed in past albums while also mixing in pure, clean cuts of his own voice. It was a pleasant surprise to hear an album from a trap artist with both diversity and widespread quality. Officially a Travis Scott fan.

Must watch: https://www.youtube.com/watch?v=enYt3dKXWkE

12. Christine and the Queens, Chris

I was also introduced to this album late in the year, and I’m glad I was because its energy was exactly what I needed. This half poppy half funky explosion of energy is what anyone needs to listen to on a down day. This album was her rebranding as Chris, an “affirmation of desire as a force of chaos” as she described in an interview with NPR. In both the album artwork and the record’s descriptions of love and identity, she plays with the fluidity of gender and its meaning in our modern era. This phenomenal record is an exercise in both shifting representations of desire and making you dance, and I’m so here for it.

Must watch: https://www.youtube.com/watch?v=sjliweXTCYM

12. Kacey Musgraves. Golden Hour

This slow-rolling album is perfect for a slow day. When I initially saw this album on the top charts, I was confused - I had seen Musgraves live in 2014, I had heard “High Horse,” but what was SO special about her? It was only in taking a chunk of my day to sit and listen to this album that I caught the bug that everyone else seemed to already have. In this album, Musgraves develops into so much more of an artist than she has been in the past. She shifts from cookie-cutter radio country to a wonderfully sweet combination of cotton-candy pop and heartfelt Americana guitar riffs. Her message is positive, her lyrics are honest, and her sound is touching. I was most convinced by “Happy & Sad,” and I won’t deny that the song pulled tears out of my eyes. She conveys youthful happy energy while simultaneously acknowledging the uncertainty of that happiness, and we all needed it (even if we didn’t know it.) Plus, “High Horse” is a bop, and that’s that on that.

13. BROCKHAMPTON, iridescence

After the expulsion of Ameer Vann from the group and the cancellation of a number of tour dates, many weren’t sure what to expect from Brockhampton in the coming weeks. The name of the upcoming album was changed, and presumably entirely new songs were recorded. Nevertheless, iridescence was received with intense anticipation from die-hard Brockhampton fans (myself among them.) The album fulfilled all hopes - with the first track, “NEW ORLEANS,” launching into an aggressive and high-energy beat, I couldn’t help but smile. Brockhampton did it yet again. The transitions between songs are seamless, and every song lends to the theatrics that they love to pull onstage. Much of the record feels like a high-speed formula one race, but the emotional “SAN MARCOS” pulls listeners into another dimension entirely. Hearing this song performed live was one of the more powerful moments of any concert I’ve ever seen - the outro was made to be passionately sung by a crowd, and it so was. And “TONYA” - wow. I could go on forever about this album.

14. Boygenius, boygenius

The cover art for this record is simple, and that simplicity shines through in its tracks. The collaboration of Julien Baker, Phoebe Bridgers, and Lucy Dacus in this project is pure magic. The music is calm, melodic, and easy to become entranced by. Their voices could lull me to sleep any day, and every song feels like it could play during the part of a movie when the protagonist stares out a car window in deep thought. Each song builds to an emotionally charged climax in exactly the tortured way that a listener would expect from these three artists. At this point, I’d be deeply sad if these three didn’t continue making music as a group. They are a gift.

Must watch: https://www.youtube.com/watch?v=OS48Lp34Zic

15. Kali Uchis, Isolation

Kali Uchis blooms in a real way in Isolation. Busting at the seams with sexy confidence, her psychedelic-funky R&B traversal of genres on this record is just perfect. Her uniquely smooth voice pulled over left-of-center beats lends itself to an album full of hits. “After the Storm” featuring Tyler the Creator gained quick popularity, and it is a good representative of the vibe that the rest of the album gives off. A laid back, sexual, happy piece of musical experimentation, Kali Uchis is here to play ball.

16. Cardi B, Invasion of Privacy

With Invasion of Privacy, Cardi B burst onto the popular rap scene with no regrets. Every song exudes her bad bitch energy and reclaims the rap music tropes typically employed exclusively by men. While an incredible ancestry of female rappers came before her, Cardi B has broken the musical glass ceiling in a big way. She is the first female rapper to reach number one on the Billboard top 200 in over 20 years, has the most Billboard top 100 entries of any female artist in history, and many more. She is a true ‘rags-to-riches’ success story, and she’s here to tell us all about it. I’m listening.

Must watch: https://www.youtube.com/watch?v=8LPVjHxXvJM

17. Ryan Beatty, Boy in Jeans

I just saw an article titled “Ryan Beatty writes really good pop songs about boys.” This was a quite simplistic summary of what’s going on here, but it’s not wrong. Despite his vocals on Brockhampton’s “Bleach” and his frequent collaboration with the popular group, Beatty didn’t break out individually in the music scene until now. He certainly did so with this album, and he did it well. His slightly left-of-center pop featuring a voice with the consistency of caramel is exactly what everyone wants to hear. It’s the perfect music for a scenic car ride, and I’m obsessed.

18. The Decemberists, I’ll Be Your Girl

I’ve been a fan of the Decemberists for a long time, and I saw them at the Greek Theatre in Berkeley on their last tour. I would see them again in a heartbeat, and I will never get over the passion that goes into Colin Meloy’s vocal presentation. With the high-energy promotion of this album, I was expecting typical Decemberists greatness. What I got was something entirely different - greatness, but nothing typical. This electronically-infused record exposed a new side of the Decemberists that I am refreshed to hear. The addition of synth and an Arcade Fire type vibe suits them and the sort of rebranding they desired to achieve. With this album, the Decemberists evolved in a way they never have, and I applaud them for it.

19. J. Cole, KOD

There are a number of people who love to hate on J. Cole, and I’ve never understood it. With this album in particular, J. Cole distinguished himself with both lyrics and production value. The album cover above depicts excessive drug use, and in fine print states “This album is in no way intended to glorify addiction.” This powerful message alone sets the stage for an album that means something. The subsequent subject matter of each of the record’s tracks follows this narrative - a description of being stuck in the ways of drug addiction. I have always appreciated J. Cole for his ability to tell a complete story through an album despite the lack of a chronological order or common plot in each song. The album shows the deterioration of a drug addict - from the high of “KOD” to the contemplative pain of “Once an Addict (Interlude).”

20. Kendrick Lamar, Black Panther the Album

Everything produced surrounding the Black Panther movie was a hit. The power of this movie and the contributors to this album is unparalleled. Aside from the clear message that this media sent, every song is phenomenal. “All the Stars” displays SZA’s ridiculous vocal prowess. “X” is the perfect hype song, displaying Kendrick’s sassy and innovative lyrical technique. In “The Ways,” Khalid’s sweet voice embodies the beauty of the powerful woman he describes. “I Am” by Jorja Smith absolutely knocks the album out of the park - this stunningly sexy track propelled her onto the music scene, and thank god it did. I’d listen forever if I could. I’d go on, but every song on this album is an iconic collaboration.

Must watch: the movie.

21. Houndmouth, Golden Age

This album is so painfully underrated. If you want a pick me up, listen to Golden Age. Immediately. From the album’s floaty start to the explosive mood of the album’s namesake track, it’s all hits and no misses. Embracing a completely different musical tone from their last album, Houndmouth seizes a futuristic alt-rock cacophony as their new style. Taking nods from 80s Phil Collins numbers (the beginning of Strange Love... come on!), they take us back to a golden age of sorts while also propelling us to a fun future. I will never not dance my pants off to this album.

#juliaisabellphoto #musicjournal #albumsoftheyear

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ingles-1 · 4 years ago

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music and its genres

Music is one of the so-called Fine Arts, an artistic genre, which creates aesthetic effects through vocal or instrumental sounds, performing rhythm, harmony and Melody

La música es una de las llamadas Bellas Artes, un género artístico, que crea efectos estéticos a través de sonidos vocales o instrumentales, realizando ritmo, armonía y melodia.

the origin:

the music is covered in mystery, although it is estimated that it began in the prehistory of mankind

El origen de la música se encuentra cubierto de misterio, aunque se estima comenzó en la prehistoria de la humanidad

features:

It has an interpreter, who is the one who uses the musical instrument, also a composer, who is the one who conceived the rhythmic and sound language that will be later interpreted,It is made up of four fundamental parameters, which are The ringer The intensity The duration The height

caracteristicas

Posee un intérprete, que es quien emplea el instrumento musical, también un compositor, que es quien concibió el lenguaje rítmico y sonoro que será luego interpretado Se compone de cuatro parámetros fundamentales, que son El timbre La intensidad La duración La altura

Musical genres:

Pop Music:

Its name comes from "popular" it is dance music, in which the singing voice is given priority and is accompanied by simple rhythmic patterns The main figures that represent pop music are Michael Jackson, Madonna, Christina Aguilera, Robbie Williams etc.

Música Pop:

Su nombre proviene de “popular”se trata de música bailable, en la que se da prioridad a la voz cantante y se acompaña con patrones rítmicos sencillos Las principales figuras que representan a la música pop son Michael Jackson, Madonna, Christina Aguilera, Robbie Williams etc..

The rap:

Another American invention combines rhyme, rhythmic speech, and slang, this one in America's black poor neighborhoods. some singers are Roddy Rich, Megan Thee Stallion, Young Thug, Stormzy, Lil Baby, Travis Scott and Pop Smoke

Otro invento estadounidense combina rima, habla rítmica y jerga, este en los vecindarios negros pobres de Estados Unidos. algunos cantantes son Roddy Rich, Megan Thee Stallion, Young Thug, Stormzy, Lil Baby, Travis Scott y Pop Smoke

Rock:

a set of musical subgenres of American Rock n 'roll from the 60s. Its main instrument is the electric guitar, bass, drums and other instruments some singers are Aretha Franklin Ray Charles Elvis Presley John Lennon ETC ..

el rock :

un conjunto de subgéneros musicales del Rock n’ roll estadounidense de los años 60. Su instrumento de mayor protagonismo es la guitarra eléctrica, bajo, batería y otros instrumentos algunos cantantes son Aretha Franklin Ray Charles Elvis Presley John Lennon ETC..

REGGAETON:

The vast majority agree that reggaeton originated in Panama in the 80s. It was considered reggae in Spanish. This is how the world learned about the music of El General in the early 90's some singers are maluma ozuna nicky yam wisin and yandel don omar etc

REGGAETON:

La gran mayoría coincide que el reggaetón tiene su origen en Panamá en los años 80. Se consideraba reggae en español. Así fue como el mundo conoció la música de El General a comienzos de los 90 algunos cantantes son maluma ozuna nicky yam wisin y yandel don omar etc..

THE MERENGUE:

the folkloric music from the dominican republic that”s what it has to be called since it has been the first musical genre originated in this country,from there were the other styles of the dominican merengue rhythm and mambo Some of the most prominent artists of the genre are: Johnny Ventura, Juan Luis Guerra, 440, Milly

El merengue : la musica folclorica de la republica dominicana,asi se ha de llamar ya que ha sido el primer genero musical originada en este pais, de hay partieron los demas estilos del merengue cominicano, ritmo y mambo Algunos de los artistas más destacados del género son: Johnny Ventura, Juan Luis Guerra y 440, Milly,

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bthenoise · 4 years ago

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Noiseworthy: Here’s Why America Part Two Is The Musical Head Trip You Need To Experience

As much as you think it might be an easy task, it’s not always that simple to showcase new, up-and-coming artists. Usually when it comes to these sorts of things, if you aren’t familiar with the band’s name, what’s going to make you click our story versus the 667 Best TikTok Fails of 2020? Yeah, not always that simple.

However, putting all doubts aside, we’re going to keep highlighting promising young bands we believe in. Bands that stand out against the tiring monotony of our music scene. You know, bands like New Jersey noisemakers America Part Two.

Combining a multitude of influences from everything classic rock to early 2010′s emo, this talented East Coast trio is like nothing you’ve ever heard. As we’ve has previously declared, the band’s distinctive style is like if Title Fight wrote a Creedence Clearwater Revival record. Seriously, with songs like their recently released “Glaciers,” you won’t know if you’re dropping acid at Woodstock or recovering from a heat stroke at Warped Tour. Either way, America Part Two is a band that will make feel something like never before.

In order to get to know a little more about the emerging environmentally friendly act, we reached out to members Alex Fabio (vox/guitar), Fred Rainville (vox/bass), and Sam Weingarten (drums) to hear all the band’s personal style and inspiration. To check out our chat and discover your newest obsession, be sure to look below. Afterward, make sure to pre-order America Part Two’s new album Price of a Nation out March 12th via Revival Recordings.

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Where did you grow up? And was there a music scene where you grew up?

Alex: We grew up in New Jersey - a lil bit of beach, a lil bit of city, and a whole lotta music. Like most places in the country, the music is directly correlated to its geography. The scenes in south, central (which exists), and north Jersey are all their own organisms. And the beauty is, [they’re] all pretty supportive of each other. That’s the key.

Sam: There were local shows just about every week at Manville Elks Lodge, Freehold VFW, Spotswood VFW, Marlboro Rec Center, or small bars that would let kids play on a Sunday afternoon like The Saint and a ton of iconic bigger shows at Starland Ballroom.

Fred: When we were growing up, so many touring bands came through, it became clockwork that the small local bands opening those shows would start touring eventually.

What were you and your bandmates doing before your band formed? Jobs? School?

Fred: We started forming bands by middle school. Alex and I started touring in high school. We’ve worked every service industry job you could imagine to help us save for tour and feel like we had a little cash when we came home.

Alex: I was a dishwasher, delivery driver, bar back, waiter, show booker and whatever else I could do. Brookdale CC was my edumacation.

Sam: I went to school out in Philly at Drexel and played in a different band at the time. All of our old bands played the same house show in Philly before AP2. Workin random retail or food jobs.

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Who or what influenced you to start playing music?

Sam: My parents started me on violin from a super young age. Wasn’t exactly into it but def thankful for what it taught me to use later down the road. Started finding bands from friends or my parents and kept following the rabbit hole down…

Fred: My family had all types of music going. Rock n roll, funk, 90s alt, 2000s pop. I picked up a bass after learning piano around age 8. My cousins had picked up drums and guitar. I looked up to my uncle who is an accomplished bassist. So I became the only kid I knew who played bass. My first band was called The Brethren.

Alex: My cousin blasted me with Slipknot & Slayer when I was staying with him in Greece. I was 8 years old and it shook me to my absolute core. On the flip side, watching bands like All Time Low carve their own path from the ground up showed me that this is something that could actually be done!

If you could collaborate with any artist of your choice who would it be?

Fred: Poison Ivy or Ozzy

Sam: Reggie Watts

Alex: Hayley Williams, Travis Barker or Rick Rubin. I would spontaneously combust.

What’s the best live performance you’ve ever seen?

Alex: So many. Maybe A Day To Remember at Convention Hall in Asbury Park, NJ. Opened a pit to “2nd Sucks” with a dude on crutches... never saw them again. Or the drag show I saw in Philly Valentines Day 2020. My car got towed but it was totally worth it.

Fred: Title Fight or Green Day

Sam: Power Trip in Texas, Lorna Shore, or some random jazz homie out in public shredding it.

Are there any recent releases or performances that have inspired you?

Alex: Everything Just Friends has been doing the past couple years has been sick. Charlene Joan has been dropping straight smashes.

Fred: The Bluechips - concert series performance and new album

Sam: Tricot. Random finds deep in the depths of Spotify or Bandcamp.

If you could have one of your songs be on a TV show or movie of your choice what would it be?

Fred: SNL and Destroy

Sam: What if that’s already in the works ??

Alex: ...

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Three bands or artists that would be your dream to tour with?

Sam: A realistic one would be: Turnstile, Microwave, and Just Friends. But unrealistically: The Beatles, Kendrick Lamar, and Jesus Piece

Alex: Title Fight, Rage Against The Machine, Tyler The Creator

Fred: Black Sabbath, The Stooges and The Cramps

What would you like to be remembered for? Musically or not.

Fred: Integrity

Sam: The riff, spreadin’ awareness, and changing the world

Alex: Making a positive impact

Best piece of advice anyone has given you?

Fred: Practice

Alex: “The crowd’s only gonna go as hard as you go”

Sam: A tree has its whole blueprint in a tiny seed and buy the dip.

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What have you learned since being in the music industry?

Fred: Most people aren’t here for the music.

Sam: We’re all in it together but you still cannot rely on anybody. Gotta create and stay on your own grind because you’re in the right place at the right time if you’re really in this for real.

Alex: There is no getting around any single step. The process is it in itself.

The best thing currently on the internet is?

Sam: Reddit, Robinhood, watching giant influences have actual conversations through podcasts, and the weird ability to be in anyone’s pocket at any time.

Alex: The fact that we have the entire recorded history of mankind on this here device.

Fred: The Cramps Live at Napa State Mental Hospital

#America Part Two #Revival Recordings #Noiseworthy #Noiseworthy Artist #interview #Price Of A Nation

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popmusicu · 4 years ago

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My 5 favorite Super Bowl Halftime Shows

The Super Bowl is one of the most important sporting events every year in the U.S., but since 1993, not only was it an exclusive event for soccer fans, since that year with the performance of Michael Jackson at halftime, it became a tradition to this day The Halftime Show.

That’s why I bring you my 5 favorite halftime shows:

#5. Bruno Mars and Red Hot Chili Peppers (2014):

Although this show didn’t have such an elaborate production in terms of stage and special effects and went for a more classic concert look, having Bruno Mars makes it one of my favorite halftime shows, starting with a children’s choir and a drum solo by Bruno himself to start “Locked out of Heaven” and going through “Treasure” and “Runaway run” with the purest James Brown (or Michael Jackson) style of dancing, until it was interrupted by the Red Hot Chili Peppers, who gave the show that touch of strength with their rock and roll and the song “Give it away”, to finish with the rise and fall of emotions with a tribute to the U.S. soldiers with “Just the way you are”.

Link: https://www.youtube.com/watch?v=vV8p4fCOzhw

#4. Shakira and Jennifer Lopez (2020):

With a show that celebrated Latin culture Shakira and JLo were the stars of the last half time show, on one hand Shakira in an incredible Red costume started this party, with a compilation of her hits from “She wolf” to “Hips don’t lie” (my favorite part of Shakira alone), Then JLo appeared on top of a pole in an incredible costume to the rhythm of “JFTB” (Jenny From the Block), which also included the participation of her daughter who sang “let’s get loud” and then joined her mother in singing Born in the USA, while JLo wore a cape with the American and Puerto Rican flag.

Both had the participation of Bad Bunny and J Balvin, and honestly this makes it not higher on my list, because I don’t like reggaeton at all.

For the grand finale Shakira returns to join Jennifer Lopez and finish with “Waka waka” (who didn’t sing this song in 2010?) and an incredible dance.

Of course, this has been one of the most watched Super Bowl shows in its history…Latin power.

Link: https://www.youtube.com/watch?v=pILCn6VO_RU

#3. Britney, Aerosmith, NSYNC (2001):

I call this: A show for parents and children, we have on one hand Aerosmith for parents and N'sync and Britney Spears for teens, a combination of the strangest but worked perfectly, we started listening to “Bye Bye Bye”, going to “I Don’t Want to Miss a Thing”, and a couple more hits from both groups to end with “Walk This Way” which also joined Britney Spears, Mary J. Blige and Nelly. In addition to being the first time that fans were allowed to enter the field and approach the stage.

All of this made this show one of the most remembered to this day, How to forget Steven Tyler singing with N'sync?.

Link: https://www.youtube.com/watch?v=XXiUlnRJqps

#2. Coldplay’s feat. Beyoncé & Bruno Mars (2016):

It was Super Bowl No. 50 and it was Coldplay’s turn to turn on the halftime show, for this Coldplay started with one of their most iconic songs “Viva la vida” and the most colorful stage that the Super Bowl has had in its history (in my opinion), and then continued with “Paradise” and “Adventure Of a Life Time”, when suddenly Bruno Mars appears to the rhythm of “Uptown Funk” followed by Beyoncé (dressed as Michael Jackson on the 1993 show) singing “Formation”, to then face each other in one of the most epic musical battles, to then be joined by Coldplay ending with “Believe in Love”, with which they remembered the most iconic performances of the Super Bowl.

Without a doubt, one of the most rhythmic half-times…

Link: https://www.youtube.com/watch?v=c9cUytejf1k

#1. Michael Jackson (1993):

My favorite by far… how to resume this show without losing a moment?

With this presentation Michael Jackson changed forever the Super Bowl halftime shows, he was the first, before he only played some college band in this segment.

The image of Mj appeared in a screen to later leave it, while the same thing happened in a 2nd screen, when with an explosion he appeared in the middle of the stage, in which he remained immobile during more than 70 seconds while the multitude shouted to no more power, so that he suddenly with a sudden movement of head gave beginning to the song “Jam” and after 30 seconds he changed his black and gold outfit for a white shirt and the black fedora to begin with “Billie jean” (without forgetting the Moonwalk) and continue with “Black or white”, What would happen later is that Jackson made all the public participate in his show, when “We are the world” started to sound and commanded by Michael the whole stadium started to display giant drawings of children holding hands and the stage entered 3. 500 children and teenagers to sing “Heal the world” and finish the show with a powerful message:

“Today we stand together all around the world, joined in a common purpose

- to remake the planet a heaven of joy, and understanding, and goodness.

no one should have to suffer, especially our children.

This time we must succeed.”

Without a doubt a show that marked history.

Link: https://www.youtube.com/watch?v=nBkNQZ-6QHg

Other halftime shows I should mention are:

-Diana Ross (1996)

-U2 (2002)

-Janet Jackson, Justin Timberlake, Jessica Simpson, Kid Rock, Nelly, and P. Diddy (2004)

-Paul McCartney (2005)

-The Rolling Stones (2006)

-Prince (2007)

-Bruce Springsteen and the E Street Band (2009)

-Madonna, LMFAO, Nicki Minaj, Cee Lo Green (2012)

-Beyoncé and Destiny’s Child (2013)

-Lady Gaga (2017)

-Justin Timberlake (2018)

-Maroon 5, Travis Scott, Big Boi (2019)

Michelle Silva Herrera

#All time best #list #I love this #submission

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thebandcampdiaries · 5 years ago

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Neon Drip - Neon Drip Mixtape, Vol.1

May 2020 - Neon Drip an artist with a focus on creating music that feels personal and innovative. His sound is highly energetic, yet it does not skimp when it comes to melodies and appealing hooks. Recently, he has been working to put some new music out and he just hit the scene with a brand new studio mixtape, aptly titled “Neon Drip, Vol. 1” The project sets the bar higher in terms of production excellent and exciting dynamics, going for a direct and forward-thinking sound that blurs the lines between golden-age warmth and modern clarity.

“Neon Drip, Vol.1” features 7 songs, and it offers about 16 minutes of pure and unadulterated hip-hop, with a modern twist.

The opening track is a song titled “Glittery,” and it sets the bar higher immediately due to the feel of this production. The introduction has a more atmospheric sound, with some haunting and darker synth tones, giving the mixtape a mellow feel. The 808-style beat kicks in right away, with a catchy hook and a unique lyrical style. The second song is titled “Bad to Me,” and it highlights the artist’s ability to combine catchy melodies with classic hip-hop feels. The beat has a heavier, yet more chill quality at the same time. The mixtape keeps sailing forward, and its third song is a stunning track titled “No Cap No Lie,” and it is probably my favorite song on this entire project. This one begins with a small melodic intro, and it later gets deeper into a classic trap-inspired beat with some atmospheric vocals, drenched in tasteful echo effects and other layers of sound. The song “Wasted” follows right after. This track has a slow-building intro, which starts off very quiet, but later gets into the song’s full bang loudness. The open, laid-back beat of this song, and the vocal melodies are some of the highlights on this mixtape. “Monster” is one of the catchiest songs on this mixtape, and if I personally had to pick a single song to appeal to a mainstream audience, it would definitely be this one! It has a bit of a Juice WLRD vibe, and it is a killer tune!

“Pink Slip” kicks off with an atmospheric intro and a slightly lo-fi beat, combining innovative melodies with a classic modern trap feel.

“Outlaw” is an excellent curtain closer, giving this mixtape a perfect ending with a trap-inspired tune that also has a lot of deeper atmospheric sounds.

One of the things that you will certainly notice is the high quality of this mixtape in terms of production. The beat are very layered, and it isn’t just your average copy-pasted beat. There are some killer drum sounds in here, and the atmospheric tones are also really spot-on, helping the drums and vocals to blend in and creating some unique aesthetics. It’s worth mentioning that even the vocals are produced really well. Many of the song features some cool reverb sounds and echo on the vocals, as well as some pitch manipulation effects making the sound even more interesting, and utterly balanced with the instrumental mix in every single track. Sonically, these tracks are endowed with a really deep low end and a crunchy mid-range that adds a lot of excitement to the music and helps the main melodies stand out. In addition to that, the treble range is smooth and bright, adding a lot of silky edge to the mix, and allowing the vocals to really pop to the forefront of the mix. Production aside, these songs are plain and simple good - Sure, a good recording helps, but if the good songwriting isn’t happening in the first place,a good production can only do so much. In this case, we have a perfect mix of both, and these excellent songs are combined with world-class sounds, going for a unique and successful feel.

You should definitely check this out if you are a fan of artists as diverse as Lil Wayne, Juice WRLD, Lil Uzi Vert, or Travis $cott, only to mention but a few. Neon Drip managed to strike gold with a killer mixtape, and if the first volume is this good, we really can’t wait to hear what’s next!

Find out more:

http://hyperurl.co/xafzr3

We also had the opportunity to ask the artist a few questions: keep reading to learn more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: I don't have a standard procedure for creating my music and I never plan out any of my tracks in advance. I like to come up with everything on the spot, which creates that organic/personal vibe you're talking about. However, 9 times out of 10 I will start off my recording sessions by freestyling different melodies, sounds, and flows until something I like catches my ear. I currently don't produce my own beats but I am in the process of learning! I am always in search of beat producers who are looking to collaborate with me! Currently, my main focus is recording vocals and sound the engineering. I also engineer all of my vocals myself!

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: I have only performed my music one time at an open mic, but performing shows is definitely going to happen soon! I do have a little bit of stage fright but I am confident that I will get over it with practice! I definitely will be performing in the near future! This goal of mine is definitely one of the major drives that keeps me going and I couldn't be more excited to start performing soon!

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: Its hard for me to pick a single track that I think would make the best impression on a new listener because all of my songs are so different and unique. Everyone has their own taste so it makes it tough to pick out a single track. Personally, my top two favorite tracks on this project would be "Bad to Me" and "No Cap No Lie." These were the first two songs that I recorded where things started to really click for me and made me feel like I was really starting to establish as an artist!

What does it take to be “innovative” in music?

Answer: In my opinion, the best way to be as innovative as possible while creating music is to really think about your main reasons for creating the music in the first place. For me personally, It started out as a hobby, and it still is to this day, so for me, it's all about having fun! Music is also a therapeutic release for me which helps me get any unwanted thoughts/feelings off my chest. Overthinking is also one of the hardest challenges that I face in the studio. To overcome this I try to be "weird" while recording. This helps me think outside the box to keep my music organic. I want to create sounds and melodies that no one has ever heard before!

Any upcoming release or tour your way?

Answer: I have a new single that I will be releasing soon called "Race to the $tars" which will be on my new upcoming EP. I have No release date yet for this track as I am currently still working on this project!

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: My music is on all streaming platforms!! Apple music, spotify, Itunes, Tidal, Google Play and more! You can visit this link which will redirect you to your favorite streaming platform! http://hyperurl.co/xafzr3 You can also follow me on Instagram @Neon_drip and twitter as well: @Neon_drip for updates!

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rainydawgradioblog · 5 years ago

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RDR Essentials - Metal (01/13)

RDR Essentials is a weekly newsletter of alternating genres that outlines key releases of the past month, upcoming events around Seattle and happenings in the specified music genre.

Made in collaboration between Rainy Dawg DJs and the Music Director.

Releases:

Blood Incantation - Hidden History of the Human Race

If you’ve been paying attention to metal recently (or at all), you’ve probably heard of Blood Incantation - the Colorado death metal band that has some “next big thing” buzz about them. While they formed in 2011 and released their first demo in 2013, their 2016 release Starspawn really put them on the map. Subsequently, people have been waiting with bated breath this release for the last few years. So when it came out in November (well, it leaked in October), everyone pretty much went insane. Clocking in at a relatively short 36 minutes, this album is chock full of both classic death metal riffs and genre fusing synths. The prevailing sci-fi theme makes it a little weirder than a conventional death metal album (the cover art is by famed sci-fi artist Bruce Pennington), which works to its benefit as the band experiments with the genre over the track listing. Even the album structure is unconventional, with only 4 songs (the last one being 18 minutes). We start off with Slave Species to the Gods, one of the more conventional cuts out of the four and the first single to come out. Despite its “conventional” tone, it’s death metal done right, and any self-respecting metalhead will be in the pit hearing it live. The next track, Giza Power Plant, is where things start to get weirder. It’s still got the death metal heavy riffs and chugging, but there’s a middle-eastern vibe throughout the track. As the song goes on, it deteriorates into death-doom and closes with some heavy synth well-suited for the sci-fi theme. Not to say the record isn’t death metal at its core, but it’s a fusion of the outer space vibe with contemporary death metal tropes that separates it from the rest of the field. The third track, Inner Paths (to Outer Space), is (almost) entirely instrumental. It starts off with some synths and a jammy, catchy buildup that morphs into one long, heavy growl over a dark riff. The last track is 18 minutes, and it’s really like two great death metal songs that are linked together by a John Carpenter-like horror movie theme. This track is an odyssey, from quiet, clean guitar playing to insanely loud, heavy riffs multiple times over the 18 minutes. The only criticism one could levy against the album is the short runtime and the lack of a really big, hard-hitting song. I felt as though the length is closer to that of an EP, since many albums in the genre tend to be reaching an hour. And despite the quality track listing, it lacked what their 2016 release Starspawn had, which is an incredible single. To be fair, “write an amazing, approachable death metal song” isn’t a great critique or an easy task, but I felt as though one would have tied the album together more and increased the runtime. Overall, it’s a great LP that is an incredible fusion of death metal and sci-fi themes, and a probable contender for genre album of the year.

Favorite tracks - Giza Power Plant, Inner Gods (to Outer Space)

- Bobby Baraldi

Cattle Decapitation - Death Atlas

It’s finally here - the new Cattle Decap album. After The Anthropocene Extinction blew everyone away, Death Atlas has been on everyone’s radar since its announcement a year and some change ago. In case you’re uninitiated, Cattle Decap formed in 1996 as a relatively straightforward deathgrind band with a vegan/straight-edge stance. Since then, they’ve morphed from pro-animal to anti-human and their music has changed from pretty direct death and grind metal to absurdly technical, unique, and progressive. At this point, they’re almost synonymous with “extreme metal.” Death Atlas is their 8th album, and it’s full of apocalyptic themes and dizzying, break-neck musical passages. Something that Cattle Decap has done here that’s a little different from previous albums is the incorporation of black metal components into the songs, which further emphasizes the overall doomed theme of the album. And while their previous albums have emphasized motifs, this LP is truly conceptual in tone and narrative. We start off with one of several radio-type passages about the dangers of climate change, accompanied by sinister synthesizer. Then, The Geocide blows the listener away with a 30 second blast beat and vocal shriek combo from the start, which is jarring yet goosebump-inducing transition to say the least. From here, we venture all over different extreme metal styles in every song. From contemporary melodic death-black metal fusions on Be Still Our Bleeding Hearts to the neck-breaking slam riff at the end of Bring Back the Plague, there’s something musically here for all metalheads. Vulturous stands out heavily, with and excellent combination of snarling vocals, breakdowns, and lightening fast riffs accompanied by your typical blast beats. Travis Ryan is perhaps the most versatile vocalist in metal, and he shows his range all over this track as well as the rest of the album. This ranges from goblin-like shrieks and spoken word to guttural slam to almost goth-like singing and choral parts on the end/title-track Death Atlas. For me, this vocal performance is part of what makes the album stand out from its contemporaries. The guitar work is also amazing per usual from Josh Elmore and newcomer Belisario Dimuzio; not only technical, but also tasteful. But OH MY GOD - the drum and bass work really come through on this record, making everything so heavy and giving that extra punch when the song really calls for it. Something that always irks me about metal albums is that the bass tends to get buried in the mix, yet here Olivar Pinard’s bass (of Cryptopsy fame) is usually clear and adds so much more to the dark and foreboding feel of the album. The bass aerobics are in perfect unison with the hyperspeed and strong drumming of Dave McGraw, which makes the slam passages incredibly hard-hitting. Of course, a review of this album wouldn’t be complete without mentioning the last two songs: Time’s Cruel Curtain and Death Atlas, which are foreboding yet melodic, and the black/death metal combo almost comes across as wistful. It’s as though Cattle Decap is sad that humanity is blowing its chance. Anyways, the TL;DR is that it might be AOTY for me and many other metalheads.

Favorite tracks - The Geocide, Vulturous, Bring Back the Plague, With all Disrespect, Time’s Cruel Curtain, Death Atlas

- Bobby Baraldi

Lamp of Murmuur - Chasing The Path Of The Hidden Master

Little is known about Lamp of Murmuur. Besides the fact that they hail from Olympia and are signed to all star black metal label Death Kvlt Records, there is nothing but their music to fixate on. This is lack of identifying characteristics is a virtue that many black metal artists have attempted to pull off. There is something truly mystical about hearing the screams of a faceless entity, like a ghost that you can hear but cannot see. The production is raw, with shrill guitars bouncing off the walls of an ice encased fortress and vocal shrieks that pierce like a razor. The drums, though just barely audible, peak their heads out over the mix, giving the album a far-away ambience. Basically, this album sounds like what black metal should sound like. Riff wise, this album sounds like it takes inspiration from 2nd wave bands like Taake, and especially Satanic Warmaster. It’s the perfect combination of aggressive, melodic, and frozen. Although it appears that there is a paywall to listening to the full album, one can purchase it digitally for as much as one wants to give. If you listen to this and enjoy it, I would highly recommend checking out Satanic Warmaster as well as the other artists on Death Kvlt Productions.

- Zac Weiner

Painboys - In Agony

Local blackened hardcore act PAINBOYS are back with a ripping follow up to there last demo Ritual Torment. This new project features some new production which in my opinion is a major step up from their previous releases. The album opens up with the doomy “Bleeding Throne” which features a foreboding riff before turning into a filthy punk stomper. My personal highlight is the song “Necrogoatchrist” which features one of the best riffs on the album and a seething vocal performance. The Painboys manage to create a stormy and apprehensive atmosphere all while maintaining the aggression of hardcore punk. It's quite a novel sound that is dark and befouled, while still being moshable and fun. Its as if they want us to rejoice in the picture of filth their songs paint for us. The vocals on this album are also a real highlight. It's hard to find a unique voice amongst the immense backdrop of black/death influenced metal bands, and this singer totally pulls it off. Finally, every great metal album comes with a kickass cover. The depiction of the ghostly ritual that accompanies this album is the perfect visualization of ritualistic onslaught this album brings. Purchase a tape from their bandcamp and support this local band!

- Zac Weiner

More New Essentials:

Officium Triste - The Death of Gaia (death doom)

Oath of Cruelty - Summary Execution at Dawn (thrash/death)

Witchbones - The Seas of Draugen (blackened death)

Carcariass - Planet Chaos (prog/tech death)

Iron Curtain - Danger Zone (thrash/hard rock)

Haunt - Mind Freeze (hard rock, doom)

Upcoming Releases:

01/17: Kaoteon - Kaoteon (blackened death)

01/24: Midnight - Rebirth by Blasphemy (black and roll)

01/24: Invictus - The catacombs of fear (death metal/thrash)

01/31: Reaper - Unholy nordic noise (blackened speed metal)

Events:

01/18: Portrayal of Guilt, Street Sects, Haunted Horses, Blightmaker @ Substation

8PM / 21+ / $14-18 / Hardcore

02/10: Soulfly, Toxic Holocaust, X-Method, Madzilla @ El Corazon

6PM / AA / $20-25 / Thrash

02/16: Vale of Pnath, Gorod, Wolf King, Aphelion, Pound @ El Corazon

7PM / AA / $13-15 / Tech Death

03/05: Refused, METZ, Youth Code @ the Showbox

7:30PM / AA / $30-35 / Punk

03/17: Mayhem, Abbath, Gatecreeper, Idle Hands @ the Showbox

7PM / AA / $28.50-32 / Black & Death

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chelseawolfemusic · 7 years ago

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Ben Chisholm, Chelsea Wolfe’s Secret Weapon // Decibel Magazine

Ben Chisholm has played on critically acclaimed albums, toured the world and played Roadburn festival. He’s visible in a music video which was uploaded to YouTube over a month ago and has been viewed almost two hundred thousand times. Still, many fans of his work don’t really know him.

The multi-instrumentalist has been playing with Chelsea Wolfe since 2010. His instrumental contributions and sound collages count as indispensable parts of the band’s macabre atmosphere live and in studio.

Read the full article HERE.

youtube

Chisholm’s fourth album with Chelsea Wolfe, Hiss Spun, will be released this Friday, September 22 on Sargent House Records. Together with Chisholm, we unravel his history with the band, his contributions to Hiss Spun, and recount how he and Wolfe came to join Converge for their ‘Blood Moon’ shows in 2016.

What’s the story of your pre-Wolfe work?

Growing up, I played in various punk, grindcore and noise bands around Northern California. Then I started focusing on solo recording projects. There isn’t a lot of past music available. My project White Horse had a boxset released by Weyrd Son in Europe, and another solo project called Revelator has a split 7” released with Wear Your Wounds which is Jacob [Bannon]from Converge’s project. Other than that, my early output is buried on scratched CD-Rs.

And how did you and Chelsea meet and begin collaborating?

I was playing guitar in a different band which happened to play some shows around Los Angeles with Chelsea Wolfe and her band in 2009. I was really into what they were doing and happened to be hanging around the Sacramento area often, so I started playing and recording with them.

To start, I think we ought to get some background details. You’ve been playing with Chelsea Wolfe for a good deal of time—the official Hiss Spun info sheet calls you a “longtime collaborator.” When exactly did your collaboration with Chelsea begin?

I played piano on a song from The Grime and the Glow, but didn’t join the band until early 2010. Shortly after that, we began recording the songs that would become Ἀποκάλυψις. That was my first real collaboration with the band.

In your own words, what exactly is your role in the band, as a composer but also in live performance?

I try to remain fluid as a collaborator. I help flesh out Chelsea’s demos and contribute extra progressions and sketches here and there. We send song files back and forth, and chip away at them like that. While we’re in the studio, I play a little bit of whatever instrument is needed. For the live show, I usually play bass and keys, and manage any tape tracks or interludes that are being run. For this upcoming tour, I’ll be filling in on guitar for the first time in the band, as our guitarist Bryan takes paternity leave, and I played a lot of guitar on the new album as well.

In Wolfe you perform synthesizers and bass, but you also used sound collages on this album and others. Do you think more in terms of theory and notes, or do you approach music from another angle?

Most of my ideas come in bursts, usually while playing piano or acoustic guitar, and usually in a kind of stoned nighttime “flow state.” I process those ideas later and find the tones and textures that feel right for them. The sound collages and ‘cut-up’ production techniques all happen in that space too. Chelsea is a great editor, she’ll hear one small section, or one element of something I’m working on and find the perfect place for it in a larger piece. Theory kind of comes in after that, adding melody lines or modulating entire sections to fit in different songs. I have a basic education in music theory, but I don’t usually think in those terms while composing.

What’s your approach for collecting sound samples?

I always carry a handheld field recorder with me. I’ve recently started using a smaller version that just plugs right into my phone, and sometimes even a regular phone mic voice memo will do the trick. Chelsea also collects sound samples from out in the world and sends them to me. It’s similar to taking a picture, the quality isn’t always as important as the content.

I know that you recorded a coyote howl in California and put that somewhere on the record.

The coyote’s howl, and a passing motorcycle, is heard during the heavy synth and bass breakdown in “The Culling.” I captured that on my field recorder and ran it through various guitar pedals and cut up the pieces from there.

What was the story behind working with Troy Van Leeuwen in the studio? I’m a big fan of his work in Queens of the Stone Age and Failure, and he did a very good job of integrating his own style into the Chelsea Wolfe sound.

The songs with Troy were originally meant for a side project we were working on. Chelsea sent him demos of “Vex” and “Spun” in early 2015. He tracked his parts at his home studio, some of which ended up on the final mixes. The other parts he played were written and recorded on the spot over a weekend at GodCity Studio towards the end of the sessions. I learned a lot from just watching him play. He’s a cool motherfucker.

You also helped on the Converge ‘Blood Moon’ shows. What was the story behind that collaboration, and what was the biggest challenge in making those album-only tracks come to life?

I’ve been a Converge fan for almost two decades. I had released that split with Jacob a few years prior, and had introduced myself to the band over the years whenever our paths crossed. We hung out with Kurt around Boston and Salem on the first Abysstour and a couple of weeks later, he called to ask if I’d be interested in playing keyboard with them at Roadburn Festival the following spring. I jumped at the chance, and eventually the project grew to involve Chelsea on guitar and vocals as well. Building out that set was a pretty big undertaking. Kurt sent me some of the original stems from certain tracks so I could recreate those sounds, and organize the backing tracks for what couldn’t be played live. There are lots of hidden gems buried in the songs they chose. Those four shows were very special. Hopefully we’ll get a chance to bring ‘Blood Moon’ together again in the future.

Hiss Spun is the most overtly hard rocking record in the Chelsea Wolfe discography. Most bands get more accessible as they age but your work seems to get angrier and more abrasive. How do you think the album compares with your previous work?

Hiss Spun is heavier as a result of a couple things. One being that we worked on the songs as a band a lot with drummer Jess Gowrie, Chelsea and myself in a room together, playing way too loud. On prior albums, there was a lot more isolation involved in the creative process. The second reason this album is louder is, as I already brought up, some of these songs were intended for a side project, which was going in a pretty heavy direction. The songs from that project felt right in the context of the band, so we harvested a few.

Is there a particular song on Hiss Spun that you’re proud of or feel is a great example of your work?

I’m very pleased with Hiss Spun, I’ve never been as happy with one of our albums right out the gate. It was quite a task to get everything to sit together properly, especially when we came into the studio with upwards of 30 tracks of pre-production stems for some songs, but Kurt did a great job. The way he recorded the drums and guitars is pretty much exactly how I’d hoped he would.

If I had to pick a favorite song from the album right now, it would be “Scrape.” This was the first song we collaborated on with Jess, and it’s built primarily from a sample of a tractor bucket scraping on a concrete floor. My friend Travis actually recorded the original sample on his phone, and sent it to me. I manipulated it from there and built chords, which sound like a fucked up brass section to me. All of this combined with Chelsea’s intense, frenetic vocal performance makes this song feel like a very different approach for us.

#Sargent House #Chelsea Wolfe #Ben Chisholm #Decibel Magazine

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sargenthouse · 7 years ago

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Ben Chisholm, Chelsea Wolfe’s Secret Weapon // Decibel Mag

Read the full article HERE.

youtube

What’s the story of your pre-Wolfe work?

And how did you and Chelsea meet and begin collaborating?

In your own words, what exactly is your role in the band, as a composer but also in live performance?

In Wolfe you perform synthesizers and bass, but you also used sound collages on this album and others. Do you think more in terms of theory and notes, or do you approach music from another angle?

What’s your approach for collecting sound samples?

I know that you recorded a coyote howl in California and put that somewhere on the record.

You also helped on the Converge ‘Blood Moon’ shows. What was the story behind that collaboration, and what was the biggest challenge in making those album-only tracks come to life?

Is there a particular song on Hiss Spun that you’re proud of or feel is a great example of your work?

#Sargent House #Chelsea Wolfe #Ben Chisholm #Decibel Magazine

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